March 2011 PDF

MARCH 2011

Vol. 12.2

Creative Stage Lighting Named Exclusive U.S. Distributor of Avolites

Craig Renwick

Howard Ungerleider’s designs for Rush’s Time Machine tour called for more special effects than the band’s previous Snakes & Arrows tour. Pyrotek Special Effects’ John Arrowsmith has been serving up everything from pyro and flames to cryo. “Caravan,” a song on Rush’s Clockwork Angels album, describes fire and flames in the lyrics. For “BU2B (Brought Up 2 Believe),” another song from the forthcoming album, the design includes eight cryogenic heads positioned upstage as part of a steampunk gag. For “Witch Hunt,” Pyrotek creates a fire-burning look around the stage with Dragon devices on a low random flame setting.

GLP Inc. Issues Statement on Distribution of Global Truss Products in the U.S.

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George Lee, CEO of Global Truss Corporation: “We are extremely happy to bring GLP US on board as a new distributor in the USA. The business model that they have established fits perfectly with our growth plans for the Global Truss brand.” Global Truss America LLC, meanwhile, has kept the posting about its lawsuit against GLP on its website, alleging “trademark infringement, misappropriation of trade secrets, unfair business practices and other violations of the Lanham act.” That notice, which first appeared on www.globaltruss. com in mid-January, also charges GLP with “falsely stating that it is ‘an authorized distributor of Global Truss products in the United States and falsely stating that Mr. George Lee is the CEO of Global Truss.’”

World History, Abbreviated

NORTH CREEK, NY — Avolites named Creative Stage Lighting (CSL) as their exclusive distributor for the U.S., including the company’s new Titan V4.0 and Titan Mobile products. “We feel confident in the knowledge that Creative Stage Lighting will be able to assure the support and technical needs of our American users having witnessed their devotion to lighting over the past 33 years,” said Avolites’ sales director, Steve Warren. “We look forward to a long and successful relationship.” “We are delighted to have them available to our Dealer Network,” said CSL president and CEO George B. Studnicky. “The Avolites line clearly complements our dimming and control solutions.”

Carol Rosegg

Blast from the Past

LOS ANGELES — In early February, after Global Truss America LLC filed suit against GLP German Light Products alleging trademark infringement and other violations, Mark Ravenhill, president of GLP US Inc., issued the following statement: “GLP Inc. is indeed a fully authorized and stocking distributor, of the entire Global Truss range of products manufactured by the Global Truss Corporation. A letter of appointment confirming our appointment can be viewed at our website at www.germanlightproducts.com. “GLP Inc. takes its position in the market very seriously and believes in high ethical values. GLP Inc. is not only fully authorized as a distributor, but is also fully insured and fully legal in its activities.” The GLP release also included a quote attributed to

N N 39 IO T IO e C T g E C a J E p O N n R N o P O ts C ar t

VSFX3 Image Effects Projector, Page 38

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Product Spotlight:

Colin Quinn in Long Story Short

If your topic is human civilization and you have 75 minutes to cover it, you’re going to need some visual support. Scenic and video designer David Gallo, whose Broadway credits include Memphis, Company and Titanic, was up for the task. But helping Colin Quinn and director Jerry Seinfeld craft the one-man show for Broadway had its challenges, too — ranging from Medieval Google Earth-style zoom shots to legal photo clearance and the hunt for that most elusive of images: a truly hilarious cow. For more, turn to Inside Theatre, page 24.

W-DMX Signs License for Wireless RDM with City Theatrical for U.S. Market UDDEVALLA, Sweden — Wireless Solution Sweden AB has signed an agreement to offer Wireless RDM for sales in the U.S., saying that makes them the first company outside of the U.S. to do so. W-DMX G4 is covered by U.S. Patent #7,432,803, which covers Wireless Solution and its distributors as well as W-DMX OEM clients. The license applies to W-DMX G4 BlackBox F-1, BlackBox F-2, WhiteBox F-1, WhiteBox F-2, Micro F-1 and ProBox F-2500. All units are standard with RDM. The license also covers the Micro OEM PCB and PRO OEM PCB for W-DMX OEM manufacturers. OEM partners are reportedly “very happy” with the new license agreement. continued on page 6

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Buyers Guide Staying afloat on the rising tide of automated LED luminaires.

Feeding the Machines With one-off concert gigs, a little preparation goes a long way.

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march 2011

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W HAT ’ S H O T

Production Profile: Usher’s OMG Tour It’s Usher’s tour, and it’s not just about the music; the artist strives for visual perfection, too. Even so, seasoned crew members including LD Peter Morse and show director Barry Lather are entrusted to create and run the shows.

CONTENTS Features

Columns

24 Inside Theatre

4 Editor’s Note

The set design for Colin Quinn: Long Story Short deliberately avoids furniture. Instead, Quinn is free to roam about the set, poking fun at the foibles of human history, accompanied by a large curved projection screen that zooms in on historical points of interest around the globe.

28 Installations Photo by Steve Jennings

W HAT ’ S H O T

P R O J E C T I O N , L I G H T S & S TA G I N G N E W S

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PLSN Interview

Scott Chmielewski, president of Digital Media Designs, who served as video designer for the 2008 Olympic Games ceremonies in Beijing, has a new hangout in his hometown of Baltimore — The Get Down. He’s not just the visual designer for the venue, he’s a co-owner.

31 Buyers Guide There’s a hurricane outside, and it’s raining LED fixtures — including a slew of automated lights with LED engines. Here’s a sampling.

38 Product Spotlight

Andrea Bocelli, blind since age 12, has been called “the world’s most beloved Italian tenor.” He may not be able to see Aldo Visentin’s nuanced lighting designs, but the LD is confident the artist can appreciate it by sensing the audience’s reaction to every moment of each show.

Everything old is new again. At least that’s the case with the VSFX3 Image Effects Projector by City Theatrical and White Light, which has its roots in the early days of the 20th century.

44 Video Digerati Looking for a guide and a tool for defining the areas within your raster that you will be using to display content? Check out the alignment rectangles function, included with Mbox EXtreme v3 from PRG.

Welcoming Justin Lang, newly-named editor of PLSN.

45 The Biz A look at the bigger story behind PRG’s acquisition of AV post facility Pow! Pix.

46 Feeding the Machines How to handle the one-off concert or related gig, without totally winging it.

47 Designer Watch Debi Moen’s inaugural column in PLSN. It focuses on people and projects — “the human-interest side of the industry.”

48 Focus on Fundamentals TV’s “King of Queens” may have gotten into the delivery truck business so he “wouldn’t have to read.” That stance won’t cut it in our industry, however.

52 LD-at-Large LD Nook Schoenfeld roped in the Westernthemed visual design for some of Kid Rock’s recent gigs.

Departments 5 5 6 14 18 20 22 39 42

News In Brief Calendar International News On the Move Product News Showtime Projection Connection Projection Connection New Products

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EDITOR’S NOTE

P R O J E C T I O N L I G H T S & S TA G I N G N E W S

By RichardCadena

A Letter From “Dad”

The Publication of Record for the Lighting, Staging and Projection Industries Publisher Terry Lowe [email protected]

L

et me tell you about my friend Justin Lang. Like a lot of us, I knew Justin’s work before I knew him. A few years ago, he started a blog called iSquint and he gained a huge following by following the live event industry. But he did it surreptitiously without telling anyone who he was. I kid him that he did this on purpose so that his reputation actually would precede him. It’s been said about a lot of people but in Justin’s case, it’s really true. His blog caught my eye very early in his blogging career, and I immediately glommed onto it. I found it to be very informative, thoughtful and fun. A while later, I learned of his real identity when he e-mailed me and asked if I was going to be at LDI one year. That’s when we met in person. Upon our meeting, Justin was the epitome of politeness. He kept calling me “sir,” which I thought made people around us in the restaurant think I was his

dad. In retrospect, I should have called him “son” just to even it out. To be perfectly honest, I was flattered by his show of respect, but I was more impressed by his passion for the industry. He was pouring a considerable amount of time and effort into his blog and not only was he not making money at it, he often spent his own money to do it. He traveled to trade shows on his own dime, spent nights and weekends posting to the blog, and offered to buy me dinner just for the privilege of hanging out. I didn’t let him, though, because I felt more privileged hanging out and talking with him than he knew. I felt I was getting to know one of the future leaders of the industry. It turns out I was right. Today, Justin is the new editor of PLSN. He’s the new editor because he earned the opportunity to take the helm through sheer hard work and dedication, and he had fun doing it. And those are the principles upon which the magazine

was built. I was the editor for a little over eight years, and in that time I took great pride in assembling the editorial for each and every issue as if the industry depended on it. With a great team of people that includes Frank Hammel, Jacob Coakley, Linda Evans, Garret Petrov, William Vanyo, Bill Evans, Vickie Laabs, Josh Harris, and several others who came and went over the years, we sifted through virtual stacks of email to hand-select relevant press releases and reshaped them to filter the truth and suppress the hyperbole. We worked overtime to find engaging working professionals who could write compelling articles, like Nook Schoenfeld, Brad Schiller, Vickie Claiborne, Dan Daley, Bryan Reesman, Paul Berliner, Rob Ludwig, Steve Jennings, Tuce Yasak, Debi Moen, David John Farinella and Kevin Mitchell, and also illustrator Andy Au, and we pushed them to deliver their very best work. And in my humble opinion, they lived up to their fine reputations. I’m very proud of all of their work and I was not about to turn over the legacy of this body of work to just anyone. That’s why it was important to find the right replacement. I chose to leave the magazine with a lot of mixed emotions. I have often said that you can’t grow while you’re sitting in your comfort zone; you need to stretch in order to grow. Ultimately, I decided that it was best for me, my family and the magazine if I resigned and moved on to another stage. When I made that decision, I knew that the reputation we worked so hard to achieve would be in the good hands of the man whose reputation preceded him by design. Justin, We’re all counting on you to uphold the quality of the magazine for the benefit of the readers. Good luck, son. Justin Lang can be reached at jlang@ plsn.com.

Editor Richard Cadena [email protected]

Managing Editor Frank Hammel [email protected]

Senior Staff Writer Kevin M. Mitchell [email protected]

Editorial Assistant Victoria Laabs [email protected]

Contributing Writers Paul Berliner, Vickie Claiborne, Dan Daley, David John Farinella, Steve Jennings, Morgan Loven, Rob Ludwig, Debi Moen, Bryan Reesman, Brad Schiller, Nook Schoenfeld, Tuce Yasak Photographer Steve Jennings Art Director Garret Petrov [email protected]

Web Master Josh Harris [email protected]

National Advertising Director Gregory Gallardo [email protected]

Sales Manager Mike Devine [email protected]

Sales Manager Matt Huber [email protected]

Production Manager Linda Evans [email protected]

General Manager William Hamilton Vanyo [email protected]

Business and Advertising Office

6000 South Eastern Ave. Suite 14J Las Vegas, NV 89119 Ph: 702.932.5585 Fax: 702.554.5340 Editorial Office

10305 Salida Dr. Austin, TX 78749 Ph: 512.280.0384 Fax: 512.292.0183 Circulation

PRO LIGHTING SPACE

Stark Services P.O. Box 16147 North Hollywood, CA 91615

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Projection, Lights & Staging News (ISSN: 1537-0046) Volume 12, Number 2. Published monthly by Timeless Communications Corp. 6000 South Eastern Ave., Suite 14J, Las Vegas, NV 89119. It is distributed free to qualified individuals in the lighting and staging industries in the United States and Canada. Periodical Postage paid at Las Vegas, NV, office and additional offices. Postmaster please send address changes to: Projection, Lights & Staging News, P.O. Box 16147 North Hollywood, CA 91615. Mailed in Canada under Publications Mail Agreement Number 40033037, 1415 Janette Ave., Windsor, ON N8X 1Z1. Overseas subscriptions are available and can be obtained by calling 702.932.5585. Editorial submissions are encouraged, but must include a self-addressed stamped envelope to be returned. Projection, Lights & Staging News is a Registered Trademark. All Rights Reserved. Duplication, transmission by any method of this publication is strictly prohibited without permission of Projection, Lights & Staging News.

ESTA ENTERTAINMENT SERVICES & TECHNOLOGY ASSOCIATION

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NEWS

Swank Audio Visuals Nominated for Freedom Award ROGERS, AR — Russell Mears, an AV coordinator for Swank Audio Visual, recently returned from overseas active duty with the Air National Guard. He was grateful for the support that he and his family received while he was deployed, and he nominated Swank

In Brief

Gearhouse South Africa has stocked up with 100 Christie Digital MicroTiles, purchased via Christie South Africa…AV Concepts recently geared up with multi-camera HD Flypacks (Sony HXC-100K multi-format studio cameras and For-A HVS 350HS 1.5 M/E HANABI switcher) and HD projectors, media servers, digital content management systems for its New Technology & Innovation Division…HSL, Blackburn, U.K., recently added 200 Chroma-Q Color Web 125 visual effects panels to its rental inventory…Swank AV revamped its website at swankav.com…Wireless Solution Sweden AB has entered into an OEM wireless DMX partner agreement with Laserworld (Switzerland) AG… White Light is supplying lighting for Andrew Lloyd Webber’s The Wizard of Oz, which opens at the London Palladium in March, and LD Hugh Vanstone’s rig includes gear from Vari-Lite, Martin Professional, Clay Paky, Coemar, i-Pix, PixelLine, ETC, Wybron, High End Systems, Altman, Look Solutions, MDG and MA Lighting… Production Services Ireland’s most recent 2-day Rigging Awareness Training courses, held at PSI’s Belfast HQ, were completely sold out…The New World Center, the recently-opened home for the New World Symphony in Miami Beach, has a stage lift that uses Serapid LinkLift Lifting Columns…J. Thor Productions and Jacobs Incentive Travel teamed up to support an annual event attended about 300 executives with The Melting Pot Restaurants chain.

AV for The Freedom Award, a special honor given by the U.S. Government to employers of Guard and Reserve service members. The award recipients chosen from the 2011 nominees will be announced later this year and honored in Washington, D.C. at the

16th annual Secretary of Defense Employer Support Freedom Award ceremony, set for Sept. 22, 2011. “It’s more than our legal responsibility or patriotic duty,” said Tim Brady, Swank AV’s Executive VP/COO. “At Swank Audio Visuals, we

are a family. We support and truly care about one another. That’s why we do whatever we can to make these transitional moments in our team members’ lives as easy as possible. Everyone chips in, steps up and lends a helping hand where needed.”

TMB Offers LumenRadio CRMX Product Range to North America LOS ANGELES — LumenRadio announced the availability of the full range of CRMX wireless entertainment and architectural lighting control products across North America through TMB, which recently affirmed its status as LumenRadio’s exclusive distributor in North America and the U.K.

LumenRadio’s CRMX products feature automated cognitive coexistence; error correction; synchronization; encryption; and deterministic latency of 5ms. The products are also known for their range and reliability. Supported protocols include DMX, RDM, DALI, Art-Net, sACN,

ETCNet2, ETC Net3, Strand ShowNet, and Pathport. TMB and LumenRadio will present the full CRMX product line at USITT’s 2011 Conference & Stage Expo, set for March 9-12 in Charlotte, NC.

Techni-Lux To Host 20th Anniversary Open House ORLANDO, FL — Techni-Lux is celebrating its 20th year in operation with an open house event. It will take place April 21, 2011 at TechniLux, 10900 Palmbay Drive, Orlando, FL 32824. The event is from 10am to 6pm, with doors open at 9:30 and a ceremonial cake-cutting taking place at 12:30 pm. The event will feature industry seminars led by Richard Cadena and Techni-Lux’s in-house lighting designer, Tony Hansen. The company’s Technical Department will also offer class sessions throughout the day. The event will include facility tours and an exhibitors area. The open house and exhibits are free of charge, and lunch, refreshments, raffles and door prizes will be available. A full day class pass valued at $79 will be available free to early registrants at http:// w w w. t e c h n i - l u x . c o m / d e f a u l t . aspx?tabid=113#Registration.

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NEWS


PLSN Names Justin Lang as New Editor, Debi Moen is New Columnist By Kevin M. Mitchell LAS VEGAS — Timeless Communications announced that lighting designer and iSquint.net founder Justin Lang has taken the helm of Projection, Lights & Staging News effective March 1. Awardwinning industry journalist Debi Moen has also joined the roster of regular PLSN contributors with her new column, “Designer Watch,” which appears on page 47 of this issue. Lang, who has worked in the lighting industry for 15 years, has designed and lit dozens of productions in the Washington, D.C., area including special events at the Newseum. He also founded iSquint. net, a blog covering entertainment lighting technology, news and products. “We’re really excited about Justin taking over and building on the great tradition that is PLSN,” said publisher Terry Lowe. “He represents a new generation of live event professionals who are innovative, knowledgeable and new-media savvy. I’ve always admired what he’s done with iSquint.net, and we’re excited to have him leading the magazine in our second decade.” “It is an honor to take over the reins of PLSN,” said Lang. “I am thrilled to be part of PLSN and look forward to working with the entire staff of writers at Timeless Communications, including Stage Directions and FOH magazines.” PLSN, iSquint and ProLightingSpace will be partnering to provide information and news from around the industry for professionals at all levels. “I look forward to lively discussions on ProLightingSpace, a wider spectrum of industry professionals’ opinions on iSquint, and up-to-date, around-the-world coverage of industry news,” Lang added. Lang said his love affair with lights started when he attended his first Broadway show, Show Boat. He said the curtain lifted, and it was at that moment he knew what he wanted to do — “make magic happen with lights.” A graduate of Rad-

ford University, he most recently worked for Barbizon Lighting Company in outside sales. Richard Cadena, PLSN editor since 2002, has resigned to focus on writing books and conducting seminars. “Justin is the new editor of PLSN,” Cadena said, “because he earned the opportunity to take the helm through sheer hard work and dedication, and he had fun doing it.” (See Editor’s Note, page 4, for more.) Moen noted that her new column, “Designer Watch,” shines the spotlight on people and projects. “It’s the humaninterest side of the industry,” explains Moen. “Those involved in the design of sets, lighting, and video are invited to submit brief news items of a professional or personal nature that they’d like to share with their colleagues.” “I’ve known Debi for many years and have always admired her work,” said Lowe. “I consider us lucky to have her as a regular contributor, as she is one of the brightest minds and sharpest writers in our business.” Moen has been a professional journalist for 25 years, having spent nine years as an editor of Performance magazine followed by 14 years handling media at High End Systems. At Performance, she interviewed hundreds of the live event industry’s leading professionals. During her years at High End Systems, she also wrote bylined articles for the in-house publication, Show Technology and for LD+A magazine (the publication for the Illuminating Engineering Society of North America). Moen’s features have been translated into many languages and published worldwide, and several have won technical writing awards from the Society for Technical Communication. “This industry has the best people,” Moen said. “We’ve all seen products come and go, and we’ve moved over to work with our former competitors, but in the end, we’re all still friends in this ‘fam-

ily’ that we love. PLSN covers it all, and I’m happy to join the staff, where I can help share the news about the professional as well as personal side of this wonderful production world.”

Justin Lang

W-DMX Signs License for Wireless RDM with City Theatrical for U.S. Market continued from cover

Wireless Solution said it is the only company to offer dual band 2.4 and 5.8GHz with RDM and adaptive frequency hopping in both OEM single PCB or Standard Transceivers with FLEX function to change a unit to be both transmitter and receiver. All FModels are both transmitters and receivers and offer a full flex with optional “anything in, anything out” (for example DMX in and Art-Net out or s/ACN in and DMX out.) W-DMX G4 is covered by one or more claims of U.S. Patent #7,432,803 from City Theatrical and/or by other patent applications and corresponding foreign patent applications pending. North American W-DMX distributors Creative Stage Lighting and ACT Lighting welcomed the news. George Studnicky IV, production and rentals manager from Creative Stage Lighting said, “Having the wireless ability to use RDM keeps the industry on the path moving towards full fixture management where it matters most! This saves time for the user and further solidifies Wireless Solution’s strength in Wireless DMX technology.” Ben Saltzman, executive vice president for ACT Lighting, added, “The addition of RDM to the award-winning W-DMX products makes them an even more powerful tool for the lighting technician and we are excited to bring this capability to our large user base. Adding RDM to W-DMX’s roster of technological features will continue their position as the world leader in wireless and the de facto standard in North America.” Niclas Arvidsson, CEO of Wireless Solution said, “This agreement not only makes W-DMX a more powerful tool, but helps further lighting technology by putting RDM one more step ahead in this industry. Lighting technicians get more flexibility and more control.”

Debi Moen

High Output Marks 25 Years with Party for 500 Daniel Doke Photography

The celebration also served as a showcase for lighting and video.

CANTON, MA — Since 1986, when John Cini and Jim Hirsch started with a simple package of lights and a single truck, High Output has extended its reach, getting involved in projects ranging from film and television lighting support to other areas including theatre and performance, special event production, merchandise sales and systems installations and design. The company has helped light 75 major films including The Departed, The Social Network, The Fighter, The Town, Knight and Day, Shutter Island, 21, Gone Baby Gone, Good Will

Hunting and Fever Pitch. For TV, High Output has assisted with CNBC’s Mad Money College Tour, ESPN’s Homecoming with Rick Reilly, America’s Test Kitchen, Antiques Road Show and Lifetime’s Army Wives. Theatre and Special Events projects include productions organized by Boston Ballet, Longwood Events Boutique Venues, Shire Bio-pharmaceuticals, Chamber Theatre, Museum of Fine Arts and Harvard University. For the 25th anniversary party, High Output leveraged the experience of its event pro-

duction staff by having them transform their Canton facility with lighting, video, audio, rigging and some vendor-supplied furnishings to create a club-like atmosphere for the event’s 500 guests. Along with 7,600-square-foot Studio A, High Output welcomed guests into its Studio B and Studio C spaces. The company also created an exhibit called High Output: A Look Back and the forward-looking WEBbar showcasing their latest redesign for the website, highoutput.com.

CALENDAR USITT Conference & Stage Expo March 10-12, 2011 Charlotte, NC usitt.org

NAB Show April 9-14 2011 Las Vegas, NV nabshow.com

PALME April 26-28, 2011 Dubai, UAE palmeonline.com

Lightfair International May 17-19, 2011 Philadelphia, PA lightfair.com

ProLight + Sound April 6-9, 2011 Frankfurt, Germany http://pls.messefrankfurt.com

Event Live Expo April 12-14, 2011 Los Angeles, CA eventlive-expo.com

PAL May 15-16, 2011 Toronto, Canada thepalshow.com

Guangzhou International Lighting Exhibition June 9-12, 2011 Guangzhou, China messefrankfurt.com

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InfoComm11 June 15-17 Orlando, FL infocommshow.org

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NEWS

Super Bowl XLV Halftime Sh o w Sets Record By James Leasing ARLINGTON, TX — Super Bowl XLV was the most-watched TV program in U.S. history. During the half-hour that the Bridgestone Super Bowl XLV Halftime Show was broadcast live from Cowboys Stadium in Arlington, TX on Feb. 6, the Nielsen company figured about 110.2 million people were watching. This was the second year running that the Super Bowl broke the U.S. television ratings record, with an additional 4.5 million viewers tuned into Fox this year than the CBS record-breaker the prior year. The featured entertainers performing this year were vocalists the Black Eyed Peas’ William Adams, Stacy Ferguson, Jaime Gomez and Alan Lindo, with Saul “Slash” Hudson on electric guitar and guest vocalist Usher Raymond. Those responsible for the 12 minutes of halftime fame were executive producer Ricky Kirshner of RK Productions, producer Rob Paine, director Hamish Hamilton, production designer Bruce Rodgers of Tribe, Inc., and lighting designer Al Gurdon. Lighting was supplied by Production Resource Group and included 64 PRG Bad Boy fixtures tucked inside and concealed by a massive Mitsubishi high definition screen structure. A truss above the same screens held 80 VL3500 Wash luminaires, while along the balcony railings were 98 VL3500 Wash luminaires with Chroma-Q Color Block DB4 LED fixtures. Lighting designer Gurdon’s team also included assistant LDs Bob Barnhart, David Grill, and Rich Gorrod along with lighting programmer Michael Owen using PRG’s Virtuoso VX console. The stage floor was built by All Access Staging and Productions and was loaded with Phillips/Color Kinetics Color Blast LED fixtures. Staging Supervisors at the event were Cap Spence and Tony Hauser.

The Black Eyed Peas, at the Super Bowl XLV Halftime Show

Wisconsin Capitol Dome Lights Up with Green Bay Packer Colors

John S. Hyatt

MADISON, WI - John S. Hyatt & Associates, Inc. provided gels from Apollo Design (AP6800 Mustard & AP5800 Envy Green) to bathe the Wisconsin Capitol Dome in cheesehead-friendly hues. The team colors lit the dome before and after the Packer’s 31-25 Super Bowl XLV victory over the Pittsburgh Steelers.

Kinetic Lighting Relocates Headquarters GLENDALE, CA — Kinetic Lighting Inc. announced the relocation of its headquarters from North Hollywood to Glendale, CA. The new facility is nearly 40 percent larger than the previous building, with improved loading facilities and easy freeway access to serve clients’ special events, rentals, sales, and repairs needs. The new address: 722 Thompson Avenue, Glendale, CA 91201. The phone and fax numbers remain unchanged.

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NEWS


Sapsis Rigging Helps Peter Greenaway Bring New Version of Leonardo’s Last Supper to New York

The multimedia artwork required a truss rig measuring 38 by 30 by 120 feet in size.

NEW YORK — Sapsis Rigging, Inc. (SRI) designed and installed the truss system for the multimedia exhibit, Leonardo’s Last Supper: A Vision by Peter Greenaway, which was recently on view at the Park Avenue Armory in New York City. Leonardo’s Last Supper is part of Greenaway’s ongoing series, Ten Classic Paintings Revisited. The British film maker and artist provokes thought

— and occasional criticism from classic art purists — through the use of digitally-copied paintings, presented in replicas of their historic settings, and enhanced with lighting and projection. The installation in the New York Armory is the first instance of Greenaway’s life-sized installations being mounted in the U.S. Milan-based theatrical production company Change Performing Arts built the full-scale replica of the Refectory of the Santa Maria delle Grazie in Milan, which houses da Vinci’s 512-year-old mural. Factum Arte, from Madrid and London, provided the high-res photography and 3D scanning to create the clone of the mural itself.

SRI built the support structure for the Refectory replica inside the cavernous drill hall for the armory using a truss rig measuring 38 feet high by 30 feet deep and 120 feet long. In addition to supporting the recreation of The Last Supper’s environs, the rig held the audio-visual and lighting equipment that Greenaway used to enhance the visitors’ experience. “Working at the Park Avenue Armory is always interesting, and this project was no different,” said project manager Michael Sapsis. “While getting the set into the right place was a bit of a challenge at times, it was great fun working with the Italian scenic artists.”

LED Lighting Enhances Breckenridge Snow Sculpture Championships BRECKENRIDGE, CO — The 21st annual Budweiser International Snow Sculpture Championships were held recently at Breckenridge Resort, lit with wirelessly-controlled LED fixtures provided by Denverbased Mountain Light Company. The gear list included 21Philips Color Kinetics ColorReach fixtures, more than 100 ColorBlast12s with ShowDMX wireless control and a power distribution system that included 22 City Theatrical PDS units. The event also used truss towers from Xtreme Structures and several new enclosures to keep control equipment dry for three weeks in the mountain setting. Although the snow sculptures were bathed in white light for the judging phase of the competition, the color-changing capabilities of the fixtures were put to use afterwards. Because the fixtures were so much more energy efficient than those used in the past, Mountain Light was able to cut the number of generators supporting the lighting in half. With the power draw less than 8,000 watts during the course of the event, the lighting and production company was also able to use smaller generators to support the event. The net reduction to the lighting’s carbon footprint was estimated to be 7,684 lbs. of CO2. Less noise, fewer diesel fumes and the color-changing capabilities of the LED fixtures all served to enhance the event.

Color-changing fixtures enhanced this year’s event.

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NEWS

Boston Conservatory’s $30 Million Hemenway Project Includes Motorized Rigging BOSTON — When the Boston Conservatory began the Hemenway Project, a $30 million renovation and expansion of its instructional and performance space at 31 Hemenway Street, one directive was clear: The theatre would be equipped with motorized rigging. Students usually operate the rigging during performances by the Dance, Theater, and Music Divisions throughout the private college’s academic year, said Richard Parks, senior project manager for the theatrical dealer I. Weiss. Until the renovation began, the Conservatory’s theatre had a counterweight rigging system that required students to have considerable training to use it safely. “Motorized rigging gives the college the ability to have all the students work on various aspects of the show,” Parks said. “Not only can the students be trained quickly on how motorized systems work, but they will be ready for the rigging they will find in theatres in their professional careers.” Parks and his team at I. Weiss selected PowerLift motorized rigging manufactured by J. R. Clancy, Inc., from the list of approved manufacturers provided by Auerbach Pollock Friedlander (APF), the theatre consulting firm on the project. “The school had the primary goal of bringing their performances up to the next level,” said Parks. To this end, the Weiss team specified 15 variable speed PowerLift hoists with 1,200-pound capacity for the scenery and electrics. The PowerLifts can run at speeds of up to 180 feet per minute. Variable speed hoists also expand the range of scene change capabilities. They also offer the flexibility of being mounted horizontally at the top of the stage house, or vertically to the wall of the fly loft. In this case, APF and the Clancy team determined that the Conservatory’s PowerLifts should be installed vertically on one wall of the stage house. This configuration reduced the cost of the installation by making use of the wall on which the counterweight system was installed originally. It also provided easy access to the PowerLifts for required annual inspections and maintenance. Although this configuration required that the PowerLifts be installed unusually close to the stage, the equipment’s low-noise operation helped I. Weiss and Clancy quiet any noise concerns. Clancy’s enclosures for each hoist — a blanket-like wrapping — reduces noise concerns further. Students run the rigging using the SceneControl 500, a controller provided by Clancy that features 3D visualization and a touch screen interface. SceneControl is designed to make it easy for students to select hoists and targets from the graphic display and to create complex cues for dramatic effects. The I. Weiss team handled the installation of the rigging system, then engaged in a comprehensive testing and inspection procedure for each individual hoist—a step required by APF. “We went through 15 inspection procedures and load testing for each hoist, from running it at full speed to checking the primary and ultimate limits of the brakes,” said Parks. “The testing went very well. The owner was very pleased.” Once the system passed this inspection, J. R. Clancy provided a trainer to teach the Conservatory staff to use the system, so they could teach their students throughout the academic year. “They spent two days learning how to operate and program the system,” Parks said. “They had the ability to make their

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mistakes while a Clancy person was there, to tell them how to get out and learn what they did wrong. That was really beneficial.” When questions arose after the training, Clancy was quick to respond, said Parks. “After checkout, there were some responses coming from the control system that we didn’t know how to handle,” he said. “When I called Clancy, they had one of their control techs here the following morning, and he stayed with us for three days until he was sure the system was working perfectly.” In addition to the rigging system, Clancy supplied a motorized brail fire curtain and curtain sets.

I. Weiss chose J.R. Clancy’s PowerLifts as part of the renovation.

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NEWS


PRG Orlando Equips Orlando School’s New 400-Seat Theatre with 170 Fixtures, Wireless Control

PRG Orlando provided Elation LED fixtures and DMX moving heads to light Edgewater High School’s new 60-foot stage.

ORLANDO, FL — After nearly 60 years in the same building, Edgewater High School’s roof and walls were crumbling. A large chunk of the Orlando school’s auditorium ceiling had actually caved in. So in January 2011, Edgewater’s students made a long-overdue move. The new $83 million building, designed by CT Hsu + Associates (Orlando), is on a 45-acre campus adjacent to the original school. The new facility has 345,000 square feet of space and features new technology including a full TV production studio and soundproof practice areas for the band. PRG Orlando equipped the new auditorium with 170 fixtures, including LED fixtures and DMX moving heads from Elation Professional. They are operated wirelessly via Elation EWDMX wireless DMX transmitters and receivers. “I don’t believe there is a public high school in the country with this level of stage lighting or sophistication of technology installed,” said Elation sales rep Mike Quinn of Freed Sales (Miami), who worked closely with the Orange County Public School District (OCPS) and PRG to implement the new system. The new Elation gear includes six Design Spot 1200Cs, six Design Wash 575Es and six Design Spot 575E moving heads; 48 ELAR108 PAR RGBW LED par cans; 12 Design LED 60 TRI Strip 180-watt tri-color RGB strips; 10 Design LED 60 Strip WA white and amber LED strips; and 10 Design Wash LED 60 180-watt LED moving head washes. For atmospheric effects, the new theater has an Antari DNG-200 heavy fogger and Antari HZ-500 water-based hazers, also from Elation. Four Elation EWDMX systems, each consisting of a wireless DMX transmitter and receiver, along with two additional EWDMXR wireless receivers allow the lights to be run without cables. The wireless system “cut down on installation time and labor time, and made for a cleaner install all the way around,” said Quinn, noting that the system has “worked flawlessly” and is also safer for the school environment. Quinn credited PRG’s open house for sparking interest in the Elation gear, citing price as a key draw. “Traditionally this school district had

always had conventional lighting in the auditoriums — straight-up dimmers. But one of the guys said he thought there must be a better way to add a little excitement on the stage, make it a little more attractive and enticing,” Quinn said. This led to a discussion about LED technology and how it’s being used in the entertainment industry. “We talked about how it would really spark the kids’ interest if they could have the lighting capabilities that they see on TV and at concerts,” said Quinn, noting that a professional-style stage lighting rig would have the additional benefit of serving as a teaching tool for production arts students. “We wanted to give them moving head lights, LED color mixing — anything they might encounter in a future job,” said Quinn. “The system is a full-blown production arts teaching tool. PRG executed the installation and they did a wonderful job. “Not every kid is going to be a successful actor,” Quinn added. “The majority of students who go into production arts will end up in technical support roles for theaters and venues. Having a cutting-edge lighting rig to learn on, with LEDs, moving heads and special effects, would help prepare them for a career in production technology.” Although many school officials agreed with this line of thinking, Quinn and PRG faced an uphill struggle in getting the district to upgrade from the conventional lighting. “At every step, we had to counter the arguments of those who did not want change,” said Quinn. “But we eventually managed to get the specs in the bid. PRG was one of the requested bidders and they wound up winning the bid.” In the end, even the biggest skeptics from the Orange County Public School District were convinced. Shortly after the system was installed, a demonstration was given to school officials, production arts teachers and architects who worked throughout the district. Unknown to the audience, the demo was run by students who were given a quick class by PRG personnel on how to operate and program the lights, just one hour before the presentation. When it was revealed that the students had known virtually nothing about running the lights just an hour earlier, said Quinn, “it proved to everyone the merits of the system as a teaching platform.”

Riedel Joins AVnu Alliance BEAVERTON, OR — Riedel Communications announced that it has become a promoting member of the AVnu Alliance, the industry group dedicated to the advancement of professional-quality audio/video networking by promoting the adoption of the IEEE 802.1 Audio/Video Bridging (AVB) standards over various networking link-layers. “We have always understood our products as open platforms for integrating standard protocols such as AES, MADI, SIP and now, AVB. Especially MediorNet, as an open platform backbone technology with bandwidth capacities suitable for numerous 3G video signals, will be helping to expand AVB network installations beyond their current possibilities,” said Henning Kaltheuner, product manager at Riedel Communications. “We are looking forward to actively participating in the AVnu Alliance for providing an in-depth integration of AVB systems into our MediorNet backbone product,” Kaltheuner added. 10 PLSN MARCH 2011

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NEWS

Allen Branton Lights Up Miss America Beauty Pageant in Las Vegas LAS VEGAS — The 90th Miss America Pageant was telecast live on ABC from the Planet Hollywood casino-resort. LD Allen Branton, who returned for the fourth time, worked with fellow lighting directors Kevin Lawson and Felix Peralta, who marked their third and fourth year, respectively. They used 16 Martin MAC III Profile moving heads and a pair of MA Lighting’s grandMA2 Light consoles for control. “Because of the way the pageant is structured, we had a little extra time with several days of the preliminary pageant,” said Lawson. “Felix and I worked on the show for eight days splitting the lighting rig as programmers and using the grandMA2 light in multi-user-mode: Felix lit the set and I lit the people on stage and the audience.” Atomic Lighting provided the grandMA2 light and the lighting rig, which included Vari*Lite VL3500 spots and VL500 fixtures along with the Martin MAC III profiles. “It was primarily about lighting the contestants and the set,” Lawson said. “There were standard front and back light positions, and Allen lit the set from the floor quite a bit.” Chosen for their lumens output, gobo selection and big aperture for a hard-edged fixture, the 1500-watt MAC IIIs provided full coverage from upstage, mid-stage and

downstage positions, said Felix Peralta, who served as lighting director on the show. “We were really impressed by their compact size and their output, and they looked fantastic on camera,” Peralta said. “They were consistent in color, output, and overall performance — we were extremely pleased.” The MAC III Profiles featured in the opening performance number involving all of the pageant contestants, as well as the swimsuit and evening wear segments. Peralta also noted that grandMA2’s “latest software version made it the perfect time to dive in” during the pageant’s “three days of preliminaries and load in to get used to the console. “Compared to the grandMA, processing is so much faster, and the multi-user environment is so much more efficient — a must for Kevin and I, who probably do more multi-user-mode shows than most programmers,” Peralta added. “Loading the show from one console to another is almost instantaneous.” Lawson agreed. “The grandMA2 was like getting a much better laptop or a much faster car — it felt faster and more powerful. The feature set is great, and the hardware is snappier. It did everything we needed it to do, and it felt faster at everything. The grandMA was always great, and the

grandMA2 was all that and more responsive.” Peralta said he likes the ability to “customize the look of the desk so it can cater to your personal style. With the effects engine you can reference presets as opThe rig, provided by Atomic posed to forms and Lighting, included Martin MAC III Profiles and grandtables. It’s good for MA2 consoles for control. color chases and position movements; it’s easy to go from point A to point B. You’re able to score timing parameters in preset pools now, too, so it’s great for running media servers such as the Catalyst and Hippos — you can have a preset that has everything snapping in with the right time and right delay.” Lawson also praised the “cool” effects engine, which he used to build the show, and the “great special dialogue boxes.” In addition, the grandMA2 light was “extremely stable,” he said. “We experienced no problems. “The show went really well, the producer was happy, and the ratings were great, even against the NFL playoffs,” Lawson concluded.

PRG Adds Wireless Color-Changing Effects to Breitling VIP Event NEW YORK — Breitling, the Swiss watch company, hosted a VIP event for the grand opening of its flagship store in Manhattan. Centigrade coordinated the event for the 4,500-square-foot store, which displays more than 900 watches. PRG helped create the red carpet area outside the store using TechnoLite-supplied GDS LiteWare UL RGB uplighters for colorchanging effects. Battery-powered and controlled with wireless DMX, the LED fixtures eased setup for the event, and with a 24-hour battery life, the fixtures were more than sufficient to lend upscale colorchanging effects to the occasion. “The light fixtures worked really well for us,” said Julie Barnard, president of Centigrade Inc. “We wanted a clean look and didn’t want to run power cables outside in the snow. The fittings looked great and gave us the flexibility to change color as needed.” The fixtures, distributed in North America by A.C.T lighting, are available in UL (40W) or HO (80W) and have an IP45 rating for internal or external use. They can be operated with either W-DMX or SHoW DMX control, and multiple fittings can be charged in LiteWare’s 4 or 6 Way charging flightcase. A floor bracket is also available.

4Wall Las Vegas Provides Lighting Gear for NBC’s Booth at CES Show LAS VEGAS — 4Wall Las Vegas teamed up with Jack Morton Worldwide to provide lighting for the NBC Universal booth at the 2011 CES show. The booth was a focal point of the convention; the company served as the official broadcast partner of the show. 4Wall’s lighting package for technical director Tim Wong of Jack Morton included an ample array of LED gear, including Martin’s new Mac 301 moving head wash and Color Kinetics Colorblaze LED strips. It was 4Wall’s third year as lighting supplier to NBC’s CES booth. The 2011 gear list included 63 ETC Source 4 Ellipsoidals, two ETC 48x2k Sensor Racks, 40 Color Kinetics Colorblaze 48s, 26 Color Kinetics Colorblaze 72s, nine Martin Mac 301 LED Wash fixtures, nine Vari*Lite VL2500 Spots, 26 Vari*Lite VL2500 Wash fixtures, eight Vari*Lite VL3000 Spots, nine Vari*Lite VL3500 Spots and the MA Lighting grandMA Console.

4Wall lit NBC’s booth at the 2011 CES Show

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NEWS


ETC Plans First End-User Workshop at Company Headquarters MIDDLETON, WI — ETC is hosting an end-user training event at its headquarters for the first time. CUE — which stands for Create, Understand, Experience — targets lighting professionals of every skill level. CUE’s mission is to create closer connections between ETC and its customers, and to foster knowledge exchange between endusers themselves. Hands-on product training will be led by the ETC employees who create and develop the company’s gear and

by other leading industry professionals. CUE attendees will get an insider’s view into how ETC works — including a tour of the ETC factory — and will be able to share ideas and user perspective. Special activities to be included in CUE include pre-conference console programming classes, a welcome reception to kick off the main events, a picnic at ETC’s headquarters with live music by the Sons of Sunset (a band made up of ETC employees), a

keynote address by ETC CEO Fred Foster, and lectures by special guest speakers. “CUE is all about learning from each other,” Foster said. “ETC customers will bring in different knowledge of our products and unique experiences using them on a wide variety of projects, to share with each other and with ETC. We will be providing in-depth product education as well as hands-on learning opportunities for students and professionals alike.”

Arc3design Uses Wireless Control for White House Event WASHINGTON, DC — For a White House state dinner with President Hu Jintao of China, Arc3design provided lighting support, using City Theatrical Inc. (CTI)’s SHoW DMX transmitters and receivers and SHoW DMX-equipped PDS750 TRX power/data supplies. The new PDS-750 TRX controlled many of the Philips Color Kinetics ColorBlast 12 TRX

LED fixtures used in the system. Arc3design owner Al Crawford also used battery powered CTI PDS-50 and MasterBlast units driving additional individual ColorBlast 12 TRXs. The SHoW DMX wireless technology provided in these systems allowed Arc3design to locate gear wherever it was needed, and the SHoW DMX receivers built into the PDS-750 TRX Power/Data Supplies provided wireless DMX for moving lights and conventional incandescent dimmers as well. The event, held Jan. 19, went smoothly, and marked the first time the technology had been used for a White House function.

Arc3design used City Theatrical’s SHoW DMX to control the lighting.

Bing Bar Returns to Sundance Film Festival with 100 LED Fixtures PARK CITY, UT — The Bing Bar and its performance stages, sponsored by Microsoft at the Claim Jumper Hotel, returned for a second year at this year’s Sundance Film Festival, and the hues chosen for the event were, naturally, Bing. com orange and blue. Justin Chatterton, owner of Clinton, UT-based The Beat of Time, provided the rig, dominated by LED fixtures from Chauvet. The were 100 fixtures in all, including 34 COLORdash PARs, 30 COLORdash Battens, 24 COLORado 1 Tours, 6 COLORado Batten 72

Justin Chatterton provided 100 Chauvet fixtures in all.

Tours, two COLORstrips and four Q-Spot 575 moving heads run by ShowXpress on the Xpress Plus DMX interface. “LED fixtures provided the right hue we needed to bring out the existing architecture,” said Chatterton. “Since the building was older, there wasn’t a ton of power, and we could use multiple fixtures without overloading the power supply. LEDs also helped us avoid the high heat in intimate spots throughout the bar. Our design goal was to create a cozy, comfortable space for Bing Bar’s guests and celebrities.”

CUE will be held in downtown Madison, overlooking Lake Monona, at the Monona Terrace Convention Center, July 25-27, 2011. A per-person $199 fee will cover the welcome reception, training sessions, keynotespeaker sessions, exclusive ETC swag, meals, and more. Space at CUE will be limited, so early registration is recommended. To sign up to receive registration details, visit www.etcconnect.com/cue.

Justin Bieber 3D Movie, Never Say Never, Got Lighting Assist from Jeff Ravitz NORTH HOLLYWOOD, CA — Jeff Ravitz of Intensity Advisors lighting design gave an assist to the adaptation of Justin Bieber’s tour lighting for the 3D taping of the teen star’s first concert movie, Paramount Pictures’ Never Say Never. The film, released Feb. 11, was directed by John Chu, known for his work with Step Up 3D. “I received a call last summer from the tour’s production manager, Tom Marzullo, who also co-designed all aspects of the entire production,” said Ravitz. “Tom knew Paramount was planning the shoot at Madison Square Garden, and he wanted someone on his side to act as an intermediary and translator between the tour and the filmmakers. I worked hand-in-hand with Tom and supervising gaffer, Andy Ryan, to transform the tour lighting so it covered many bases. “I was also lucky to have the show’s other co-designer, John LaBriola, on the shoot to help re-program the original show,” Ravitz continued. “The overall lighting scheme needed a lot of adjustments to work for the cameras, especially for 3D. We also needed to tone and fill scenic elements, and give the audience an on-camera presences, as well. I had just been in the Garden earlier in the summer to work on an Arcade Fire shoot, so the room was fresh in my mind.” Ravitz brought in supplemental equipment from the tour’s vendor, Christie Lites. The additional lighting included Martin Mac III profiles, Phillips CK ColorBlasts, Syncrolite SXB5/3s, Lycian M2 truss spots, and a grandMA console, programmed by Kevin Lawson. “The shoot got lucky when the Women’s NBA team did not require the Garden for the three-day period prior to the show, as was feared. The production, as a result, had a greater than usual setup schedule, and every minute was gratefully used,” Ravitz noted. The two sold-out shows provided more than enough coverage, and featured guest stars, Jaden Smith, and Miley Cyrus. In addition to the performance, the movie will include documentary footage showing Bieber’s rise to fame. Ravitz’s other recent projects include preparing for a PBS special to be shot at Nashville’s Ryman Auditorium, featuring Irish singer, Daniel O’Donnell, and a Showtime comedy special starring Kevin Hart. A recently-completed DVD for rock band Styx is also in final preparations. Intensity Advisors lighting design specializes in live entertainment and events being shot for television, webcasts, film and 3D capture. The company also designs studio-based broadcasts and lighting system installations.

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NEWS

Grand Ole Opry House Emerges from Flood with All-New Lighting System NASHVILLE — The Grand Ole Opry House celebrated its 85th year with something better than just candles. The venerable venue was equipped with 57 brand new Vari*Lite fixtures — 16 VLX Wash fixtures, 17 VL3000 Spots and 22 VL2500 Spot luminaires. But if the new rig was something of a dream come true for lighting director Tyler Bryan, it came about in part because of the nightmarish flooding that occurred on May 2, 2010 — with four feet of water inundating the venue. Bryan, other Opry staff members and Chris Barbee and John Jenkinson from longtime lighting supplier Bandit Lites would need to completely redesign and install the lighting system for the venue in less than six months if they were going to help the venue celebrate with a grand ole’ birthday party on Sept. 28, 2010. “We were looking toward upgrading our system at some point, but we never thought it would happen like this,” said Bryan. “When the flood occurred, we lost 24 fixtures on the floor due to actual water damage, but the remaining fixtures in the air were untouched. Unfortunately, though, our rail system was damaged so we could not immediately get to the fixtures that were in the air. We had to leave them hanging until the flood waters receded and we could survey the totality of the damage, which we knew would be extensive.” Bryan and crew then confirmed their fears four days after the flood — damage by condensation inside the flooded building to what was left of their lighting rig. “Once the water was out, and the rig was down, we took our remaining fixtures to the Bandit Lites shop to see what the interiors of our fixtures looked like. As we thought, there was

simply too much water vapor damage, and it would take too many spare parts to repair them. So when we added all the damage together, it made more sense to replace the entire rig. Since we knew that we wanted our next rig to be Vari*Lite intensive, we called up Bandit and got right to work.” Bryan and lighting assistant Ken McGriff normally light 128 shows per year specifically for the Opry, but there are also venue rentals that occur for awards programs, corporate events and private and ticketed concerts. Plus, Bryan would also need to travel with a large portion of the new rig during the Opry’s annual winter run at Nashville’s Ryman Auditorium. His new rig had to be versatile enough to handle all these productions, but solid enough to travel with ease. “Most of our veteran artists typically like to keep their lighting design simple; keep it subtle,” Bryan said. “But our younger artists tend to gravitate more towards what they are accustomed to on tour, which generally involves a lot of color and effects from the automated fixtures. So no matter what their preference, which location we are in, or what kind of production we are lighting, we need a rig that can make everyone comfortable.” Bryan chose the Vari-Lite fixtures for a variety of looks and effects for the Opry House’s 80-by-45-foot stage, with key advantages for each fixture choice. The VLX Wash’s solid-state light source combines low maintenance with “color with punch” and “a fantastic white for TV,” Bryan said. The VL3000 Spot fixtures are wellsuited to the 30-foot trim, and they’re “tried, tested and true,” he added — “powerful, durable, and a workhorse of a light.” A few of the

VL2500 Spot fixtures, meanwhile, are positioned on the floor and used for “their tight beams of color and gobo patterns, and then we use the remaining in the air,” Bryan added. “They have fantastic colormixing, are bright, and are very fast.” Looking back, Bryan said, “this was one of the hardest things that I have ever From left, John Jenkinson, Bandit Lites; Tyler Bryan, Grand Ole Opry; Chris Barbee, Bandit Lites; and had to do, and it could Ken McGriff, Grand Ole Opry never have happened without Bandit. I have worked with them for a number of years and they consistently provide us with tremendous service and support. I can pick up the phone and they have everything I need. You simply couldn’t ask for a better dealer. They have been with me since day one, and we have never had any issues. They handled all aspects of the Opry’s stage lighting, dimming and controls with regard to the renovation of the Grand Ole Opry House, and they were there with me all the way to our grand reopening. “Getting to where we are today was extremely difficult, but after many hours of long, hard work, we made it,” Bryan continued. “You would never expect a flood to bring four feet of water to your stage, but months later we couldn’t be happier with the system in place. This is the rig I have wanted for a long time, I just had no idea this is how we would get it.”

Cal State Northridge Opens $125 Million Valley Performing Arts Center NORTHRIDGE, CA — The Valley Performing Arts Center at California State University, Northridge opened Jan. 30, with performance spaces including a 1,700-seat Great Hall, a 178-seat experimental theatre, a 232-seat lecture hall, plus rehearsal, shop and other supporting spaces within its 166,000-square-foot interior. Auerbach Pollock Friedlander, based in San Francisco, New York and Minneapolis, collaborated with the Minneapolis architecture firm of Hammel, Green and Abrahamson on the structure’s design and interior features. Distinctive touches include the threetiered seating in the Great Hall, an acoustically flexible proscenium venue with a 114-foot-wide stage. The Great Hall’s proscenium can be adjusted from 40 to 54 feet in width and 25 to 31 feet in height. Two semi trucks and one panel van can simultaneously load directly onto the stage. The Great Hall will be used by national and local touring companies and smaller arts organizations, and will also be available for film premieres, conferences, meetings and other film industry events. The CSUN Mike Curb College of Arts Media and Communication will make use of the studio theatre, studio terrace, shops, light lab, costume shop, design studio and related support spaces. With sustainability as a key design goal, the building is expected to achieve LEED Silver certification with the United States Green Building Council (USGBC).

Auerbach Pollock Friedlander played a key role in the design of the 166,000-square-foot facility.

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INTERNATIONAL NEWS


Visualization Used for Asian Winter Games Ceremony ASTANA and ALMATY, Kazakhstan — More than 1,500 athletes representing 27 Asian nations and 45 National Olympic Committees recently competed at the Asian Winter Games. ARG (Moscow) called in The Prolyte Group to support their vision for the Opening Ceremony. Staged at the newly-built 30,000-seat Astana Arena, the ceremony depicted the history of Kazakhstan, aided by a virtual “eagle’s eye view” of the country’s vast plains. The ceremony included dancing, singing, distinctive musical instruments and props. The centerpiece was a waterfall that cascaded from the top of the set with lighting transforming the stage into a storm-

tossed boat at sea, in search for new lands. The show ended with a giant snowball fight with sponge “snowballs.” In addition to Prolyte, ARG commissioned companies including PRG, LMP, Visual Act, Live Sound Agency and Lightmaster and Big Screen Service from Russia to bring the show to life. Light Converse Ltd.’s LightConverse 3D Show Platform was also used for the opening ceremony, which required more than 30 DMX universes, 586 moving light fixtures and multiple moving scenery, static and video elements. The designers used LightConverse as a visualizer for all pre-show programming and on-site touch ups

The designers and programmers began modeling the stadium in October, limiting the on-site work to programming touch-ups once rehearsals began. The show control was via a High End Systems Wholehog 3 OS (32 universes connected with OEM connectivity driver).

The event got an assist from ARG, Prolyte, LightConverse and others.

Litestructures Provides Butterfly-Themed Structure for Heathrow Terminal 5 Restaurant Outlet LONDON — The Itsu Japanese restaurant chain, co-owned by the founder of Pret A Manger, was looking for visual enhancement to their Heathrow Terminal 5 outlet with an illuminated sculpture incorporating the restaurant’s butterfly motif. Itsu worked with Cinimod Studio, which, in turn, commissioned aluminum structures specialists Litestructures, part of the Prolyte Group, for an animated sculpture that go above and beyond what the chain had already achieved near several of its

London locations. The finished structure is a floating, twisting sculptural form designed to attract the eye from within the cavernous Terminal 5 building. Prolyte’s Litestructures creative team worked with the brief that called for the design and fabrication of a modular yet organic single tube spine. When assembled, the three-dimensionally curving tube is attached to custom brackets supporting 45 sets of butterfly wings. To illuminate the wings, an electricity supply runs through the 3-inch tubing to each of the brackets to which the wings are connected. Cinimod added the light-emitting polycarbonate wings and incorporated a custom lighting system to complete the design.

A pre-build at Prolyte’s facility in West Yorkshire ensured the structure could be assembled and installed on site in the tight two-day timeframe designated. The threedimensional sculpture, Butterfly in Flight, can be seen mounted six meters above the kiosk below. Litestructures’ participation in this project marks their fifth contribution to Heathrow’s T5. Other assignments included a request by the British Airports Authority to provide retractable access and maintenance gantries for the terminal’s opening. The company also devised a new stand for the Best of the Best super-car competition, produced custom illuminated towers for HSBC and, more recently, delivered a brand experience structure to promote Sony’s range of 3D TVs.

The sculpture outside the Itsu Japanese restaurant outlet at Heathrow Terminal 5.

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INTERNATIONAL NEWS


Squeeze Tours U.K. with Alpha Beams and Sail Projections LONDON — Bandit Lites UK provided Clay Paky’s Alpha Beam fixtures for the latest Squeeze tour of the U.K., Spot the Difference, which included stops at venues ranging from the 100 Club in London to the O2 Manchester Apollo. LD Daniel Bocking’s simple-yet-flexible lighting design used 18 Alpha Beam 700s positioned in clusters of three to create a classic rock ‘n’ roll feel for the band. A key objective was to keep those bold looks in harmony with the custom video footage developed by content designer Colin Rozee of R2 Digital Productions, which was projected onto sails suspended from the rear truss.

First Night Riders are Revving Up to Ride Again

The start of the 2010 ride

LONDON — The First Night Riders, a group of motorbike riding theatre professionals and their friends, will don their leathers and helmets to raise funds for The Theatrical Guild (TTG) once again in 2011. As in 2010, the one-week motorcycle ride is scheduled to visit notable U.K. theatres, with the addition this year of the Isle of Man and Stratford Upon Avon for a new production of Macbeth at the revamped Royal Shakespeare Theatre. The 2011 ride starts at the National Theatre in London on June 18 and finishes June 25 at Alexandra Palace in North London. The group hopes to top the amount raised last year — nearly $20,000. More info can be found at firstnightride.com.

“I needed really tight beams, because I didn’t want to throw too much light around and risk washing out the video,” said Bocking, crediting the Alpha Beams as “brilliantly effective” in that regard — “just so narrow in the beam. The fixture creates highly defined, parallel beams that are clearly visible against other wash lights and video.” Bocking, who had previously used Alpha Beams on TV shows, said he was “blown away” by the Alpha Beams. “They are just so tight; they can always be clearly seen.” Squeeze, which formed more than 35 years ago by Chris Difford and Glenn Tilbrook and then officially broke up in 1999, reformed in 2007.

The Clay Paky fixtures and “sail” surfaces proved adaptable to variable-sized venues.

Roncalli Circus Gears Up for 2011 Touring Season with New LED Fixtures BERLIN — LD Markus Weitkamp is gearing up for the 2011 touring season for Circus Roncalli with newly-purchased Robe Robin LEDWash 600 moving lights. Weitkamp acquired the fixtures just prior to the circus’ seventh annual Christmas series of shows, which were staged at the Tempodrom Möckernstrasse. The Roncalli Circus already owns its own lighting equipment, including eight Robe ColorWash 575E AT Zooms and eight ColorSpot 700E ATs, which were purchased earlier in 2010 from Robe’s Germany distributor LMP. With more than 300 shows a year on the annual touring schedule, a reputation for reliability was a key factor steering Weitkamp to the Robe brand. Shortly before the Festive Season shows in Berlin, LMP demoed the LEDWash 600s, and

Weitkamp ordered six, crediting the fixtures for “efficiency, brightness and small size,” along with color-mixing, a “proper” white, pastels, and zoom range. The LEDWash 600s were rigged on trussing around the circus ring, along with the ColorWash 575E AT Zooms, the ColorSpot 700E ATs and the rest of the lighting rig, which included 20 Robe ColorWash 700E ATs rented from Berlin-based TSE AG. There were also a host of generics and LED units, all of which were programmed and run by Weitkamp on a grandMA console. For the Christmas shows, Weitkamp used the LEDWashes as pure wash lights, bathing the ring in an array of colors. The fixtures will be put to use on the 2011 touring shows as well.

LD Markus Weitkamp recently added eight Robe LEDWash 600s to the circus’ lighting rig.

Arcade Fire Brings The Suburbs to Europe with Bandit Lites-Supplied Rig LONDON — LD Susanne Sasic and production manager Steve Gordon called upon Bandit Lites in London to provide lighting for the European segment of the 2010 Arcade Fire tour, in support of the band’s most-recent album, The Suburbs. Sasic’s design included elements resembling a billboard, stadium lights and strobe towers, with beam, color and color temperature transitions helping define the different parts of the show. The rig included i-Pix BB4s, Vari*Lite VLXs, and Chromlech Jarag PAR30s, plus VL2500 spots, BigLite 4.5Ks, ColorBlazes from Philips Color Kinetics, 4 Lights, Wybron BP 1200 Beam Projectors, PixelRange PixelPars and Martin Atomic Strobes with color changers, all operated via a pair of grandMA consoles. 2011 MARCH PLSN 15

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INTERNATIONAL NEWS


TechnoPro Provides Gear for High-Profile Events in Qatar DOHA, Qatar — TechnoPro used PR Lighting fixtures for two recent events here — the 2nd World Innovation Summit for Education (WISE) and a celebration for Qatar’s winning bid for the FIFA 2022 World Cup. The three-day WISE event, which opened with Sheikh Abdulla bin Ali AlThani, chairman of WISE, and Sheikha Mozah bint Nasser, chairperson of Qatar Foundation, drew an international delegation of 1,000 to the Sheraton Resort and Convention Hotel.

The WISE event was held within eight different ballrooms at the resort. TechnoPro lit the ballrooms and main area with 16 PR XL-700 Spots, 24 PR XL-700 Wash fixtures, 34 PR XL-1200 Wash fixtures, 36 PR XL-1200 Spots, 22 PR XL-Beam 300s and eight PR XLED-590 LED wash fixtures. For the celebration of Qatar’s winning FIFA 2022 bid, which took place at the Doha Corniche the week before, TechnoPro provided 12 Mega Color 4000 architectural outdoor fixtures and 24 XLED 590s.

The World Innovation Summit for Education (WISE), lit with PR Lighting fixtures.

Riverside Studios in London Finds Big Advantages in Versatility with Compact New Fixtures LONDON — Ruari Cormack, technical director of the Riverside Studios Trust, recently turned to Martin Professional’s diminutive-yetbright MAC 101 LED moving head luminaire as an alternative to conventional lighting fixtures. “As a venue, we are aware of the need to cut costs and using LED technology lets us replace banks of lights to give a variety of color palettes whilst using a fraction of the energy,” Cormack said. “With our high turnover of productions, these units will give us greater flexibility to meet each show’s demands.” Riverside Studios has a TV production stu-

dio, two theatres and a 200-seat independent cinema. It plays host to contemporary and international dramatic and dance performance, film, visual art exhibitions and television production. It also includes an art gallery and café bar & kitchen with a River Thames side terrace. Riverside had the MAC 101s in place for a co-production with Tête à Tête Opera of the musical Salad Days, which ran through Feb. 9, positioning the units along each side of the traverse layout stage in Studio 2, a 400-seat black box performance studio. In addition to provided coverage for the full stage, some

fixtures were positioned to pick up specific areas of action at each end of the central area. “In future, we are likely to use them as pipe end and front wash lights for most events and general productions, and as featured backlight for music events,” Cormack explains. “They are so versatile we could use them most places.” Small and light (3.7 kg), the MAC 101 LED moving head wash light promises a tight and bright beam, rapid movement and calibrated colors. It is small enough to fit inside a piece of truss and is designed to be easy to handle and rig.

Stage Electrics, with whom Riverside Studios has a longstanding relationship, supplied the Martin gear. “Mark Doubleday, the production LX Designer, has been impressed with the output of the unit and we are looking forward to using these over the next few years,” Cormack said. Cormack also credited Mark Doubleday, Adrian Searle and James Morris at Stage Electrics, and Mike Walker at Martin Professional, for helping provide the fixtures in a short time frame, “well ahead of the guideline delivery period.”

Riverside Studios’ Studio 2

White Light Supplies Gear for Andrew Lloyd Webber’s The Wizard of Oz LONDON — Andrew Lloyd Webber’s The Wizard of Oz is opening at the London Palladium this month with lighting gear provided by White Light. LD Hugh Vanstone’s rig will include a selection of moving lights from Vari-Lite, Martin Professional, Clay Paky and Coemar, plus a variety of LED fixtures and conventional gear. The moving lights include Vari*Lite VL500Bs, VL3000Qs, Martin MAC TW1s, MAC 700s, MAC III Profiles, Clay Paky Alpha Washes and Coemar ACL-M beamlights. The LED gear includes i-Pix BB4s and PixelLine 1044s. A complement of ETC Source Four profiles, PARs, L&E battens, Wybron scrollers, High End Systems Dataflash, Martin Atomics and UV Fresnels from Altman rounds out the rig. For atmosphere, the production is using Look Solutions Viper and Viper/ Le Maitre Freeze Fog Pro combina-

tions plus MDG Atmosphere haze machines, with a grandMA full size and grandMA Light used for control. The production is directed by Jeremy Sams, choreographed by Arlene Phillips and designed by Robert Jones, and other crew members working directly with Vanstone include production electrician Fraser Hall, programmer Stuart Porter and production manager Matt Towell. White Light has also given the show’s video designer, Jon Driscoll, and assist with Rosco’s LightPad LED unit to meet the need for a compact, bright, low-temperature light source for the sub-stage “video booth” for the Michael Crawford’s Wizard. Produced by Andrew Lloyd Webber and Bill Kenwright, The Wizard of Oz opened at the London Palladium on March 1. Previews started Feb. 7.

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INTERNATIONAL NEWS

Season of Light in Helsinki Features Installation Using Wireless Control HELSINKI, Finland — Season of Light, organized for the third time by the City of Helsinki, showcased LDs Martin Kuhn of Germany, Per Sundin of Sweden and Tulay Schakir and Mikki Kunttu of Finland. Each created lighting installations for some of the main buildings around the city, which included the Esplandi Park Senate Square, Union Street, Kaisaniemi Park, Sanoma House, and Parliament House. Season Of Light draws some 50,000 spectators to walk along the light path from the Sen-

ate Square to the Parliament House during its 10-day showcase. CNN International news, other major TV stations and many newspapers covered the project. Martin Kuhn used W-DMX was used for his design on Unioninkatu (Union Street) entitled 100 Years. The installation used 126 pieces of Laser Imagineering Sunbeam 100cm Full Color LED fixtures. Each piece used 60 parameters for a total of 7,560 parameters. The W-DMX system handled a total of 18 Universes at dis-

Martin Kuhn’s lighting installation, called 100 Years, used W-DMX in sub-zero temperatures.

tances up to 450 meters (1,475 feet). “The whole system was up and running from the evening of Dec. 29. It performed under very harsh weather conditions with snow and temperatures down to -25°C (-13°F),” noted Eero Helle, site technical manager at Noise House Ltd., Finland. “In the same room where we housed the transmitters, Finnish Broadcast Company, YLE, put their Digital Link to broadcast the live show from Senate Square on New Years Eve and there were no interference problems whatsoever. YLE also used two wireless cameras on that show approximately 200 meters away from our transmitters, and there were no interference problems with those either.” “Had we used actual DMX cable, the installation would have required somewhere around 4.5 kilometers plus splitters, repeaters, etc.,” noted Jussi Kallioinen, technical production manager. “By using W-DMX we only used 250 meters of cable, and that was only to find a better place for the receivers. It saved us not only loads of cable but loads of time and energy.” “The W-DMX was reliable, that’s true,” said LD Martin Kuhn. “This was not your ordinary venue either, but I have used it before and it was always rock solid, so I had no worries. I was concerned beforehand about the heavy traffic on 18 lines of 480 channels of DMX controlling

LED and potential lag time, but that was totally fine. It was all good.” LD Mikki Kunttu, one of the chief organizers of the event, added, “With all the technical challenges involved with the harsh weather conditions, our technical production was able to overcome every obstacle and literally no major problems occurred. The most important factor in these conditions is the choice of equipment that goes hand in hand with the maintenance and service work required to get the production up and to keep it running. W-DMX was one of these products that stood up to the test and helped make the project a success.”

Elecson Illuminates 19th-Century Church with LED Fixtures

Sacre-Coeur de Jesus, lit with PR Lighting XLED 390 moving wash fixtures.

ROUEN, France — Saint-Aubinlès-Elbeuf, near Rouen, is home to the Sacré-Coeur de Jésus, a 19th-century church now managed by the city and used as a venue for cultural events, including a recent concert featuring the New Orleans Gospel Quartet. Freneuse-based Elecson lit the church using PR Lighting’s XLED 390 LED moving wash lights controlled by a laptop loaded with PC Director 2 software. PR Lighting’s French dis-

tributors, CSI, supplied the lighting. “In one year we have gained considerably in luminous intensity of the colours, while transitioning from traditional to LED light,” said Dominique Trolong, managing director of Elecson. “And thanks to their low power draw, at the same time we have considerably reduced our electrical requirements.” Each of the fixtures have 90 3W LEDs (30 Red/Green/Blue), and along with their color output and low power draw, the average lamp life is rated at 100,000 hours.

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ON THE MOVE 4Wall LA added Joel Sherman, a 20-year industry veteran, to its staff as a rentals and sales agent. Prior to 4Wall, Sherman worked for Angstrom Lighting, KiJoel Sherman netic Lighting and ShowPro before coming to 4Wall LA, the newest of 4Wall’s four locations. Analog Way promoted Alexander Schöpff to the position of VP of Ameri-


can Operations. Schöpff, who joined Analog Way in 2003, will be based in New York, overseeing operations and sales activities for the U.S., Canadian, and South American markets.

AV Concepts recently launched its New Technology & Innovation Division. Bay Stage Lighting named Crystal Gaskin sales executive. Gaskin, with eight years of experience, will be responsible for all outside sales. Alexander Schöpff

ArKaos named ULA Group as its exclusive distributor for Australia and New Zealand for the ArKaos line of show and lighting media servers.

Broadcast Pix named Paul Lara, a 25-year industry veteran, director of marketing. Most recently, Lara spent 11 years marketing video products for NewTek. Christie Lites named Steven “Creech” Anderson, a 30-year industry veteran, account executive. Prior to Christie Lites, An-

derson served as vice president of sales for Premier Global Productions in Nashville, which he joined in 2001. Before that, Anderson toured with tours as lighting Steven “Creech” Anderson crew chief. He has also worked with lighting companies including Light & Sound Design, Bandit Lites, See Factor, Vari-Lite and Showlites. Clearwing Productions launched Clearwing Productions California, Inc., San Diego, CA, led by Jason Schwartzel, who had previously served as project engineer for the Clearwing Productions Arizona design/build department. Clearwing also named Nancy Tallman as its lighting product manager for the Phoenix office. Creative Stage Lighting has named Paul “PJ” Turpin at its Western business development manager. Turpin, a 20-year industry veteran, has worked with Vari-Lite, Martin Professional and other companies. Edwin Shirley Staging Australia (ESS Australia), which changed its name to ES Group Australia Pty Ltd (ESG) in 2009, has changed its name back to ESS Australia. Current managing director Iain Barclay is sole shareholder, and all staff remain with the company. ESS is maintaining its specialist supplier network with The Mojo Barriers. FOR-A Corporation of America named Pedro Silvestre sales director. Silvestre, who had been FOR-A’s regional sales manager, Caribbean and Pedro Silvestre Latin America, for the past four years, will now manage sales for all of the U.S. and Latin America. Gefen announced that JB&A, its top U.S. distributor, will supply the new GefenPRO line to broadcast, rental/staging and post-production markets. GLP Inc. has launched Scenex Lighting, a division focused on LED lighting fixtures that can be used by set designers for their scenic elements. Juice Goose named Spoiled By Technology, Naperville, IL, as its new representative for Illinois and Wisconsin. Le Maitre USA LLC is the new name for Le Maitre Ltd North America. John McDowell, formerly operations director, has been named president. John McDowell Randy Hicks has also joined the Le Maitre USA team as account manager. Martin Professional named Leif Orkelbog-Andresen as new business area manager – projects, overseeing project activities throughout Europe for Martin’s

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Danish-based EMEA sales organization. Orkelbog-Andresen had served as Martin’s market manager architectural for Nordic countries since August 2008.

BOOKSHELF Leif Orkelbog-Andresen

STAGING • LIGHTING • SOUND

Martin Professional Scandinavia named Studiotec as its new distributor in Finland. Based in Espoo, near Helsinki, Studiotec, led by CEO Peter Stråhlman, has served the entertainment industry for 30 years. Multiform Lighting announced an expansion of its operations in Guangzhou, China, citing growing sales of their LED lighting systems. The company has moved into a new 24,000-square-foot manufacturing facility staffed by 70 employees.

www.plsnbookshelf.com

PRG announced the launch of its Media Services Group, which will rent postproduction equipment and provide related services including on-site editing for live events and other broadcasts. The announcement followed PRG’s recent acquisition of New York-based Pow! Pix. Projectiondesign named Åsmund O. Fodstad executive vice president. Fodstad has 15 years of sales, marketing, management and operations experiÅsmund O. Fodstad ence in the energy, software and telecom industries, including positions with Tandberg (now being merged with Cisco), REC Solar AS and SuperOffice AS. Robert Juliat named Lighting Bits Ltda its exclusive distributor for Brazil. Headed by Daniel Ridano, Lighting Bits Ltda will also share the broader Latin American market with other Robert Juliat distributors. TMB named Kevin Woods to its global customer development group. Based out of TMB UK in London, Woods’ role will be to maintain existing and establish new customer relationships, plus develop the markets for TMB products. Visual Terrain, Inc. named Lisa Passamonte Green president and CEO and announced plans for a relocation back to Santa Clarita, CA this May. The company also plans on opening a Chicago office in May, led Mike Mahlum. Green’s husband, David Paul Green, has also joined Visual Terrain as general manager. The announcement followed the departure of Jeff Ravitz and Dawn Hollingsworth from the company. Zap Technology has moved to a new facility in Montreuil, just east of Paris, France. The company has also launched a new website at zaptechnology.net. 2011 MARCH PLSN 19

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PRODUCT NEWS Casella Digital Light Meter

Casella USA’s new Digital Light Meter measures light intensity Lux (200,000 max) or footcandles (20,000 max). It features an illuminated 3.5-digit LCD display with an over-range indicator, a silicon photodiode with ± 3% measurement accuracy and built-in cosine angular correction. The spectral response is close to CIE luminous spectral efficiency. Two models are available: the full-featured M129005 with data hold, DC analog output, Max/Min/AVG hold and zero adjustment, and the economical M129004 with data hold, Max hold and zero adjustment. Casella USA is a business unit of Ideal Industries, Inc. Casella USA • 800.366.2966 • casellausa.com

Cast wysiwyg R26

The new release of Cast Software’s wysiwyg design suite, R26, now offers improvements in Reports and Presentation. New features include the ability to import and export Worksheets from Excel (97,2000,2003,2007) & CSV; over 100 onboard spreadsheet calculations; new SmartCells update show data in Reports and Worksheets; new radial and arc length dimension tools; frames to simulate motion in six degrees of freedom; improved Reports tab to create, customize and maintain vital show information; intelligent data filtering using boolean queries; Luminair app for iPad with which to download fixture POV and DMX data; and the ability to use the 3Dconnexion mouse. Cast Software • 877.989.2278 • cast-soft.com

City Theatrical PDS-375 TRX

City Theatrical’s new PDS-375 TRX power/ data supply for Philips Color Kinetics CKDMX LED lighting fixtures is a six-output version of their PDS-750 TRX power/data suppy. It can be controlled with Ethernet protocols including Streaming ACN, Art-Net, or KI-Net, as well as wired and wireless DMX512 and is RDM enabled. Every unit includes a built-in SHoW DMX receiver. Other features include a built-in three port managed switch to provide an Ethernet pass-thru to down stream devices and a built-In Ethernet node gateway. City Theatrical, Inc. • 800.230.9497 • citytheatrical.com

CPoint XLRJ45

XLRJ45 from CPoint Lighting is an adapter to convert a DMX512 XLR connector to an RJ45 connector. The XLRJ45 adapter makes it possible to use any CAT-5 Ethernet cable as a DMX512 cable. XLRJ45 is available in four versions: 3-pin male or female XLR or 5-pin male or female XLR. The different adapters can be mixed, for example, to make a 5-pin to 3-pin turn-around or adaptor cable. Available in any color, any length, 3-pin or 5-pin, male or female. To see a list of dealers and distributors, visit the company’s website. CPoint Lighting • cpoint-lighting.com

Elation Antari F-3 Fazer

Elation Professional has introduced the Antari F-3 Fazer, a DMX-compatible 800W waterbased dry fog machine in a steel, stackable flight case. It can be operated via external controls from the LCD menu, which provides Timer Mode and Volume Mode options, and one liter of fluid provides five hours of continuous operation. It has a 2.7 liter tank, uses FLG-4 water-based heavy fog fluid and outputs 3,000 cubic feet per minute. Warm-up time is 90 seconds. The road case measures 21.25 by 19.75 by 9.25 inches and weighs 45 pounds. The MSRP is $1,999.95. Elation Professional • 866.245.6726 • elationlighting.com

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ETC Eos v1.9.6 software

ETC’s v1.9.6 software for the Eos family of control (Eos, Ion and Element) adds several major functions to Eos and Ion and new features to the whole family. The software and manual supplement can be downloaded at etcconnect.com/ downloads.aspx. A series of videos explaining the new features is available on ETC’s product pages or at youtube.com/etcvideolibrary. For Eos and Ion only, a new virtual media server (or pixel bit mapping) lets users create grids of fixtures and a variety of manipulation tools to apply static and animated images. For more information about the update, visit etcconnect.com/news.aspx?id=20408. Electronic Theatre Controls • 800.688.4116 • etcconnect.com

Martin Stagebar 2

The new Stagebar 2 LED luminaire from Martin Professional is a RGBW color wash with a new lens design featuring a narrower field. It offers a choice of lens options, including an opalescent diffuser lens for scenic on-camera looks. The responsiveness has been improved for more reactive dimming, color fades and visual content response like pixel mapping. Fan noise from the automatic heat management system has been reduced for the benefit of TV studios and other noise-sensitive environments. Each diode is calibrated for standardized brightness and color performance and individual pixels or groups of pixels can be controlled. Martin Professional • 954.858.1800 (FL); 818.859.1800 (CA); 702.597.3030 (NV) • martin.com

Pathway Connectivity Pathport Manager 5.1

Pathway Connectivity’s Pathport line of DMX-over-Ethernet nodes now features a new IP-address auto-corrector that simplifies configuration and trouble shooting. Pathport Manager 5.1 detects IP problems and corrects them on the fly. Also new is an integrated RDM configuration screen, which allow you to change DMX start addresses, operating modes, and retrieve sensor information and manufacturer-specific properties. E1.31 streaming ACN is fully supported, with user-selectable transmit and receive of both Draft 20 and the final ANSI release. A virtual dipswitch allows Pathports to listen to Art-Net universe 0:0. It can be downloaded at no charge from pathwayconnect.com. Pathway Connectivity • pathwayconnect.com

Serapid Telescopic Mast

The new Serapid Telescopic Mast is able support any type of equipment used in television, film, worship and performing arts production, including cameras, lights and microphones. It is a self-guided lifting column, made of aluminum. The mast motion is powered by the Serapid Rigid Chain — a telescopic mechanical actuator that is flexible in one direction and forms a steel beam in the other direction. In addition to lifting, the masts can be mounted inversely from above so they can lower equipment from the ceiling or upper levels of the auditorium. They work horizontally as well. Serapid, Inc. • 800.663.4514 • serapid.us

Tarm AT-series Laser Systems

Tarm Showlaser’s new AT-series is a modular, multicolor laser system based on optically pumped, semiconductor lasers covering the full range of colors. It features bins for laser modules available in a choice of colors (red, orange, yellow, green, cyan and blue) and power levels (2 to 10 watts), which allows for the configuration of systems having total output power up to 75 watts. A color-modulation system provides for the generation of more than 16 million hues. The housing is milled out of solid aluminum and the lasers may be operated in any orientation. Tarm Showlaser GmbH • +49 234 579 37 00 • tarmshowlaser.de

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SHOWTIME


The O’Neill Brothers

ST Venue Various (Tour)

Crew Promoter/Producer: Kathy Keane Production Manager: Vickie Burgett Set Design: Vickie Burgett

Gear 1 4 7 1 4

High End Systems Road Hog console Martin MAC 700 Profiles Chauvet Colorado 3 LED Luminaires Martin JEM K1 Hazer Apollo Crushed Dichroic “Water” Gobos

Lighting Co One Step Productions

NeedToBreathe Venue Ryman Auditorium Nashville, TN

Crew Production Manager: Luke Meek Lighting Designer: Jay Waddell Lighting Technician: Seth Stone Set Design: Seth Jackson (Visioneering) Staging Company: Visioneering in association with TPI

Video Company: ETS Pro Lighting & Production Services

Gear 1 High End Systems Road Hog Full Boar console with Playback Wing 12 Martin MAC 700 Profiles 12 Elation ELAR 108 PAR RGBWs 8 Chauvet COLORdash Quads 5 8-Lite Moles 5 18” scoops 5 Martin Atomic 3000 strobes

ST 40’ Truss (20”x20”) with traveler track 1 Chandelier 24 sections of Mega-Lite 75mm Enigma Net 1 Apple Mac Mini 1 Bi-parting black theatre curtain 5 Red velour swags

Lighting Co Special Event Services

ST Venue Matthew Knight Arena Eugene, OR

Crew Promoter/Producer: Marlene Clayman Production Manager: Peter Grey Lighting Designer/Director: John Osborne

Mac to Matt Automated Lighting Operator: Joseph “JoeMac” McGinley Crew Chief: Peter “Punch” Schmidtke Lighting Technicians: Eddie Parker, Kerrigan O’Neill, Justin Akers, IATSE 675 Rigger: Joel Gburek, IASTE 675 Pyrotechnics: Western Fireworks

Gear 1 Martin Maxxyz+ Console 1 Martin M1 Console 12 Martin MAC 2000 Profiles 16 Martin MAC 700s 24 Martin MAC 600s 12 Martin MAC 250 Entours 2 Strong Supertrouper II followspots 2 Reel EFX DF-50 hazers 350’ Thomas HD Truss (12”x18”) 16 CM Lodestar chain motors

Oregon University’s Matthew Knight Arena

Lighting Co Hollywood Lights

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Art Basel Oceanfront Nights

ST Venue

Gear

Collins Park, South Beach, Miami, FL

1 Flying Pig Systems Hog2 PC (triggered by MIDI from wind sensors and user devices) 35 Chauvet COLORado Tri Tour LED Fixtures 6 Altman 700 UV Lights with shutters 46 PAR 16s

Crew Promoter/Producer: ACT Productions Production Manager: Rob Morrison Lighting Designer/Director: Abbas Ritscher Lighting Technicians: Rick Nielsen, Mauricio Quiroga, Peter Schmit, Ryan Joseph, Kate Schwalen, Joe Kulina Set Design/Construction: Phu Hoang, Rachely Rotem Rigger: IATSE Local 500

Lighting Co The Design Oasis

Christmas 2010 Venue

Gear

Northland Church Longwood, FL

1 MA Lighting grandMA Console, RPU 20 Martin MAC 2000 Wash fixtures 19 Martin MAC 2000 Profile IIs 8 Martin MAC 2000 Performances 6 High End Systems Studio Spot CMYs 2 High End Systems DL.2 Digital Luminaires 24 Philips/Color Kinetics ColorBlast 12 TRs 22 Vari-Lite VL6C Spots 3 PRG Bad Boys 8 Coemar ParLite LEDs 50 PAR 641k MFLs 200 ETC Source Four Lekos 8 PAR 64 ACL Bars 2 Ultratec Radiance Hazers 1 Custom LED star Texas Scenic Motorized Electrics Custom Truss ladders 7 Christie DS+ 8k Projectors 1 Stewart Screen (75’ x 15’) 1 Barco HD switcher 1 Encore Video Switcher Grass Valley Turbo IDDRs 7 Ikegami Cameras

Crew

Lighting Co Northland Church/PRG

ST

Promoter/Producer: Northland Church Production Manager/Set Designer: Marty Taylor Lighting Designer: George Jackson, Steven Hall Lighting Director: George Jackson Automated Lighting Operators: George Jackson, Steven Hall Lighting Technicians: Mike Spates, William Hung, Sonia Paquel, Thomas Lenoard, Manny Loayza, Aaron Rupp, James Neylon, Mike Smith Set Construction: Marty Taylor, Sean Borowski Rigger: Steven Hall Staging Company: Northland Church Staging Products: Stage Right Decking, Custom LED Star, Custom Nativity Statue, Coroplast Video Director: Sean Borowski

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INSIDE THEATRE


By BryanReesman

Virtual Globetrotting

Colin Quinn: Long Story Short Carol Rosegg

with

David Gallo The show involves one man, 75 minutes and the history of the world, with visuals from all over the planet.

I

magine being the video and scenic designer for a one-man show — more specifically, a comedian’s irreverent take on the history of the world — and that person is Colin Quinn. His director is Jerry Seinfeld, and the show is a special history lesson that lasts only 75 minutes. But you only have a couple of weeks of prep time before getting into a Broadway venue. Sounds a bit challenging, doesn’t it? Scenic and video designer David Gallo was certainly up for the task when he jumped onboard to do Colin Quinn: Long Story Short last year. He is a man who is used to working in both video and scenic design at once, and he has extensive Broadway experience through shows like Memphis, Company and Titanic. Getting It Right

plsn

“This isn’t even a one-person show of a person portraying a character; this is Colin Quinn as Colin Quinn — so you really have to get it right,” declares Gallo. “You’ve taken away a layer of make-believe in a way. You’re dealing with an individual who’s really that guy, and not only that, he’s being directed and guided by Jerry Seinfeld, so they know each other very, very well. You’ve got to barge in on a decades-long friendship and become a collaborator who’s responsible for the visual aspect. I think that’s a lot of it, getting into the heads of those individuals and giving them something that they can use and something that they feel comfortable with.” The hilarious monologue delivered by Quinn in Long Story Short — currently wrapping up its extended run on Broadway and set to air on HBO in April — skewers all of the great empires of the world, documenting their individual rise and fall

and poking fun at the eternal follies of the human race. Quinn stands on a coliseumlike stage with stone steps, a small throne at stage left and a pillar at stage right. At upstage center is a curved projection screen that displays still images as well as computer animation that is akin to a medieval Google Earth that zooms in on various locations around the world when the star ribs them. Along with little bits of music and some lighting changes, there are enough elements that enhance Quinn’s performance without distracting from it. Gallo explains that Quinn and Seinfeld were very involved in the collaborative process of creating the stage. “I wasn’t

that he could wander around and sit on the steps, go here and go there,” says Gallo. “Get a little bit of a topography without there being any furniture. There was a lot of talk early on about furniture, and I thought that was death. You don’t want to see this guy sitting in a chair. That’s not what we want here. We want something a little more classical, something that felt a little bit like a Coliseum or Greek amphitheater, that classical kind of a look.” Gallo adds that there is a “busker aspect” to the production. They originally contemplated putting the star in a lecture hall or a library or a museum, “but Colin’s not really the kind of guy to put on a tweed

“There was a lot of talk early on about furniture, and I thought that was death. You don’t want to see this guy sitting in a chair.” —David Gallo sure what to do with it, and one of the strengths that I bring is that I don’t have a lot of preconceived notions about what something should be,” says Gallo. “I saw the tape of the downtown [New York] production, which was a very tight camera shot right on Colin, and I didn’t really get a sense of ambience. But between that and the script, I was thinking that there were a lot of different ways we could go with it. Then in my meetings with Colin and with Jerry we came up with it all together.” Set in Motion

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The set is constructed of wood, foam and steel, and it was designed to propel Quinn into motion. “What I was trying to do, and they agreed, was to give Colin a reason to keep moving a little bit, a place

jacket and lecture at Oxford. He’s more of a storyteller than that, so I wanted to approach it more like a guy who’s doing his spiel, like a busker standing in front of the Lincoln Memorial or the Roman Coliseum or wherever, just doing his thing and relating directly to the people. I wanted him to feel and look like he was comfortable in the space, but I didn’t want to look like it was custom tailored around him.” One technological aspect that enhances Quinn’s show are the as-seenfrom-space images projected on the video screen. Imagine the concept of zooming in on countries back when they were far less populated. Seinfeld conjured up the map idea early on. “The original intention was just to find maps, the Google Earth thing but historical, an old-school kind of thing,”

recalls Gallo. “We took it to absurdity and created an entire Google map from the 14th century. You scan the ancient globe and zoom in on ancient civilizations and all that business. But all of that was made from scratch; it was a royal pain in the ass.” Lawyers and Funny Cows

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The designer acknowledges that it was one of the major hurdles of the production, because it took so much time to create and render the images. He says that for a modest project in the Helen Hayes Theatre, there was a tremendous amount of computer power that went into it, and the rendering time was one of the things that made it so difficult. “You would come up with an idea and want to make a change, then it would take 24 hours or more to see what it was you were coming up with. We’ve gotten into a culture of immediacy with computers that people don’t realize that when you’re doing stuff on this massive a scale, it really takes some serious time to put into it.” On top of the animated segments are the dozens of still images — everything from modern-day photos to classical paintings that appear onscreen as well. Gallo and his collaborators went through thousands of images to find the best ones, and they also needed to collect things that were in the public domain. (With the show going to HBO, teams of lawyers are evidently poring over them again just to be safe.) They even shot a few original photos as well. “We found what worked and what would be funny, and almost every single picture has been modified, some of them extensively and some of them very subtly,” reveals Gallo. “Nothing really worked straight out of the box.” He would toy

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Carol Rosegg

Carol Rosegg

Another challenge was working with very large image files — and allowing for enough rendering time so they could be tweaked for the show. A major challenge for scenic and video designer David Gallo was to provide royalty-free imagery that worked well with the show.

with things, present them to Quinn and Seinfeld, get their comments, then “mess around with it from there.” And they did not settle on just any images. They often had to be humorous and had to work within the context of the show. “You know what the weird part is? You’ll never know what they’re going to respond to,” Gallo says of Quinn and Seinfeld. “The one picture that was the hardest to find, believe it or not, was the cow. We went through dozens of pictures of cows until Jerry found one that he thought was a funny cow. I consider myself a fairly humorous person in my work, but when you’re literally dealing with the funniest person in the world who knows comedy better than anyone, you’ve got to listen when he tells you that your cow is not funny.” In the Groove

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In the end, Gallo says the experience of working with the comedy duo was fantastic. He was surprised at how very quickly they got into the groove. They sat in the studio and worked things out “the way we ordinarily do it. We played around with a model box and put pieces of Styrofoam and cardboard in the model box until we had something that worked for us. I think that they got a kick out of it. It wasn’t different from what we ordinarily do.” When the show was largely finished, Gallo had dinner with Seinfeld, and the actor told him that when he was up in the designer’s office working on the set, he got why people do Broadway. “I thought that was such an interesting thing to say because he’s not coming from a theatre kind of tradition,” remarks Gallo. “He’s certainly the king of television and done stand-up. Even though he’s performed on Broadway, this was new and different for him, and very much an alien world. I think one of the things I’ve been good about, and good at over the years, is working with first-time directors who have substantial careers elsewhere. My first Broadway show [Hughie] was directed by Al Pacino. He had never directed anything before.” Gallo notes that because he is a somewhat unconventional Broadway person, he is the one who gets approached about projects like Long Story Short. “I think that’s one of the reasons,” he says. “But you also have to kind of modify your process because you’re dealing with people who don’t ordinarily do this for a living. This is something that’s different for them.” Watching Long Story Short, you would be hard-pressed to notice that. 2011 MARCH PLSN 25

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PRODUCTION PROFILE


It’s Usher!

Creating “OMG” with Lighting and Video From left, LD Peter Morse and associate LD/lighting director Eric Wade

Photos & Text by SteveJennings

I

f you meet and talk to Peter Morse for five minutes, you might never know what a rich history he has in the entertainment industry. He’s very modest and down to earth, and he doesn’t often drop names or bring up his many accomplishments. But once you get to know and find out about him, you’ll be surprised to learn how deep his resume is, having lit Madonna, Streisand, Prince, Michael Jackson, Tina Turner, Mariah Carey and many more of the most influential artists of modern times. He is carrying on that history by designing Usher’s current OMG 2010-11 tour, along with a talented team whose credits in the industry match up well to his own. Pushing the Envelope

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Morse knows the ways of this client, having designed Usher’s 2004-2005 Confessions tour and his 2002-2003 8701 tour. Usher’s input, Morse says, is generally centered around specific requests for effects or focus positions on the stage. “Fortunately, he trusts me with the overall design and concept,” Morse adds. “He has an uncanny understanding of what’s going on around him and what might be achievable beyond the initial concepts. He enjoys using lighting effects and set elements to their extreme.” Show director Barry Lather has worked with Usher many times over the years, including on the 2004-2005 Truth tour, the Grammy Awards, American Music Awards, MTV Awards, BET Awards and the European MTV Awards. As the show director, he covers a lot of details, including the overall production and creative concepts for the tour. He notes that he oversees “what is happening visually on stage for each song, the overall stage design, lighting design and approach, video screen content, wardrobe, dancers and special effects. Getting the show up and running with all the technical cueing is key — communicating with the lighting designer, stage manager, crew and choreographers so the show runs smoothly and operates effectively.” There are always changes that happen during the whole process, and he says he has to be “flexible to embrace new ideas” or to go in a new direction if he has to. “Usher is extremely creative, and he’s a visual person, so a lot of research and photo references works really well with him,” Lather says. “At the end of the day, it is Usher’s show and his vision.”

Crew

Lighting Company: PRG Video: CT Touring Lighting Designer: Peter Morse Associate Lighting Designer/Director: Eric Wade Lighting Programmer: Benny Kirkham Show Director: Barry Lather Video Content Director: Olivier Goulet (Geodezik)

Direction and Drama

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Lather says he communicates with Morse and lighting director/programmer Eric Wade to make sure the lighting design is “heading in the right direction and it has the components and fixtures that can supply the drama.” The video content is planned out and developed a month in advance, which allows Lather to communicate the specific color palette for each song. Then he works with the team to program the lighting for each song once the show goes into tech rehearsals. “I communicate with them both about the basic overall flavor for each song — the accents, feel, vibe — and they do their brilliant work of bringing that vision to life,” Lather says. “Usher’s movement and choreography speaks for itself and he realizes the importance of theatrical lighting, so he’s very much a part of the process. “To me, lighting can make or break a show,” Lather adds. “I always pay close attention to keeping a great open line of communication with the LD and designer. I love the creative process and working hard getting a show ready for a live audience. I’ve worked with Peter and Eric several times through the years.... both are great guys and they always deliver.” Moving Quickly

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The tour’s lighting was designed using Vectorworks Spotlight. Morse and Wade had about seven days of full production rehearsals, which took place at the Forum in Los Angeles, “so we only had seven nights of programming,” Morse says. “Normally we would do pre-viz’ programming prior to the actual load-in. But due to scheduling changes and conflicts and ongoing changes in the proposed set and lighting positions, we had to wait for production load-in. Then we basically jumped in feet first and went for it.” To help overcome the time constraints, Morse and company brought in Benny Kirkham as a second programmer. “Our programming time was very limited for a tour of this size,” Wade concurs. “We have many flying scenic pieces and lots of show gags that took a lot of time to get together on their end before we were able to light it. That’s when Peter and I decided we should bring in a second guy to push buttons, and of course, my old friend Benny Kirkham was the first choice. “I started out the first two nights of programming with Joe Cabrera of ACT Lighting,” Video Creative Director: Gary Westcott Production Manager: Omar Abderrahman Tour Manager: Jerome Crooks Stage Manager: Carl Ciasulli Production Coordinator: Jon Bumgarner Road Manager: Lauren Abderrahman Production Assistant: Lauren Temple Lighting Crew Chief: Rob Simoneux (PRG) Lighting Crew: Jason Winfree, Dave Evans, Greg Mich’l

Wade adds. “It was very nice having Joe there, since he is the tech support guy for ACT. Then Benny came in, and we had about seven days to do the show from that point forward. We weren’t able to finish it until we moved the rig to the first show city in Seattle; but we made it, and, of course, the show went on, like they always do.” “Between Benny and Eric, we moved fairly quickly,” Morse says. “Once the show moved to Seattle where we had a couple additional nights of prep prior to the opening show, we began the process of adjusting cues as the staging was refined, and tightening existing cues.” Video

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The use of video on the show was, according to Morse, a “foregone conclusion.” He says it’s been a central part of Usher’s last three tours. The content was created and programmed by Olivier Goulet and his team at Geodezik. “We produced all of the content in Montréal prior to rehearsal and then integrated all of these elements on-site, based on the action on-stage and the technical needs of the show,” says Goulet, who owns Geodezik with Gabriel Contu-Dumont and also counts Justin Timberlake, Tina Turner and Cirque du Soleil as clients. Along with video creative director Gary Westcott, head of Digitalite, a video design and production company, Goulet worked with Melina Matsoukas from Black Dog Productions, integrating the various video elements and handling most of the post-production work required for the show. “We use the Adobe Suite software for most of our work,” Goulet notes. “Our 3D elements are done alongside Flame, 3D Studio, as well as with a bunch of other custom-made software. All of our content is original, hand drawn, matte painted and/or custom shot.” Westcott, in turn, helps facilitate the vision of Goulet and the creative team at Geodezik while out on tour with OMG. “I help with the day-to-day changes and management of media used in the production,” Westcott says. “This is my second time working with Olivier and Geodezik. We met when I came out to help out with content operation on Alicia Keys’ tour, which was designed by Olivia and Baz Halpin.” CT Touring is supplying two Barco/High End Systems Catalyst media servers and two MA Lighting grandMA2 consoles running version 2 software to trigger the cues. Syncrolite Tech: Josh Fenn Head Rigger: Art McConnell Head Carpenter: Joe Rigers Head Props: Chris Malta

Gear

2 MA Lighting grandMA2 consoles 2 Barco/HES Catalyst media servers 1 Martin ShowDesigner Visualizer System 50 Vari*Lite VL3000 Washes

Lighting

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The lighting was supplied by PRG, which includes Vari*Lite VL3000 and VL3000FX Wash fixtures, VL3000 Spots, JB Lighting A7 LED automated fixtures, PixelRange PixelLine 110s, Clay Paky Alpha Beam 700s, High End Systems Studio Beam PCs and Syncrolite B53s. “I think the biggest challenge Peter and I had was space overhead for lighting,”Wade says. “This show has many flying scenic pieces; a KB fly track that starts at FOH and ends over center stage, a center stage video screen that flies in and out, a drawbridge stage piece behind it that flies up and down, and then we have seven pantographs that needed a place to hang as well. “The first thing was to split the rig in half right down the middle to make space for the KB track,” Wade continues. “Then we spent several days trying to figure out where to hang about 50 JB A7 fixtures. Originally they were to be mounted all around the video screens, but we ended up mounting them to just the bottoms in tight rows and it turned out great!” “I love the aperture and the powerful output (of the VL3000 Wash fixtures),” Morse says. “Due to the limited counts on the rig, I needed the wide coverage capabilities for covering large areas, along with the tight beamage it makes available when I need it. The VL3000 Spots also have great output and compete well with the VL3K washes. Then there’s the Syncrolite B53.” At this point, Morse becomes a bit more animated than usual. “It’s Usher! Of course we have Syncrolites!” he says. The Syncrolites are on pantographs, which allow “unlimited options for various heights and focuses. With a 40-foot trim height,” he added, “there needed to be occasional sources between the rig and the floor.” The JB Lighting A7s were mounted beneath the tracking video walls — “they’re great for numerous options, for different lighting looks and focuses and they added great effects,” Morse says — and the PixelLine 110s were mounted along the top chords of trusses “to accent the linear, raked feel of the hang.” The Alpha Beam 700s are arranged around the floor, and Morse uses them for aerial accents. The Studio Beam PCs are in shin-kick positions. “One of the coolest features in the set,” Wade enthuses, “was an RGB LED tape that’s under the Plexi. It is a beautiful source that Butch Allen found and incorporated into his set design.” Wade credits Allen with making his and Morse’s job easier. 30 Vari*Lite VL3000 Spots 22 Clay Paky Alpha Beam 700s 10 Martin MAC 2000 Wash Fixtures 9 Syncrolite B52s 28 PixelRange PixelLine 110s 6 High End Systems Studio Beam PCs 36 JB A7 Zoom LED Automated Luminaires 120 channels RGB LED Tape 7 Pantographs 3 Lycian M2 Truss Spots

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“The set was not hard to light at all,” Wade explains. “When you get a scenic designer like Butch Allen who has also been a lighting guy, you never have to worry about not being able to light the set.” Morse describes the color palette as “a mix between Usher’s request for a ‘Tron-like’ appearance” (hence the angles of trusses and extensive use of PixelLines for linear accents) and his effort to complement the video content. He describes the colors as “electric blues, greens and yellows.” Wade says he is “very pleased” with the grandMA2 consoles and Version 2 software, saying it has been running “flawlessly. As most people know, I have been a Maxxyz guy for many years and I still love the desk; but I really

wanted to start expanding on what I use — the desk has exceeded my expectations.” Morse adds, “Did I mention we average 40 cues per song? Why, you ask? It’s Usher!” FOH

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The FOH gear was supplied by FOHShow, a company that was started by Wade and Keith Hoagland. They only provide FOH equipment. “We currently have [Martin] Maxedia Broadcast media servers, Maxxyz Plus consoles, Maxxyz Compact consoles, ShowDesigner Visualizers, WYSIWYG Visualizers, and now we are adding the grandMA2 to our inventory.” Wade says they wanted to concentrate on one area of lighting, and “this is the area we both work with continually, making an FOH

package that works flawlessly for anyone.” He notes that they are adding Apple iPad remotes to all of their systems, including the visualizers, to give LDs and programmers “all the tools they need. Our next phase is to start adding the extras: nice chairs, work lights, FOH refrigerators and all those creature comforts all of us FOH guys like.” plsn Soy Chai and Angry Birds The production manager on this 13-truck tour is Omar Abderrahman, who has worked with, among others, Alicia Keys, Miley Cyrus, Cher and Stevie Nicks. He was also the production manager on Usher’s previous tour, six years ago. He says the typical load-in time is eight hours and load-out takes about three

hours. Wade is proud of the fact that he handpicked all of the lighting crew, whom he considers among the best in the business. The lighting crew chief for PRG is Rob Simoneux, working with crew members Jason Winfree, Dave Evans, Greg Mich’l and Syncrolite tech Josh Fenn. “It is great to have a crew of this caliber on any show,” Wade concludes. “It’s turned out to be a great project and excellent show that we can all be proud of. I’ve been working with Peter for many years; besides being a great friend, he’s been a mentor and he’s always there for me. I always look forward to that next tour with him and his five-pump soy chai and some Angry Birds!”

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INSTALLATIONS


Baltimore Gets Down with an Inspired Club Install By Kevin M.Mitchell

W

hat if — just if — a lighting designer who has done plenty of club installs actually became a lounge proprietor himself? Crazy? Crazy enough to work. Scott Chmielewski, president of Digital Media Designs, is a partner of The Get Down. Already hailed as “Baltimore’s best new lounge” and “part upscale lounge, part neighborhood pub” by The Baltimore Sun, it features stunning lights and has the capacity to be stadium-rock-show-like, all in a hip-but not-pretentious setting. Chmielewski is a Baltimore native whose professional journey began when he started working raves during high school and advanced to the point where he designed the video system for the opening ceremonies for the Games of the XXIX Olympiad in Beijing. He founded Digital Media in 2005 at the age of 25, and the lighting and production design company serves clients including BET, MTV, Mercedes and Univision, among others.

team, it was an opportunity to do something interesting on a small scale in one of the most popular areas in Baltimore. The building was originally four traditional 1920s Baltimore row homes. Over the decades, it had been opened up in several different ways. “When we started the project, the first thing we wanted to do was the dramatic and unexpected, so we removed the entire second floor to create a balcony and large open spaces. We now have an almost 40-foot ceiling over our main dance floor with unexpected views.” As you meander through, you’ll find it’s broken down into small and quirky spaces and rooms. “There is nothing symmetrical about the building, which we felt was one of its biggest assets. They simply do not build structures the way they used to, so once we stripped everything back to its original surfaces, the place almost designed itself,” he says. “From classic broken brick and shale stone to the large wood and metal beams that were used in the original construction,

“We mostly wanted to create something interesting that we hoped people would love.” —Scott Chmielewski Bryan Burkert is the operating partner, with Chmielewski being the creative director. Burkert is a longtime Baltimore/New York business owner and pitched the idea for the club to Chmielewski a few years ago. While he’s designed many clubs before, this is the first time Chmielewski has been club partner. “It was never really something that I was interested in, and had it not been for longtime friend and client Bryan, there are not a lot of people that I would have trusted or considered doing this with.” Fusing Two Worlds Opening a lounge is always a deathdefying act; the white-knuckled among us need not apply. “We mostly wanted to create something interesting that we hoped people would love,” Chmielewski says. They chose a building that, in a previous incarnation, was a small dive-ish rock club called Fletchers. During its life span, that club became iconic for featuring major names such as Linkin Park, The White Stripes, Cake and more. For the

we had to design and light these classic and otherwise nostalgic features of the building.” By fusing technology and art, the old building was reborn, immersed in color and media. Chmielewski explains that they wanted to see if they could create the pizzazz of a sophisticated lounge but still be as comfortable as the great neighborhood bar that was in the space previously. “We really wanted to do something that we would love to be involved in and to not try to run it like a money machine,” he says. Table service is available, but if it’s not sold by a certain time, it’s available to anyone. There is a cover charge on the weekends, but getting on the guest list is as simple as signing up on their Facebook page. Chmielewski worked closely with his partner Burkert to design and implement the entire space, from original concepts of architecture to the furniture and art, to the lights. Aside from a few 1920s way-cool Edison carbon filament light bulbs, it’s a very LED world with an extra dollop of media. “We are pushing around 40 universes of DMX in addition to

Catalysts and media servers.” Designer’s Sandbox Chmielewski’s approach was personal, and the arsenal was LED. “With this being a personal endeavor, as a lighting and production designer I was able to explore ideas and concepts that have been circling in my head over the years. The most critical part was to create an immersive environment without being overbearing. There are literally thousands of LED fixtures in the building, but you can only see a small amount of the light sources. Almost every surface in the building is lit, but there is a certain mystery to most people about how and where the lighting fixtures are placed.” The LED and lighting in the building is controlled from an E:Cue software package, and two Catalyst media servers control the large LED wall and the LCD monitors that are scattered throughout the venue. The Catalysts are also controlled via Art-Net from the E:cue system. All of the color-changing LED fixtures are Traxon products. “I chose the E:Cue system for both its amazing ability to deal with that number of LED fixtures and its abilities as a stand-alone architectural and entertainment control system. I needed a system that could stand alone.” The system is programmed to be fully automated, from the work lights used by the staff when they come in to the high-energy effects that are used for dance nights. It runs a full weekly cycle without anyone having to ever touch the system. He adds that it is completely customizable and the easy-to-use interface makes it easy to control. Specifically for The Get Down, it allows anyone on their staff to start or stop the programs, give client demos and give the DJs some energy buttons all without ever having to worry about training someone or having someone make changes trying to operate a system.

A clever, classy touch are those 1920s Edison lamps, which he used as a “signature” of the lighting design. “I found a company that specializes in these and each one is hand blown and uses a real carbon filament,” he explains. “There are six different styles of these lamps with different filament mountings and sizes and shapes.” Forty of these adorn a small lounge area aptly called the Edison room. There they hang, just a few inches over the

patron’s heads, and they only power them up to about 10 percent of their maximum intensity, creating a warm quality of light. That slight indulgence aside, it’s a energyefficient lounge. Other than appliances like coolers and fridges, the entire space runs on the equivalent of six 20 amp circuits. Designing and running an energy-efficient lighting system is something Chmielewski sees as an obligation. “We live in a time where it

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The Low Down at The Get Down Gear 5000+Traxon String RGB LED fixtures 38 Traxon Nano LED Strip Light RGB in custom lengths 40 Chauvet MiNWash LED moving light 2 Catalyst Media Server Pro v4 E:Cue Lighting control software with 24 Butler DMX Interface for a total of 48 Universes of DMX 2 Mac Pros 2 Mac Minis 60 Handmade 1920s-style light bulbs 18 HD 24” LCD screens, in custom mounts

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INSTALLATIONS

really should be the only way to design a new space, and I think it’s irresponsible to not work in that manner,” he states emphatically. “There was no compromise on anything we wanted to do and, in most cases, you can’t tell the difference. It’s a great conversation piece, but we don’t market ourselves as being green.” Environmental concerns were included in almost every decision when choosing


materials, finishes, and décor elements. They went with synthetic and recyclable flooring materials, and, rather than buying it new, they got most of the furniture from the Club Roxy in New York, which closed in 2007. It was reupholstered with recycled fabrics. Chmielewski the designer didn’t make any compromises with Chmielewski the copartner. “I can honestly say that there were

not any significant changes from the original concept to the finished product,” he says. “We were able to take our time in design and construction, and I had a clear design intent from the beginning. There were, of course, a few changes in finishes and surfaces in the end, but this one came together very much as planned.” And while the designer/partner combo might be cause for “showing off,”

Chmielewski purposely showed restraint. “There’s a saying I use all the time, and it’s this: ‘Just because you can, doesn’t mean you should.’” As for Chmielewski, you’ll find him at one of his favorite spots, just leaning over the balcony or people-watching from a corner. “I love to watch people become intrigued with the space and the lighting.”

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BUYERS GUIDE


LED Automated Luminaires

A

ccording to Bob Dylan, you don’t need a weatherman to know which way the wind blows. And from all indications, there’s a hurricane outside, and it’s raining LED fixtures. That should come as no big surprise to anyone with a pulse and a business card in this industry, but what might be surprising is the sheer number of new automated lights with LED engines. The last time PLSN sur-

Chauvet Q-Beam 260

Robe Robin 600 LEDWash

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veyed the industry, the number of pan and tilt LED fixtures was barely enough to fill the pages of the Buyers Guide. Now we have to limit the number of listings in order to fit all of the manufacturers, and even then it was challenging. Why the balloon in LED automated luminaires? We’re passing that inflection point where the intensity of LEDs is no longer in question.

The intensity of LED fixtures is now highly competitive with “conventional” automated lights. The prices are still coming down, and all of the other issues that used to plague LED fixtures, like flicker, steppy dimming and low CRI, are falling like dragons in a fairytale. And the knight in shining armor is wielding an LED saber. The industry is far more accepting of reasonably-priced automated lights with long-life sources that lend themselves to

High End Systems StudioPix

Elation Design Wash LED 60

Techni-Lux VectorLED 160 Spot

By RichardCadena

Vari*Lite VLX Wash

Martin MAC 101

Mega-Lite Axis LED

color mixing and are small and more efficient to boot. The LED automated lighting fixture has arrived. On the following pages, the list of LED automated luminaires is far from being all inclusive. This is but a truncated sample of participating manufacturer’s listings of products that fit this category. For a more complete list, visit www.plsn.com.

PR Lighting XLED 590

SGM Idea Moving LED 300

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BUYERS GUIDE Manufacturer/URL

Chauvet chauvetpro.com

Model

LED source

Q-Wash 360Z-LED

91 x 3W, RGBW

Q-Beam 260-LED

GLP German Light Products germanlightproducts. com

Color

Color Temperature

Gobos

Zoom Range

RGBW

Adjustable from 3200 K to 10000 K

N/A

9° to 26°

7 rotating

N/A

7 rotating, 9 static

N/A

540°/270° 1 x 60W, white

8 colors + white

Design Wash LED 60

60 x 3-watt SSC LED light source, rated 100,000 hours

22 x red, 17 x green, 15 x blue, 6 x white LEDs

3,200K-7,200K

N/A

E Spot LED

50W LED

White LED source; color wheel w/ 8 dichroic colors + white, w/ rainbow effect

6,500K

7 rotating/ indexing replaceable gobos

Design Wash LED Pro

108 x 3W Rebel LEDs

52 x red, 22 x green, 22 x blue, 12 x white LEDs

3,200K-7,200K

N/A

Impression Spot One

3 x RGB Chipset, replaceable

Variable from 3200K to 7200K

2 x 7 rotating, indexing gobos; separate interchangeable animation wheel

Q-Spot 260-LED

Elation Professional elationlighting.com

Pan/Tilt

Pan 630° or 540° 16-bit; Tilt: 265° 16-bit

540°/280° RGB

Volkslicht 60 x Luxeon Rebel

660°/300°

Showpix

127 3-watt RGB LEDs with homogenizing system

400°/240°

StudioPix

61 3-watt RGB LEDs with homogenizing system

540°/210°

JBLED A7

108 Luxeon LEDs

JBLED A4

60 Luxeon LEDs

MAC 101

Cree XP-E emitters

Variable from 3200K to 7200K

Volkslicht zoom

High End Systems highend.com

JB-Lighting jblighting.com

Martin Professional martinpro.com

Mega Systems, Inc./ Mega-Lite megasystemsinc.com

PR Lighting Ltd. pr-lighting.com

Robe lighting robe.cz

SGM techni-lux.com

Techni-Lux techni-lux.com

Vari-Lite vari-lite.com

RGB

540°/240°

Calibrated RGB plus color wheel effect

Variable 2500K to 10000K

N/A

6500 K

Rotating gobo wheel: 6 interchangeable gobos + open

Variable 8000 - 2800K

N/A

MAC 301 Wash

108 x Luxeon Rebel emitters

430°/300°

RGB; electronic 7 color + white color wheel rotation effect

Axis LED

54 3-watt LEDs (red:18; green: 18; blue: 18)

Axis Tri LED

90 tri-color LEDs (red:90; green: 90; blue: 90)

XLED 590

90 x 5W replaceable LEDs (30R+30G+30B)

XLED 590-W

90 x 5W replaceable LEDs (60W+30A)

XLED 390

90 x 3W replaceable LEDs (30R+30G+30B)

Robin 600 LEDWash

37x 10 W RGBW multichips

REDWash 2-36

RGB

Motorized 9° to 32° variable beam angle 11° beam angle; optional 24° beam angle Motorized 10° to 22° variable beam angle

N

Y

RD comp

13 - 36°

N/A 7 rotating gobos and 9 static gobos (9 colored glass gobos total). Beam angle: 13° standard, 23° optional; field angle: 26° standard, 46° optional

RGB color mixing

Adjustable from 3,200K~10,000K

White + amber

Linearly adjustable

RGB color mixing

Linearly adjustable

Beam angle: 13° standard, 23° optional; field angle: 26° standard, 46° optional

450°/300°

RGBW

Pre-programmed whites 2700K, 3200K, 4200K, 5600K, 8000K

15°- 60°

Y

36x 1 W high power LEDs

530°/280°

RGB

13000K

Standard 6° , optional 25°

N

REDWash 3-192

192 x 3 W high power LEDs

530°/280°

RGBW

Adjustable 3000K13,000K

12° without lens-array; 25° standard; 45° and 45° x 15° optional

Y

Idea Moving LED 100

60 - 3W LEDs

540°/270°

N/A

N/A

Beam angle: 10° standard, 20° optional; field angle: 23° standard, 43° optional

28° fixed angle standard, other available 540° (optional 630°) /265°

RGBW

Adjustable from 3000K to 9000K

N/A

Color wheel with 6 dichroic colors plus open

N/A

Gobo wheel w/ 7 plus open, rotating

Idea Moving LED 300

108- 3W LEDs

VectorLED 160 Moving Head LED

60w white LED engine

540°/270°

VLX

7 x 120W replaceable Luminous Devices CBM-380 RGBW LED chip

540°/270°

VLX3

3 x 120W replaceable Luminous Devices CBM-380 RGBW LED chip

540/240

Adjustable from 3000K to 9000K RGBW

Adjustable from 3000K to 9000K

39.5° fixed angle standard, other available

11° fixed

RDM

RD remot add ing, s con switc cont

N

23° to 58° (optional 22° fixed field angle) N/A

N 15° to 55°

32 PLSN MARCH 2011

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Add and s status ba

N/A Adjustable from 3000K to 9000K

530°/280°

N

12° - 36° (8°-28° FWHM)

N/A

630°/300°

N/A

45° fixed beam angle

2800K - 8000K

7 x Luminus CBT-90 (50 W) LEDs

N

N/A

RGB

MAC 350 Entour

Phlatlight LED 60W

N/A

430°/300°

Color wheel: 8 interchangeable dichroic filters + open, full and split colors

Axis LED Spot

N/A

RDM tu

3/3/11 9:20 PM

P R O J E C T I O N L I G H T S & S TA G I N G N E W S RDM Features

Other Effects

Cooling

Strobe N/A

3-facet prism, 6° beam angle

Fan forced air

3-facet rotating prism

N/A

ble

nal

other

ard,

13.6” x 12.6” x 21.5”

27.8 lbs

11.4" x 10.9" x 19.1"

29 lbs

$1,999.99

100-240VAC, 50/60Hz 1.3A @ 120V

$899.99

CE, ETLc

$999.99

1.9A

$2,599.95

Remote DMX addressing (RDMX); flicker-free; 220W power consumption max.; optional honeycomb lens filter available.

3-facet, 5-facet and 3D rotating/ indexing prisms; variable speed shutter/ strobe; motorized focus; electronic dimmer 0-100%

Fan-cooled

8” x 11.8” x 17.2”

25 lbs.

100-240V, 50/60Hz

1.5A

$2,199.95

Very compact design; flat beam field

Built-in color, strobe and dimming macros

Fan-cooled. Fans regulated by auto or DMX

17.2” x 13W x 8.6”

20.6 lbs.

98-240V multivoltage internal power supply

3A

$4,399.95

Built-in EWDMX receiver for wireless DMX, 3-phase motors

25.6” x 11” x 20”

48.5 lbs

3.3A @ 120V

$10,999

RGB LED system w/ no dichroic glass; image projection; baseless design; 10,000 hour LED life w/ replaceable chipsets 3-phase motor control; available flightcased or boxed.

$2,295

Available in white or silver finishes at no extra cost; available flightcased in sets of 6.

$2,995

Available in white or silver finishes at no extra cost; available flightcased in sets of 7

N/A

Variable speed shutter; pulse effects; 0-100% dimming

Fan forced air

Image display with built in media engine

Electronic color wheel: 7 colors plus white; strobe; dimmer

RDM compatible

2.5A @ 120V

Comments

100-240V, 50/60Hz

Iris, rotating 3-facet prism, motorized focus, variable speed shutter, 0-100% dimming

Yes

Retail Price

16.75 lbs.

100-240VAC, 50/60Hz 1.5A @ 120V

17.6 lbs 23.4” x 20.6” x 33”

108 lbs

21.3” x 11.8” x 23.7”

46 lbs

12-5A

Forced air, user selectable cooling levels

Forced air cooling; temperature-regulated; user-definable levels

0-100% dimming; strobe effects

Fan forced air

12.6” x 14.6” x 7.87”

19.5 lbs

100-230VAC, 50/60Hz

Strobe

Fan forced air

Strobe w/ variable speed; variable CTO; individual control of LED rings; virtual color wheel w/ pre-programmed colors and effects; 0-100% dimmer

N/A

Soft and dense frost filters; electronic dimmer; strobe (white or color)

Yes

Individual control of 4 LED modules; built-in color macros; adjustable strobe sequences; fine dimmer; white color balance adjusting

RDMX: remote DMX addressing, sound control switch by controller N/A

Color mixing and rainbow effect

Digital strobe, 3-facet prism, focus

Convection cooling/ fan forced air

9.5” x 9.5” x 12.0”

8.1 lbs

100-240 V nominal, 50/60 Hz

14.8” x 8.7” x 18.5”.

36.6 lbs

7.9” x 12.6” x 15.3”

Strobe, adjustable CRI

0.6 A @ 230V / 1.2 A @ 110V

POA

2200 lumens; available in an 8-unit flightcase.

100-240 V nominal, 50/60 Hz

POA

8000 lumens

19.6 lbs.

100-240 V nominal, 50/60 Hz

$5,500

12.25” x 13.5” x 14.25”

24 lbs

110V

13.5” x 14.5” x 18.25”

26 lbs

16.75” x 16” x 20.5”

39 lbs

2.5

$1,790

2.95

$2,598

0.93

$1,598

Optional 10 degree lens.

100-240VAC, 50/60Hz

353mm x 350mm x 267mm

480W@ 220V / 2.18A @220V

11kg

100V/120V/200V/220V /230V/240V AC, 50/60Hz

RGB color mixing.

470W@ 220V / 2.14A @220V

260W@ 220V / 1.18A @220V

RGB color mixing.

LCD touch screen w/ battery back-up; control protocols : DMX-512, ArtNet, RDM, MA Net, MA Net II.

17.5” x 13.6” x 8.0”

23.4 lbs

100-240V AC, 50-60Hz

2,9 A @ 120 V

16.5”x 12.8” x 14.3”

19.3 lbs

100-240 V, 50/60Hz

1,5 A @ 120 V

23.2” x 20.2” x 12.9 “

48.5 lbs

90-250 V, 50/60Hz

6,3 A @ 120 V

11.8”x8.7”x15.28”

13.5 lbs

100-240VAC, 50/60Hz

2.5A @ 120V

$2,449

11.8”x9”x17.2”

19.8 lbs

100-240VAC, 50/60Hz

5A @ 120V

$3,849

Strobe effect w/ variable speed (max 20 flashes per second); pre-programmed random strobe pulse-effects.

Fan forced air

Fan forced air

Also available in warm white and cold white models.

$4,750

Fan forced air

ngle) N/A

$5,685

17.6 lbs

353mm x 350mm x 267mm

Yes

8-3.5A

100-240VAC, 50/60Hz

353mm x 350mm x 267mm

RDM ready

Combination LED wash light and programmable graphic image-displaying fixture with over 400 stock images and patterns.

Fan forced air

Color wheel effect; 0-100% dimming; electronic shutter effect with pulse and random effects 0-100% dimming; electronic shutter effect with pulse and random effects, iris, focus

17.6 lbs 14” x 9.5” x 11.2”

, 23° tan-

;

24.2 lbs

Amps

16.5” x 12.5” x 19”

, 23° tan-

5°

13.3” x 10” x 19.1”

Voltage, Frequency

Fans

Address and service status feedback

)

, 20° tan-

Weight

8 macros, strobe, dimmer 0-100%

24°

able

Size

Gobo beams, rotating gobos, motorized focus, strobing, electronic dimming, dichroic colors and rotating prism; low heat, lightweight.

15.8” x 12.8” x 9.8”

18.7 lbs

90-240vAC 50/60hz

1.7A @ 120V

27.4” x 17.5” x 18.6”

62 lbs

100-240VAC, 50/60Hz

7.5A @ 120V

Internal beam homogenizing system; 3-phase motors.

23.4” x 18.88” x 19.25”

Under 50 lbs.

100-240VAC, 50/60Hz

3.75 A @120V

Internal beam homogenizing system; 3-phase motors. Tighter beam version of VLX.

Fan forced air

$1,459

Built-in wireless DMX standard; acts as wireless hub, repeats signal to other fixtures; automatic operation master and slave; sync with music; settings viewable on display, even with fixture off.

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INTERVIEW


Illuminating “God’s Singing Voice”

PHOTOS BY ALDO VISENTIN

LD Aldo Visentin Shines the Light on Andrea Bocelli

By DebiMoen

C

eline Dion has said: “If God would have a singing voice, he would sound a lot like Andrea Bocelli.” Dubbed “the world’s most beloved Italian tenor,” Andrea Bocelli has performed for political figures, the Pope, and in packed stadiums. He’s collaborated with opera’s top names and pop stars as well as Muppet puppets. Blinded from a soccer accident since the age of 12, Bocelli cannot see the spectacle created as he performs on the world’s stages. From the Coliseum in Rome to Carnegie Hall, from the Shanghai Expo to a field in Tuscany, LD Aldo Visentin travels with him up to seven months per year to illuminate “God’s singing voice.” PLSN turns the spotlight on Visentin. We tracked him down after Bocelli’s Christmas tour, while preparing a new tour for the King of Chinese Pop, Jacky Cheung. PLSN: Where are you from? Aldo Visentin: I’m from Italy. I was born in Padua, a northeast city close to Venice.

The My Christmas Tour 2010.

did not exist any officially recognized training facility to teach the different disciplines in show lighting. Like others, I took my first steps on the self-training route, gaining experience from working in the best equipped clubs which had the latest technologies of the time. Then I began to acquire a different type of training in working for a local production and rental company. In the mid-1990s I moved to London and, for four years, I followed theory-practical formative training with a couple of manufacturers as a show programmer. In that period I was also trained to use and program lasers. That was great fun! The company, Laser Innovations, still exists, but a few years ago they converted their business from entertainment to forensic. During my time they manufactured complete laser systems for the entertainment industry; from laser beam generators to scanning heads and computer control. I programmed laser shows for their clients in club installations, all types of live events, touring and long-term rental sys-

tems for long-running shows. Because they developed their own PCbased controllers, I was involved in software design — just the control concepts; I’m not computer programmer — and I was an internal beta tester. These jobs gave me a lot of opportunities to cross the lighting world with lighting and lasers, especially on tours. At that time the average professional level in the U.K. in lighting and productions was much more “mature” than in Italy, simply because there was much more business in the U.K. It was where I learned most about lighting, from the technical point of view as well as artistic applications in various kinds of shows. The British experience was one of the most important in my formative route.

Aldo Visentin

What were your first shows as an LD? My experiences as an LD were developed during work with very well-known Italian artists who are not famous outside of Italy. I also began working as a programmer and/or operator for globally-known artists at famous European and South American festivals.

How, when and why did you get into the lighting industry? While I was a student, a friend invited me to spend an afternoon dancing in a disco club in town. I was “struck down” by the magical atmosphere created from the colored lights in the room. I decided to approach that unknown world by knocking on the door of any club and discotheque in town with the objective to become a light jockey. I was running a club show by 1985. It was purely a matter of passion. I was attracted to the idea of finding the right “light shape” which describes precisely all the infinite emotions, feelings and memories that music transmits to the audience. Tell us about your training. Italy saw an explosion of manufacturers of show-lighting devices between the mid-1980s to early 1990s. The industry flourished. Despite that, at that time there

Visentin matched the precise hues of the background lighting with the projections, as seen in the cathedral columns.

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INTERVIEW


PLSN: What is more important, artistic vision or technical skills? Aldo Visentin: One could not survive without the other. When I have a clear vision of how I want to design light in a show, I must know all the tools available to choose the right one.

Projections for Andrea Bocelli’s My Christmas tour, 2010, merged real-time I-Mag with a digital background. The projections are also washed by background lights with precise color and intensity.

How and when did you start working for Andrea Bocelli? Andrea Bocelli’s management contacted me as an LD, asking for proposals of a lighting set beginning around 2005. From then to the first show, more than a year was spent, where other alternative proposals were made until the definitive set that was realized for the 2006 European tour. Describe your working relationship with Bocelli. Normally my proposals are discussed and planned relevant to what the whole look the show should have as its main characteristics, with trusted people of his management. The details are then left to my discretion. There’s a poignancy in the fact that you’re designing a lighting show for an artist who can’t see it. I do not know if Andrea’s voice is “God’s singing voice.” But I’ve always thought that an artist is a source through which art goes. I’m sure Andrea feels what’s going on around him during any moment of the show. The kind of feeling and the depth of his sensations are only within him and only people like him can understand. My lighting design is always inspired by the feeling, emotions, sensations of music performed by Andrea. I’m sure that if the same music is performed by a different artist, then a different kind of lighting design would come out because of the different art-energy source. From where do you get your design inspiration? In my opinion, every show is borne in its entirety with two main forces: spirit and matter. When I need to envision a design

for a show, it is by observing the emotions and feelings that the music provokes in me that tells me which tools to use and how I should use them to render those feelings physical. Music has the power to create an imaginary space of time, places and stories bound to the life of every listener. But for me, light is the energy force that is more able to recreate a time or image that the music conveys. What are your challenges in working with a high profile artist such as Andrea? Andrea Bocelli does not do long and tiring tours corresponding to a new record, like great stars often do. Andrea does more single gigging than touring, so the work across the year is in a series of short tours — no Tripolina fabric gives a painterly effect to the projected images. more than a month — and a set of gigs with pauses in between. The work is not physically stressful as a short amount of time to allow the use of in a long-lasting tour, so I can organize a unique touring set. My engagement with Andrea runs other work activity. Nevertheless, the gigs are often in a non-conventional venue, five to seven months per year, with half such as an ancient theatre or by a histori- the time on the road and the other half cal monument and so on. Therefore, every in preparation and pre-visualization of show requires a unique and specific work almost every single event. Normally I do of preparation, and all equipment must be not follow all the TV shows, promotions or rented locally. In these occasions it is nec- special events where the environment is essary to redesign and reprogram the en- opera music only. tire show. This happens even in the short Continental tours where in 15 days, just Are you inspired by any certain lighting the capital cities are touched. There is of- designers? If so, who and why? Two designers who have attracted my ten too much distance between them and

attention the most are Marc Brickman and Paul Normandale. Light is manipulated in many different ways, and I think they are better able than others at choosing the correct type, manner and timing of light manipulation, and the interpretation that the light must perform. What shows have you seen — present or past — that inspired you? Pink Floyd in the already-distant 1994. I can remember it even in the details. However, I watched Pink Floyd earlier in a Venice show in 1989, I’m guessing. The

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show was not as exciting. When I watch other LDs’ shows I observe how the light is manipulated in the flowing of the music and I compare how I would have done instinctively the same or different things instead. It is always good to discover how some techniques used by others can be an inspiration source or the opposite. When I watch a show, I try to pick and keep the moments that appear brilliant to me, or that I consider better within the entire show. I do not like to express judgments on a colleague’s work. There are some specific shows that I consider as a reference in particular because they belong to my favorite band or performer. How do you spend your off-time? When not touring, the best thing I like to do is nothing. This could appear quite silly, but it is not. I like to switch off my brain and reflect. By looking around you — different people, places, nature, the weather, the day by day of everything — you can really understand more about life. This is to me a great form of inspiration. When I travel across the planet I like to observe, and record in my mind, the variation of natural light that each place “owns.” Often I wake up early or do not even go to bed, just to observe the sunrise. Natural light has the power to tell about a specific place and time. I also have a model airplane hobby. I love to control my small planes. Radiocontrolled gliders and motor gliders are my favorite! I love to build my planes completely by hand with no kits or pre-built components. I learned how to do it as a kid when at primary school a long time ago.

Andrea Bocelli performs in distinctive locations. This 2010 concert was in the vicinity of the ancient Sphinx and the Pyramids of Giza.

What do you see yourself doing in another five years? I would be happy to become more involved in the creative process and preproduction: pre-visualization and pre-programming. What is more important: artistic vision or technical skills? One could not survive without the other. When I have a clear vision of how I want to design light in a show, I must know all the tools available to choose the right one. I am always thirsty to know more about new technologies at a deep level. The equipment choice must be always relevant to what the show really needs. That does not necessarily correspond to the latest cutting-edge technology or the usual industry standard product. What do you think of the lighting industry today? I love to follow all the novelty products that appear on the market because it represents a bigger range of tools available. But I noticed that more often the latest generation of technologies are used more for novelty appearance than for what is needed for the performance. It is also quite strange to me when a large quantity of devices in shows are used just in a minimal way because the budget does not allow the proper programming time. So why spend a lot of resources to feed the machines? I’m not against the huge show — far from it. It is again a question of balance between the creative forces and the physical forces required. I believe that all those who desire to stay in this industry as an LD or a creative figure are destined to be in touch more with technologies that use the light fixture for generating images and graphic effects. That is the natural evolution in show lighting. 2011 MARCH PLSN 37

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PRODUCT SPOTLIGHT


VSFX3 Image Effects Projector by City Theatrical and White Light

F

or 40 years, London-based White Light has been supplying lighting equipment to the entertainment industry. Although manufacturing is not their primary focus, they have been building the VSFX image projector for some time. But they turned to City Theatrical to work with them in a joint venture to improve the product. According to City Theatrical president, Gary Fails, the VSFX had some “design challenges that White Light wanted to overcome.” The VSFX has been around longer than White Light and City Theatrical, probably as far back as the early days of the 20th century. It was used in the early movie palaces to create scenic effects that moved across the ceiling of the theatre. It was also used in large scale operas and ballets of the day. Early machines used hand-wound clock motors with rubber tire drives on the face of the disk, and the speed varied by moving the motor closer or farther from the center

By Tuce Yasak

the VSFX3 by creating a “perfectly smooth and perfectly quiet stepper motor drive that could turn both very slowly and also quite fast.” The new design allows for disks and lenses from older systems to be used with the new drive system. It is DMX-controlled and it accepts RDM commands to remotely change settings like the DMX address. The VSFX3 produces large-scale projections with quality that is hard to match in this price range. It’s also completely silent, so it can be put on a balcony rail, an ideal projection position that doesn’t interfere with sight lines. And City Theatrical has worked to make them reliable, unlike previous models. The VSFX is comparable in price to a low-cost video projector, which is in the medium price range for image projectors. And although it doesn’t project animations like a video projector, it excels in

The VSFX has been around longer than White Light and City Theatrical, probably as far back as the early days of the 20th century. of the disk. The disks were made of mica for its heat resistance, and they were handpainted by artists. Later 20th century versions of the projector used variable-speed electric motors that turned the disk by means of a rubber drive wheel on the outside edge. This produced a high gear ratio and smooth drive, but they tended to be noisy because of the loud motors. They were also unreliable because the drive wheel slipped. But when they worked, the effect could be “stunningly beautiful,” according to Fails. City Theatrical’s goal was to modernize

projecting effects like clouds and abstract images such as “vapor trail.” Some automated lights have an effects disk and can project clouds, but those disks are very small compared to the 18-inch glass disk in a VSFX3. The VSFX3 projected effects move through the gate of the fixture almost horizontally, while the projection from a moving light has a slight radius to it. So the VSFX3 looks more realistic. There is a Robert Juliat fixture that is custom-made for the VSFX and has a builtin forced-air cooling system and special lenses to project a very flat field. Alterna-

tively, ETC’s Source Four PAR is available with an enhanced aluminum reflector (Source Four PAR EA) or a metal cold mirror reflector (Source Four PAR MCM), which has a dichroic glass reflector that reflects heat to the back of the fixture and keeps it away from the glass disks of the VSFX3. The Source Four PAR MCM is not as bright as the Juliat fixture, but it is smaller, lighter, lower in cost and more readily available. The VSFX3 has various effects, including three types of clouds (fleecy, storm and thunder), rain, snow, smoke, flame, running water and an abstract disk called vapor trail. Some disks include art glass

(smoke, running water and vapor trail) that gives a very three dimensional, softly rolling or tumbling effect to the image. Gel can be added, and it is often variegated, stripped or poked though with holes to create subtle and interesting effects. Many of these effects, Fails says, are best found by experimentation. An adjustable masking shutter can be used to keep light off the proscenium or set pieces. Optional lenses include 30°, 50° and 90° lenses for different throw distances or to vary the size of the projected image. Also there is an adapter that allows the use of all Source Four lenses from 5° to 90°.

Where Entertainment Production & Design People Meet

ProLightingSpace.com 38 PLSN MARCH 2011

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Inside... 40 The Love of Delhi 44 Video Digerati

The Chemical Brothers World Tour Features 3D Video Configuration Manfred Vogel

Brit Awards’ “Exploded” Union Jack Set Design Gets Video Assist

The video design includes G-LEC Solaris+ forming a circle around the band.

XL Video provided LED screens and projection for the 2011 Brit Awards.

LONDON — It may have been the 10 th consecutive year that XL Video has provided support for the Brit Awards, but the 2011 edition was anything but the same-old same-old. For starters, it was the first time the event was staged in London’s cavernous O2 Arena. Then there was Peter Bingemann’s set design concept — an “exploded” Union Jack flag, animated with a custom-built video assist from XL Video. XL Video provided LED screens, projection systems, PPU, cameras and co-ordination of the show

playback content for the awards program, which featured live performances by Take That, Arcade Fire, Adele, Rihanna, Mumford & Sons, Plan B, Tiny Tempah, Paloma Faith and Cee-Lo Green. XL split the project management duties between Chris Saunders, who oversaw the camera and playback elements (his 17th Brit Awards) and Paul Wood, who managed the screens, projection and specials packages for the various live artists. Saunders and Wood worked with the production team, including continued on page 40

Full Sail University Expands Media Server Curriculum; Acquires Assortment of Hippotizer Gear WINTER PARK, FL — Full Sail University has expanded its media server curriculum recently and acquired an assortment of Hippotizer media servers to give its entertainment technology students hands-on experience. The new gear includes seven GrassHopper media servers, five ZooKeeper software packages and one Hippotizer HD unit. Seattle-based MODE Studios provided the gear, and to better acquaint students with how they work, the Full Sail instructors teaching the new courses have undergone immersive Hippotizer training led by MODE’s Bob Bonniol. “We are thrilled that Full Sail is incorporating media servers, and specifically Hippotizers into their program,” said Colleen Bonniol, MODE Studios executive producer.

She cited the need for future show directors, designers, and programmers to be well-versed in digital media. “With these new courses, students will become Hippo savvy; they will learn a new ‘language’ and better methods to express their creative talents.” “Full Sail’s addition of Hippotizers to their program is a significant indicator that digital media has become a mainstream discipline in entertainment and live production,” said Loren Barton, training director at Hippotizer distributor TMB. “With a working knowledge of Hippotizer, acknowledged leader in the field, students will have a strong foundation for their future careers.”

AUCKLAND, NZ — Part of the problem with traditional LED screens is that the images on them are — well — a bit flat. And in large arenas, anyone seated to the side may have difficulty viewing them. Although they’ve paid full price for their ticket, they may not get to see much of the visuals. So for The Chemical Brothers’ latest world tour, production designer Paul Normandale tried a different approach. “My job is to turn the band’s performance into a truly three-dimensional show. I’d been sent a sample of G-LEC’s Solaris+ and it gave us the idea of creating a three dimensional lighting rig.” After rigging an 8-meter-diameter circular truss, Normandale hung it with 48 8-meter lengths of G-LEC Solaris+ to form a circle around the band. The 40mm diameter LED light “balls” of Solaris+ allow for 360° viewing, ensuring that the graphics are visible to the audience, no matter where they are seated. And the product is light enough that Normandale is able to fly it in periodically throughout the show to surround the band. “I’ve never used the product before, but when I was sent a sample by G-LEC’s Mark Ravenhill, I was intrigued. It allowed us to do a lot of interesting effects which would otherwise be really difficult to achieve, such as bringing the light show forward and making it truly three dimensional,” Normandale said. “We worked with our distributor in the U.K., AC Video, to get a test system to Paul during his design process so that he could be sure that it would fulfill his design requirements,” said Ravenhill. “All the other products we looked at would have given us problems with deployment, including making them face the audience at full brightness,” Normandale said. “Solaris+ was light and robust enough to handle frequent moves.” continued on page 40

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NEWS


Brit Awards’ “Exploded” Union Jack Set Design Gets Video Assist continued from page 39

Bingemann, lighting designer Al Gurdon, TV director Phil Heyes, TV production manager Annie Crofts and the event production staff, including Kate Wright, Maggie Mouzakitis and Tony Wheeler. XL Video also collaborated with Steel Monkey, the fabricator of the 20 by 22 meter “St. George’s Cross” staging element, to enhance it with Pixled F11 screen surface. XL supplied more Pixled F11 for the two main on-stage screens. The first was an 11-by-6-meter landscape-oriented central screen, which flew in and out (downstage of the Union Jack) on a Kinesys automation system between performances. This was used to display all the Awards nomination packages and VT inserts. The second F11 screen, flown stage right in a portrait configuration, was 10 meters high and 5.5 meters wide. XL also provided two 20 by 11 foot IMag projection screens for stage right and left, and three 16-by-9-foot projection screens positioned left, center and right for those seated on the O2’s top level. XL’s gear package also included a GV Kayak HD PPU and two Sony HXC 100 cameras. Live video director Nick Fry mixed this imagery with 12 feeds supplied by host broadcaster CTV and output the con-

DELHI, India — India’s Tourism Development Corporation, a government-run entity, commissioned a permanent 40-minute son et lumière from Ross Ashton’s U.K.-based company, The Projection Studio, at Purana Qila, a fort founded by the second Mughal Emperor, Humayun in 1533. For the resulting large-format projection, ISHQ-e-DILLI, or The Love of Delhi, Ashton and crew created the content and handled the technical, design and installation details, collaborating closely with creative director and initiator Himanshu Sabharwal of Delhi-based Two’s A Film Company. Ashton specified the Christie 20K video

projectors for the project, with imagery controlled by a Dataton Watchout system. The three projectors are housed in custom hides and create a 50-by-20-meter image, with the visuals adjusted to for the uneven projection surface. “I specified the Christies because I know from experience that they are bright and rugged enough to deal with the tough environment, operating conditions and the schedule of nightly shows,” said Ashton. The Watchout system was also chosen for its reliability and familiarity to the technicians, who are maintaining the installation day-today. The Humayun Gate at the south of the Fort serves as a backdrop as the story unfolds, recounting the history of Delhi, dating from the time of the Pandavas to post-independence India. “It’s always good to be involved with creating something new and special, particularly when it involves a historically significant building,” Ashton said.

Paul Normandale’s Design for World Tour for The Chemical Brothers Features 3D Video continued from page 39

The Solaris+ displays custom visuals that run from a Catalyst media server, Normandale said. “We had a week in production rehearsals where we were able to establish what type of images worked best. It gave us a chance to play with the video and adjust the content to use the product to its best advantage.” The system consists of five 125kg motors, which are built into the truss. Partly because the Solaris+ is so light, the rig doesn’t come close to its load limit. The Chemical Brothers outing marks the first time the product has been brought along for a world tour. “All the feedback we’ve received has been extremely positive,” Normandale said. “We’d definitely use it again.” Manfred Vogel

The Projection Studio Portrays the Story of Delhi with Projection at Purana Qila

tent to the I-Mag screens via XL’s Barco Encore screen management system. Richard Turner and Richard Burford managed and engineered the playback systems for XL. XL also supplied extras for Arcade Fire and other live acts using four Barco FLM22 22K scenic projectors and a Catalyst playback system, which covered part of the set, plus five square meters of Barco I12 12 mm indoor LED attached to the riser fronts for rapper Tiny Tempah. Hello Charlie supplied content for the Awards elements. Most of the performance playback videos were synched to timecode and stored on two GV Turbo 2 hard drives and virtual VTRs. Sam Pattinson created the footage for Take That’s appearance, and Richie Stembridge produced the visuals for Arcade Fire. For the traditional Brits after-show party area, XL supplied 12 Martin LC 2140 40mm LED panels configured into a cube, with live camera playback seen via a Hippotizer media server. For the red carpet area, another focal point, XL supplied 23 square meters of Stealth 25 mm LED in 12 strips and another Hippotizer playback system.

The Purana Qila installation is India’s first permanent, full-moving-image son et lumière.

A closer look at the configuration of the G-LEC Solaris+ LED elements.

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NEWS

LED Displays Pulse to the Beat of Tiësto Performances MIAMI — Koen De Puysseleir of Belgian company Light in Motion is creative director for the international DJ, Tiësto, and for some of the artist’s 2011 appearances, Martin EC-20 LED displays provided by Zenith Lighting will serve as a visual focal point. The DJ’s tour, which will continue through May, is produced by Insomniac Productions in the U.S. De Puysseleir, who manages visuals including staging, lighting, video, special effects and lasers, chose the EC-20 for “the quality of the screen, its brightness and reliability. Some people have even asked what pitch it has and they wouldn’t believe me when I said it’s 20mm,” he added. Availability was another factor in giving the EC-20 the nod, and “a third reason is the fact that it is brand new,” De Puysseleir said. “Incorporating brand new equipment in your designs almost guarantees that it will be 100 percent functional and with good output.” All media content across the EC-20 panels is driven through the P3-100 system controller, which treats LED screens like lighting instruments through direct DMX control of brightness, color and pixel-mapping. “I really think the P3-100 controller is one of the key reasons for the ease of use with this screen,” De Puysseleir noted. “The software is so easy that almost everyone understands it instantly, and if I do run across someone who

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doesn’t understand it, I can easily do it myself within a couple of seconds.” De Puysseleir noted that DJ concerts differ from other types of shows because there is usually just one person in a fixed position. A Tiësto show, he added, has no running order or set list like most other concerts, which can be a challenge. “Tiësto likes to feel the crowd and play accordingly,” said De Puysseleir. “In my opinion, this is a huge contribution to the show, but does make it hard to create a show that follows him at every moment. This is why we chose to keep the entire visual aspect as centralized as possible and to combine as many aspects as possible to my position.” For the tour’s new design, the EC-20 screen is placed centrally behind the artist with Martin LC Plus 2140 LED panels on the floor behind him. The EC-20 screen size varies depending on the size of the show, from 2 by 6 meters to 5 by 15 meters, but is always in a 3-to-1 ratio. So far, “the screens have been perfect,” De Puysseleir said, crediting their quick reaction time, and also the professionalism of the support crew. “Thanks to the right crew and their understanding of what I want, the EC-20 is the ideal choice for my shows.” “We have been using Martin products for a few years now with Tiësto and some other big dance artists,” noted Insomniac’s Jeff Kenney,

who may assume a number of roles on Tiësto shows from tour director to production manager to stage manager. “Last year, Insomniac did around 50 shows with Martin LC panels — including some smaller club gigs,” he added. “The EC-20 has been superb so far,” Kenney continued. “I love the new system because we often load in arena shows the Tiësto’s performances are backed up with visuals provided by morning of a show, and this stuff Martin EC-20 LED panels. goes up fast. The EC-20 takes less space on the truck, goes togeth“Our purchasing decision was based upon er super quick, and is just a gorgeous image. It is also a good plus that a single the design and engineering quality, which is the best we’ve seen,” noted Chas Herington, Zenith processor works across the entire system.” Insomniac must source their rentals in every president. “The ease of use in both build and opmarket, which Kenney cited as his toughest job. eration is impressive and the image quality, color He credited Zenith Lighting for their assistance uniformity and brightness are excellent. And for many of the Tiësto performances. “They have driving the panels via the P3-100 platform is suworked with us extensively in the past and carry perb. A strong Martin brand and the company’s a good quantity of Martin products that I need,” worldwide network were also determining facKenney said, adding that Zenith “is able to get tors.” Zenith also supplies MAC 101 and MAC 301 our video anywhere in the country at a reasonWash LED moving heads for Tiësto, as well as the able cost due to savings on trucking.” Zenith, who currently has 100 square me- LC Plus LED panels. The MAC 101s and MAC 301s ters of EC-20 panels in its inventory, did several are curved around the DJ booth with Martin comparison tests with various products prior to Atomic 3000 strobes and MAC 700s also getting in on the act depending on the show. choosing the gear.

3/3/11 9:25 PM

NEW PRODUCTS

Barco C7 LED Tiles

Barco’s new C7 is an LED video display tile for indoor use in both rental and permanent installations. The 52 by 52 LED array is made up of RGB 3-in-1 SMD black package diodes. It has 2,000 nits calibrated brightness, 7mm LED pitch, 140° horizontal and vertical viewing angles, fanless operation, a single power/data connector and integrated rigging with builtin curve capabilities. It is also RoHS compliant. Each tile consumes 24 watts. It is driven by the Vizomo digitizer, which allows you to zoom, crop and create multiple windows without additional equipment. Barco • 678.475.8095 • barco.com

Christie LWU505 Digital Projector

Christie’s new LWU505 digital projector features WUXGA 1920 by 1200 native resolution, a 16:10 aspect ratio, a 2000:1 contrast ratio and 10-bit image processing. The motorized lens shift and zoom lens provide the ability to fine-tune images for optimal viewing, while its mechanical lens shutter blocks all light instead of blackening the projected image. Its 3D Keystone technology is a four-corner geometry correction tool for image alignment on flat or simple curved screen projections. Each corner independently adjusts to compensate for keystone distortion caused by the projector’s placement. It has a three-year parts and labor warranty. Christie Digital Systems USA • christiedigital.com

Elation EPV762 MH

Elation Professional has introduced the new EPV762 MH LED moving head video panel with 7.62mm pixel pitch. It can pan up to 540° and tilt up to 265°. It features 4,096 tri-color (red, green, blue) SMD LEDs and 2,000-nit brightness. The square-shaped panel measures 19.2 by 19.2 inches (488mm by 488mm) and weighs 53 pounds (24 kg). Other features include 16-bit processing and a 2,000Hz refresh rate. Each panel is equipped with an Ethercon input/output for the video signal, a Powercon in/out for power and a built-in 100-240V power supply. Elation Professional • 866.245.6726 • elationlighting.com


For-A HVS-350HS Video Switcher Interface

For-A has announced a new interface that allows the HVS-350HS HD/SD 1.5 M/E digital video switcher to control the Abekas Mira Production Server. It allows users to review a list of clips, set in/out points and then control clip playback (play, stop, record, rewind, etc.) from up to four independent video channels through the switcher’s HVS-350U control panel or HVS-35GUI remote control software. It is available with eight or four independent HD/ SD-SDI digital video I/O channels, each with eight tracks of uncompressed embedded audio. For-A • 201-944-1120 • for-a.com

Lightware HDMI Optical Extenders

Lightware U.S.A., the U.S. distributor for Budapest-based Lightware Visual Engineering, has introduced its 100, 100R and 200R series of HDMI Optical Extenders. The new HDMI-OPT series devices extend HDMI 1.3-, DVI 1.0-, HDCP 1.1-compliant and bidirectional RS-232 signals over one multimode fiber and transmit the video signal with embedded audio up to 2,600 meters. Highlights of the products include EDID management; pixel-accurate re-clocking; dual output with a built-in distribution amplifier (available in specific product types); and up to 1920 by 1200 or 2048 by 1080 resolution with 36-bit deep color and embedded audio. Lightware U.S.A. • lightwareusa.com

Osram Opto Semiconductors RGB Multi ChipLEDs

Osram Opto Semiconductors’compact Multi ChipLEDs, now being built into new 150-inch-diagonal LED video displays offered by FormoLight Technologies Inc., are RGB LEDs in a black housing to reflect ambient light. The 1.6 mm x 1.6 mm x 0.9 mm thick package is designed for interior use, and they can be packed as close together as 2mm between pixels. That pixel proximity promises high-quality images from multiple viewing angles, regardless of ambient light. Each of the LEDs contain three chips (red, green, blue; made via Osram’s Thinfilm or ThinGaN technology), and each can be controlled separately. Osram Opto Semiconductors • osram-os.com

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VIDEO DIGERATI


Alignment Rectangles

By VickieClaiborne

The Simplest Tool for Raster Mapping

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any shows today involve combining multiple layers of video content, either on a single display screen or across multiple screens of various resolutions. When you’re working with a media server, there are some tricks that you can take advantage of to set up the scale, aspect ratio, and X & Y position palettes to reduce the need to resize your content ahead of time. Here is a little known feature available in the Mbox EXtreme v3 that can make programming easier. Alignment Rectangles

Fig. 2

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On a recent show, I controlled four different video display devices from two Mbox EXtreme v3 media servers, providing four separate video outputs. By using a separate video output for each type of display device, I was able to set up a master “size/scale” palette for each screen, and that reduced the amount of programming required just to get each of the six layers per output organized. Because of a feature called “alignment rectangles,” I was able to map out the pixels on my local monitor as shown in Figure 1. Once the rectangles are created and enabled from the control channel of the camera layer, then I can more easily size my texture (image) layers to fit within the borders of the alignment rectangles being displayed on my screen, as shown in figure 2. In figure 2, I’ve created an image showing the pixel counts for the actual sizes of the display devices being fed from one of the video outputs, plus I’ve overlaid the alignment rectangles on top of the image to allow you to see the correlation between the rectangles and pixel count.

Fig. 1: Mbox EXtreme v3’s “alignment rectangles” help simplify the process of mapping out the pixels within the raster of a display device.

Fig. 2: The rectangles can be referenced to the dimensions of the user’s local screen.

Alignment rectangles are an easy-to-use guide and a tool for defining the areas within your raster that you will be using to display content. The next step would be to select one of the six layers and size it to fit within the boundaries of each of the rectangles, and that would ensure the image being displayed fits correctly on the display device. Keep in mind that as you size any image up or down to fit within a definite boundary box like an alignment rectangle, you may have to distort the original image somewhat to make it work. There may also be some spillage of pixels beyond the boundary of the alignment rectangle, but you don’t have to worry because those pixels won’t be visible anywhere but on your local monitor.

Saving Layers

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Alignment rectangles are an easy-touse guide and a tool for defining the areas within your raster that you will be using to display content. They can be enabled and disabled easily from the control channel of the camera layer, making them as easy to turn on and off as a cue on the console. But by using these rectangles, you will not need to use one of your image layers as a master layer to map out the pixel counts and locations in the raster. The alignment rectangles in the Mbox are created within the alignment rectangle

editor shown in figure 1. This is an additional application within the Mbox utilities folder, and it comes with every unit. Once it is launched, I like to choose different colors for each of the rectangles to further help me identify where the rectangle appears on the display device. This also makes it a bit easier to more quickly tell when something isn’t lining up right on the display screen. The alignment rectangle editor includes a preview feature that makes it possible to see the rectangles on your local monitor with or without the Mbox application running. This handy feature means you can quickly see if the rectangles appear correctly within the raster before exiting the editor application. And because Mbox EXtreme v3 includes a variety of output screen configurations, the alignment rectangle editor also allows you to define on which output the alignment rectangles will appear when it is turned on from the console. Simplicity Embodied

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Multiple rectangle alignment files can be created, saved and edited from within the rectangle editor application. Once all of the necessary individual alignment rectangle files have been created, these files can be loaded easily via the Mbox remote application, a second utility application included with each Mbox, and they can then be turned on and off via the camera layer from your lighting console. Sound complicated? It’s not really. More simply stated, you can create many rectangle files and then easily call them up using other tools and applications that are already available on your Mbox. It really is as simple as that! Since media servers are so flexible, they allow previously-rendered content to be quickly and cleanly resized to match almost any type of pixel configuration of a display device. The alignment rectangle feature of the Mbox EXtreme v3 greatly simplifies the process of mapping out the pixels within the raster of a display device. Give this feature a try the next time you are mapping content to a display if it requires sizing and scaling, and you’ll free up more brain-time to dream up creative visuals for the stage. Vickie Claiborne loves to hear from the video digerati. E-mail her at [email protected]. 44 PLSN MARCH 2011

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THE BIZ


By DanDaley

PRG’s Move into Post Production Reveals a Larger Picture

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hey say that economic downturns are opportunities if you have the leverage to take advantage of them. Production Resource Group (PRG), one of the biggest suppliers of entertainment and event technology systems, looks like it has done just that to broaden its reach into new markets. In January, PRG acquired New York-based AV post facility Pow! Pix. This marks PRG’s entry into the rental of post-production equipment and services sector, enabling it to offer on-site editing for live event and other broadcasts, as well as traditional postproduction services in its seven video editing suites and two mix rooms. The Bigger Picture

BIZ

The Pow! Pix acquisition forms the basis of the company’s new PRG Media Services division, which will be headed by PRG vice president Mike Perrone and Pow! Pix’s former principal Bob Barzyk, who stays on board as vice president for post production. Perrone says that the addition of post-production services will synergize well with PRG’s current range of support services for major live events. “I think it’ll be good to be able to offer our clients the traditional post-production types of services, but what’s of more interest is being able to offer post-type services, like editing, in a tight turn-around environment like live events,” he says. Perrone adds that the rental aspect of post equipment also fits well with PRG’s larger rental business for equipment such as lighting and video. (PRG’s website asserts that the company has the world’s largest lighting rental inventory.)

But that same synergy of supporting large live events of the sort that have been traditionally also been broadcast for television and cable also lays the groundwork for PRG to add streaming those same events to its menu card.

integrated services, and our customers have been asking about this capability. They’ve actually been renting those kinds of services, so the opportunity has existed for a while. The Pow! Pix acquisition gave a us a cornerstone to execute

“Streaming is going to have to look more like broadcast; it’s going to have to offer the same kinds of high production values that people have become used to in broadcast, like [high definition] video.” —Mike Perrone Streaming is already a regular proposition for several types of markets, including extreme sports broadcasts, but the explosion this year in music streaming services and the way that the music industry’s economic models are quickly adapting suggests that streaming will soon become less of a stepchild in the media mix and more of a primary distribution channel for mainstream events programming, such as the awards shows that are high-profile clients for PRG and its competitors. HD Streaming

BIZ

“Streaming is going to have to look more like broadcast; it’s going to have to offer the same kinds of high production values that people have become used to in broadcast, like [high definition] video,” says Perrone. The Pow! Pix acquisition is part of a strategy that has been evolving at PRG, he says. “This is a sector that we’ve been eyeing for some time. We’re seeing more emphasis being placed on

that strategy. It gives us a leg into the market.” Perrone soft-pedals the facility angle of post-production as a service and probably rightly so. The wheels are coming off the post business with alarming speed — the sale of Ascent Media’s post and creative services divisions in December is just the latest in a string of closures and consolidations brought on by changes in technology and budgets. But if post-production technology and workflow — and Perrone says Bob Barzyk is a master at establishing efficient workflow structure — can be adapted to the streaming environment, and combined with and applied to what PRG already does for the event business, the synergies look very good. The Bigger Picture

BIZ

It’s also a logical step in the context of the bigger picture for event production and entertainment media in general. As prerecorded media — i.e., CDs,

DVDs, etc. — began to decline in unit and dollar volume, and as file-based entertainment media decrease in relative value if not in unit sales, the entertainment industry has shifted its focus to live events, mainly the music concerts that have been the meat and potatoes for Live Nation and AEG Live. But, as we saw last month in this space, touring concert volume dollars and units are now also substantially off. The unique event, however, whether it’s a prime-time awards show or a dazzling rehash of Pink Floyd’s The Wall, offers a product that can be better differentiated. PRG is already a major player in concert touring, corporate events and television events; it’s getting a foothold in film production as well, especially with its lighting products. Iron Man 2 used 20 of PRG’s Bad Boy luminaires for the film’s massive Sepulveda Dam scene. For the same film, PRG provided a large LED video wall with content controlled by the PRG Mbox EXtreme v3 media server. PRG added another rung on the ladder of its vertical strategy with the acquisition of Pow! Pix, which not only adds to the array of services it offers clients but opens the door on a streaming service and content silo that’s well-timed for what’s happening in the media distribution market this year. The recession and the market disruptiveness wrought by relentless technological change have put a lot of opportunities of this sort on the table. It’ll be an interesting year. Post news of your production to Dan Daley at [email protected].

The Perils of Pinspots Although we’ve been using dimmers for years, I still get questions about whether or not it’s okay to put a pinspot on a dimmer. Some people say it’s not a good idea and others say they’ve been doing it for years and they’re not going to stop doing it. What’s the truth about dimming pinspots?...Pinspots are really inexpensive these days. I recently bought some for $10 apiece, and that was the retail price. If you’re trying to design a lighting system on a budget, pinspots can really help you stretch the budget and fill out your design. But don’t let a $10 pinspot throw a spanner in the works and ruin a $200 dimmer module. You can use a dry contact closure to turn pinspots on and off, and if you must dim them, do it at your own peril, because it can cause damage to your equipment. —Richard Cadena, from Fundamentals,” PLSN, Feb. 2011

“Focus

on

2011 MARCH PLSN 45

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3/3/11 10:44 PM

FEEDING THE MACHINES


The One-Off Concert I

t is very common for an automated lighting programmer to be hired to program and operate for a one-time concert. These “one-off” events are often tied to other productions such as corporate events, houses of worship, parties or music festivals. The programmer must prepare for a band they know little about and operate the lights ac-

It’s All About the Music

FTM

The very first thing a programmer should do when learning about a one-off concert is to ask for a copy of the music and a set list. As the concert is based on the music, this is of utmost importance. I recently lit a classic 1980s act and they were happy

It is important that you understand how to smoothly transition in and out of your programmer and how to make parameter changes in specified fade times. These tools vary from console to console, so be sure you understand how your console functions. cordingly to keep the audience and band member’s interest. Sometimes these gigs can result in additional work, and other times they are just a simple evening’s entertainment. The “disposable” nature of the event requires important considerations for the automated lighting programmer.

to provide a set list. I was not surprised to see it was filled with their usual hits. I downloaded the songs that I did not already have on my iPod and created a playlist for the show. Another time when working with a band I had never heard of, they sent me .WAV files of the songs they planned to

play. Yet another band said they had no idea what they would play, but it would be mostly covers of typical party songs. Gathering insight into the music is essential for creating a one-off show that looks like a fully programmed touring act. If you cannot get the music or set list ahead of time, then you will have to wing it (punt, busk, make it up as you go). However, that is the topic of another article. Once I have the music, I listen to each song and create a chart for each. Keeping it simple is the key, and I cannot stress that enough. With most of these gigs, programming time will minimal, and you will never program all the songs if you try to program as if it were a tour. Most songs have the same basic structure: intro, vocals, chorus, break, repeat. I separate each song into these big chunks and write down a description of what I think will work with each (static look, ballyhoo, strobes, fading chase, etc). I try to average about 10 cues per song. Let Those Fingers Fly

FTM

The next step is to figure out what your lighting rig is going to look like. Maybe you are the LD on the event, or maybe you are not. Either way, I bet that you will be tasked with coming up with looks and programming the concert. After building my palettes/presets, I will usually dive right in and start creating cues from my notes for each song. I do not worry about the nuances and instead build big chunks of looks to correspond with each cue. As always, I try to ensure that each of the songs has a unique look and that I am not repeating looks, gobos, effects, or content amongst the songs. As with any concert, I create a page per song, with a master cuelist for each song. I label everything as I go so that I know the song and cue with which I am working. Once all this is done, I create a number of additional playbacks to intermix with any of the cues at any time. In most cases, these will live on a template page so that they are available for all playbacks. These live manipulation playbacks include color bumps or fades, ballyhoos, audience blinders, flyouts and strobe cues. By combining these live with the basic pre-recorded cues, I can create an exciting and energetic concert during the event. Some songs may require a specific bump button cue, which I add to that song’s page at the same time I am creating the cues. Rehearsal Time

FTM

If (and this is a big if ) you can find some time to listen to the music and play back the cues, then your show will be much improved. However, many of these gigs do not allow this luxury, and you will just have to play back when the band goes on. When rehearsing, it is important to ensure that you have an understanding of your plan with the additional cues on your template and try to notate this on your cuelist. Sometimes, it is best to just reveal a look and hold it for an entire song (this works great with ballads). Remember that less is more, and that you do not always have to be creating an awesome light show.

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By BradSchiller

Some people actually come to the show to hear the band! During the rehearsal period, do not be scared to simplify your cueing by deleting some things that may not be needed. On the other hand, try not to get carried away thinking you can reprogram a song or two. In most cases you will not have time to do this, and your first approach might be the best. It’s Showtime!

FTM

When the concert begins, focus on your cueing and then add your supplemental modification playbacks. You might also want to modify things by working live with fixtures within your programmer. You can select a group of fixtures and change the position with a key change or similar audio cue. Or you might decide to move all your spots to the drummer during an unexpected drum solo. It is important that you understand how to smoothly transition in and out of your programmer and how to make parameter changes in specified fade times. These tools vary from console to console, so be sure you understand how your console functions. In addition, during the show, the band may play songs you did not prepare for, or they might change the tempo, skip a verse, etc. If you are really listening to them and are ready to modify or jump around your cues, then these changes should not catch you off guard. You might even find that you can re-purpose cues from an un-played song for a new song that you did not expect. The After-Party

FTM

When the gig ends and the band exits the stage, then you can finally relax. Hopefully you managed to play a decent looking show and did not get too frazzled by changes. Keep in mind that you are working a one-off, and do not be upset if you took a cue early or if something did not quite match the music. As long as you did your best and made notes to improve for next time, then you did your job. The Size of Your Head

FTM

One-off concerts can be lots of fun and provide a programmer opportunities to work as a programmer, LD and operator all in the same gig. One more word of caution: remember that you are not the band’s LD, just a person who lit them for one night. I once read a resume of a guy that claimed to be the LD for U2. Everyone knows that Willie Williams is and has been their LD for a long time. Turns out, this guy did a one-off someplace and then decided to claim he designed lights for U2. True, he may have “designed” the looks for that night, but that certainly did not make him the band’s LD or give him the right to claim the LD title. So at your next one-off concert, make the most of it and have fun; just try not to let your head get too big. Brad’s head is not too big for e-mail…send him some at [email protected].

3/3/11 10:44 PM

DESIGNER WATCH


By DebiMoen

An LD Who Sings, a Road Veteran’s New Gig, Howard Ungerleider’s Third Dimension…and More

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“

esigner Watch,” a new column written by award-winning journalist Debi Moen, has nothing to do with fashion timepieces. Instead, it focuses on people and projects — “the human-interest side of the industry,” as Moen puts it. Reach her at dmoen@ plsn.com. She looks forward to sharing your news in her future columns. —ed. What an exciting new way to start 2011. My own new column in PLSN is in reality your column, because this is all about what you are doing out in the field. So please feel free to drop me a line with the latest shows, projects, professional or personal news. The headline news in your life can make the print headlines here. Rose-y Singing Future

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LD Susan Rose knows not only how to light a stage but to “take” a stage. Her singing voice — a highlight of many industry jams — led to her lighting career. Now it’s come full circle. Rose hopes to launch her own singing tour this summer/fall, targeting the Asian market in China and Japan. Her set list will feature songs from her new CD. The single release, “This Is Who I Am,” comes out soon. Listen in at susanrosemusic.com. She’s one artist who can list herself as her own touring LD... A New Gig for a Road Veteran

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Billy Heaslip decided to “get a life” after 37 years on the road after Yes and Peter Frampton tours. He settled down in Austin, TX, but is busier than ever as the new production manager of the Austin City Limits Live at The Moody Theatre. The state-of-theart venue opened in late February as the new home of the Austin City Limits studio soundstage and as an entertainment venue. “This new venue is the right time, right place for me to be,” Heaslip says. “I didn’t want to

work in an old venue, and this new facility is just amazing.” Ungerleider’s Architectural Side

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Howard Ungerleider of Production Design International started up a new architectural division, Applied Light Media (ALM), which transforms environments, exhibits and events into enlightening experiences with the addition of the new 3D video technology...Ungerleider recently helped Kid Rock celebrate his 40th birthday on tour by designing a laser show for 60,000 people in Detroit in mid-January. He worked with Nook Schoenfeld and John Featherstone on the project (See Nook’s account of the gig in LD-at-Large, page 52), then flew to NYC for Chick Corea’s Return to Forever tour. The LD is ramping up Rush’s tour (see cover photo), which runs from March to July in Europe and the U.S., with Matt Druzbik directing... Designing a Design Program

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LD Seth Jackson packed his lighting awards and returned to his alma-mater, Webster University in St. Louis, MO. This new faculty member is creating a concert design program within the theatre training department of the Conservatory of Theatre Arts. “I’ve always believed a big part of my success is the grounding that I got in Conservatory,” he says. “I know about art, I understand color, I know the history of theatre, I’m exposed to all sorts of disciplines, and you develop a great worth ethic. When we started the discussion, the idea basically became: ‘lighting design is lighting design.’ It doesn’t matter if it is dance, theatre, concerts or a car show. There is a process and a procedure that leads to success. Over the next few semesters we’ll be building something special to take ‘convergence’ to the academic level. I loved my years at Webster, and it is fun being back on campus.”

From Dining Table to Office Space

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When Jeff Ravitz left Visual Terrain — his creation and livelihood for the past 20 years — he set up his design shop at his dining room table. He pulled up another chair for his longtime associate Kristie Roldan, and the two at the new Intensity Advisors finished the year with a Fox-TV ice show and a YouTube holiday webcast called Project 4 Awesome. Days before the New Year, they cleared off the table and moved into office space nearby. The year is “nicely busy,” Ravitz says, with a Showtime comedy special starring Kevin Hart and a PBS music special live from Nashville’s Ryman Auditorium featuring Irish talent Daniel O’Donnell. Ravitz invites industry friends to stop by when in Los Angeles... Madagascar Live! ...

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LD Mike Baldassari recently opened the national tour of Madagascar Live!, a family entertainment show based on the animated movie, produced by Dreamworks and Broadway Across America. Dave Gallo designed the set and Greg Barnes the costumes. After a stint at Radio City Music Hall in April, the tour runs through summer, with extensions likely. ...to The Late Show

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London-based band The Boxer Rebellion asked Baldassari to light their recent performance on The Late Show with David Letterman. Says Baldassari, “Tim Stephenson, the longtime Late Show LD is an old friend of mine, as is programmer Richie Tyndall, and they were both graciously allowed me to be ‘guest LD’ for the day. It was the band’s network TV debut, and for me it was a blast to be part of it and to see some old friends in the process.” Baldassari met the band last fall when designing theatrical lighting for the

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film Going the Distance. He then designed their tour afterward. In the Mood at MODE

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Bob Bonniol of MODE Studios is having a “hot year already.” Despite the winter weather woes all over the country, Bonniol pounded out content design for P Diddy’s appearances on Jimmy Kimmel Live, the BBC and BET’s Concert Series. He sent a tour design out for up-and-coming band RED on the Winter Jam Tour, taught a few days of master classes at Full Sail, and is designing a mindblowing scenic video arrangement for the upcoming TED (Technology Entertainment Design) conference... Quick Cues...

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LD Phil Ealy is doing a non-lighting gig with Lady Gaga...Lighting Director Glen Johnson just started another James Blunt tour for the next 13 months, operating a design by LD Paul Normandale of Lite Alternative...Tim Grivas, automated lighting programmer on the current Rush tour, originated and designed a holiday lighting and sound experience called “Flipped on Christmas” in Austin, TX’s Zilker Park. The city was so turned on by it that Austin’s mayor proclaimed the nine days before Christmas as official “Flipped on Christmas” days...LD Charlie “Cosmo” Wilson lit an unplugged Foreigner show at a Maui hotel. There was no room for wiggle lights, but there was room to wiggle toes. “For the first time in my entire career, I ran a show barefoot!” Wilson declares. After a swim with the whales, Wilson packed up for Foreigner’s tour in India... Kirk Garreans of ALP Design & Production is doing a complete event design for an upcoming corporate event in April at Orlando’s Dolphin Hotel. “It’s no huge fancy show, but it’s our bread-and-butter in this industry,” Garreans says.

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FOCUS ON FUNDAMENTALS


By RichardCadena

10 Things Every Stagehand Should Know About Computer Networking “I got in this business so I wouldn’t have to read.” — Doug Heffernan, TV’s “King of Queens.”

I

n 1965, Intel co-founder Gordon Moore predicted that computers would double in power approximately every two years. His prediction became known as Moore’s law. Later on, Intel CEO Andy Grove coined his own law, with his tongue planted firmly in cheek, predicting that networking speed would double every 100 years. Grove was lamenting the fact that, at the time, networking speed had not kept up with computer power. That was then. Today, computer network technology has improved to the point where we are able to transport huge amounts of data over copper, wire and fiber. That’s why we can stream videos to our laptops using Netflix and Hulu, and why new televisions can connect to the Internet. It’s also why the live event production industry is being inundated with network technology. You can hardly swing a disconnect switch by its feeder tails without hitting a network-connected console, media server or computer. If we’re going to be in this business for long, we had better get comfy with the technology. The Ubiquitous Computer Network The first time I ever heard the term “DMX universe” was in the early 1990s. Until then, 512 slots of DMX was plenty. Then things got more interesting. As automated lighting grew more complex and full-featured, it started chewing up more DMX slots. At the same time, lighting rigs were expanding. What was once considered a “large” lighting rig was dwarfed by the Michael Jacksons and Britney Spears rigs of the world. Then along came media servers and LEDs, and suddenly the industry realized that if we didn’t want to be running wads of DMX cables from FOH to dimmer beach or to the dimmer closet, then we had better come up with a better solu-

tion. That solution was right under our collective noses, in our homes and offices, courtesy of the computer industry, and it was the computer network. Now when you go to a show, you need only sniff the air and you’ll find it’s teeming with 802.11, 802.3, TCP/IP and Ethernet. But what does it all mean? 1. TCP/IP: TCP/IP is a suite of communications protocols including transmission control protocol and Internet protocol that is commonly used for computer networking. Most entertainment networks, including the ones used with most lighting and automation consoles like ArtNet, ETCNet, StrandNet, etc., are TCP/IP-based networks. 2. Ethernet and WiFi: Ethernet is one of the physical embodiments of TCP/IP networks and WiFi is another. These are standards that describe the infrastructure of a network, like the cable type or the transmission frequency. Ethernet and WiFi are two of the most common types of networks in the live event production industry. They are borrowed from the computer industry so that we can use the same hardware we use with our networks at home and in our offices. 3. IEEE 802.3 and 802.11: Technically, Ethernet is a standard called IEEE 802.3. It was originally developed by Xerox, Digital Equipment Corporation (DEC) and Intel from 1973 to 1975, and it was formally standardized in 1985 by the Institute of Electrical and Electronic Engineers. WiFi is IEEE 802.11, which is the standard for wirelessly transmitting TCP/IP-based networks. 4. Ethernet, Fast Ethernet, Gigabit Ethernet: Several different flavors of Ethernet have been developed over the years based on the speed of transmission. The earliest has a transmission rate, or “baud” rate, of 10 megabits per second (Mbps). Later on, when cabling and net-

Wireworks’ TacCat Network Cords are “ruggedized” Cat5e networking cables for touring.

working techniques were improved, another standard was developed called “Fast Ethernet,” which runs at 100 Mbps. Still later, a standard called “Gigabit Ethernet” came along, which runs at 1000 Mbps or 1 Gbps, and today we have 10 Gbps and 40 Gbps Ethernet. Someday we’ll have 100 Gbps and 1000 Gbps, or Terabit Ethernet. (Did I really just say that? Terabit per second? Wow!) 5. 8-Pin 8-Conductor (RJ45) Connectors: These different types of Ethernet use the same connectors and similar cable. The connectors are technically 8-pin 8-conductor (8P8C) connectors but you know them as RJ45 connectors, those clear plastic connectors with the little plastic tab that breaks off at the mere thought of taking one on any touring show. I was once on a tour where the production company sent these to connect a laptop at the front of house to DL2s on stage. They lasted exactly one load-out, and then it was, “run the cable, connect to the DL.2s, gaff-tape it in place.” For that reason, manufacturers have developed “ruggedized” connectors that look like a regular 8P8C connector with an XLR outer shell and ruggedized cable, which looks much like DMX cable. Much better. 6. Cat 5, Cat 5e, Cat 6, and Beyond: The cables are standardized according to categories.

You may have heard of Cat 5 cable, which used to be the most common type of twisted pair networking cable around. Today, Cat 5 is hard to find and it has being replaced by Cat 5e and Cat 6 cable. These are different categories of cable as defined by the Telecommunications Industry Association. Cat 5 cable can be used for Fast Ethernet networks while Cat 5e and Cat 6 cable can be used for Gigabit Ethernet. 7. Collision Domains: Networks run fastest when there is little traffic on the wires; that’s why the Internet slows down at your house when everyone in your neighborhood comes home from work and jumps online. Limiting traffic on a network helps maintain its maximum speed, and there are devices that help accomplish this feat. It’s done by physically segmenting networks with routers, switches and bridges. 8. Routers, Switches and Bridges: A bridge is a single input, single output device that filters data on a network to reduce traffic. It does this by only passing data intended for a computer in the network as indicated by the media access control (MAC) address, which is a sort of electronic serial number programmed into each computer. A bridge divides a network in two parts; the part before the bridge and the part after the bridge. A switch also filters data according to the destination MAC address, except it is a single input, multiple output device. It only sends data to the output link on which the matching computer is located by physically connecting the input and the output port. A router also filters data on a network, except there is no physical switching. Instead, data is routed to the correct computer with software using the IP address of the destination computer. 9. IP Address: Since you asked, an IP address is kind of like a street address on an envelope; it’s a number that helps data find its intended destination, except an IP address is usually temporary. Most computers currently use version 4 IP addressing, which is a 32-bit number, but there are so many Internet appliances today that we are quickly running out of addresses. Version 6 IP addressing uses 128 bits, and it will soon be more common than IPv4. The more astute among you will note that mention was made of 10 things that every stagehand should know about computer networks. The last, and perhaps most important thing that every stagehand should know about computer networks is where to find more information about them. One of my favorite networking primers is Rock Solid Ethernet by Wayne Howell. Like Doug Heffernan, a lot of us got into this industry so we wouldn’t have to read. And a lot of us have been displaced from this industry because we chose not to read much. Don’t be a Heffernan. Richard Cadena always reads his e-mail. Send him a message at [email protected].

48 PLSN MARCH 2011

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LD-AT-LARGE


By NookSchoenfeld

Rock’s Western Set

Westward Ho

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Then it was time to see what the boss had in mind for a touring set. He walked me inside and said, “Nook, I’m thinking about a set that matches this particular car.” The 1964 Pontiac Bonneville he pointed out was featured on his album cover. It had western-style

COMING NEXT MONTH... PLSN Interview Clifton Taylor, LD for the Fall for Dance Festival at New York City Center Production Profile LD Martin Thomas on lighting Fantasia Barrino’s

Back to Me Tour Buyers Guide

Networking Tools for Lighting Systems

52.100.1103.indd 52

Illustration by Andy Au

I

got a call a few months ago from my old friend “Shakes.” He has been the production manager for Kid Rock forever, it seems. And his boss is turning 40 this year. He wants to have a big party, followed by a week of rehearsals for a tour to promote his album. But he wants two distinctly different looking shows. The party was booked in Ford Field and was all about special guests and being a big party for 55,000 of his closest friends. The tour will last two years and come back to Detroit this summer to play the baseball park across the street. Hence he needed to come up with separate designs to mix it up. Last November, I found myself sitting in the client’s rehearsal space discussing set ideas with him and Shakes. First, we knocked out a birthday bash scenario — two large cakes, some backdrops, a couple of 50-foothigh by 24-foot-wide video walls flanking the stage to set the tone. I drew in some vertical towers of lights and various scrims that would mask the PA. The lighting rig I would use for this show would be similar to one we used the previous summer, but beefed up with more firepower. Lasers, pyro and dancer placement finished off this scenario.

really spoken about a lighting design. I had various scenic trusses taking up real estate in the air, so I needed to design something that would fit in the space between them. After 12 years designing stuff for this artist, he’s comfortable with the way I light his show. Adding the Firepower

After 12 years designing stuff for this artist, he’s comfortable with the way I light his show. leather seats and a nine-foot-wide set of longhorn steer horns mounted on the grill. He then went on to talk about his recent hunting trip with Hank Williams. He said he needed some guns, like really big guns, mounted somewhere. I had an idea, so I steered us back to the conference room and fired up my Mac. Last year, the artist had come up with his own brand of beer. At that time, my wife said common sense dictates that I should design a saloon as a set. So I had drawn in an old fashioned western set with steps that lead to different platforms on which various musicians would live. Everything was made with a pine finish. Sixteen-foot-wide bars flanked the deck of the stage, wide enough to allow dancers on top, á la Coyote Ugly. Upstage, I had a couple of 24-foot hinged trusses with scaled Winchester rifle replicas mounted to the front. The front truss protruded into the seats of the arena, and it had a 12-footwide by six-foot-tall gold eagle attached to it. I showed the artist the renderings, and his eyes lit up. I showed him various camera angles from the audience point of view, and he started coming up with his own ideas. Tweaking the Concept

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Rock had me move musicians around on the plot. We added some practical lights in strategic places. We decided to mount LED tape in the bars and thrust. He chose the wood samples

to match the faux wood. Artist John Rios was brought in to finalize the artwork on various scrims, roll drops and Austrian drapes we fit into the puzzle. We then set about configuring a 50-footlong thrust and wide catwalks made of grille, where flames would shoot through. Shakes and I talked him into using a turntable lift on which he would rise, playing the piano for the encore. We picked out a reasonably-sized video wall that matched the set. The client requested we build a screen surround for it, so it would resemble a picture frame. Jim Beam sponsors the tour, so getting old whiskey barrels, mirrors and neon signs to fill out the theme was easy. Finally, Rock decided we should mount a longhorn steer head with 14-foot wide horns on the set to be used for railings up top. No problem. I put lamps in his eyes and had him exhale cryo fog (CO2) before I was through. Armed with seven pages of notes, I left for a flight home to Minneapolis. I started corresponding with my artist out in Vegas. Chris Tousey has been transforming the Vectorworks drawings into beautiful renderings for all of us at Visual Ventures for years. He is a master at drafting in Cinema 4D; he has done so much work for us that he can almost nail down my design over the phone. I got him started on the scenic elements and forwarded him my CAD drawings. Finally, Chris asked what I had in mind for lighting the set, and I realized we had never

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Upstage I had a 28-foot-wide video wall above the set. Offstage of this, I had some eight-foot roll drops with flags on them. I don’t like for light beams to have to compete with video, so placing vertical pipes next to the video wall is always a nice touch. I mounted some Martin MAC 401 large format LED lights there for eye candy. Downstage of it were the rifle trusses — HUD Truss filled with Vari*Lite VL3000 Spots and MAC 2000 Wash fixtures. The rifles would be sculpted out of foam, painted by an artist and hardened with some agent. I had a scenic truss as well as a pyro truss full of various exploding gadgets downstage of the rifles. This left me a 14-foot-by-60-foot open area to put in something cool. I added in a couple of 18-foot wide X-shaped trusses made of HUD Truss. I stuffed 12 Clay Paky Alpha Beams and some strobes into each one, and they provided me with bright ACL rock looks galore. I mounted a bunch of Upstaging Headlites (incredibly bright squares of white LED light) to these Xs to fatten it all out. Then I added some more angled trusses full of Vari-Lites, strobes and MAC 2000 Wash fixtures where I could, to fill out the air above the stage. By the time I got the lighting plot done, Chris had finished his third set of renderings. I liked what I saw. I e-mailed them to Shakes and the boss. A few comments and minor changes later, I got a thumbs up and was told to start getting prices for everything. It was time to call Joe Gallagher, longtime fabricator of my sets and owner of Accurate Staging. I emailed him the renderings with plans to get him the detailed Vectorworks files of every 3D item drawn to scale. Everything I send to him to be custom-built must be triple-checked for proper sizing and location. Joe takes pride in themed sets like these. He called and told me he’d found these terrific hurricane lanterns for the bar. “Fabulous,” I said. “Now go find me a chandelier made of an old wagon wheel.” Ten minutes later, I had three samples in my inbox from which to choose. Now that a design was in place, it was time to assemble the team that could bring this show to life. But that’s next month’s article. Nook Schoenfeld is a freelance lighting designer — and more. Contact him via e-mail at [email protected].

3/4/11 2:17 PM