- Spinworkz Pte Ltd

Transcription

- Spinworkz Pte Ltd

ETA
MCI [P] 007/09/2015 KDN: PPS 1663/08/2013 [022991]
2015
Nov - Dec
ENTERTAINMENT
TECHNOLOGY
ASIA
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87th Academy
Award Winner
Craig
Mann
Shares His
Perspective
On The
Entertainment
Industry
PROFILE: 9 Things You Need To Know About d3 LIVE: CHIJMES Turns Green With Heineken
SPECIAL FEATURE: ETA Investigates The Business Of Rental
Barco Laser Projector
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Modular design
ǳ 6primaries for superior 3D
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RIGHT
Barco Singapore +65 65899893 No. 10 Changi South Lane #04-01, Singapore 486162
www.barco.com
Advanced Line Array System (ALASTM)
KING OF
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The new Aero 20A provides the live sound
market with a high-performance, cuttingedge product that delivers top quality
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D.A.S Audio, S.A.
C/ Islas Baleares, 24
46988 Fuente del Jarro
Valencia - Spain
Tel. +34 961 340 860
D.A.S Audio of America, Inc.
6900 NW 52nd Street
Miami, FL 33166 - U.S.A.
Toll Free: 1 888 DAS 4 USA
D.A.S Audio Asia PTE. LTD.
3 Temasek Avenue, Centennial Tower #34-36
Singapore 039190
Tel. +65 6549 7760
CONTENT
VOL 16 ISSUE 6 November - December 2015
94
Ctrl Fre@k
Journey Through
The Past
©Jim Lee Photography
06 FIRST WORDS
08 NEWS
32 ENNOVATIONS
SPECIAL FEATURE
40 Business Of Rental
EXHIBITION PREVIEW
46 Prolight + Sound
Guangzhou
PROFILE
48 9 Things You Need
To Know About d3
Technologies
PERSPECTIVE
62 Carving A 3D Theatre
Under A Hill
66 Living Room Café
Showcases Martin Audio
67 Crystal Palace Fitted With
EV
68 Harman At The ‘Shah’ of
‘Show’ Theatres
72 CGV Chooses Christie For
Its Biggest Screen
LIVE!
74 Nexo Revitalises GEO T
For Arena Of Stars
76 CHIJMES Turns Green
With Heineken
82 Acoustic & Lighting
Assist Janet Lee With No
Restrictions
84 Clay Paky & d3
Technologies Come
Together For NAS
Opening
86 A Hectic And Fulfilling
Period For UnUsUaL
Productions
90 Production Technology
Defies Summer Heat
92 Hexogon Illuminates
Singapore Skyline
94 Ctrl Fre@k Journey
Through The Past
97 ACME Tunes Up “MY FM
The Show 2015”
98 Have U Met...?
52 A Conversation With Chris
Mann
INSTALL
56 Symetrix In Full (Super)
Flow
58 Hwa Chong International
School Arts Centre
62
Carving A 3D
Theatre Under A Hill
98
Have U Met...?
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06
FIRST WORDS
E-TECH ASIA November - December 2015
The state of the South-East
Asian region (when seen from
the outside) does not look
promising for the industry.
The Malaysian Ringgit fall
against the greenback is
quite significant and this
is expected to slow down
orders for US manufactured
products. Political upheaval
too is playing its role in
Malaysia. The upcoming
elections in Myanmar and the
Philippines next year is also expected to have an impact on
the industry, in and around the election period. The prolonged
Junta power in Thailand has made investors develop a waitand-see attitude and Singapore just missed a technical
recession in the last quarter by a minute percentage. It looks
like gloom and doom. All this coming about just as all the
ASEAN countries begin 2016 with almost all import and export
duty taxes on items traded between themselves cancelled, as
part of the ASEAN Free Trade Agreement (AFTA). Cambodia,
Laos, Myanmar and Vietnam will take that step on 31st
December 2015.
Well, an optimist will look at the whole situation as half full. We
are talking about a region that is now the third largest trade
bloc in the world, after the European Union and the North
American Free Trade Agreement. ASEAN has a combined
GDP of USD2.4 trillion, which is the 7th largest in the world.
It is home to about 600 million people with a median age
of 28! Savvy investors will see this period as an opportune
time to invest in ASEAN with its lower barrier and the AFTA
coming into full effect. No one can deny that there is plenty
of opportunity in Indonesia, the Philippines and the Mekong
Frontiers of Cambodia, Laos, Myanmar and Vietnam. Though
the latter countries will need more time and relationship
building before returns bear fruit.
Well, Entertainment Technology Asia has gone through it
all...SARS, Bird Flu, 9/11 and 3 different financial crises, so
we understand the tough aspects. The industry will probably
consolidate a little more but overall we are certain many will
be resilient and come out stronger. There are still projects
being called on and upgrades being done. There are even
those venturing beyond their comfort zones (countries) to
carve out a business. Yes, more are fighting for the same
pie and differentiation is what will set each company apart.
The Singapore government generally takes advantage of
slow periods to get people to upgrade their skills and this is
something this industry should do as well.
We look forward to a better 2016.
Thomas Richard Prakasam
Publisher / Editorial Director
[email protected]
ASSISTANT EDITOR
Elissa Nadine
[email protected]
EDITOR, INDIA AND
MIDDLE EAST
Ram Bhavanashi
[email protected]
EDITOR, DIGITAL PLATFORM
(FREELANCE)
Rosalind Tan
[email protected]
ASSISTANT EDITOR
Shireen Ho
[email protected]
DESIGN AND PRODUCTION
Jimmy Chin
[email protected]
ADMIN & CIRCULATION
Julie Tan
[email protected]
PUBLISHED BY
Spinworkz Pte Ltd, 51 Bukit Batok Crescent,
#06-10 Unity Centre, Singapore 658077
Tel: (65) 6316 2716 Fax: (65) 63162715 www.spinworkz.com
PRINTED BY
Stamford Press Pte Ltd
Disclaimer
Entertainment Technology Asia is published 6 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views
expressed in this magazine do not necessarily reflect those of the editor or the publisher. Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure
the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.
08
NEWS
MediaPix Chooses Mahajak For SG50
National Day. Here the team used 6 x
JBL VT4886 loudspeakers as the main
PA accompanied by 4 x VT4883 flown
together as equal clusters per side.
Power was provided via a single Crown
VRack I-Tech HD3500x4 amp with
control handled by a single Soundcraft SI
Compact 16 board.
In all, more than 200,000 Singaporeans
celebrated the nation's Golden Jubilee
around the island, never missing a beat.
www.mahajakskm.com
www.harman.com
SINGAPORE: To help the city-state
of Singapore celebrate its Golden
Jubilee, Mahajak SKM Electronics (MSE),
distributors of the HARMAN brands
in Singapore, were enlisted to provide
quality audio at various event venues
around the country.
To allow more citizens to be part of
the National Day celebrations, various
stages were set-up around the Marina
Bay area which included the Esplanade,
Marina Barrage, Merlion Park and
the Promontory. Besides the live
streaming of the Parade broadcast on
LED screens, rental production house,
MediaPix provided the audio for the
stage entertainment that highlighted
HARMAN's VerTec (VT) systems.
FOH loudspeakers at the Promontory
field consisted of 10 per side JBL VTX
V20 flown with 12 JBL VTX S25 subs
groundstacked. This was the latest
system acquired by MediaPix from MSE.
Powering the systems were 4 x Crown
VRack I-Tech HD3500x4 and 2 x Crown
VRack I-Tech HD12000 amps along with
a single Crown XTi6002 amp for the
EAW LA-212 stage monitors. Control
was set-up via a single Soundcraft Vi6
console.
The live feeds from the Padang were
arranged to be shown on a total of
6 satellite stages set up around the
Padang and Marina Bay area. However,
before the celebrations at the Padang
began, the crowds were rallied by live
performances from local talents such as
Goodfellas, Taufik Batisah, Acapella and
indie band, Gentlebones.
“We needed to ensure the performances
were able to ramp up the crowd so
we ensured that the audio was good
enough to cater to thousands of people
around the 3 stages that used HARMAN
systems,” explained Glenn Lin, Sales
Manager at MSE.
“We also assisted in the rigging and
calibration of the systems as it was
crucial that there were no delays with
the well wishes coming in from around
the country and main Padang stage,”
said Glenn. Besides the good wishes
that citizens could send in through an
official SG50 celebration website, photo
playback and Twitter interactions were
also broadcast on the LED screens.
Along with the stage at the Promontory,
MediaPix chose to use the HARMAN
systems at the Merlion Park stage,
an iconic landmark that hosted an
estimated 10,000 people on Singapore's
10
NEWS
Empire Theatre embraces Martin MAC
Quantum Profiles
fixtures. Also in the inventory are Clay
Paky A.leda Wash K20 and Clay Paky
Alphas.
AUSTRALIA: Architecturally,
Toowoomba’s heritage-listed Empire
Theatre is a shining example of the
glorious art deco style. Technically, it
is very 2015 especially since 8 x Martin
MAC Quantum Profiles joined the
inventory!
The venue has a capacity of 1,567 seats,
making it the largest regional theatre in
Australia. It is also often referred to as
one of the best performing arts venues
in Australia by the many visiting artists
that perform on its stage.
Technical manager Tim Panitz already
has a heap of Martin MAC TW1’s at his
disposal along with some aging MAC500
“The MAC500’s still do a fair bit of
work but we were looking to phase
them out of use and replace them with
something with more punch to compete
with the MAC TW1’s and K20’s in the
rig,” commented Tim. “Running and
maintenance costs were also a concern
and so we were interested in an LED
fixture.”
Tim and his team looked at a few LED
profile fixtures on the market but were
drawn to the MAC Quantums due not
just to their outstanding running features
such as the Animotion FX system
that allows never-before seen beam
animations, but also their compact size.
“That was good for us because a
theatre environment space is always at
a premium,” he remarked. “They have
a similar footprint size to the other
conventional fixtures on the bar and so
if the masking stills works, they don’t
need special masking consideration.
They’re also fairly light for a mover with
that sort of output and of course that’s
a consideration when you’re using fly
bars.”
The Martin MAC Quantum is a bright
LED profile fixture that combines topquality white light with a fast, smooth
CMY colour mixing system and crisp
gobo projection on surfaces as well as
mid-air.
The MAC Quantum Profiles were
delivered in May and were bumped
in straight out of the boxes for a
production of Mary Poppins.
“We had designed them into the rig
and the next day we went straight into
plotting them,” added Tim. “They
performed really well. They’re certainly
bright and one of the things I really like
is that they deliver a very good white
even though they are an LED fixture. At
a colour mixing level, they work in well
with our MAC TW1 CMY fixtures and
that’s been really good.”
www.martin.com
Dan Dugan Sound Design Appoints New
Distributor
AUSTRALIA: Dan Dugan Sound
Design, Inc. has appointed Stagetec
Mediagroup Australia as a distributor
for the company’s automixing
products.
Part of Salzbrenner Stagetec
Mediagroup, Stagetec Mediagroup
Australia offers audio engineering and
design services, system and network
design, and system integration along
with a range of high-quality products
for broadcast and professional sound
applications. “We are excited to have
the Dan Dugan automixing line as
part of our product portfolio,” said Treva
Head, Managing Director of Stagetec
Mediagroup Australia.
“The automixing products fit perfectly
alongside our range of professional
audio distribution, digital consoles
and communications platforms and
enhance our ability to provide solutions
in broadcast, theatre and public address
systems. We are particularly excited
about the implementation of Dante in
the Dugan range which will enable us
to integrate it with existing systems
effortlessly.”
“We look forward to working with
Stagetec Mediagroup Australia to
promote Dugan automixing for
applications throughout Australia,”
said Dan Dugan, CEO of Dan Dugan
Sound Design. “Their expertise in audio
engineering and live sound makes them
a natural choice for us.”
Dugan products may be found on the
Stagetec Mediagroup Australia website
at www.stagetec.com.au/dugan.
Additionally, the company can be
contacted at +61 2 8011 0500;
[email protected]
youtube.com/martinprofessional
Prepare to be emotionally
EXPOSED
Atomic™
3000 LED
Brightest LED-based strobe on the market
Unique RGB-controlled Aura backlight for stunning eye candy looks
Same look and feel as the original Atomic 3000 DMX
12
NEWS
Digital Aid Beefs Up Inventory With d&b
J8 Speakers
MALAYSIA: Digital Aid Sdn Bhd, the
rental house behind Zouk@Sepang and
Calvin Harris Live In Malaysia 2014, have
acquired 24 units of d&b audiotechnik's
J8 loudspeakers from the company's
J-series line to beef up their inventory
for potential clients.
The J8 is designed as a 3-way box
that houses 2 x 12" LF drivers, one
hornloaded 10" MF driver and 2 x
1.4" exit HF compression drivers with
3" voicecoils mounted to a dedicated
waveshaping device. Its mechanical and
acoustical design enables flown vertical
columns of up to 24 loudspeakers to be
suspended using vertical splay angles
between them of 0° to 7° with a 1°
resolution.
“The new systems will allow us to
do bigger shows with more variety. I
now have my own systems to support
whatever size of show,” explained CEO
of Digital Aid, Henry Karnan. “The
new systems also reinforce the trust
of touring acts as everyone knows the
quality to d&b systems are hard to
match.”
The new systems will be added to their
already impressive inventory which
consists currently of L'Acoustics K2,
KUDO and KARA systems as well as Clay
Paky B-Eye moving heads.
To browse other systems in their
inventory, visit www.d8projects.com
www.dbaudio.com
Bosch Opens Asia Pacific Customer
Experience Centre in Singapore
has been Bosch’s partner for over
47 years. The opening ceremony
also welcomed numerous media
representatives, partners and Bosch
associates from the region.
SINGAPORE: Featuring a host
of interactive exhibits, the Bosch
Experience Centre showcases an
extensive portfolio of Bosch’s security,
safety and communications products
available for small to large project
applications. Highlights of the security
solutions featured at the Centre
include the latest ultra-high resolution
FLEXIDOME IP panoramic 7000 MP and
DINION IP ultra 8000 MP cameras as
well as 4K ultra HD storage solutions.
Also on display are communications
solutions including the Electro-Voice
portable and fixed installed professional
loudspeakers, the EVID Compact Sound
System, DICENTIS Wireless Conference
System, new RTS Keypanels and the
highly-anticipated PAVIRO sound system,
which was launched in August.
The Bosch Security Systems Experience
Centre was unveiled by Wilfred Steeman,
Vice President of Bosch Security Systems
Asia Pacific, and Takashi Nobuto,
President of TOWA Engineering, who
With the opening of the Centre, visitors
can look forward to exploring the latest
products and experiencing the cuttingedge solutions and various applications
Bosch offers. “The versatility of this
Experience Centre will allow Bosch
to demonstrate the latest products
and solutions to various groups of
stakeholders from project specifiers and
consultants to end users. The Centre is
a highly visible representation of Bosch
Security’s commitment and investment
in the Asia Pacific market”, commented
Wilfred, Vice President of Bosch Security
Systems Asia Pacific.
www.boschsecurity.asia
HIGH POWER-TO-SIZE RATIO
FILL THE SPACE
WITH SOUND
NOT SPEAKERS
The highest possible output from the smallest possible cabinet. It makes
NEXO speakers less obtrusive and easier to transport, rig and install.
Measuring less than 38cm wide, GEO M6 delivers NEXO’s signature smooth
frequency response for a highly musical performance and enhanced speech
intelligibility, with focussed dispersion for consistent coverage.
Whether you’re rigging a mobile A/V application or installing a fixed
system in a theatre, bar or club, NEXO helps you fill the space with sound,
not loudspeakers.
www.nexo.fr
Thinking. Inside the box.
14
NEWS
EK Lights Hires Jason Echols
CHINA: EK Lights has announced the
appointment of Jason Echols as the
new Asia Sales Director, based at EK's
Guangzhou manufacturing headquarters.
Most recently an account manager at
Chicago's RGB Lights, Jason will be
responsible for growing EK's presence in
the Asian region. As much as he'll miss
the Windy City's famous winters, he's
excited to be back in Asia, where his
career in pro lighting began twenty years
ago.
"I've known Ray for nearly two decades
now and have followed EK's rise up
the ranks of Chinese producers. Earlier
this year, after watching YouTube clips
of EK's booth at the GET show and
then seeing their gear in action at the
ULTRA Music Festival and the Expo 2015
opening in Milan, I knew I didn't want to
miss the next chapter in EK's story,” said
Jason. “Ray has always been focused on
product development, on pursuing the
kind of innovation that makes working in
this industry more of an adventure than
a job. It's an exciting time to be coming
on board."
Jason can be contacted at jason@
eklights.com
www.eklights.com
Far left, newly appointed Asia Sales Director,
Jason Echols
BOSE Launches New F1 Model 812
Loudspeaker
to maintain optimal tonal
balance for each coverage
pattern. So whether you are
playing at floor level, on a
stage, or facing raked seats
or bleachers, you can now
adapt the sound to your
room needs.
SINGAPORE: Together with their
authorised agent, Sovis Pte Ltd, Bose
has officially launched the F1 Model
812 Flexible Array Loudspeaker to the
Singapore and Southeast Asia market.
As Bose's first loudspeaker that lets users
control its vertical coverage pattern,
sound professionals, musicians, DJs and
other performers can now look forward
to a wholly immersive audio experience.
The revolutionary new loudspeaker
system employs an innovative FLEX
Array Technology. Users can imply
push or pull the array into position to
create “Straight”, “C”, “J”, or “Reverse
J” coverage positions. Once set, the
system automatically changes the EQ
Engineered with an array of
eight high-output mid/high
drivers, a high powered 12”
woofer and a lower crossover
point, the loudspeaker
delivers high SPL performance while
maintaining vocal and midrange
clarity that is better than conventional
loudspeakers.
For extended
bass response,
Bose F1
Subwoofer
packs all the
power in a
more compact
design that is
easier to carry.
A mounting
stand for the
loudspeaker is
also integrated
into the body of the subwoofer, so you
will always know where it is, making
setup more convenient.
The launch event began with a short
presentation by Michael Guest, Sales
Manager, South East Asia & Korea
of Bose Corporation, Professional
Systems Division, on the new F1 Model
812 Flexible Array Loudspeaker. After
which, a virtual live music demo ensued,
featuring US band, Farrenheit followed
by a DJ performance that further
showcased the capabilities and prowess
of the new loudspeaker.
The loudspeaker and subwoofer each
have 1,000 watts of power, so user can
fill nearly any venue with sound. The
Bose F1 Systems Singapore Launch was
organized by Bose’s sole distributor in
Singapore, Sovis Pte Ltd (A subsidiary of
Atlas Sound & Vision Pte Ltd).
The new F1 Model 812 Loudspeaker and
Subwoofer are now available for preorders at S$2,530 each.
global.bose.com
www.atlas-sv.com
dot2
THE ESSENCE
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16
NEWS
Malaysian Artists Endorse Sennheiser Mics
MALAYSIA: In 2014, Acoustic & Lighting
System (A&L) initiated their very
first artist endorsement programme,
conducted jointly with Sennheiser
Asia. Among thousands of candidates,
four young local talented artists were
carefully selected – Jaclyn Victor, Tomok,
Black and RJ. They were each given a
personalized Sennheiser EW 500 series
wireless microphone with individual flight
cases.
A year has passed and A&L recently
got back in touch with three of the
artists for a follow-up interview Tomok,
winner of One in a Million TV Singing
competition as well as RJ and Black who
received best performance for Anugerah
Juara Lagu, a Malaysian music award
programme.
A feeling of nostalgia kicked in as all
three brought in their endorsed flight
cases and Sennheiser microphones.
Tomok, who recently started promoting
his song with Altimet “Aku Tahu”
elaborated on the design of the
microphone that was custom made
for him. “When the audience watch
me perform with my own customized
microphone, they know that I am not
performing just for fun but that I take my
music seriously,”
Black who had been using various
microphones including the Sennheiser,
acknowledged that the microphone
was really “bermutu” meaning
“excellent quality” in Bahasa Melayu.
Black, who recently collaborated with
Dayang Norfaizah, mentioned that the
Sennheiser microphone had great quality
and was able to capture and produce
clear sound in terms of vocal.
RJ who featured in Qarabah “Taubat”
supported both Tomok and Black’s
statement and emphasized on the
convenience of the microphone being
wireless and the auto lock function help
artists who are always on-the-go.
The interview came to an end with what
advice they would like to convey to their
fans or individuals who want to pursue a
career in the entertainment industry.
Two words summarized their answers,
“passion and interest”. As Tomok
mentioned, there are many artists out
there who may not possess sufficient
quality or passion to last in this industry.
Additionally, Black believes that they
should not pursue the career for the
money but for their passion and interest
in the industry.
“Looking at them and how they have all
made it till today, it was definitely their
passion, interest, and most importantly,
their sincerity for music that got them
this far,” said a representative of A&L.
“We hope that their passion in music
will continue burning; setting them as
an example to the society. We would
also like to thank them for spending
their time with us and we are glad that
Sennheiser microphone has played a
part in their career.”
www.acousticlighting.com
en-sg.sennheiser.com
Laserworld Takes Up Business In South Korea
SOUTH KOREA: The economy in
South Korea is growing and so is the
demand for entertainment technology.
In order to respond to the industry's
growing interest, the Laserworld
Group has opened an Korea office.
Based in Daejeon, in the center
of South Korea, Laserworld Korea
handles sales in the area as well as
providing local show laser light services.
“High quality, high power show laser
light systems of European manufacturing
are in demand” said Peter Jeong,
Managing Director of Laserworld Korea.
“We definitely know of the demand
for quality products in our country and
thus see great potential for products of
the Laserworld Group of any product
series.”
Peter Jeong can be directly contacted
at +82-70-7592-4484
Product information and contact
details in Korean are available at
korea.laserworld.com
18
NEWS
Sound Office And MSS
Jointly Invest In MLA
New Sound Crew
JAPAN: Martin Audio Japan has
announced the appointment of a
new MLA partner in the form of a
collaboration between Sound Office
and MSS.
Based in Ehime Prefecture, Sound
Office and MSS have jointly purchased
MLA System 30, comprising of 18 x
MLA boxes, 2 x MLD Downfill and 10
MLX subs.
President of Sound Office, Mr.
Fujiwara said, “We needed to upgrade
our sound system, and of course we
considered several brands as part
of that process. MLA was a strong
contender but it’s a big commitment
too. Sound Office and MSS are
located in a small province of Japan
and we both wanted to have the
newest system, so we had a meeting
with the president of MSS, Mr.
Miyauchi, and finally we decided to
purchase the MLA system together.”
President of MSS, Mr. Miyauchi
concurred. “I totally agreed when Mr.
Fujiwara came to us with the idea of
jointly purchasing MLA because we
shared the same vision for developing
live sound in the region by using the
system. Of course I knew the sound
quality of MLA system, I love it. There
was no hesitation about MLA.”
Mr Fijiwara continued, “I knew the
quality of MLA, as I’ve listened to the
system in Tokyo several times, but the
main trigger was the SUNBURST2015
festival, as we were keen to use a
different system from that which
we had used in previous years. The
result was fantastic, with everyone in
the audience experiencing the same
quality of sound, and this is something
that is very important for us as we
believe artistically better shows are
produced and enjoyed as a result.”
One of Sound Office’s engineers, Mr.
Sannabe added, “Using MLA for the
SUNBURST2015 rock festival, the
result was so amazing. I will use it at
every opportunity from now on.”
www.martin-audio.com
NEWS
19
RTM Invests In NEXO
cater to the professional
and broadcast markets
such as Information
Technology, Broadcast
and Live sound in this
South East Asia region.
MALAYSIA: Radio Television Malaysia
(RTM) has acquired 12 units of the NEXO
45°N-12 Wedge Monitors through
their vendor, JAA Systems, whom also
provided them the solution to improve
the entire sound monitoring system for
the Auditorium Perdana at Wisma Radio.
JAA-S has established itself as a leading
international audio company, with good
range of products and services that
To ensure that they
are providing the
complete 45°N-12
sound experience
for the customer, the
team's system engineers provided a
variation of single, dual and triple setup
configurations, typically followed by a
sound testing session with the customer.
According to the system engineer,
NEXO 45°N-12 Wedge Monitor is the
most suitable model for the Auditorium
Perdana. The NEXO 45°N-12 Wedge
Monitor is not just a new product but a
radical new concept in stage sound and
that of line monitoring, which brings
all the benefits of line-array technology
onto the stage.
It also features a non-slip base with a
skid system and an ergonomic handle
for easy repositioning on stage. The
system is applicable for touring or fixed
live sound applications, live television
production, single monitor reference
covering the needs of any musicians.
Speaking from personal experience, one
of the RTM sound engineers shared, “It
feels great to stand on the stage now
as the N12 design enables it to produce
a very sharp defined dispersion pattern
while still offering a huge improvement,
in terms of gain level before feedback.”
nexo-sa.com
www.conceptaudio.com.my
20
NEWS
E&E Launches EAW Redline
And dLive In Singapore &
Malaysia
Alex Schloesser, Business Development
Manager, on the dLive
SINGAPORE: Electronics &
Engineering Pte Ltd officially launched
the EAW Redline speakers and A&H
dLive console in Singapore and
Malaysia respectively on the 6th and
8th of October. The Singapore launch
held in central Singapore at the
Joyden Hall attracted a large crowd of
over 100 guests. Guests ranged from
rental & staging companies, houses
of worship, schools and universities,
venues as well as system integrators
and consultants.
James Bamlett, ASG Specialist,
APAC Region for EAW touched on
the unique aspects of the Redline
series highlighting the ease with
which the system can be deployed,
without the need for EQ for a clear
and robust sound delivery. Alex
Schloesser, Business Development
Manager, Asia-Pacific – Latin America
of Global Market Management, gave
the guests a rundown on how the
dLive came about. Interesting facts
including the thought process on the
design and the materials used for the
dLive helped guests to appreciate
the detailed process A&H had gone
through before release of the dLive
console.
Guests got to listen to the EAW
Redline as well as touch and feel the
dLive. Many swamped James and Alex
to get more details about the systems.
“It has been great. It is a really good
turnout and it was also a great chance
to catch up with people.” said James.
Sharing the same sentiment, Alex
commented that the turnout was
great. The event in Kuala Lumpur,
Malaysia, elicited a similar response.
Gary Goh, Deputy MD of E&E
comments, “There was definitely a
strong interest in the solutions and
we are pleased to bring the latest
technologies to the industry. The
brands were great in getting involved
and sharing their expertise with the
industry and we look forward to more
collaborations in the future.”
www.enepl.com.sg
ASG Specialist, James Bamlett
NEWS
21
TW AUDiO’s Post-Demo Day Purchase
MALAYSIA: Following their demo day in
Kuala Lumpur, TW AUDiO, signed a deal
with major rental company, Fajar Baiduri
Events (FBE) for the purchase of 24 x
VERA36 and 20 x S33 subwoofers.
my team. TW AUDiO’s VERA36 fits all
these requirements. When I heard the
complete system during the Demo Day, I
told myself that that PA was going to be
part of my company’s portfolio.”
Established in 1992, FBE has been
progressively growing in Malaysia and
are now a full-service event production
company with sound, lights, visuals,
and tents.
In October, FBE’s technicians attended
a two-day training session at TW AUDiO
ASIA’s office. Augustine Edward, TW
AUDiO’s ASIA’s General Manager and
TW AUDiO’s Support Asia, expanded on
their knowledge of line array theory and
trained them in the use of Lab.Gruppen’s
Lake software and the Ease Focus II
simulation software, following their
purchase of Lab.Gruppen PLM 10000
amplifiers and PLM 20000 amplifiers.
FBE’s owner, Khairul Isma aka ‘Kojack’,
was already captivated by the VERA36’s
70cm wide frame that hides dynamics
and low-mid performance expected
from much bigger systems. The Demo
Day KL setup served to seal the deal for
him. “It was about time we upgraded”,
said Kojack. “We’ve been looking at
what the market has to offer in terms of
rigging handling, set up time, loading
space, and the impact it would have on
“We’ve had an overwhelming response
since I announced that I bought the
VERA36 system. Our schedule became
more packed than usual so this was
definitely the right decision for us. With
Augustine Edward (right) with FBE Owner,
Kojack
the post-sales support that I get from TW
AUDiO ASIA, there is nothing more that I
could ask for”, said Kojack.
Bernhard Wuestner, TW AUDIO’s
Managing Director said, “We are very
happy with FBE’s purchase. It strengthens
our constantly growing network.”
www.twaudio.de
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To learn more, connect with us on:
#UKC2CEKſE
Analog Way Pte Ltd - Singapore
Phone: +65 6292 5800
Email : [email protected]
www.analogway.com
22
NEWS
JAA Systems Appoints
David Chan as General
Manager
MALAYSIA: JAA Systems Sdn Bhd
has appointed David Chan as its new
General Manager, making him the
local representative office of Jünger
Audio Asia in Malaysia.
David, who has many years of
experience in the broadcast industry,
will manage and run the daily
operations of JAA Systems Sdn Bhd.
This company was established in
2014 to provide technical support
to broadcast customers in South
East Asia, in particular, those
using Jünger Audio products and
systems. It also supports other
manufacturer's products and offers
a wide range of services, including
pre-sales consultation, system design,
installation, commissioning and after
sales support.
Together with JAA System's existing
team, David will now have exclusive
responsibility for selling Jünger Audio
products in Malaysia and will provide
direct support to all clients and
dealers in the South East Asia region.
“I am thrilled to be joining JAA
Systems Sdn Bhd,” he said. “As
Jünger Audio has become a
household name to most broadcasters
here, it is essential to maintain good
relationships and provide the best
support to all clients. In addition to
supporting Jünger Audio products, I
am also tasked with further developing
the company and building it up to
the next level. It will be an interesting
challenge and one that I’m looking
forward to very much.”
Tan Kim Poh, Managing Director of
Jünger Audio Asia Pte Ltd, added:
“David is well known and respected
in the industry, having previously
developed Stagetec Asia. I’m
confident that the experience and
skills he brings to JAA Systems Sdn
Bhd will enhance the presence and
reputation of Jünger Audio products
throughout Malaysia and South East
Asia."
junger-audio.com
NEWS
NEXO Training Programme Reaches India
INDIA: With a mission to show new technology and
provide education to the system integrators and rental
companies of India, Sun Infonet and NEXO co-presented
a successful ETC (Education, Training and Certification)
programme in two prime locations, Bengaluru and
Mumbai, both well-known music hubs.
Renowned system integrators and rental companies
showed immense interest, and everyone attending the
course wanted to get their hands on the NEXO systems for
some practical tuition.
The event was hosted in a venue fully equipped with the
latest NEXO products; PS10-R2 and PS15-R2, LS18 sub
bass, GEO M6 compact line arrays, 45N-12 line monitors,
and the different STM modules which make up NEXO’s
flagship PA Series
With the help of Sun Infonet technical staff, Nicolas
Kirsch and Francois Deffarges from NEXO conducted an
extensive training course in the application, advantages
and technology used in NEXO products.
Mr. Dhinakar, owner of rental company DS Pro Sound,
carries almost every NEXO product in his inventory. He was
on hand in Bengaluru to share his experience, notably on
the last day when a live band and DJ performed on a stage
equipped with a STM PA system.
After two days of the ETC programme in Bengaluru,
the caravan of NEXO and Sun Infonet tutors moved to
Mumbai, also a music-loving city, where a large number
of system integrators, rental companies, sound engineers,
and music consultants attended. The enthusiasm of
so many participants made this Mumbai programme
a big success, convincing Sun Infonet and the NEXO
ambassadors to promise further ETC sessions in the near
future.
Anyone wishing to attend or to discover more about
NEXO’s ETC training seminars should contact: training@
nexo.fr
www.nexo-sa.com
23
24
NEWS
An Evening With Robe
SINGAPORE: Robe Lighting Asia
Pacific recently held an intimate
gathering at a local wine bar for
casual conversation with clients and
friends. The small gathering was an
impromptu event to mainly recognise
Showtec, the local rental company, for
its huge order of Robe BMFL fixtures
that were extensively used for the
South-East Asia Games and during
Singapore's 50th Golden Jubilee
Celebrations. The event was also
an opportunity to introduce Robe
Lighting Asia Pacific's new member,
Vincent Tan, who takes on the role of
Business Development.
An evening of selected cheese, great
company, spread of delicious local
food and of course the perfect wine
had all present in good cheer and
spirit.
www.robe.cz
NEWS
25
Analog Way Releases New
LiveCore Firmware Upgrade
INTERNATIONAL: Analog Way has
announced the immediate availability of
the new v03.01.60 firmware for all the
LiveCore Presentation Mixers. The new
firmware offers major improvements
in terms of show creation and
management.
Analog Way’s LiveCore series of AV
Mixers offers versatile connectivity and
state-of-the-art processing through
six models: Ascender 48, Ascender
32, Ascender 16, SmartMatriX Ultra,
NeXtage 16, and NeXtage 08.
The line has been updated with new
v03.01.60 firmware, immediately
available for all the LiveCore systems.
The new firmware offers major
improvements including the new Cut &
Fill feature. This functionality allows the
content of a layer to be keyed using an
input or a still picture (frame or logo).
Pairing two layers with the Web RCS one containing a grey level source (Cut),
the other one a live source (Fill) - the unit
can display perfectly keyed content to
achieve non-rectangular, smooth-edged
key layers. The Cut can be either a live
source synchronized with the Fill or a still
picture.
In addition, several other features that
expand display capabilities have been
implemented. Operators can now create
custom output formats. These can be
stored in the Custom Output Format
section which offers up to 10 memories.
This feature is particularly useful for
LED wall applications and nonstandard
industrial display applications.
Thanks to the new version firmware
upgrade, the LiveCore systems now
enable to import or capture 4K frames,
and the Dual-Link DVI output plugs
support the output formats 3840x1080
and 4096x1080 (up to 60 Hz). For
devices with four outputs, these formats
can be used to create 4K screens with
Top-Bottom output configuration.
In addition, the new version gives access
to Heterogeneous Link support. Using
the Web RCS, two Ascender units of
any kind can be linked through the Link
cable, offering wider output capabilities
and better management of the fleet.
www.analogway.com
26
NEWS
Epson Powers Mercedes AMG Petronas
F1 Team
design. From sketching, scanning to
production by incorporating Epson
products’ such as Epson’s EB-1430Wi
ultra-short throw finger touch-enabled
interactive projector for 3D design/
modification and SureColor SCT5270/7270 series to simulate the
printing of blueprint technical drawing.
SINGAPORE: A few days prior to the
Singapore Formula One Grand Prix,
Epson shared insights on the long-term
global partnership with MERCEDES
AMG PETRONAS Formula One Team
by presenting a technology showcase
with the 2014 FIA Formula One World
Champions.
“Epson's use of innovative technology to
deliver performance is perfectly aligned
to what we strive to achieve in Formula
One. Over the past 8 months, we have
started to move beyond this shared
philosophy into the practicalities of the
team integrating Epson technology
into many areas of our operation. This
process has delivered some great
benefits and will continue into an
exciting and deeper level of technical
integration as our partnership matures,”
said Toto Wolff, Head of Mercedes-Benz
Motorsport.
During the event, guests were treated
to a variety of Epson's signature
innovations, from its 3LCD projection
technology to its latest wearables.
Using seven Epson EB-Z series
projectors, ranging from 8,000 to
10,000 lumens, the team demonstrated
the vibrant colours and clarity of its
high-brightness 3LCD projectors with
a projection mapping display on a
Formula One race car. Mercedes AMG
Petronas driver, Lewis Hamilton activated
the projection sequence by writing his
hashtag on the projection wall with his
fingers, made possible with Epson EB1430Wi ultra-short throw finger touch
enabled Interactive Projector.
To further 'wow' the audience, the
team decided to work with the content
and mapping production agency, Aims
Productions (SG) Pte Ltd to develop the
dynamic content that would best present
the partnership, while incorporating key
Epson products into the showcase.
With AIMS behind the wheel, the
audience were taken on a visual journey
behind the process of industrial car
Guests were also able to experience
first-hand Epson's Runsense GPS sports
watches and its PS-500 Pulsense heart
rate activity trackers, as well as the much
acclaimed see-through mobile viewer,
Moverio BT-200 smart glasses, which
delivered an engaging augmented reality
experience through quality qHD and 3D
images.
“The overall concept is about the
alignment of the two champion brands
as well as Epson’s revolutionary 3LCD
projection technology. Car mapping is
not new in the market but it’s refreshing
to see on a F1 car and initiated by Lewis
Hamilton at that!” said Tan May Lin,
General Manager, Epson Singapore
Pte Ltd, Sales Division. “The overall
feedback on the projection mapping
was very positive from the invited guests
(including business partners and media)
as they got to see the performance and
capabilities of Epson’s high brightness
projectors.”
www.epson.com.sg
28
NEWS
Stadia & Arena Asia Pacific 2015 Lauded An
Overwhelming Success
SINGAPORE: Held from 28-30th
September, the second edition of Stadia
& Arena Asia Pacific conference and
exhibition took place at the Singapore
Sports Hub. Present were over 50
speakers from the Asia Pacific region
and beyond who gave attending
delegates an insight into the growing
industry.
More than billions of dollars' worth
of global sports venue projects were
represented at the event, including
personnel who are currently involved in
major sports projects around the region
such as the Sports City Malaysia (hosts
of 2017 SEA Games), the Cambodia
National Stadium, Haryana Cricket
Stadium and Kai Tek Stadium Hong
Kong. Developers behind major new
sports projects in Australia, China and
New Zealand were also in attendance.
The event began with an exclusive
'behind-the-scene' tours of the
Singapore Sports Hub, followed by
an elite list of speakers who covered
all aspects of sports venue design,
operations, revenue generation, fan
engagement as well as key stadia
technology, which includes pro
audiovisual implementations.
On the first day, delegates at the Open
Forum were briefed on key regional
market reports namely Singapore,
Australia and Indonesia. During the
Australia session, an expert panel
session was held with Brian Morris,
Chief Executive Officer of Melbourne &
Olympic Parks Trust; Jason Hill, General
Manager Commercial for Sydney Cricket
& Sports Ground Trust and Phil Martin,
Strategic Relationship Manager from
Cox Architecture. With new stadiums
and major upgrading works coming up in
New South Wales, such as the A$350m
ANZ Stadium in Sydney, and more in
places such as Perth and Queensland,
it is no wonder the panelists are
optimistic. While there is a focus on fan
engagement and working with local
authorities to resolve transportation and
venue accessibility, the panelists also
mentioned there has been a trend in
stadia where WiFi hotspots and IPTV are
becoming important technologies.
Next, we saw Timmy Setiawan, President
Director of PT Unitri Cipta, who gave a
brief update on Indonesia's upcoming
stadia projects which include the
much-anticipated 55,000 seater BMW
Stadium in Jakarta and the Balikpapan
Stadium in Borneo. Major upgrading
works for Jakabaring Sports City and
Gelora Bung Karno Stadium are also key
facilities to watch out for as the country
prepares itself for the 2018 Asian Games.
“Jakabaring Sports City is to become the
trigger of Indonesia,” said Timmy during
his speech.
On Day 2 of the conference, delegates
saw an interesting audio segment
delivered by Jim Griffiths, Director of
Vanguardia Consulting, who spoke about
using audio to enhance fan engagement.
There was also a panel session by
representatives from global design
practice, Populous, who presented
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30
NEWS
to take on different vertical markets
needs than ever. Its presence at the
show reflects the positivity in the new
shake-up as solutions as David Bradshaw,
Business Development Manager of
Harman Professional, shares that Harman
is now well-positioned to undertake
any projects with its diverse offerings of
products and services.
the results of their year-long project to
discover how the venues of the future
will look, feel and function. Amongst
the many concurrent sessions that took
place, attendees on Day 3 also saw a
perceptive session presented by 4 key
stadia technologists including Chris
Dodds, Managing Director of The
P.A. People; Fred Lazzerini, Managing
Director Asia-Pacific for Ungerboeck
Software International; Kevin Worster,
Director – Major Projects, Siemens;
Derek Paton, President of Zinwave;
Roland Meier, Head of Panomera®
Multifocal Sensor Systems for Dallmeier
Electronic GmbH & Co. KG, who gave us
a deep insight on integrating technology
into stadium.
Much buzz was generated around
network infrastructure. As Chris puts it,
“Network is key, whether it is for IPTV,
WiFi etc.” Continuing, he said, “The key
challenge now for stadias and arena is
to get proper network infrastructure in
order to design a good audio network.”
Speaking from his experience as an
integrator, the prominence of digitally
networked audio distribution has made a
proper network infrastructure in venues
essential.
Building on it, Fred mentioned that
it is important to get the network
infrastructure right before the
construction commenced as it would
save a lot of work later. Next, Kevin
touched on the issue of how having too
many proprietary systems in one projects
can hinder integration. His advice for a
smoother integration and faster project
progression is to cut down on the
number of suppliers so as to lessen the
complications that comes with multiple
systems that might not be able work well
together.
Quoting audio, IPTV, Digital Signage
as some of the key proAV technology
for stadiums, Chris also mentioned
how architects sometimes overlooked
the technology needs of a stadia in
operation. He suggested that it will be
beneficial for architects to work closely
with technology providers in order to
come up with practical, functional and
aesthetically-pleasing designs in order to
avoid any technical difficulties later on.
On the show floor, attendees had the
opportunity to network and meet with
experts across the entire spectrum of
stadia products and services, where
many of whom were exhibiting in
Asia for the first time. Some notable
names present include Harman, d&b
audiotechnik, D.A.S Audio, Oracle,
Light10 Industries, Star Events,
Vanguardia Consulting etc.
With the recent announcement of a new
leadership team for its new Strategic
Business Unit's (SBUs), Harman is poised
A first-time exhibitor, d&b audiotechnik
came in as they saw an increasing
demand for high performance audio in
stadium. “We are beginning to see more
potential in Asia and Middle East such as
Japan and Qatar,” said Ralf Kohler, Head
of Global Business, d&b audiotechnik
GmbH. “Every stadium and venue is
different... sound requirements varies so
flexibility in audio system is important.”
Not a stranger to Stadia & Arena, the
2015 show was D.A.S Audio second
participation. “Stadium business is
huge,” said Juan Luis Garcia, Managing
Director of D.A.S Audio Asia, “We
have come to this show to network
with people from the architecture
and engineering industry as well as
construction companies. The show has
got an interesting conference and a
good mix of international delegates...
We also see a lot of potential in
Southeast Asia.”
With the Asia Pacific region playing
host to the 2018 Winter Olympics, 2018
Commonwealth Games, 2019 Ruby
World Cup, and both the 2020 Summer
and Winter Olympics, plans are already
well underway to host the next Stadia &
Arena Asia Pacific 2016 in Japan.
saevents.uk.com
David Bradshaw, Business Development Manager of Harman Professional
32
ENNOVATIONS
FINE ART: FINE 1519 PIXIE
FINE 1519 PIXIE is an innovative LED moving head
luminaire with functions of Beam and Wash. With
high-quality Osram RGBW 4 in 1 LED lamp as its
light source, each one can be controlled individually. The
unique rotatable dual optical lens can create beautiful
dynamic effects as well.”
- FINE ART
en.fineart-light.com
%*9'
%*9'
%*9&
Capacity 250 kg - 12000 kg

Climbing- Or
Standard Hoist
Overload Protection with
Patented Friction Clutch
Direct Control Or
Contactor Control
Light And Compact Design
Precise Chain Guide
Textil Chain Bag
Several Models On Stock
•
•
•
•
•
•
•
•
•
•
•
7RWDO6ROXWLRQ0DUNHWLQJ3WH/WG
No. 2, Kallang Way 5, 349022 Singapore
Phone: +65 - 6287 98 78 Fax: +65 - 6287 93 88
E-Mail: [email protected] www.tsm-int.com
www.chainmaster.de
Source: 19 x 15W RGBW 4 in 1 LEDs
Life Span: > 50,000 hrs
Beam Angle: 4 ~ 60 degree
Light Efficiency: 15 lm/w
Luminous Flux: > 4,500 lm
Color macro and color gradual change
Control Channel: 21/78/97 control channel mode
Protocol: Standard DMX512, Art-Net, wireless DMX
Menu Display: LCD display
Power Source: AC100-240V 50/60Hz
Input Power: 300W
ENNOVATIONS
33
HK Audio: Linear Additions
LINEAR 5 LTS A
• Power output: 1000 watts class D (650 watts + 350 watts, bi-amped)
• Max. SPL peak: 140 dB (half space)
• Frequency range: 90 Hz to 20 kHz ( -10 dB)
• Directivity Degree: 60 horizontal, +5/-30 vertical
• HF: 1 x 1” compression driver with 1.7” v.c, MCT
• Low mids: 3 x 8” neodymium, horn loaded, Helmholtz resonator
• Crossover frequency: 1.7 kHz, FIR phase-corrected
• Dimensions (WxHxD): 17’’ x 26.7’’ x 18’’ (44 x 68 x 46.1 cm)
• Weight: 24.7 kg (54.45 lbs)
TOTAL
VISUAL CONTROL
Sapphire Touch
LINEAR SUB 4000 A
• Power output: 1200 watts class D subwoofer
• Max. SPL peak: 137 dB (half space)
• Frequency range: 31 Hz to crossover
• Crossover frequency: 70 / 100 Hz, variable, 24 dB / octave
• Speaker: 1 x 18”, double vented band-pass enclosure
• Dimensions(WxHxD): 35.7’’ x 20 x 31.5’’ (90.8 x 50.8 x 80.1 cm)
• Weight: 59 kg (130 lbs)
Quartz
Tiger Touch II
When we first gave the world a sneak preview of
LTS A and L SUB 4000 A at Pro Light + Sound 2015
in April, there was big excitement. Since then,
we’ve been field testing and fine-tuning the systems at
some German summer festivals and clubs; the results
have been spectacular. LTS A and L SUB 4000 A represent
a huge step forward for HK Audio, and for the sound
reinforcement game in general.”
- Alexander Wollenberg, HK Audio Product Manager
hkaudio.com
Avolites:
+44 (0) 2089 658 522
[email protected]
www.avolites.com
Total Solution:
(+65) 6287 9878
[email protected]
www.tsm-int.com
34
ENNOVATIONS
Robe: BMFL Wash
BMFL Wash and BMFL Wash XF are the ultimate
1700W lamp based wash lights, and the latest
fixtures to be added to Robe’s ‘game-changing’
BMFL range of luminaires. These are powerful workhorse
wash lights, packed with innovative and creative
features.”
- Robe
www.robe.cz
YOU´ VE GOT THE SKILLS.
SKILLS
WE´ VE GOT THE TOOLS.
www.tsm-int.com
Phone: +65-62879878
[email protected]
www.coolux.com
• Source: Compact short-arc metal
halide lamp
• Lifetime: 750 hours @ 1.700W /
1.500W / Silent mode
• Optical System: Dichroic glass
reflector
• Beam angle: Zoom range 4.5 –
55 degree
• Output Lens diameter: 190 mm
• Input voltage range: 200 –240 V,
50/60 Hz
• Power consumption: 2.000 W at
230 V / 50 Hz
• 3-editable programs, each up to
100 steps
• QVGA Robe touch screen with
battery backup, gravitation
sensor for auto screen
positioning, operation memory
service log with RTC
• Pan/Tilt: 540/270 degree
• Frost: Interchangeable – light,
medium (standard), heavy
• Variable CTO: 2.700 – 6.000 K
• Colour wheel 2 with 6
replaceable SLOT&LOCK“
dichroic colours: pink, lavender,
laser green, 9.000 K CTB, minus
half and minus green + white
• Dimensions (HxWxD): 32.5’’ x
19’’ x 13.2’’ (82.6 x 48.3 x 33.5
cm)
• Weight: 35.5 kg (78.3lbs)
ENNOVATIONS
35
d&b Audio: V Series Additions
(V7P & V10P only)
• Frequency response (–5 dB
standard): 59 Hz - 18 kHz
• 3-way passive point source
loudspeaker
• Nominal impedance: 8 Ω
• Cabinets per amplifier channel: 2
• Power handling capacity (RMS/
peak 10 ms): 500/2000 W
• Components:
- 2 x 10” LF driver with
neodymium magnet
V7P
• Nominal dispersion angle degree
(h x v): 75 x 40
V-GSUB
• Cardioid subwoofer
• Frequency response (–5 dB
standard): 37 Hz - 115 Hz
• Power handling capacity (RMS/
peak 10 ms): 800/3200 W
•
•
•
•
- 1 x 8” MF driver with
neodymium magnet
- 1 x 1.4” exit compression driver
Passive crossover network
Dimensions (HxWxD): 27.5 x 12 x
18.3” (70 x 30.8 x 46.6 cm)
Weight: 33 kg (75lbs)
Installation specific models
available for V7P, V10P & V-GSUB
V10P
• Nominal dispersion angle degree
(h x v): 110 x 40
• Components:
- 1 x 18” driver
- 1 x 12” driver
• Dimensions (HxWxD): 23.8’’ x
27.5’’ x 28.6’’ (60.6 x 70 x 72.8
cm)
• Weight: 61 kg (135 lbs)
The V7P and V10P use an advanced horn loaded
mid range section, which provides a remarkable
MF sensitivity. This exceptional mid frequency
performance, particularly in the vocal range, is where
these compact V-Series cabinets excel. This endless vocal
headroom makes them perfect for applications which
demand high sound pressure levels with full bandwidth
capabilities from a single box solution.”
- Werner ‘Vier’ Bayer, d&b Product Manager
www.dbaudio.com
36
ENNOVATIONS
QSC: AP-4122m + AP212sw
AP-4122m Loudspeaker
• Frequency response (-10 dB): 55
Hz to 20 kHz
• Rated noise power / voltage: 325
watts / 36 volts rms
• Coverage angle: 90-degree
Conical
• Maximum SPL at 1 m (passive):
127 dB peak
• Components:
- HF transducer: 45 mm (1.75-inch)
voice coil, compression driver
- LF transducer: 305 mm (12-inch)
driver with 64 mm (2.5-inch)
voice coil
• Dimensions (HxWxD): 22.5” ×
15.1” × 14.5” (51 x 38.5 x 37 cm)
• Weight: 18.1 kg (39.7 lbs)
• Frequency response: 35 Hz to
250 Hz
• Rated noise power / voltage: 600
watts / 49 volts rms
• Maximum SPL at 1 m (passive):
128 dB peak
• LF transducer: 2 x 12’’ weather
resistant cone woofers with 2.5’’
voice coil
• Dimensions (HxWxD): 26” × 15”
× 24” (66 x 38.1 x 61 cm)
• Weight: 30.4 kg (65.4 lbs)
AP-212sw Dual Subwoofer
AP-4122m
Install loudspeakers are often required to perform
multiple tasks, having a product solution that
can effectively meet these demands of different
applications is invaluable. The new additions to the
AcousticPerformance Series offer versatility without
compromise. In addition, when you combine these new
loudspeaker with the QSC PLD4.2 or CXD4.2 processing
amplifiers, you create a very formidable yet cost effective
package”
- Travis Nie, QSC Product Manager – Install Loudspeakers.
www.qsc.com
ENNOVATIONS
37
Philips Lighting: Showline
SL Beam 300 FX
The SL BEAM 300FX delivers a crisp, tightly
collimated beam at the narrow zoom angles and
the dual rotating front lens and effect wheel creates
a unique myriad of bright compositions. The wider
zoom delivers a powerful blended wash of color, and
entrancing, fluid lighting effects can be created with the
lens and effects wheel.”
- Philips Lighting
www.lighting.philips.com
•
•
•
•
•
•
•
Type: Automated Wash Luminaire
Beam Angle: 4 - 40 degree
Source: 19 x RGBW LEDs
4500 Lumens
Pan/Tilt Degree: 540/230
IP20 Rating
Individual pixel control and carefully designed optics
deliver full flexibility
• Large selection of unique preset effects
• Weight: 14.5 kg (31.9 lbs)
38
ENNOVATIONS
PR Lighting: XR 330 BWS
All these fixtures combine superb optics with
advanced light source technology to deliver bright,
flat and uniform light, all linearly adjustable.”
- PR Lighting
Experience
creative
freedom.
www.vari-lite.com
+65 62879878
[email protected]
www.tsm-int.com
www.pr-lighting.com
• Source: 330W SIRIUS HRI
discharge lamp
• Avg Lamp Life: 1,500 hrs
• Power Consumption:
450W@220V
• Beam Angle Degree(linearly
adjustable):
- Beam: 2.3 ~ 10
- Spot: 5 ~ 22
- Wash: 5 ~ 40
• Pan/Tilt Degree: 540/270 with
auto position correction
• Gobo Wheels:
- 1 x fixed w/ 14 rotating gobos +
white
- 1 x rotating w/ 9 rotating gobos +
white (interchangeable)
• 1 x Colour Wheel w/ 13 colours
and 1CTO + white
• 8-facet and 16-facet prisms,
optional 3-facet or 16-facet
prism
• Channels (modes): 21 (short), 26
(standard) and 31 (extended)
• Wireless control
• IP20 Rating
• Weight: 22.2 kg (48.9 lbs)
• Shipping Now
40
SPECIAL FEATURE
The Business Of Rental
According to a 2014 AV Market Definition & Strategy Study report released by InfoComm International, revenue in relation
to Rental & Staging (R&S) services in South-East Asia (SEA) was projected to have hit USD171 million in 2014 with USD246
million projected for 2016. Considering that in 2014 ASEAN’s combined GDP was the 7th largest in the world at USD2.4
trillion and in a region that has a Median Age of 28, there is so much more potential to reap. To investigate the state of the
industry in the SEA region, ETA sent out a survey to 70 mid-sized and large R&S companies. We had a return of 30% which
according to Survey Company standards is a fair return. Among our findings, it was revealed that R&S companies generally
tend to update their inventory at least once a year to keep up-to-date and are normally the first ones to have the latest
releases.
The figures below show the services provided by respondents. We did not expect to see that almost 89% had visual displays in
their inventory. With LEDs becoming prominent in almost every event maybe we should not be that surprised!
Lighting
72.2%
Audio
83.3 %
88.9%
Visual Displays
Staging
33.3%
38.9%
Video Production
Other
22.2%
No real surprise here to see that Corporate events lead the way but only just marginally. It was not specified if the concerts were
in relation to foreign artistes or local. In this region, other than Singapore, the local music scene has strong local recording artistes
who do inter-city tours. Religious Events have become prominent over the years and more ‘OOMPH’ is being added to traditional
celebrations with sound, lights and visual.
Concerts
22%
Corporate Events
23.4%
Festivals
19.1%
Religious Events
12.3%
National Events
Others
(TV Broadcast; International Sports; Seminars &
Conferences; 3D Projection mapping)
15%
8.2%
SPECIAL FEATURE
We hear this constantly - production companies outbidding each other by going below acceptable margins for jobs. This may
take a long time for the mentality to change and in the long run, the companies who continue to do this will find themselves in
trouble as their interest is in cashflow rather than actual business. Manpower issues are not surprising. For those in Singapore, at
least, the Institute of Technical Education is putting in the effort to churn out tech support students for the industry.
23.7%
Lack of manpower
27.4%
Lowered prices from competing
vendors
23%
Limited Budgets
14.8%
Lack of Clients
Others
11.1%
(Clients not paying on time; Client management;
Companies investing in cheap China made products)
On a scale of 1-5, 94.5% of our respondents agreed that investing in new technology was important while 38.9% felt it was an
absolute necessity. This is good news as it means the companies are continuously evolving.
38.9%
27.8%
27.8%
3
4
5.5%
1
2
5
41
42
SPECIAL FEATURE
50% of our respondents indicated that they update their inventory every 6 months. Overall, 88.9% highlight that they update
their inventory at least once a year.
38.8%
5.6%
5.6%
1 year
2 years or more
3 months
50%
6 months
Many respondents highlighted that they spend at least above USD50,000 per year on investing in new equipment or upgrading
their equipment. 38.9% of them highlighted that they spend above USD200,000 a year. Based on the respondent pool that
would mean at least an expenditure of USD2.2 million a year based on USD200,000.
11.1%
Below
USD50,000
38.9%
11.1%
38.9%
USD50,000 100,000
USD100,000 150,000
Above
USD200,000
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44
SPECIAL FEATURE
Results show that brand name does not
significantly impact choice of investment.
Instead, ROI, cost and having the latest
technology in the market affect more decisions.
ETA feels that this particular figure might be
slightly skewed. If the business was mainly
dedicated to concerts especially foreign
concerts, there is a strong possibility that brands
might be very relevant as they normally tend
to be in the rider list. We find this especially
true for audio. We feel that the majority of our
respondents were not specific to the foreign
artist market and thus, resulted in brand names
not being featured promimently.
27.4%
Return Of
Investment
21.2%
21%
16.8%
Latest In The
Market
13.6%
Country Of
Manufacturing
Cost
Brand Name
ETA had to ask this, and we were not surprised that, the relationship with distributors pipped brand name. It is odd that in the
above question brand name was not a key consideration yet for product demonstrations it ranked almost as high as relationships
with distributors. However, it is very possible if decision makers want to see a demo, it would be because of the brand. It was also
found that if a distributor, who has close relationships with users, decided to demo an unrecognised brand many would attend. So
manufacturers, it would be good to appoint distributors who have strong links the market.
Distance
23.6%
Brand Name
27.2%
21.4%
Availability
Relationship with
distributor
27.8%
On a scale of 1-5, we asked respondents how optimistic they were about
the growth of their business within the next 5 years. It is good to know
that almost 78% of respondents are very confident. Hey, the MDSS survey
highlights that there would be a CAGR of 15% between 2014 and 2016 and
if our respondents were not confident, those survey results would not be
achievable.
38.9%
38.9%
4
5
22.2%
ETA feels that as some of the countries in ASEAN begin to develop, there
will be more opportunities for industries such as Telcos, consumer brands,
and other corporates to try and win the hearts and minds of consumers
through events and concerts.
1
2
3
46
EXHIBITION PREVIEW
Prolight + Sound Guangzhou Sets 2016 Show
Dates And Expands Show’s Scale
A
fter months of negotiation,
China’s leading pro audio
and lighting show, Prolight +
Sound Guangzhou, has nailed down its
2016 show dates. Being held from 29
February to 3 March next year, the
show will be even bigger and occupy the
entirety of Area A in the China Import &
Export Fair Complex, Guangzhou.
The show’s organisers explained
how decisions were made in close
cooperation with the industry. “We
talked to many exhibitors and visitors
from the last show and received different
opinions about the show dates, and we
are highly committed to providing the
best solution for everyone. Combining
the comments and possibilities, we are
happy to announce the new 2016 show
dates and it will be held during the peak
sourcing season of the industry,” said Ms
Fiona Chiew, Deputy General Manager
for Messe Frankfurt (Shanghai) Co Ltd.
2016 Focus: Internationality
And Comprehensive Product
Variety
To fortify the position as China’s largest
marketing platform for the pro audio
and lighting industry, the key focuses
of the 2016 show are internationality
and comprehensive product variety. The
first step is to expand Prolight + Sound
Guangzhou by using all 13 halls and the
entire outdoor space in Area A of the
venue, plus a new exciting component
this year.
EXHIBITION PREVIEW
“As we always emphasise, we aim not
just to grow big but strong. So the
second piece of good news for the
2016 show is, we will have the debut of
international pavilions from Italy, Korea
and Taiwan. This is a successful result of
resources integration between Messe
Frankfurt and our local partner the
Guangdong International Science and
Technology Exhibition Company,” Ms
Chiew added. In addition to the newly
added international pavilions, the halls
will be categorised into Audio Brand
Name Halls, Pro audio Halls, Lighting
Halls, KTV Hall and Enping Microphone
Halls.
In order to provide an all-inclusive
platform for show attendees to source,
network and learn, the organisers
have partnered with famous industry
associations worldwide such as
the Professional Lighting & Sound
Association of Germany (VPLT) to host
educational forums and seminars that
bring first-hand market insights to the
industry. Further details of the fringe
events will be announced in upcoming
press releases.
Prolight + Sound Guangzhou is
organised by Messe Frankfurt and the
Guangdong International Science and
Technology Exhibition Company (STE).
For details and information about the
show, please visit www.prolightsoundguangzhou.com or email plsgz@
hongkong.messefrankfurt.com.
For further details about Prolight +
Sound fairs listed below, please visit
www.prolight-sound.com.
47
48
PROFILE
9
Things You Need To Know
About d3 Technologies
Up until 2014, d3 Technologies was virtually unknown in Asia. Then 2015 rolled
around, and they took the region by storm. Following the launch of their new VFC
output cards, here are 9 things you need to know about the company behind the
award-winning d3 software and media servers that this year followed Ed Sheeran
on his sold-out ‘X’ tour.
If you feel the need to pigeon-hole/
categorise d3 into something more
familiar, consider the fact that, currently,
there are two types of media servers
available: 2D and 3D. “d3 is definitely in
the 3D arena” says Chris, “ we were the
first people to start from the 3D stage
and build upwards from there”.
1
THEY ARE NOT NEW TO
THE INDUSTRY
The current d3 company was built
out of the well-known art and design
practice, United Visual Artists (UVA) in
the UK, famous for creating monumental
light installations and immersive
environments. UVA always made it’s own
tools to bring their complex installations
or event-based work form to life, and d3
was the tool-kit they developed in-house
to achieve these goals.
“We made our first software-based
media server with a real-time graphics
engine in 2002,” said Chris Bird, Director
and Founder of d3 Technologies and
UVA. “We then built the hardware, took
it on the road with Massive Attack for
their 100th Window Tour.” Chris Bird,
had built his first media server for the Pet
Shop Boys Nightlife tour in 1999, and
had been playing with computer vision
techniques since 1992. UVA still work
with Massive Attack as creative directors
for their live shows.
“We never expected to ever sell d3,
we at UVA always saw it as our internal
toolkit that we would constantly
redevelop and re-engineer to do bigger
and better shows.”
By 2006, that toolkit had evolved into d3
for the U2 Vertigo tour. “By the time it
was driving the whole of the U2 Vertigo
Tour, it occurred to us that we should
perhaps think about turning this into a
real product. Two years later, for U2’s
360 tour, d3 became available on the
open market after being in exclusive
development with the rental company,
XL Video. It took another 5 years for d3
Technologies to emerge as a separate
company from within UVA, and started
trading as a separate legal entity in
2013.”
According to d3, most 3D media servers
do not have a 3D stage visualizer at
their core, but are more like ‘bolt-ons’
to visualise a stage, and cannot be
considered ‘integrated’. d3 is different
because we actually simulate every
screen, projectors and light, right down
to the pixel level. That way, you can
literally throw video content into a 3D
stage and the mapping happens in realtime, across the entire stage, no matter
what devices are there, DMX and video
are the same to us, pixels are pixels.”
Chris adds, “We were the first people
to ever do this, putting these 3 things
together, to make an integrated show
platform and that means everything is
contained within one environment, or
canvas, just like the real-world.”
3
THEY BUILD THE SHOWS
At the d3 headquarters
in London, there are 28
professionals who have backgrounds in
business, production, content creation,
hardware design, operation and coding.
2
THEY DON’T MAKE A
MEDIA SERVER
d3 Technologies do not consider
their products media servers because a
server just serves media. Instead, d3 is
what they call a media platform because
it has a 3D stage simulator, timelinebased sequencer and output feed
configurator in one integrated solution.
4x4pro
PROFILE
As d3 was born in the UVA creative
workspace, it’s this special projects
experience that makes d3 different; they
actually make shows and work directly
with the customer on the most complex
of projects. They understand what it
takes to do something different.
Having been in the field before, they
have come together under one roof to
make their products truly unique. The
headquarters moonlights as a research
and development lab with the R&D
department taking up most of the
building’s floor-space.
This means that every show design/
product coming out of there has been
made by the people who design and
build shows. They are not just hardware
and software developers, they are your
colleagues who are in the field with you.
Once ideas have passed the strict test
of working the way they need to, they
go through mass production in the
West. Specifically, the Pro Range (4x4 +
4x2 Pro) is built in the US while the Plus
Range (2x2 Plus) is manufactured in the
UK.
4
THEY MAKE IT EASY
TO WORK ON ONE
PLATFORM
The important thing with d3 is that
you can use it from the beginning of
any project all the way to the end. The
graphic below looks to demonstrate this
point. As you can see, the stages of any
production tend to go from a concept
design through detail design, preproduction, installation or production,
live rehearsals to the opening of the
event.
Most media servers are not used in the
early design phases of a production
but with d3, from the very beginning
of winning your tender, d3 is there as a
presentation/concept design tool. Use
it to experiment with your stage design,
and then to show your designs to the
client in a virtual environment before
stepping on to site with a polished show.
The benefit here is that the tool you
ultimately use to playback your show,
is also the tool you’ve been working on
right from the beginning. With d3 it’s all
about Workflow.
5
THEY PUSH EVERY PIXEL
The ‘Push Every Pixel’
catchphrase has officially been
trademarked by d3. It is the fundamental
principle of d3 hardware that can be
seen in each of their hardware servers.
“To push every pixel, every output that
you present to screen, not your control
GUI but every output to screen needs
to be able to crossfade and handle that
load. To demonstrate, the philosophy
behind the 4x4pro is that it can push
every pixel of 4 x 4Ks which is the
equivalent of 16 HD videos at output,
but 32 layers of HD with crossfades,”
explained Chris.
49
With the new Video Format Conversion
(VFC) cards, 4x4pro users can mix and
match video output signals as their
shows demand. User swappable VFC
cards enable users to run up to 16 HD
outputs from a single 4x4pro using
Quad-DVI or Quad-SDI, or up to four
4K outputs through DisplayPort 1.2.
Different cards can be mixed in the same
server permitting any configuration of
video signals or you can slot out the old
cards and slot in new ones.
This means large, multi-projector shows
can be delivered with fewer machines
and no downstream splitter devices.
That drastically reduces cost, rack space,
set-up time and complexity – all without
adding any signal latency.
“The VFC card is an absolutely unique
piece of technology,” remarks Chris. “No
other media server on the market has
the ability to gracefully transition from
HD to 4K as 4K proliferates, with this low
latency at 60Hz.”
6
THEY WANT YOU TO
COLLABORATE
d3 is the only video platform out
on the market that offers MultiEdit, a
software feature that allows you to work
on a show with multiple people at the
same time. Anyone with a laptop running
d3 Designer can join the d3 network
as an ‘editor’, and work on the show
simultaneously with an unlimited amount
of other people, also working from their
laptops. MultiEdit is exceptionally useful
50
PROFILE
on shows that have a large amount of
projectors that need calibrating: join the
project, choose a projector and start
calibrating as a team without the need
to refresh the project or predetermine
who will work on what projector next. d3
automatically updates everyone’s input
and ensures the entire team is aware of
what projectors are being worked on
and when. Now that shows often have
60 or more projectors and on-site time is
always limited, this means you can speed
up the process enormously.
7
d3 STUDIOS EXIST
While growing their network
of distributors and resellers
d3 have also partnered with certain
companies, such as AIMS Productions
in Singapore, to carry a small fleet of
hardware but focus on content creation
and show/production design. These
companies are known as d3 Studios
who are independent from any resellers/
distributors and any major AV rental
house. This puts them in the best
position to train interested customers
without any bias. d3 Studios are creative
hubs, who use d3 as part of their day to
day production workflow.
d3 will soon start a programme of
independent training courses in AsiaPacific, something that they already
have for customers in the West. For now
though, there are training programmes
available on the d3 website for current
and new users to either familiarise or get
acquainted with what d3 has in store.
The motto is simple: the prevention vs
the cure. Prevention is great training for
you, and the cure is great support from
them.
8
THEY ARE HEAVILY
INVESTED IN ASIAPACIFIC
For d3, the planet is split into 3
geographical regions - Americas, EMEA
and APAC. Plans are under-way to
increase presence in APAC significantly
within the next 3 years.
In less than 2 years, the company has
been slowly accepted as a comparable
alternative to more popular brands in the
region, especially in terms of handling
complex production environments and
requirements. They are passionate about
creating unique show environments and
are fully aware of the massive potential
to grow in Asia.
To add to this, the team are searching
for more people who want to take their
show to the next level and join d3 in the
process. For those interested in being
a part of the d3 team, head to the d3
website job section for information on
becoming a Regional Sales Manager
for APAC, or just drop them a line if
you think you have what it takes to
work at this exciting company.
Chris Bird
9
THEY DON’T JUST WANT
TO SELL PRODUCTS
Customer support and service is
absolutely essential to d3. To achieve
a better understanding of the market,
they work closely with creative and rental
partners as well as show operators.
This gives them a wider network of
experienced show professionals be it
technically or creatively. Through this
network of professionals, d3 are able to
deliver support to the highest levels.
“Through our close connection with
the end customers, we have been able
to develop our product into what it is
today,” said Chris. “People come to
us with the craziest projects, and our
products tend to get used on very
complicated shows, so you need a team
that has a high level of knowledge to
deal with tricky situations and tricky
customers.
To cater to this there is a 24/7 global
customer hotline, along with current
distributors/resellers in Singapore and
Malaysia (Acoustic & Lighting Systems)
and China (Redline). And while they
are ticking off all the countries in the
Asia-Pacific region one by one, the
company is still on the look out for more
representation, with hopes for partners
in Korea and Japan by mid-2016.
To find out more about their products,
or to join their team, head to www.
d3technologies.com or get in touch with
them at [email protected]
better!
e
h
t
r
o
f
,
s
s
e
in
or your bus
f
,
u
o
y
r
o
f
,
s
y
ur da
ISE 2016 – Fo
ISE 2016 is the international destination of choice for AV
system integration and communication professionals. It
provides a definitive four-day showcase for the world’s
leading product manufacturers and service suppliers in
combination with an exclusive training and conference
programme - all under one roof.
Find out more and register: www.iseurope.org
ISE is a joint venture partnership of
52
PERSPECTIVE
A Conversation With
Craig Mann
Academy award-winning re-recording mixer, Craig Mann is world-renowned. With over 15 years of sound
industry experience under his belt, his work can be heard on a number of blockbusters, including The
Insidious franchise, Paranormal Activity 3&4, and Whiplash, which led to his win for Best Sound Mixing.
At BroadcastAsia2015, courtesy of audio specialists AVID, ETA’s Elissa Nadine had a conversation with
Craig concerning his outlook on the industry and what he had to do to get to where he is. Here’s what he
had to say..
On How It All Started
Many audiophiles have dreams of being in the entertainment
industry since they were old enough to walk. For Craig, it was a
natural bloom that started around the time he was 5 years old,
when he was handed a tape recorder from his grandfather.
“I remember that I would go around and interview people,
record sounds and even myself singing. That was kind of
my first exposure to audio.” That small start wasn't enough,
though. Craig didn't develop his passion until he developed
a hatred for the rigidity of Canadian public school system.
It was only after he worked with an Apple 2E that Craig
found his niche in computers. He became the guy who went
around the school setting up their multimedia systems and
troubleshooting the programs. “I would never quite set it up
right – leaving a cable a little unplugged or something like that
so that I would get the chance to get out of my lessons and
fuss around or 'troubleshoot' the computers.”
That bit of slyness would be his first stepping stone into the
entertainment life as it eventually evolved to Craig handling
his high school's film projectors and soundboards for school
events. On top of that, he was offered an internship at Sound
Ideas, a leading publisher of professional sound effects that
offers 272 distinct royalty free collections to broadcast, postproduction and multimedia facilities around the globe. For
the next six months, Craig would ride with his dad on the
90-minute journey to the studio and be sent into the field to
record sound effects, master them in the studio and prepare
the audio for CD (remember CDs?) release. “That was really my
first sort of introduction to a studio environment or working in
any kind of situation like that, so that was pretty huge.” After
his experience at Sound Ideas, Craig got his Degree in Music
Recording Arts and was introduced to post-production mixing.
“It was like a light switch flicked on. After I graduated college I
started applying to places around Toronto and I got a position
at Casablanca Sound .”
PERSPECTIVE
On Persistence
After working under several top re-recording mixers in Canada
for 5 years, it all came crashing down when funding was cut to
the studio and it had to shut down. This left Craig at 27 years
old out on the street and not sure of his next move. “Just to
pay the bills I got a job in a broadcast master control room. I
was in-charge of removing the tapes from the machines and
switching them out for the new program ahead, there was
no digital at this time. Honestly, it was pretty rotten, it was
the least creative and least interesting job that I have ever
done. I knew I wanted to pursue post at this point, but the
studios in town were over their capacity and I was at my wits
end. I decided to start calling and take a chance trip to Los
Angeles, visit some studios and try to meet people. The trip
was a modest success since I met a few department heads.
When I got back to Canada, I remember I would call the
same 8 people I had met every week for the next 6 months.
Eventually, Todd-AO called and said their Santa Monica facility
was changing one of their rooms from a screening room to a
mixing stage, and they needed another assistant to run the
room once it got online. Because I had been calling this guy
for six months, when the time came to make a hire, he called
me - BAM I'm in Los Angeles two weeks later.”
On Living The Dream
The LA scale was much bigger and terms for things were a bit
different than I was used to in Canada, and instead of sitting
with David Cronenberg, suddenly it's Quentin Tarantino. It was
a little bit intimidating sitting with these guys and assisting
them. The mixers in LA were gods, people you read about in
magazines. I was like, 'WOW, this is Quentin Tarantino, this
is pretty huge, this is crazy!' The first thing I worked on was
shadowing the main assistant of Kill Bill 1.
I remember being overwhelmed for the first month or two
with the amount of time we worked, because it wasn’t just
53
working till 6 or 8, you’d be in there at 8am and you’d be there
till 11 or 12 at night. For the next few years, I was given the
chance to assist probably just about every big mixer that came
through Todd-AO with shows like Kill Bill, Bourne Ultimatum,
X-men and Dream Girls. It doesn't get any bigger than that.
Seeing that many different mixers work on that amount of
material, gave me a very unique insight into mixing.
On Getting Up Again
The 2007/2008 writers strike and economic downturn was the
next hurdle that hit Craig's career. Once again, the studio was
slowing down, right around the time he was starting to mix. A
milestone came in 2010, when he was engaged to work on the
James Wan film, Insidious.
The real important connection there was Blumhouse, the
production company, because Jason Blum had just started
his own production company and the first title under that
company was Insidious. The budget for sound was like 20,000
USD or something crazy even compared to a modest film at
that point. In 2010, most people would say anything below
300,000 was impossible. We had about 5 days, I think, to
do that mix, it was crazy. But we did it. As it happened, that
movie was a big hit and opened at number 3 at the box office.
About 18 million opening weekend. Within two weeks of that
happening, no less than 3 senior mixers approached me and
said that I was ruining the business because I had done this
film on such a low budget. I can remember that that was a
pretty heavy thing to lay on me. However I didn't agree… I
don’t think I was ruining the business, I think I was responding
to a need in the market.
I'm not the kind of guy to really lip off to more senior people,
so I took it with a grain of salt and walked away. So Insidious 1
goes down and it was pretty successful but things still weren’t
54
PERSPECTIVE
popping off like I was expecting and it was still pretty rough to
find steady mixing work. I was going out and recruiting work,
really just hitting the phone and just calling up people because
I had a couple of credits that were, you know, okay. Work at
Todd-AO had slowed down so much that I wasn't even getting
assisting gigs because there was nothing to even assist on.
I thought they weren’t being responsive to the market and
they needed to recognize that budgets were coming down.
There's all this work happening in like the 80-90,000 dollar area
that no one was addressing and we had to figure out a way to
address the market or they were going to sink. This was me
talking to management and them just not having any interest
in it, they were just like, there's not any money to make in this.
They weren’t really looking at this even as a stepping stones
to get into bigger things. One 90,000 show isn’t great money,
granted, but do 10 or 12 a year and now you’re talking about
one million dollars in revenue that could have supported a
small team of people and could have been a good opportunity
to get junior people learning and practicing the craft.
So, struggle struggle, 2012 was rough. It was just not
happening at all, it was pretty much time to throw in the towel
and head back to Toronto. At this point I just wasn’t able to get
anything from Todd-AO and they eventually went bankrupt in
2013. I had also got married and had a nine month old baby,
so it wasn't just about me anymore. I was ready to close up
shop and go. That was when I heard Technicolor at Paramount
was almost done being built. I knew the chief engineer from
Todd-AO had started to build the new facility at Paramount.
Going back to Blumhouse, they told me they had a film and
asked me where I wanted to take it. I said to go to Technicolor
at Paramount. The film turned out to be Dark Skies, a sci-fi
Halloween hit under Scott Stewart who also did Priest and
Legion. Same as Insidious, this was a high concept, low budget
film with a 10-day mix. We rented a room at Technicolor and I
got to work as the re-recording mixer.
For Dark skies, I mixed it alone, which was unusual and the
supervising sound editor who was in charge of the editorial
was nervous about that decision! My feeling was sink or swim, I
didn’t want anything getting in my way. The composer was the
same from Insidious whom I knew and so we are all in there with
Scott the director and it goes really well! We get through it in the
allotted amount of time, it’s a modest hit at the box office but it’s
a bitching sounding film and he’s really happy with it. So now this
puts me on the Technicolor radar. “Hey, you’re that kid that mixed
that film alone, that’s crazy”. From there, they threw me some
shows and it was the first time I felt like I was starting to get some
traction. They gave me two, I brought one, they give me one, it
was clicking. Nowadays, I'm full-time at Technicolor and it's only
been in the last 16 months that I can see my hard work paying off
because now I've worked with directors and they’re doing others
films and they're calling me back and recommending me, so I'm,
'Okay, here we go!'
On Shrinking Budgets
If you back up to 5/6 years ago, low budgeted shows were
around 300-350,000 and that has become the average for a
show in LA now. That's what is considered good money now
and was considered impossible a few years ago.
With the shrinking budgets also comes less time on stage
and editorial. Big shows like Transformers mix on stage for
3 months, but shows like that are the exception now. To this
day, I'm mixing for 3 weeks on a film and that's more of the
norm. You need to adapt to these changes and many people
are still not able to get films done on these budgets. You have
to be able to deliver the goods on time and at the level that is
expected. Would I like a 3 month mix, yes I would. Am I going
to get that? one day, maybe. You need to have a workflow that
supports the budget.
On How To Maintain Your Sanity
I'm compulsive in a way. I want people to know that if my name
is on something, it's going to be a solid piece of work. That's
the main thing for me. Weather it’s a 20,000 dollar sound job
or a 2 million dollar sound job. I'm always going to find a way
to put something of myself into everything I do. Nowadays, I'm
always busy to the point that people at work are wondering if
I'm alright. So, personally, I know when people are stopping by
and asking if I’m alright or thinking that, I'm in the right zone
and have the right volume or work.
On Why This Is The Era Of Audio
‘WOW, this is Quentin Tarantino, this is pretty
huge, this is crazy!’ The first thing I worked on was
shadowing the main assistant of Kill Bill 1.
PERSPECTIVE
This is the best time to be in audio because I feel like the
work-flow is at a point where you can meet project demands
on what is, seemingly a ridiculous schedule, but still be
creative and end up with a very good sounding piece of work.
Whiplash is a prime example – 20 day shoot, 6 week edit
and 10 day mix on a stage led to an Oscar winning film. With
AVID and Pro tools, dialogue clean up and level matching,
ADR matching can all get done in a smaller editorial room
ahead of time before I ever hit the stage. The ability to get
this mundane, but necessary, portion of mixing out of the way,
helps me preserve the stage time for the creative aspect of
mixing. The amount of automation and the amount of clean
up that can be done in Pro Tools and the fact that you can do
all this work in a small lower cost environment and it translates
into a bigger mix stage is.. I can't even say enough about
how much that makes the difference of being able to get that
amount of work done at the speed that we have to move at.
I love the S5 console. It's the most intuitive console on the
market. I can blaze through a massive amount of material in
a very short amount of time on that particular desk. The way
the panels are broken out, I can access up to 5 different things
at a time. So once I hear something that’s not working, I can
grab 4 or 5 different functions at once, and by the time that
thing rolls by again, it's in the ball park of where it needs to
be. I use the AVID S5 on pretty much everything I've done.
On Making It
I went from Canada to the States, a move that was
‘impossible’, I was told. You just have to never stop pestering
people and preserve through the craziest things. I
could have thrown in the towel many times
over the years, whether it was when
the studio closed in Toronto or when I
was trying to transition out of assisting
into mixing. These were all pretty
55
insurmountable hurdles that I managed to get through one way
or another. If you’re really hungry and if you’re really sure this
is what you want to do then you’re going find a way to do it. I
think whether it's learning the craft by working on small budget
projects or if its getting clicked in with somebody that has
more experience and you’re able to learn from them, you just
have to know that you will find a way. Whatever you do, don’t
let someone tell you it’s impossible, keep going.
56
INSTALL
THAILAND
Symetrix In Full (Super)Flow At
Fashionable New Bar
A Symetrix SymNet Radius 12x8 EX DSP provides the “rock solid” foundation for the audio installation at
Superflow, the latest venture from Thailand’s Buddy Group.
Superflow's visiting DJs pumping out the beats!
B
angkok is hardly lacking in
fashionable bar and restaurant
venues which appeal to the
young, backpacker crowd, but in truth
the quality of audio can be the subject
of considerable variation. One of those
operations emphatically making a stand
for top-flight sound, however, is the
newly-opened Superflow – and it has
made Symetrix SymNet DSP technology
an integral part of its infrastructure.
Fuzion Far East was enlisted to devise
and supply audio for the new venue,
which is situated on Bangkok’s popular
Khaosan Road.
Superflow represents the vision of
Ceto Mind, and as Fuzion product
specialist Benjamin Walters recalled,
the audio brief contained several
primary requirements: “There needed
to be separate control for the main
(outdoor) dancefloor area, the terrace,
swing seating area and beach zone, but
also the ability to combine the main
dancefloor and terrace; the latter is
sometimes used as an overflow when the
main area is busy. There also needed to
be a capability for easy adjustment and
control.”
A long-time Symetrix system aficionado,
Walters has frequently specified the
manufacturer’s SymNet Solus line
of open-architecture standalone
processors for bar/club-type projects,
but in this instance determined that a
single SymNet Radius 12x8 EX Dantescalable DSP would provide the desired
expansion capacity to accommodate
future requirements.
Accordingly, the SymNet Radius unit is
equipped with a single SymNet xOut
4 expander, whilst convenient system
control is furnished by four ARC-2e
Adaptive Remote Control wall-panels.
One of these controllers, located in the
DJ booth, has been configured to enable
an instantaneous ‘bass cut’ to the main
subs of 6dB.
“Superflow is very much regarded as
a growing project, so it was important
that we had the ability to add additional
outputs,” said Walters. “The SymNet
Radius 12x8 EX provided that, along
with the rock solid reliability that we
have come to expect from the Symetrix
processors. We’ve used their DSPs
successfully across a wide range of
DSPs including, at present, a series of
installations at Hooters and Hard Rock
Café venues in the region.”
Back at Superflow, Walters focused his
loudspeaker and amplifier configuration
around a sizeable contingent of Quest
Audio technology – Ceto Mind having
been wowed by Fuzion’s deployment of
a Quest-based design at another local
venue. Quest QM 700 loudspeakers,
HPI18LP compact speakers and QA
4004 amplifiers were among the specific
models chosen for the Superflow fit-out.
The elaborate configuration has been
adjusted since initial installation in order
to address noise concerns.
“The Quest and Symetrix are absolutely
two of our ‘go to’ brands, and once
again provided an ideal complement
to a project of this kind,” said Walters.
“The expandable nature of the Symetrix
DSP also means that the venue is wellpositioned for the future, so the endresult is a set-up that has greatly pleased
Ceto and the staff.”
www.symetrix.co
www.fuzion.co.th
58
INSTALL
SINGAPORE
Hwa Chong International School Opens
Impressive Performing Arts Centre
Electro-Acoustics Systems helms the entire AV installation
The outside of the HCIS Performing Arts Centre
S
ingapore's reputation for quality
education continues to attract
students from within and outside
the region. This has resulted in a number
of private schools sprouting up in the
island. It has also triggered interest in
the more established local schools to
create an international arm to cater to
the growing interest. The local schools'
international curriculum also offers
expanded programmes that have caught
the attention of local students. This has
led to many of the local international
school arms having a mix of local and
foreign students thus giving the schools
an eclectic mix that enhances the
experience of many of the students.
One such school is Hwa Chong
International School (HCIS), which was
founded in 2005 and is a member of the
Hwa Chong family of schools. Half of the
student body is made of Singaporeans
and permanent residents with the rest
comprising of international students
from over 20 countries. HCIS continues
to distinguish itself with its many
programmes and achievements in both
the local and international arena and
thus not surprisingly the student body
has continued to grow.
To cater to the growing needs of the
student body, HCIS embarked on an
expansion project that included a
4-storey teaching wing and a new tower
block to host a full range of teaching and
co-curricular facilities including a Student
Activities Hub and the Performing Arts
Centre.
INSTALL
The two-tiered performing arts centre
caters to an audience of 697 and
features state-of-the-art AV systems
including an Assistive Listening System
to aid the needs of people with impaired
hearing. Electro-Acoustics Systems
Pte Ltd (EAS) who were appointed
to integrate the AV system were also
responsible for the acoustics treatment
of the arts centre.
The Sound System
The stage features left, right and centre
hung line array loudspeakers consisting
of Renkus-Heinz VAX101 point source
line arrays. Each configuration features
5 units of the RH VAX101, with each
speaker offering 120° horizontal by 60°
vertical coverage through their 10” low
frequency and 2x1” high frequency
horns. All the speakers are driven
individually by 15 units of 2-Channel Lab
Gruppen IPD 1200 power amplifiers.
Front fill duties are assigned to 4 units of
Tannoy Di5 Dc and 2 units of Tannoy Di5
Dct speakers driven by a Lab Gruppen
IPD 2400 2-channel power amplifier.
4 units of Renkus Heinz CFX18S,
single 18” sub woofers driven by 2
units of 2-channel power Lab Gruppen
IPD2400 take care of the very low bass
frequencies and are hung as twos on the
left and right of the stage.
To ensure even coverage for the balcony
area as well as for the first floor seats
under the balcony, a total of 22 units of
RH CFX81 speakers have been installed.
All the speakers are driven by 4 units of
Lab Gruppen IPD 2400 power amplifiers.
6 units of 12-inch stage foldback RH
CFX121M loudspeakers with 3 units
of Lab Gruppen IPD 1200 units are
responsible for stage monitoring duties.
A further 10 units of Tannoy 6.5” CVS6
coaxial ceiling speakers with 3 units
of 2-channel Lab Gruppen IPD 2400
amplifiers are deployed to work with
the rest of the sound system for further
sound reinforcement to ensure full even
coverage on both the floors of the
performing arts centre, ensuring that
there is no “dead spot”.
Mixing duties are handled by one unit
of Yamaha CL3 supplemented with a
Yamaha RIO3324-D/R18-D 48 mic/line
input and 24 output Remote Stage I/O
box. Digital signal processing is handled
by a Yamaha DME24 with MY16-AE unit.
The microphone systems for the arts
centre feature a full Sennheiser line-up.
The Wireless microphone set up consists
of 4 units of EW335 G3 wireless handled
microphones, 4 units of EW322 G3 tie
clip-on microphones with the required
Sennheiser UHF Antenna helps boost
wireless transmission
The stage features left, right and centre hung line array loudspeakers consisting of RenkusHeinz VAX101 point source line arrays. Renkus Heinz CFX18S, single 18” sub woofers are hung
as twos on the left and right of the stage.
Ensuring even sound coverage are 22 units of RH CFX81 speakers
59
60
INSTALL
Projection duties handled by a Christie HD20K-J 20,000 ANSI lumens 3-DLP projector
Sennehiser ASA-1/NT1 AB3 and A2003
UHF antennae splitter/distribution
system for the wireless microphones with
boosters and remote antennas. As the
arts centre will be used for a variety of
events, EAS added 6 units of Sennheiser
E835 handheld dynamic microphones, 6
units of E935 cardiod vocal microphones
and 6 units of SEMS3000 tripods with
boom arm to the inventory.
Media sources include a unit of Denon
DNC635 player and a unit of Tascam
CD-RW901SL audio recorder. 2 units of
Furman CN-3600SE power conditioner
and sequencer ensure stable power
output at the centre.
Assistive Listening System
The school also decided that the arts
centre would include an Assistive
Listening System to ensure inclusiveness
for all guests. To enable that, EAS
deployed William Sound solutions that
are renowned for Assistive Listening.
The set-up included one unit of William
Sound MOD232 2-channel infrared
modulator, 4 units of TX 9 infrared
emitters, 48 units of WIR RX22-4
2-channel infrared receivers, with 48
William Sound NKL001 Beckloop Telecoil
Coupler for the use of the guests. 2
units of 5” Yamaha MSP5 monitor
loudspeakers enable the control system
to monitor the audio for the Assistive
Listening system.
Two lighting bridges facing the stage spot ETC Source 4 lighting fixtures.
The Visual System
The 20m width by 12m depth stage
features a motorised Stewart AT3 front
projection frame screen that is 8m x
4.5m. Image projection is handled by 1
unit of Christie HD20K-J 20,000 ANSI
lumens 3-DLP projector. An 8-in 8-out
Key Digital modular digital switcher is
responsible for source switch. 5 units of
Crestron DM-TX-200-C 2G transmitters
provide remote wall plate/floor box input
connection for HDMI, RGB and audio
sources over the CAT6 cable. 6 units of
Key Digital DK CATH500ProRX act as the
HDMI receivers.
Camera systems to record and transmit
images from within the arts centre are
handled by Panasonic cameras with a
Panasonic AW-RP50 camera controller
supported by a 5 channel Datavideo
effect matrix switcher. One unit of
Kramer VM-2HDCPx1 DIV distribution
amplifier and another Kramer VM-2HDx1
HD-SDI distribution amplifier help
transmit images to the different displays.
Helping to ensure HD-SID to HDMI
digital scaling is a Kramer VP-472 scaler.
Other than the main projection screen,
2 units of 19”Samsung displays are also
installed each on the walls to the left and
right of the stage to further augment the
experience of the audience.
INSTALL
61
Image processing duties is handled by
a unit of AnalogWay PLS350-3G video
image processor with an AnalogWay RK350 keypad controller.
The Lighting System
Installed above the stage are 5 rows of
motorized lighting bars. 4 of the bars
feature only ETC Source 4 fixtures that
feature energy saving power of the
patented HPL lamp, with a dichroic
reflector and optical quality lenses.
The 5th bar labelled as the cyclorama
lighting bar features 8 units of Selecon
10AUCYCAL fixtures.
Two lighting bridges facing the stage
also spot ETC Source 4 lighting fixtures.
These are complemented with two
stage towers on the left and right side,
facing the stage. Other than featuring
additional ETC Source 4 fixtures, the
lighting system also features a unit each
of Robert Juliat Aramis 1013+ Xenon
Follow Spots as well as a total of 4 units
of Martin 350 Entour profiles and 4 units
of Martin Mac Aura wash beams. The
bridges come with walkways for easy
maintenance.
A ETC SmartPack wall-mount comprising
twelve sets of 12 x 1200 watt-dimmer
is responsible for all the dimming
functions. An Ion portable compact
1024 output lighting console is assigned
to handle programming duties of the
lighting fixtures.
The stage also features curtains from
JC Joel and come with fixed speed
motor controller with remote control
capabilities.
BE IN
THE
KNOW...
WHILE
YOU'RE
ON THE
GO
The Robert Juliat Aramis Follow Spot
(Partially hidden)
complemented with Clearcom CC-40
single-ear headset.
A unit of Crestron AV3 control
processor supports 2 units of Crestron
TPMC-8T-GA 8” wireless colour touch
screen panels, thus enabling wireless
control of the media systems.
The entire project took six months to
be completed from the time EAS was
appointed.
www.easpl.com.sg
Not surprisingly there is a large number
of motorised winches and hoists installed
to bring up and down the different
curtains, borders, lighting bars and
scenery flybars.
Communication and Control
The Intercom system consists of
Clearcom solutions consisting of two
2-channel rack-mounted Clearcom
MS-702 stations that comes with 18”
gooseneck microphones each; 5 units of
wall mounted Clearcom KB702 headset/
speaker stations and 4 units of Clearcom
RS-701 2-channel beltpack that are
Motorised winches and hoists installed
to bring up and down the different
curtains, borders, lighting bars and
scenery flybars within the stage.
Email: [email protected] Tel: +65 6316 2716
Website: www.e-techasia.com
62
INSTALL
INDIA
Carving A 3D Theatre Under A Hill
by Ram Bhavanashi
Hansa Pictures Does a Wonder at Girnar
There have been many, many fascinating
expressions of technology meeting
spiritualism world over, and India does
have some epitomes of real and ethereal
worlds coming together. However, this
one is a bit different. For, it’s crafted
under a hill. Though small in size, and
probably scale, it’s the challenge, and
perfection with which the challenge was
addressed that makes it special.
The making of 3D theatre at the base
of the famous Girnar hill in Junagadh
district of Gujarat, India, does seek to
exemplify the expertise available in the
country, and passion for making things
happen. Bengaluru-based Hansa Pictures
had this honour of creating this picturein 3D. Read on...
For those who know it, the very name of
Girnar hill in Junagadh district – some
327 km southwest of Gujarati capital
Ahmedabad, at 3100 feet above the
sea level – springs in a spell of spiritual
fervor and an excitement of historical
appreciation.
For, the hill is part of a mountain range
that is dated older than the mighty
Himalayas; home to a huge pantheon
of gods and saintly abodes; and rich
repository of archaeology and history.
A huge rock-edict of Ashoka – one of
the most famous emperors of ancient
Asia (3rd century BC) – on top of the hill;
as many as 866 stone-carved temples
of both Hindu and Jain faiths spread
over five famous tonks (peaks) dating
back to 12th century AD, makes its rich
historicity while its’ being adjacent to
the Girnar forest which is home to the
famous Asiatic lions adds an eco-logical
appreciation as well.
While all that made one of the most
exciting settings for any technology
solution provider, what it actually
posed for integration was an equally
challenging proposition. At the foot
of the hill is a Dharmasala (a place for
pilgrims to stay, rewind and meditate),
which was still under construction when
the solution provider had a first glimpse
of the site meant for the technology
deployment.
When Gautam N
Shah, Head-Projects
at Hansa Pictures
visited as part of
his regular spiritual
pursuits his Guruji
(Jain monk) Param
Pujya Hem Vallabh
Saheb at the hill,
Gautam N Shah,
the spiritual master
Head-Projects at
Hansa Pictures
shared his vision with
his trusted followercreating a 3D movie and a theatre
which talked about hell and showed the
horrifying events that would happen to
humans due to the multitude of their
sinful deeds. All was exciting till the
master took his follower to the basement
of the building and told it was the site
meant for the creation of the 3D theatre.
“It was 76 feet in length, 33 feet in
width, and 12 feet in height. It was the
INSTALL
63
A thorough brainstorming and research
for over two months, led to the theatre
size being further reduced by 20ft to stay
56ft in length, keeping in view the screen
size and providing suitable sight angles
to every single seat.
‘only’ place where I had to create a
theatre,” Gautam reminisced. “There
were some major civil issues which we
addressed then and there- for instance
lowering the floor level by a few inches,
to ensure that the water does not seep
in.”
The spec for Hansa Pictures was that
the place had to look appealing to the
young, feel like a modern theatre and
get the impactful message through. It
was twin-responsibility, first- to identify a
good moviemaker who would re-create
hell on screen, and second- to make a
‘wow’ effect 3D theatre.
“We had two options- to make people
enact the different roles; or to make an
animated movie,” recalled Mehul Shah,
the spokesperson for the Guruji, and
theatre management. “We employed
real actors, and shot them in 3D,” he
explained, “Guruji was at the top of
the concept visualization, and storytelling; Gautam handled the long stretch
of hiring actors, director, getting the
movie shot, preview and review, then
commission in the theatre.”
The Hansa Exec had to spend a lot
of arduous hours to scout the able
moviemaker and artistes, and get the
movie made as per the script, and even
as it was being made, he had to focus on
carving the 3D theatre out of the small
basement which was already reduced by
a few inches to allow for AC and other
ducting.
According to Mehul Shah, the
Dharmasala was already under
construction when the 3D theatre idea
was being visualized; therefore only the
basement portion could be used for
creating the theatre. Having decided
thus, the challenge was to build it from
scratch.
“The place was small in terms of volume,
and it had to have the environment
of 3D,” Gautam recalled, “it had to
sound good and look beautiful too. So,
from determining the ideal screen size,
seating layout; seat size; deciding on
the type of 3D system, everything was
critical.” The theatre was specified to
seat around 120 people in one go.
It was then the call of acoustics. Given
the setting of the theatre, echo was a
big thing, and placement of speakers
too was a potential challenge. Hansa
came up with the idea of concealing the
surround speakers so that they would
not obstruct anyone’s vision and also stay
free of known or unknown tampering.
“The RT in the space was over 4 seconds,
and it was like a closed box booming
from within,” said Gautam. “We had to
create acoustic walls on all the four sides
keeping in mind maintenance issues like
speaker wiring, electrical wiring, and
air-conditioning.” According to him, the
acoustical ceiling grid had to be higher
as the hall was quite low. So they made
the grid within the beam to beam. Using
Himalayan acoustics, they incorporated
15mm fibrette tiles over the ceiling and
20mm fibrette boards on the walls. An
infill of polywadding was also applied for
insulation.
There were as many as six 1.5-tonne airconditioners for the theatre, and one for
the Control Room. This A/C noise had to
be accounted by the acoustic treatment.
“The toughest design to create was
within this hall,” explained Gautam.
“It took me over a month to come up
64
INSTALL
with the design. It was very satisfying
personally seeing the final finished
design working fine.”
it also came with multiple views and
suggestions; so keeping them all happy
was by no means an easy task.
The A/V System – The Real Play
The Hansa team stayed at the place for
over a month to install and commission
the theatre amidst these conditions.
However, focused that they were, their
efforts met accomplishment with high
praise.
Hansa chose Electro-Voice system for the
entire audio solution of the 7.1 surround
cinema system that was suggested.
They chose two full HD projectors from
Optoma over a 3D converter making
it is a passive system. The theatre was
fixed with 110 seats, with an additional
provision of 10 seats.
They did have issues with electrical
wiring too, as some simple electrical
material like MCBs and switches were
not even heard of in the Girnar area, and
thus had to be procured from Bangalore.
For the lighting part, they wanted
lights that would give a wall wash and
illuminate the rooms. That even these
lighting materials were strange to the
locals, the integrator had to procure and
ship them from Bangalore.
Admits Mehul: “No one in this region
has any knowledge of what is 3D
technology; what it requires to be
deployed. There are no providers of this
solution in this region. Fortunately we
had Gautam who is well-versed with the
solution, and we rested the entire onus
on his shoulders.”
The other set of challenges was in term
of multitude of people and views being
thrust on the team. That the finance
for the theatre came from the Trust,
The only compromise, if at all that be,
was the location, feels Mehul. They
could have done a much better job
had they got a different place than the
basement to build the theatre, he says.
He, however, admits that it was never
in their vision when they were building
the Dharmasala; it only came later into
their mind. That there was no other free
place, and they could not dare venture
into the dense forest nearby, they
depended on the basement.
However, Mehul and the Trust he
represented were apparently happy with
what they had achieved. “The project
was benefited in a huge way,” endorsed
Mehul. “After watching the movie,
people began taking oath in front of the
Sahebji about the austerity measures
they will adopt. I've seen a few people
coming from overseas, and appreciating
the whole effort, and donating finances
for the facility.
It was a big accomplishment too for
Gautam, who is a devout follower of
the Guruji. “Here is one project which is
very close to my heart,” said the pious
integrator. “Such a project comes very
rarely in the life of an AV integrator
where the client just tells about the
concept and completely rests on usfrom suggesting pin to plane, absolutely
no questions asked, and more happy
with the solution deployed.”
www.hansagroup.in
The A/V Equipment
Audio
• EVU-2082 for the L-C-R- 3 units
• EVID 6.2 for the surrounds: 12
units
• EV Q-66 amplifier-2 units
• EV Q-44 amplifier-units
• ETX 18SP Subwoofer-1 unit
• Marantz AV7702 Pre-Amplifier- 1
unit
• Furman PL8CE Power
conditioner-1 unit
• Cables we used Clicktronic
speaker & HDMI cables.
Video
• Optoma HD-25LV Projector-2 units
• 144” X 61”H Fixed frame with
silver screen-1 unit
• Geobox 3D Converter-1 unit
• Panasonic DMP-BDT 330 Blue ray
player-unit
• Tvix HD Café Media Player-1 unit
• Passive 3D scratch resistant
glasses from Get D
66
INSTALL
JAPAN
Living Room Café By e-plus Showcases
Martin Audio
Japan’s latest New York style ‘Living Room Cafe by e-plus’ is divided in 7 zones which are catered to by a
host of Martin Audio systems.
J
apan’s latest New York style ‘Living
Room Cafe by e-plus’ in the Tokyo
ward of Shibuya is a cosy live music,
art and cultural venue which promotes
the concept of artists inviting their
friends into the living room. It is also the
province’s largest live café and situated
in this busy shopping and entertainment
area, is just three minutes’ walk from
Shibuya’s central station.
Divided into seven zones, surrounded by
spacious antique leather sofas, fireplaces
and iconic works of art, the music is
played out through a combination of
Martin Audio DD12, DD6 and XD12
premium loudspeakers.
The main zone is the live space, with
the others being designated Main Bar,
Terrace Room, Terrace, Private Rooms,
Living Space, Patio and Dining Zone.
Dominating the Live zone is Martin
Audio’s flagship DD12 and PSX sub-bass,
which have been adapted for the first
time as a main system in the installation
sector. Martin Audio’s unique differential
dispersion technology delivers consistent
coverage and pristine audio throughout
the entire audience area. Additional
XD12s and DD6s provide valuable
support providing coverage throughout
all the other areas.
The Live zone had been specifically
designed with the utmost respect for
audience and artists alike, determined
to leave them with an unforgettable
audio experience. The other zones
were designed to appeal to the guests’
imagination — such as a bar in a
luxurious resort hotel and an outside
terrace space, experiencing the natural
winds of all seasons.
Ms. Oharada of e-plus confirmed,
“Living Room Café by e-plus provides
a new live entertainment, restaurant
and art complex for all types of all the
customers; it is nothing like any of the
other existing live and concert venues.
Aside from the regular eating and drinks
costs we levy two additional pounds as a
music fee — and all these tips are passed
to the artists who perform at the show.
“This place also provides a chance to
take a look at the actual art displayed in
the café, giving customers the chance
to purchase their favourite. Living Room
e-plus wants to become the place where
all customers and artist feel close in a
casual style environment.”
www.martin-audio.com
INSTALL
67
VIETNAM
Crystal Palace Fitted Out To Handle Any Type
Of Events
Electro-Voice speakers provide the perfect coverage
complemented the overall feel and look
of the venue space.
The EV ETX powered loudspeaker
features touring grade, high efficiency
transducers driven by Class D powered
amplifiers. The signal synchronized
transducers (SST) and Bosch patented
waveguide design coupled together
with intelligent FIR Drive, provide
quality in sound reproduction and
precise coverage that goes beyond
the client’s expectation. As for the Live
X loudspeakers, they ensure musical
performances hit the right note with
their high output, extended frequency
range and high sensitivity.
T
he Crystal Palace Hotel is located
at Phu My Hung, in the south
of Ho Chi Minh city, where the
most modern residential areas are
located interfaced with the heart of
the commercial financial district. The
four star hotel prides itself on being
a location that is able to cater to any
type of event – conferences, meetings,
weddings and even product launches.
Crystal Palace features wedding
and conference halls which can
accommodate up to 1,500 people
simultaneously, in its unique and
harmonious interference of Asian –
European architecture. Complementing
the stature of the hotel is the sound
system that has been installed to provide
powerful yet crystal clear sound.
To make it the venue of choice for
events, Khai Vy Group, Owner of Crystal
Palace, wanted a state of the art sound
system for the venue. Sound systems
of the highest standard were expected
to be installed in every ballroom in the
building to cater to the needs of events,
conferences and weddings. After hearing
the sound produced by the EV speakers,
Khai Vy Group was convinced that EV
was the professional sound system of
choice for its venue.
The 2,675 square meters of event space
is now outfitted with Electro-Voice ETX
powered loudspeakers as well as Live X
loudspeakers controlled via Dynacord
CMS 1600 compact mixing systems. In
addition to the crystal clear sound quality
and even coverage, the speakers design
The CMS1600 mixing console was
chosen for its robust built and audio
quality which is the hallmark of a
Dynacord mixer setting standards for
analogue mixers built in Germany.
Truong Thinh Equipment who was
responsible for the installation, together
with Bosch Vietnam, also ensured that
staffs at the hotel were trained properly
so that they would be able to derive the
maximum potential of the sound systems
installed for the different usage.
www.boschsecurity.asia
68
INSTALL
INDIA
Harman Shares Honours At The ‘Shah’ of
‘Show’ Theatres
KoD second venue offers even more fascination and technology fare
The Kingdom of Dreams premises together with the Show Shaa Hall entrance on the right hand side.
When the much fancied entertainment
ensemble Kingdom of Dreams (KoD)
came up with its literally dramatic
Nautanki Mahal in 2010, it ushered the
art lovers into a world of wonderment.
After as many as 2000 shows of
fantasy-magical ‘Zangoora’ and more,
the promoters of KOD have launched
their second venue with even more
fascination and technology fare. Show
Shaa Hall, as the venue is called, is a
masterly combination of many minds and
manufacturers- Viraf Sarkari, Anumod
Sharma, Sunny Sarid on one side, and
Defond, Kirby, Clay Paky, Watch Out,
Ocean P6, and Harman on the other. The
result is truly a ‘shah’ of ‘show’ theatresplaying a distinctly different AV fair.
V
iraf Sarkari
of the
famed Wizcraft
doesn’t need
an introduction.
The champion
promoter of
entertainment
fairs, in association
with his Executive
Partner Anumod Sharma, and the
Group’s AV consultant Sunny Sarid, had
already made history of sorts when he
created the Nautanki Mahal the grand
ensemble of histrionics as part of his
ambitious ‘Kingdom of Dreams’ (KOD)billed as first-of-its-kind entertainment
destination in this part of the world.
A big time, and continuous dreamer, if
not a visualizer, that he is, Viraf wanted
to do more, and even as Nautanki Mahal
continued to capture the fascinations
of art lovers, he ventured exploring for
more.
“With Nautanki Mahal, we created a
well-crafted, dream-coming-true-like
theatrical facility; we now wanted to
add another dimension” Viraf says,
“something very unique and integrated.”
Essentially, Viraf and team wanted to
create a multipurpose venue that could
address theatrical, as well as corporate
events, banquets and night clubs.
However, they felt they needed more
clarity. Years rolled by in pursuit of that.
“The idea was to optimize the facility
usage 24/7 so that it turns more
productive while being entertaining,”
said Sunny Sarid, the Group’s AV
Consultant. “We, however, wanted to
do that in a very unique, never-before
fashion; actually, it was this thought
process that consumed time.”
That they had an open area outside the
Nautanki Mahal they wanted to shape
their dreams of yet another unique,
INSTALL
– life size LED walls; thoughtfully
segregated digital signages; stunning
lighting; fog effects; and a cinema.
A few months of very hard labour, a
focused approach, a well-coordinated
work out with the Chinese seating expert
team have all contributed to realize yet
another vision- the Show Shaa Hall, a
very unique fare in itself.
Sunny Sarid
integrated venue on that open space.
The executive team brainstormed on
the possibilities, and concluded on a
design that would essentially have a
flexible seating which could be recessed
to the back wall, if not removed- so
that the vacated space could be utilized
for banquets and other socializing
events. The execs accordingly explored
the solutions domain; zeroed in on a
Guangzhou-based solutions provider and
deliberated on the process.
According to Sunny, the automated/
removable seating design provided the
Promoters with a free space of 20 x 20
meters.
“That was the most decisive move,” said
Sunny. “Once that was figured out, rest
of the ideation fell in place in no time.”
Interestingly, while they decided to
experiment with their visualization to
shape a ‘first-of-its-kind’ facility in the
country, they did not want to experiment
with new technology partners; they
decided to go with their trusted existing
partners for the entire AV fare. Thus
came in:
• Harman for audio
• Defond for staging
• Clay Paky, Antari, DTS, Martin for
lighting
• Kirby for fly bars
• Ocean P6 for LEDs
• WatchOut for media content
• Panasonic HD camera for video
capture
• Christie DLP and Harkness screen for
movie screening
The stage was thus set for designing a
distinctly different facility with 60 x 40
feet stage – complete with revolves,
hydraulic lifts, flybars, and flying systems
“The name is very typical,” admits Viraf.
“Delhi-Shelly, they say in this part of the
country,” he likens the nomenclature. “It
was intended to connote something very
unique.”
Besides the AV and other entertainment
offerings, the essential feature of the
facility is the motorized flexible seating
that can be recessed to the back of
the wall, and stretched forth to form a
structured seating.
A/V - the Centrestage of it all…
The Show Shaa Hall has thus been
designed with an integrated AV farea stunning display of segregated
(LED) digital signages; a 7.1 Surround
cinematic system, along with
13000-lumen DLP projection from
Christie, and a 35mm Harkness screen
for movie screening; clustered LAs and
high-energy audio systems to spirit
up the evening DJ'ing and other rock
bands.
Delhi-based distributor-integrator HiTech
Audio Systems had been roped in to
integrate and commission the system.
The audio system comprised a big range
of brands and systems from Harmanas many as 22 units of JBL Vertc 4886
tops – 8 units each on left and right
and 6 units in centre cluster – four units
of Vertec 4880A double bass 18 bins
running on V5 presents, and powered by
69
seven Crown I-Tech 12000 HD amps- all
going into the main PA set-up.
The clustered Line Arrays are augmented
by four units of VRX 915 floor monitors,
flushed into the wooden stage, and
two side fills of four VRX918 units and
8 VRX932LA flown clusters that are
powered by five I-Tech 5000 HD amps.
Further, as many as 12 units of JBL 8350
Surround Sound loudspeakers spread
out in the hall, powered by four Crown
XTI 2000, and four front fills of AC 28/26,
completing the power-packed system.
The whole system is connected by a BSS
London Blu 800 and 120 processors,
whose uniquely programmed presets
do a great deal of magical job with the
applications. The beauty of the system
and the solution here is the way the
presets are programmed, says Ashish
Bajaj, Sales Manager (Special Projects)
at Harman. That has enabled switching
across various situations so easy and
comfortable.
“The way the DSPs are employed here
is very unique in the sense that we have
used one single box to perform multiple
functions- instead of having individual
boxes for individual functions.”
While Harman engineers Sunil and
Sudarshan did the programming, the
audio major’s teams from Bangalore also
joined to make it a team effort executed
to perfection.
While as many 20 each of DSR 700
digital wireless receivers, and CK77WRLP
omnidirectional lavalier condenser
microphones from AKG are tasked to
provide for crisp vocals in the hall at any
time, the FOH is fed with a Soundcraft
VI6 and VI 1 console connected to a local
stage rack.
“With Nautanki Mahal, we created a well-crafted,
dream-coming-true-like theatrical facility; we now
wanted to add another dimension. Something very
unique and integrated.”
- Viraf Sarkari, Wizcraft
70
INSTALL
Lighting – stunning arrays of glitz
Elevating the WOW factor of the Show
Shaa Hall’s AV fare further up is its vast
size and scale of lighting solution that is
essentially characterized by a substantial
quantity and range of Clay Paky systems
configured in combination with DTS,
ETC and others.
The Clay Paky systems comprised as
many as
• 16 Moving Head Sharpy units
• 14 Alpha Wash 700s Profiles
• 14 Alpha Profile 700s
• 8 Alpha Spot 700s
• 2 Shadow QS-LT 1200 Follow Spots
with Stand
The solution also comprises 16 PAR,
64s units of Lamp CP61 and 62 from
DTS, and 16 2K Scena Fresnels from
ETC. Besides, six Atomic 3000 DMX
Martin Strobes have been weaved in
combination with Avolite console and
Antari fog systems.
“We chose Clay Paky in the main,
based on our experience of their
reputation of reliability and quality of
technology,” informed Sunny. According
to the consultant, the management
and design team was so convinced with
the Italian lighting solutions provider
that they dealt straight with Clay Paky
headquarters to have the solution
supplied.
“The performance that the systems
are known for, and the overall colour
ambience they create enhance the look
and feel of the venue,” commented
Sunny. The other lighting systems have
effectively complemented the whole
experience.
Segregated Digital Signages
While the automated/flexible seating
is one essential feature of the Show
Shaa Hall, a very important feature
that plays pure AV even as it uniquely
accentuates the interior décor are the
segregated digital signages on either
side of the screen. There as many as 16
each P6 LED displays of varying sizes in
square and rectangular shapes on the
side walls. Designed in picture frames,
these signages are programmed to play
either the same content coming on the
main screen, or independent content as
customized for the occasion.
“The idea of segregated P6 LED displays
was to tap every single aspect of visual
play,” explained Sunny. “Anybody can
create or see multiple images on one
screen. But when you have a social
gathering, or corporate shows, people
INSTALL
want visibility,” he elaborated, “on such
occasions, each of these segregated
screens can display one product/item
each, and thus, in one shot or stream,
multiple brands, products or items can
be highlighted for the benefit of the
viewers.”
There are two more big, square-shaped
LED displays on either side of the main
screen, purely meant for corporate
presentations. The set-up is equipped
with camera capture of the proceedings
in the theatre, and a provision to stream
it live.
“The different note we tried to strike
here is to break up the graphics and
create picture frames,” explained the AV
consultant. WatchOut servers take the
honour of serving up the video content
playing.
The main screen on the stage is created
with arches and mapped to impart
depth, so one can create an amazing
array of props without actually using
one. It offers diverse possibilities like
oceanic scenes, landscape or streets or
corporate setting etc. which can become
a backdrop for both theatrical and
corporate presentations.
The facility is equipped with fiber optics
and a port to beam out the AV feed of
the proceedings; it also has provision for
web conferencing. A Media Box is also
created for media purposes.
“There may be a radically innovative,
revolutionary technology being deployed
elsewhere; but this one is a huge blend
of multiple technologies made into
one place for diverse functionalities”
says Sunny. “We do not believe there
is a facility that can perform so many
functions in one place simultaneously,
and still create an archive of all that for
any future references.”
Apparently it is the WOW factor that
the promoters wanted to bring to place.
Says Viraf Sarkari, the main brain and
energy behind this unique INR 80-plus
crore (US$ 12 million approx.) massive
facility: “We didn’t want to do routine
vinyl backdrop; we wanted to do
something unique, yet, a plug-n-play
sort, and we came up with this idea. It’s a
personal value add from my desk.”
According to him, they knew what they
wanted; they strived, and achieved it.
www.kingdomofdreams.in
www.harman.com
www.claypaky.it
FACTFILE
• Project Name: Show Shaa Hall,
Kingdom of Dreams
• Project Segment: Entertainment
• Project Location: Gurgaon
• Project Owner: The Great Indian
Nautanki Company (JV between
Apra Group and Wizcraft)
• Project Nature: Theatrical AV,
Digital Signage, Live Streaming,
Corporate functions
• Project Management Consultancy:
In-house
• AV Design Consultant: Sunny Sarid
• AV Systems Integrator: HiTech
Audio Systems
• Lighting Consultancy: Sunny Sarid,
In-house
• Project Cost: >US$ 12 million
• AV Technology cost: >US$ 3 million
• Project Commissioned: August
2014
• Project Highlight: Segregated LED
Digital Signage and automated/
removable seating
71
72
INSTALL
SOUTH KOREA
CGV Chooses Christie For Its Biggest Screen
In South Korea
Christie’s 6P laser projection system produces an astonishing 108,000 lumens on CGV Starium’s 32-meter
wide screen
C
GV, a subsidiary of CJ Group,
is the largest multiplex cinema
chain in South Korea. The
company has installed a ground breaking
6-Primary (6P) laser projection system
from Christie Digital in CGV Starium,
which houses one of the largest screens
in the world.
Located in the sprawling Times Square
shopping mall in Seoul’s Yeongdeungpo
district, CGV Starium is a deluxe 545seat auditorium equipped with a giant
screen that measures 32 meters in width
– making it an ideal venue for installing
the Christie CP42LH high frame rate
3DLP 4K RGB laser projector, which
provides an ultra-bright and colourful
platform for huge screen theatres. This
makes CGV the first cinema chain in
South Korea to deploy Christie’s pinnacle
cinematic projection technology.
“We are very proud and excited to install
Christie’s top-of-the-range CP42LH
laser projection system in CGV Starium,
which makes us the first cinema chain
in South Korea to offer audiences an
unrivalled 3D visual experience which,
in my opinion, is the future of cinema
presentation,” said Nochan Park, senior
manager, Cinema Technology Team,
CGV.
“The moment we saw the amazing
3D visuals projected by the CP42LH,
we knew this is what we have been
looking for all along – high-brightness
and natural 3D that further pushes the
capability of high quality visuals to new
heights. Over the last two decades, CGV
has been fully committed in providing
patrons with the best cinematic
experience, and the decision to select
the latest technologies from Christie
reinforces our pledge to be the cinema
chain of choice for movie-goers.”
The upgrade will replace CGV Starium’s
existing Christie 4K dual xenon system
with a state-of-the-art pair of Christie
4K laser projection heads, a 6P modular
laser light farm with fiber-optic delivery,
Christie 4K 3D high-bitrate server,
and a new premium white screen. This
particular system is designed to achieve
over 14-foot lamberts onscreen in
3D and an astounding light output of
108,000 lumens, far exceeding any ‘ultrabright’ industry standards. The CP42LH
has been officially commissioned and
commences regular movie screenings.
Henry Khang, General Manager, Christie
Korea, commented, “Our non-flashing
INSTALL
6P architecture is by far the most
light-efficient 3D technology on the
market, providing incredible brightness,
enhanced color gamut and a remarkable
contrast ratio. We are very pleased
that CGV has selected Christie for its
next-generation cinema projection
technology and are confident that this
installation at CGV Starium will deliver
an unmatched cinematic presentation to
movie-goers. The unique system design
and configuration of this laser projection
system will further distinguish CGV
Starium as one of Asia’s most premier
cinema venues.”
“We’re delighted and honoured that
CGV has acknowledged the superiority
and brilliance of Christie’s revolutionary
6P laser projection system,” said Lin Yu,
vice president, Christie Asia Pacific.
“Compared to conventional 3D systems
found in cinemas around the world
today, our system is able to exhibit vastly
improved 3D light levels, color fidelity,
image uniformity, viewing comfort, and a
sense of immersion. This is the future of
3D cinema projection, and is expected
to be a key element in boosting 3D box
office revenues around the world.”
Anchored by the Christie Freedom
laser illumination system, the CP42LH
produces a colour gamut that exceeds
the DCI P3 color and replicates the
Rec. 2020 space, making it the most
advanced RGB laser cinema projection
system available. It consists of rackmounted laser modules where each
module can produce up to 5,000 lumens
of white light. Because of the scalability
of this platform, up to 12 laser modules
can be easily added, removed, activated
or disabled depending on the brightness
requirements. This provides up to 60,000
lumens per rack. Each laser module is
also independently cooled, providing
built-in fault protection, improved
efficiency and ultimate reliability.
Since its rollout last year, a number of
cinema chains around the world have
chosen Christie’s 6P laser projection
system as their preferred choice for a
superior 3D cinema experience. Theatre
chains equipped with Christie laser
73
projection technology include Seattle
Cinerama, and Moody Gardens in North
America and in Asia, the iconic Shanghai
Film Art Center in China is the first
theatre to be fitted with the CP42LH.
Christie’s 6P laser technology has also
been endorsed by Dolby as a foundation
technology for Dolby Cinema, a branded
premium cinema offering for exhibitors
and movie-goers that delivers the best
cinema experience ever.
So far, the famous El Capitan Theater
in Hollywood as well as AMC Theaters
in Burbank, Atlanta, Houston and
Kansas City across the United States
are delivering this total premium
cinema experience, while JT Bioscopen
in Eindhoven and Hilversum in The
Netherlands, and Cineplexx Linz in
Austria have also commenced screenings
using Dolby Vision, the visual aspect of
Dolby Cinema, which is anchored by
Christie laser projection.
www.cgv.co.kr
www.christiedigital.com
74
LIVE!
{ MALAYSIA }
Nexo Revitalises GEO T For Arena Of Stars
1
6-time Grammy Award winner
David Foster was the star
appearance at the Arena of
Stars in Genting Highlands, the most
prestigious performance venue in
Malaysia, which is celebrating its 50th
anniversary. For the concert, NEXO
sent a technical team to the Genting
resort to provide a complete review and
recalibration of the Arena’s installed
GEO T line array system.
The Hitman David Foster & Friends Asia
Tour 2015 dropped into Resorts World
Genting for a spectacular concert. Top
vocalists performing with producer,
songwriter and musician David Foster
included Natalie Cole, Peter Cetera,
Boyz II Men and Ruben Studdard, a
demanding line-up for the house PA
system.
System specialist Mark Bollenberg
worked with NEXO’s Malaysian
distributor Concept Audio to implement
improvements to the GEO T sound
reinforcement system, installed 4 years
ago. The latest NXstream processing
software and a new approach to the
subwoofer set-up produced significant
gains in power as well as control.
“Over the years, the system has given
satisfaction to the venue,” explained
Bollenberg, “however, the NEXO team
felt that we could bring up the quality
of sound even further, especially at the
RS18 subwoofer distribution level. Our
new approach using a mix of L & R plus
steering, works much better to avoid
lateral spills and to create a pattern that
really follows the room shape. We gained
at least 4dB of acoustic power on top of
control.
“On the GEO T side, we finally decided
to run the system down to 60Hz, which
was made possible by the new NXstream
FIR-processed preset, which actually
makes the GEO T sound even more
natural and open. Overall the system
sounds more powerful and smoother
than ever with solid and equal sub bass
response everywhere.”
Entertainment Director Billy Ching
was really pleased with the new
calibration and commented that the
Genting Highlands management was
extremely satisfied with the overall
sound performance during the show, and
confirmed that they consider GEO T and
RS18 to be the best possible choice of
system for their venue.
www.conceptaudio.com.my
www.nexo-sa.com
“On the GEO T side, we finally decided to run the system
down to 60Hz, which was made possible by the new
NXstream FIR-processed preset, which actually makes the
GEO T sound even more natural and open. Overall the
system sounds more powerful and smoother than ever with
solid and equal sub bass response everywhere.”
- Mark Bollenberg, System Specialist
76
LIVE!
{ SINGAPORE }
CHIJMES
Turns Green
With The Heineken
Cities Festival
Guests “transported” to six cities in one memorable night
LIVE!
T
he 28th of August saw the
entertainment complex, CHIJMES,
turned into a sea of green, where
Heineken held its Cities Festival. It was
a unique concept where Asia Pacific
Breweries, the company that sells
Heineken, worked with some of the
existing F&B outlets within CHIJMES
to create a journey of discovery into
six of the world's most exciting cities,
namely, Los Angeles, Madrid, Mexico
City, Seoul, Tokyo and Singapore.
Entertainment situated at different areas
within the venue, depicted the music
and entertainment of the different cities
and went down well with guests, as they
soaked in the atmosphere. The highlight
of the evening saw DJ Cristian Varela
who is fast becoming one of Spain's
best export and ambassador to the
techno scene, get the crowd all pumped
up. With the sale of limited city edition
Heineken bottles being snapped up, it
was indeed a memorable night of fun
and musical experience of the six cities.
Helping to create the seamless
experience for the guests was Roger
Seah of Concept Alliance Asia
who was the appointed Activation
Creative and Show Director for the
event. For production support Roger
appointed Robert Adrian Tan as the
Technical Director to ensure that an
equally exciting atmosphere was
created to cater to the senses.
Roger's scope of work entailed
creativity of the entire consumer
experience of the festival, from
sound, light and visual to Artiste
Management and on-sight Branding.
According to Roger, challenges
where sound, light and visual were
concerned, included special attention
that was required for the cabling
works and safety issues. “CHIJMES is
a conservation site and we had to be
careful due to the building structure
to ensure that all equipment and
power required did not affect the
building. In addition time was also a
factor as we had to work around the
operating hours. Considering that
this is a lifestyle venue, it took us 5
days to get the set up done as we
could not test systems or do cable
work during normal operating hours
of the venue.”
There were two control stages set up
within CHIJMES. Each control stage
took care of controlling the sound,
light and visual for specific areas.
One control stage took care of the
Seoul and Tokyo city experience,
whereas the larger control stage
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© Heineken Singapore
was responsible for the rest of the cities
entertainment experience including the
finale with DJ Cristian Varela.
Singapore as the melting pot of cultures
was aptly the venue showcasing all the
different cities.
original sound and its dynamics were the
key elements that pointed us into having
KV2 Audio for this Festival.” said Robert.
“Production support was also a
challenge as we needed to consider
the placements of sound and lighting
support structures in relation to the
F&B outlets within the space. We had
to ensure that the sound dispersion
and firing angles of the lightings did
not disturb the respective F&B venue's
dining clients during the entire show,”
said Roger.
Each of the areas had background music
being played, depicting the respective
city's music. This was complemented
with performance depicting the city's
music. Each city performance was coordinated to follow a schedule thus
allowing guests to enjoy each city's
performance and performers. This was
scheduled twice before the highlight
performance by DJ Cristian Varela.
He added, “Different locations, some
with reflective walls and others with
open spaces had to be taken into
consideration before deciding on the
actual systems to be utilised.”
Technical Spec
The task ahead for Robert Adrian Tan as a
Technical Director was enormous. Robert
and his team had to set up the sound and
lighting equipment in five different areas,
which were then controlled by the two
stage control areas.
The Mariachi Band performing at the Mexico
City area
The Entertainment Aspect
Essentially there were five different
areas created within CHIJMES which
showcased music and entertainment
from five different cities, mainly Seoul,
Tokyo, LA, Mexico City and Madrid.
“For the audio system we went with KV2
Audio. There were many aspects that
had to be carefully considered, before
deciding which KV2 System was to be
deployed for each location. KV2 Audio’s
individual system for each location had
to be calculated in our EASE Software
before hand as well. This would in turn,
double confirm the actual System to
be used. The true reproduction of the
The performances kick started with
Tokyo, followed by Seoul, then LA,
Mexico and Madrid.
The audio system for Tokyo featured
2 units of KV2 Audio ESD36 speakers
driven by 1 unit of KV2 Audio ESP2000
amplifier and 4 units of KV2 Audio
EX10 active speakers. Lighting fixtures
included 8 units of XC Lighting R200
moving head beams and 8 units of
XC Lighting XC-008D 18x10W RGBW
LED Par. “The performance in this area
featured the traditional Taiko Drums
and we had to choose the appropriate
speaker models as the second part of
the Taiko Drum performance was backed
by a Japanese song which depicted
“Energy & Festivity,” said Robert.
The main audio system for the Seoul
city area featured 4 units of KV2 Audio
ESD15 speakers that were driven by 2
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79
The sound and light system at the Seoul City area where guests enjoyed K-Pop entertainment
units of KV2 Audio ESP2000 Amplifiers.
3 of the speakers were hung on a truss
with the other placed on a speaker
stand to provide a controlled surround
coverage within the performance area.
The Seoul city area also featured a
Korean DJ who spinned K-Pop music,
setting the mood for the Korean dance
performance. The DJ area featured two
units of KV2 Audio EX12 speakers with
Pioneer CDJ2000 and Pioneer DJM900
systems. Lighting duties were handled
by 8 units of XC Lighting R200 fixtures
with 4 units of XC Lighting XC-008D,
18x10W RGBW LED Par.
Lighting control for both the Tokyo
and Seoul areas were handled via an
Avolites Pearl 2010 lighting console.
Audio mixing duties for both areas was
handled by a X32 Behringer Producer
Digital Mixer that worked in tandem
with a Midas DL251 Digital Stage Box.
A Klark Teknik 9610 extender was also
The LA city area
incorporated in the set-up as the Cat5
Cable length exceeded the 100m run.
The city of LA was depicted with golden
live “statues” representing the many
awards handed out in USA with breakdance performance complementing the
experience. This area together with the
Mexico city area was a focal point as it
was placed centrally just in front of the
CHIJMES lawn area. It would also play
an integral role for DJ Cristian Varela
performance as it is an open area which
would need more “oomph” for the
enjoyment of patrons. For this space
Robert placed 3 sets of the KV2 Audio
K-rig system that each comprised of 1
unit of KV2 KT2.0 Mid-Hi Module, 2 units
of KT2.15 Bass Module supported with 1
unit of K-PAK Amplifier. In addition two
units of KV2 Audio EX12 active speakers
were also placed to cover the side areas
of the space. 8 units of DTS XR-8 Moving
Head Wash lights together with 4 units
KV2 Audio ES1.0 (Long Throw System)
speaker hung, at the Mexico City area
of Omarte 15R Moving Head Beams
and 6 units of LED City colour lighting
completed the lighting set-up.
Facing the LA space was the lawn
which was also the performance area
for Mexico City. Sound reinforcement
for this space was provided by 2 units
of KV2 Audio ES 1.0 speaker system, 4
units of KV2 Audio ES 1.5 Sub-woofer
system with an additional KV2 Audio ES
1.8 Sub-woofer system. 2 units of KV2
Audio ESD15 speaker systems were used
The KV2 Audio ES 1.5 & ES 1.8 Subwoofers at
the Mexico City area
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Award-winning DJ Cristian Varela taking over the CHIJMES entertainment with his signature anthem.
as delay systems. The ES speakers were
driven by 2 units of KV2 EPAK2500R
amplifier systems with one unit of KV2
Audio ESP2000 amplifier system driving
the ESD speakers.
As the Mexico City space was also within
the focal point, the lighting fixtures
were enhanced with more units. These
includes 16 units of ASPL36 x 10 watts
LED Moving Head Wash, APSL 5R Beam
Lighting, 6 units of Clair Lighting M280
Beam/Spot and 4 units of XC Lighting
Define19 RGBW LED Spot Lighting.
Lighting control for both the LA and
Mexico space were all controlled via an
Avolites Tiger Touch console from one of
the control stages.
“As this space was a focal point we had
to ensure a higher sound coverage.
Thus creating a fully impactful sound
coverage, bringing Live Sound & Live
DJ playback to create a Live Concert
atmosphere that delivers a true and
powerful representation of the original
source to a very large audience in very
high definition audio, was the priority, ”
highlighted Robert.
In addition Roger roped in a digital
artist to draw live via a Mac showcasing
“Mexican” style caricatures and
cartoons. The images were then
projected onto one of the walls via a
Barco RLS Series – Single Chip DLP
Projector with a special 6 colour wheel,
which brought the vivid & vibrant colours
to live complementing the colourful and
bright traditional Mexican clothing.
focal points of LA and Mexico area as
well as the Madrid space below. 1 unit
of Pioneer DJM900, 3 units of Pioneer
CDJ 2000 Nexus and 1 unit of Technics
SL1210 MKII complemented the DJ
system.
Audio mixing for the LA, Mexico, Madrid
as well as the DJ performance was
handled by an Allen & Heath iLive T112
Digital Mixer with an iLive iDR-48 mix
rack.
One interesting aspect of the set-up
was the DSP Zoning system that Robert
The city of Madrid showcased Flamenco
dancers in all their splendour. This space
featured 4 units of KV2 Audio ESD12
speakers with 2 units of KV2 Audio
ESD1.18 Sub-woofer and 2 units of KV2
Audio ESD 1.15 Sub-woofer, all driven
by 2 units of KV2 Audio ESP4000 and 2
units of KV2 Audio ESP2000 amplifiers.
The DJ set was set up above the Madrid
space. A raised platform was constructed
behind the Church building, facing the
Robert Adrian, The Technical Director for the
event
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81
“Mexican” style caricatures and cartoons projected via a Barco RLS Series
The true reproduction of the original sound and its
dynamics were the key elements that pointed us
into having KV2 Audio for this Festival.”
- Robert Adrian.
had implemented. “Before the different
performances took place, each city area
played their respective city music as
background music simultaneously. When
the respective city performance took
place all the five designated city areas
would only play that particular city area's
music. When the DJ performed all the
sound systems also only played the DJ
music. To enable this we relied on one
unit of Biamp Nexia CS and a Nexia SP
linked via Nex Link for zone control,”
said Robert.
The Biamp Nexia system allowed for a 14
x 14 matrix including enough processing
power for full speaker processing, which
was sufficient for what Robert wanted to
achieve.
All the planning and hardwork paid off as
Roger states, “I am pleased to say that
everything went smoothly, in terms of
the light, sound and visual support. The
guys put in a fighting effort to help me
achieve a good overall experience.”
www.conceptalliance.com
Guests being showered with confetti
Different KV2 Audio configurations ensure
audio coverage across the CHIJMES complex
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{ MALAYSIA }
Acoustic & Lighting Assist Janet Lee With No
Restrictions
May were able dance and sing without
restriction, to their carefully selected
songs, charming the crowd with their
beautiful vocals that were captured in
clarity.
The Sennheiser E914 a recording
instrument microphone was used to
capture the acoustic sound of the grand
piano played by Tay Cher Siang. As
the night came to an end, Janet and
May sang their last song “New York”,
bringing all the night's performers back
on stage.
E
arlier in 2015, a huge crowd
of music enthusiasts gathered
outside the Bentley Auditorium
in Ipoh, a world-class concert hall to
witness the performance that brought
out the “pearls” of Mutiara Damansara,
a major township in Malaysia.
“The Opulent Sound of Shanghai”, a
concert organized by Pop Pop Music
was back once again to charm the
audience. Known as one of the top
corporate entertainment players, Pop
Pop Music is a well-recognized local
talent house and record label that
emphasized on live performances and
excellent quality sound system.
Leslie Loh CEO of Pop Pop Music
commented, “I’m very particular when
it comes to selecting the right sound
system”. Leslie also shared that one of
his company objectives is to promote
live sound performances in Malaysia, to
fill a niche the country was lacking. “You
can’t compare live performance audio to
a recorded audio in a compact disc” said
Leslie.
There were hardly any empty seats as
audience started to fill up the pews
as soon as the door opened to the
auditorium. While waiting for the show
to start, the cozy and classy venue,
equipped with moving LED light heads,
got the audience immersed into the
Grand Shanghai era. The pearls of the
night were none other than Janet Lee,
May Mow, Tay Cher Siang and WVC
Band.
That night Leslie smiled
from cheek to cheek as he
entertained the audience.
“It was great. I’m particular
in selecting the right sound
system and tonight has met
my expectation”. Regarding
future collaborations with
A&L, Leslie indicated his
interests and faith in their
products and services, “sure,
I only want good quality
equipment”.
As the lights began to dim, the crowd
focused on 5 young gentlemen on stage
playing soft instrumental music but
exploded as Janet Lee appeared to give
her opening speech before proceeding
to serenade them with her voice.
Janet Lee also shared that she
was happy with the microphone
performance. As did May Mow who
was swarmed by her fans but managed
to share that the Sennheiser mic was
excellent
Throughout the evening, Janet and May
displayed world-class performances
with their harmonious vocals. Acoustic
& Lighting System sponsored the
two ladies with Sennheiser wireless
microphones. With Sennheiser EW 500
wireless microphone, both Janet and
“We hope that Pop Pop Music would
continue to living up their objective in
providing live performances in Malaysia
and spreading the love of local talents,”
said an A&L rep.
www.acousticlighting.com
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{ UAE }
Clay Paky & d3 Technologies Come Together
For NAS Opening
O
ne of the largest event
production and equipment
rental companies in the Middle
East, Production Technology (Protec)
recently supplied HQ Creative with
lighting, video and rigging for the
opening ceremony of the Nad Al Sheba
Sports Tournament 2015, held at NAS
Sports Complex, in Dubai.
Protec selected d3 technologies and
its creative software suite to handle
the video elements for the opening
ceremony. Video elements for the giant
projections were created using two d3
4x4pros, which created the mask, blend
and warp for the two geometric-shaped
screens, angled toward each other in a
flying wedge formation, which formed
an immense backdrop for athletes and
other performers on the stage.
Peter Jones, Protec’s d3 designer,
selected d3 for its flexibility in the
timeframe dedicated to rehearsals and
for its MultiEdit Collaboration feature,
which allowed two editors to work at
the same time while rehearsals were
underway.
“The MultiEdit feature once again saved
us huge amounts of time on site,” said
Jones. “The fact that we could run
rehearsals and edit at the same time was
key for this show. In addition, the ability
to edit and do the projection line up
simultaneously made the set up quicker
than expected. Now that I am familiar
with the timeline, I find it to be one
of the easiest and quickest servers to
program.”
Beyond video support, d3 also provided
SMPTE time code to the grandMA
console for lighting and laser cueing,
performing vital functions across the
entire production.
The lighting aspect of the event was
created using 24 X Clay Paky Mythos
and 14 x Clay Paky A.leda B-Eye K10,
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85
“it packs a lot of power and is very multi-functional which
helped as I could use one fixture type to cover all the
elements without pulling the roof down.“
- Aaron Russ, Protec’s lighting designer on Clay Paky fixtures
working together alongside the Sharpy,
Sharpy Wash 330, and Super Sharpy.
The venue had to function as a sports
arena post show, so the design had to
take this into account, staying out of
the way of overhead house lighting as
not to form shadows for the TV sports
broadcast and not interfere with the
games being played below.
Additionally, the stage had to be lit for
TV as well as a live audience. A balance
was needed between what looked
good on TV and, more importantly, the
theatrics for the live audience and His
Highness Sheikh Hamdan bin Rashid Al
Maktoum, the Crown Prince of Dubai.
“The rig needed to be lightweight but
still pack a punch for such a dynamic and
fast-paced show. It also needed to be
traditionally theatrical in parts, and this
is always a fine balance between bright
and 'beamy' and slow and moody,”
shared Protec.
missed a cue and the spots were always
on point.”
Protec’s lighting designer, Aaron Russ,
found the Clay Paky Mythos and Clay
Paky B-Eye K10 to be the perfect fixtures
for the job. As he said, “it packs a lot of
power and is very multi-functional which
helped as I could use one fixture type to
cover all the elements without pulling
the roof down.“
All elements were covered, and thanks
to BlackTrax and Clay Paky lighting,
everything was where it needed to be, on
time, every time, without the possibility
of human error. The stage was bright
and vibrant with just the right amount of
technology vs traditional theatre.
He went on to say: “They are also very
fast, which combined with BlackTrax
gave me unlimited follow spot positions,
as my entire rig could be used as follow
spots if needed. This gave me the ability
to track multiple stunt performers on
BMX, in-line skates, trampolines and
even a back-flipping wheelchair from any
position in the room, without having to
think about calling follow spot operators
and with limited rehearsal time, no one
BlackTrax tracked the Clay Paky lighting
fixtures with unlimited follow spot
positions, as the entire rig could be used
as follow spots if needed.
Protec has been using BlackTrax
successfully ever since it acquired the
system from Cast Software last year. The
company is the first in the Middle East
industry to acquire the product and has
been using it regularly ever since with
great success.
www.productiontec.com
www.claypaky.it
www.d3technologies.com
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{ SINGAPORE }
A Hectic And Fulfilling Period For UnUsUaL
Productions
From organising a Carnival to highlighting the breaking of Singapore records and celebrating 50 years of
nation building, UnUsUaL Productions put out all stops to ensure the events were successful in a hectic
period from June to August this year. Each event required different expertise and UnUsUaL managed to
pull them off admirably.
SEA GAMES CARNIVAL
The 28th SEA Games carnival was held
between 30 May to 16 June at the open
spaces within the Singapore Sports Hub.
The entire Carnival was part of several
fringe activities organized by SportSG
for the public and was aimed to rally
communities to get involved in the SEA
Games experience.
The carnival featured 20 booths where
carnival-goers could pit their wits and
skills in a variety of games. Highlights
included the first ever Hot Air Balloon
rides in Singapore, Laser-Tag battles and
the gravity defying “Walk-On-Water”
game.
Keeping with the objective of getting the
community involved in the SEA Games,
meet-and-greet sessions were organised
for the public to meet the athletes in
person to obtain their autographs and
take photos with them.
For many months UnUsUaL together
with SportSG, worked hard to stitch up
all the programs for the Carnival. “We
aimed to introduce SEA Games sports to
the children in distinctive and appealing
ways and to create a 'June Holiday
like no others!' for all who visited the
Carnival, said the SEA Games Carnival
Commitee.
Though carnival organising may not be
UnUsUaL’s forte, the team was up to
the challenge. “Our team started from
brain-storming ideas for the Carnival,
to conceptualizing, designing and
executing it. It was a long process but all
was worthwhile after the whole Carnival
had been setup. From carnival crews to
performers and technical crews, we had
an average of 120 people working onsite
every day,” said Alan Meng, Director of
UnUsUaL.
Stage performances featuring local
artistes like Daphne Khoo, Tabitha
Nauser, The Sam Willows, Tay Kewei and
Charlie Lim were held to further spice up
the carnival.
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UnUsUaL also created a specially
choreographed Laser & Lightshow
for everyone to celebrate, as well as
a dance and percussion performance
incorporated within the Laser
& Lightshow to keep the public
entertained.
The stage measured 10m in width and
7.2m in depth and featured a M3 Pitch
10 LED Screen that measured 5m in
width x 3m in height, with a rooftop
structure built over the stage. Another
set of M3 LED Screen of 10m in width
and 1m in height acted as the stage
skirting to showcase graphic effects and
announcement playback.
Up to 400pcs of lighting fixtues were
hung on the trusses within the stage and
spread along the lighting trusses, which
were planted around the Carnival ground
to create the right ambience. These
fixtures included, Robe Robin 300 Beam,
M3 LED Moving Head, M3 15R Beam, M3
RGBW LED Par, M3 3-Cell LED Blinder,
M3 LED Wash Bar 324 and 8 units of M3
M6-G6000 Green Laser. “Most of them
were LED fixtures as power supply was
a major challenge for us where we had
to bring in close to ten generators of
different rating to cater for the Carnival’s
requirement,” said Alan Meng.
YOUTH CELEBRATE!
Youth Celebrate!, is one of the largest
events to showcase the vitality of youths
and their achievements in sports, arts
and uniformed groups. Held on 26 July
2015 at the Singapore Sports Hub,
the event featured more than 3,700
performers and athletes from all Ministry
Of Education schools, as well as Special
Education schools and Institutes of
Higher Learning. This was the first time
that the new National Stadium hosted
a joint sports and arts event for over
53,000 students, educators and parents.
This milestone occasion, also marked the
official opening of the Singapore Sports
Hub by Prime Minister Mr Lee Hsien
Loong.
UnUsUaL played a key role in the
project organization and management
of the special events. Kicking off with
the breaking of two records in the
Singapore Book of Records – first ever
largest floating Singapore flag in history
and 7,500 laps swam in an hour at the
OCBC Aquatic Centre. The celebration
was followed by performances at the
Singapore National Stadium. With
two celebratory events happening at
different venues, UnUsUaL dedicated
much time on a detailed and systematic
planning. Starting off from planning
back-of-house detailed logistics,
including signages and communication
equipment, to assisting and coordinating
with teachers to ensure the most positive
outcome of the event.
At the National Stadium, a visual feast
of perfectly-synchronized performances
enhanced by 18 sets of high power
laser system with green stunning laser
launcher, splendid pyrotechnics and 120
sets of confetti shower launcher wowed
the whole stadium crowd tremendously.
Furthermore, the crowd also participated
in one of the light stick segments
specially coordinated by UnUsUaL which
featured radio frequency controlled light
sticks, that surprised and fascinated the
crowd.
UnUsUaL was once known to have the
largest Electro-Voice inventory in Asia
and thus not surprisingly EV speakers
were the main systems used in the
carnival. A total of 16 units of EV XLD
Line Array Speakers, complemented by
6 units of EV X-Sub Woofers, driven by
10 units of EV P3000 Power Amplifiers
were deployed onsite. It was supported
by three sets of PA Racks with 12 units of
Nexo PS15 Speakers placed at specific
zones within the carnival, mainly at the
Junior Zone, Walk-on-Water and Laser
Tag stations to further enhance create
the sound in the Carnival ground with
DJ spinning and background music
playback.
Alan Meng concluded, “We received
overwhelming praise from the organizing
committee and they were more than
satisfied with the turnout. The public
responded well to the Carnival and it hit
a record high of 40,000 visitor-ship per
day throughout the 16-days Carnival.
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Youths breaking the Singapore Book of Records at the OCBC Aquatic Centre
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For the performance, UnUsUaL set-up a
total of 120 units of EV XLD Line Array
Speakers, 4 units of Dynacord Cobra
ll Compact Array Speaker System,
more than 15 units of EV QRX115
Loudspeakers, complemented by 40
units of EV X-Sub Woofers, 8 sets of
Dynacord Cobra ll Top Speakers and
Sub-woofers that were driven by EV
P3000 Power Amplifiers, around the
National Stadium. Another 24 sets of
EV XLD281 Compact Array Speakers
were consecutively set-up, taking in
consideration for VIP front fill.
sets of mini stages of 5m by 1m each,
acting as stage skirting for graphic
effects.
UnUsUaL also set-up a grand scale of
lighting fixtures - more than 900 units
were hung on the trusses and fixed
around the pitch. The fixtures included,
Martin Mac 2000 Wash, Martin Mac 2000
Spot, M3 15R Beam, M3 1M RGBW Led
Bar, M3 RGBW Led Wash, 8-Header
Molefay and 240 units of 2KW Fresnel
which were specially designed by the
Lighting Designer.
Jubilee Day of Prayer (JDOP) held at
National Stadium in Singapore saw the
attendance of about 50,000 Christians
joining together to celebrate the nations’
50th year, a jubilee year, and to pray
for the country. The guest of honour
was, once again, the Prime Minister of
Singapore, Mr Lee Hsien Loong.
A total of 40 pieces of M3 Pitch 10 SMD
LED Panels were used to clad onto four
The end-effect was one of celebrations
in a sea of sound and light that truly
reflected the energy and aspirations of
the youth in Singapore. “Working with
the organisers and relevant committees,
we are pleased to have been involved
in this project and most importantly
delivering an outcome that was
appreciated,” said Alan Meng.
JUBILEE DAY OF PRAYER
JDOP was brought alive by the
immaculate technical assistance of
UnUsUaL Productions, from lighting,
sound, video to staging.
A mix of about a hundred JBL and
EV speakers were ground stacked
throughout the National Stadium
to provide maximum distribution of
sound in all wavelengths to the 50,000
audience present. UnUsUaL also
provided the AVIOM personal mixing
system for all music instruments.
Over 260 square-metres of M3 Pitch
10 LED was used to set up the Main
screen and 6 IMAG screens with live feed
patched through from 6 video cameras
throughout the stadium. This ensured
maximum coverage of the event and
also made sure everyone present had a
proper view of what was happening on
the stage.
SING50
As part of the celebration for Singapore's
50th year of independence, the Sing50
event was held on August 7th at the
Singapore National Stadium. Sing50
was a celebration concert of 50 years of
Singapore Music co-organised by The
Straits Times and The Business Times of
Singapore Press Holdings Limited.
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Sing50, was the first mega-concert to be
held at Singapore National Stadium, as
a prelude to the National Day Parade.
Sing50 celebrated Singapore’s 50 years
of music history with performances from
home grown talents like Stefanie Sun
and JJ Lin as well as global artistes like
Lang Lang and Apl.de.ap to. The concert
was also graced by guest-of-honour,
President, Mr Tony Tan and his wife Mrs
Mary Tan.
A huge performance such as this
required intricate technical planning
and execution that was tasked upon
UnUsUaL Productions.
Making sure the sound was of the
highest quality and to be evenly
projected throughout the whole of the
National Stadium was one mean feat
but it was made possible with UnUsUaL
Productions’ wide range of Electro Voice
(EV) brand speakers and vast experience
working at the Singapore National
Stadium.
A set of 24 EV X-Line Array Speakers
accompanied by 16 X-Sub Woofer
speakers and 12 sets each comprising 6
pieces of XLC 127 DVX Array speakers
were flown throughout the Stadium at
delicately calculated angles to ensure
maximum distribution of sound in
all wavelengths to all patrons in the
Stadium. 15 Shure dual channel wireless
microphones, 110 Shure/Sennheisser/
AKG wired musical instrument
microphones and 20 Shure/Sennheisser
wired condenser microphones were
some of the equipment catered for
artistes, the Metropolitan Festival
Orchestra and the 1,000 strong choir.
Consisting of 550 pieces of lighting
equipment including M3’s 15R Beam,
RGBW LED Par, RGBW LED Wash;
Martin Mac’s 2000 Spot, 2000 Wash and
Arri’s 2KW Fresnel, the lighting show was
one short of stealing the limelight from
the concert.
Video coverage for the concert was
unique - apart from the typical coverage
of roving stage cameras, jimmy jib
camera and overall view with wide angle
lens, UnUsUaL Productions is the first to
provide camera coverage from the roof
of the National Stadium with 100X zoom
lens.
A total of 548 pieces of M3 Pitch 10
SMD LED Panels were used to form the
208 square meter main screen and 2
pieces of 66 square meter IMAG side
screens of 26meter by 8meter and
11meter by 6meter size respectively.
Most of the equipment used would not
have been possible to install without
UnUsUaL Productions’ rigging department
which has a wide range of trusses and
trussing equipment and dedicated team
of riggers who scaled great heights to set
rigging points on the roof.
Sing50 was indeed a celebration of local
and foreign talent as well as that of the
abilities and capabilities of UnUsUaL
Productions.
All photos in this article are copyright of the
following companies: UnUsUaL Productions,
Covenant Evangelical Free Church, Ministry of
Education and The Rice Company.
www.unusual.com.sg
89
90
LIVE!
{ UAE }
Production Technology Defies Summer Heat
@ Games15 Middle East
G
ames15 Middle East, a premier
gaming event in the Dubai
region hosted by the ESL
Gaming Network, saw more than
20,000 eager gaming fans brave soaring
temperatures to watch global teams go
head to head over 3 days, competing
for the US$250,000/- prize. Held at the
Dubai International Marine Club, visitors
were able to preview and experience
some of the games scheduled to be
launched in the coming months.
Production Technology (Protec), is
one of the world’s largest event rental
companies and supported the event
through its client – SNAP, with lighting,
video and rigging.
The Main Arena was rigged using
Protec’s EHD (extra heavy duty) ground
support structure which held 3 LED
screens rigged off the 18-inch sub truss.
The stage was considerably smaller
than the arena shows that ESL regularly
produces, so Protec took the challenge
of making the stage look like an arena
show for TV without the space of an
arena. Protec’s project manager Simon
Travis explained, “The main issue was
the width of the Main Arena rig. We had
to make it smaller than we would have
liked due to the width of the venue and
access routes.”
The event was primarily for live
broadcast and had a live audience. In
this situation, broadcast took priority on
the lighting design. 24 x Clay Paky K20
B-Eye and 8 x Mythos fixtures along with
Molefays were used for the main stage.
LED pixel smart fixtures added some
ambient lighting in the main audience
area. The large cinematic set, built out of
shipping containers was subtly lit to add
to the scenic surround feature.
LIVE!
To create a more 'arena' feel to the
relativity small stage, Clay Paky Super
Sharpy fixtures were used to send some
big beam effects into the Dubai night
sky. Their powerful beams punched
through the rather bright ambient light
of the Dubai Marina while their compact
size didn't eat into the valuable stage
real estate.
“Our lighting designer worked closely
with the TV director to make sure colour
temperatures and exposures were
matched across the 10 HD cameras
being used to capture the event. His
biggest challenge was to light the
players, but not directly, as it could
have distracted them during the game”,
Simon added.
Aaron Russ, Protec’s lighting designer,
used both side and bounce lighting to
light the players in their booths. This
made the process of eliminating shadows
a little more of a challenge. Heat was
another issue as the booths were small
and confined. Pixel Smart RGBWA LED
fixtures were used to light the booths,
as the colour temperature could be
tuned for the cameras with minimal heat
output, while keeping the fixtures in
close proximity to the players.
Protec Video used an Encore VP System
for the Main Arena stage which worked
well for the event. It needed a simple
system that could handle an HD-SDI
Signal with minimal latency loss. The
Encore System was able to prevent any
lip syncing issues that may have occurred
due to the fast pace action of the event.
On the secondary exhibition stage,
a smaller rig consisting of Clay Paky
HPE 700, Martin Mac Aura and Pixel
Range Q Par fixtures were used. Protec
used its new MA Lighting Dot 2 XL-F
lighting consoles, which were easy for
the lighting operators due to their clean
layout and programming simplicity.
Protec also had its own stand at
the exhibition where the company
showcased 2 of its large single armed
91
robots that held an LED screen each
to provide an added attraction for the
visitors. The robots were programmed
to perform choreographed movements
with the screens that enabled the video
content to have an impactful 3D effect.
With the amount of attention and
interest the robots got, Protec’s Robotics
engineers are certainly excited with what
promises to be a busy season ahead for
them.
The director for SNAP, Darren
Hodge said, “Being the first
full scale gaming event in this
region, it was a learning curve
for all of us and to have the
depth of resources that Protec
have to hand was a great help.
As usual nothing seemed a
problem and there was always
help and creative assistance
immediately available from
Protec.”
www.productiontec.com
92
LIVE!
{ SINGAPORE }
Hexogon Illuminates Singapore Skyline
With Christie & SGM
S
ince 2013, Hexogon Solution Pte
Ltd has been appointed to light up
the city of Singapore during the
annual Formula 1 Singapore Grand Prix
Night Race.
Up until recently, the team had done
so with conventional flood lights, but in
2015, they opted for the LED technology
by SGM. For their architectural
illumination at the recent Formula 1 race
in Singapore, Hexogon acquired 220 x
SGM P-5 wash lights, each consisting of
44 high power 10W RGBW LEDs.
Managing Director, Adrian Goh, knew
the challenges from the previous race
events: “For some of the installations,
we were not allowed to place our
lighting equipment at the ideal spots, so
alternatives had to be suggested. Also,
as this was a night race, the entire race
track would be brightly lit, creating a
wash out effect onto our installations,
which were located just beside the track.
So a lot of trial and error on site was
required.”
efforts to make IP65 rated products
is our key requirement,” Adrian Goh
informed, revealing his intention to
extend his new fleet of P-5 wash lights.
Replacing the conventional lighting
with the LED effects of the P-5 added
advantages in size versus weight and
flexibility in colour adjustments. “We feel
that the fixture is compact, uniformity is
good and of course the brand’s ongoing
“The annual Formula One night
race is one of the most anticipated
international sports events to be staged
in Singapore and we are committed to
deliver memorable digital projections
that showcase Singapore as a beautiful
Besides their new choice of lights, they
also deployed a fleet of 46 x Christie
Boxer 4K30 digital projectors for the first
time to serve projection mapping and
live screening requirements.
LIVE!
and vibrant city to audiences across the
globe,” commented Adrian. “This is why
we have chosen the Christie Boxer 4K30
projector for an event of this scale. It
offers stable performance, is easier to
monitor, delivers excellent brightness,
and has a small footprint. We are now
able to do more with fewer projectors
and achieve better resolution.”
Overall, the projectors and architectural
lighting fixtures were deployed at 16
locations around the racetrack, including
the National Gallery of Singapore,
Victoria Theatre, Civilian War Memorial,
Gardens By The Bay, Esplanade Theatre
and Singapore Flyer.
Elaborating on the significance of this
project, Goh said, “All our installations
had been designed for maximum TV
exposure to highlight stunning views of
the city state from helicopters featuring
the central business district skyline, so
every second of TV exposure counts.
We had to ensure that the lighting and
projection systems were stable and
performing at their best when the TV
camera panned across the entire area
to capture panoramic views. I’m glad
that everything went well and the race
organizers are happy with the results at
the various venues.”
www.hexogonsol.com
93
“We had to ensure that
the lighting and projection
systems were stable and
performing at their best
when the TV camera panned
across the entire area to
capture panoramic views. I’m
glad that everything went
well and the race organizers
are happy with the results at
the various venues.”
- Adrian Goh, Managing
Director, Hexogon on the
SGM fixtures.
94
LIVE!
{ SINGAPORE }
Ctrl Fre@k Journey Through The Past With
LKY Musical
F
or theatre, speech intelligibility
is incredibly important. That was
the main consideration when the
stage was set for one of Singapore’s
biggest musical productions ever, The
LKY Musical.
design. “Ctrl Fre@k is not your typical
hire company, we are one of the only
companies in Singapore that are able
to provide professional services across
multiple disciplines. Ultimately, we are
a show design company.” While they
do straddle many departments, for the
Musical itself, Ctrl Fre@k was engaged
to supply design, show programming,
system integration services and
equipment provision.
The inaugural production by
Metropolitan Productions was held
at the Marina Bay Sands Theatre and
set over a 24-year story arc. Based on
the life of Singapore’s founding Prime
Minister Lee Kuan Yew, the production
featured local talents such as Adrian
Pang in the titular role, and provided
viewers a glimpse into the life of a young
man who would grow to command a
country.
“You’re telling a story, and in order to
tell the story, you need your systems
to be right,” explained Jeffrey Yue,
Owner of Ctrl Fre@k , the company
behind the video system and sound
(L-R ) Marco Curcio – Sound Mixing Engineer, Jeffrey Yue – Sound Designer,
Lee Yew Jin – Sound Deck Crew
LIVE!
95
As the sound designer, Jeffrey worked
with the show script and directorial notes
to consider all the different aspects
needed to adapt and supplement the
show sound requirements, with what was
available from the in-house inventory,
that he considered, “a bit too rock
‘n’ roll”. Starting with a permanently
installed of d&b J8 line array speaker
system as the main PA, he decided on
a hybrid system and brought in Norton
Audio LS4 line array elements and NF8
point-source loudspeakers to bring the
audio image closer to the audience.
Considering that most theatre shows
function through a split system, vocals
to one system and band to another, the
d&b clusters were critical as most of the
band’s sound was sent over to them,
through a matrix system. “Sound for
musicals is a lot more complex than most
shows. You may have 2 big flown clusters
that cover everywhere but without
accurate audio imaging, it compromises
the story-telling. The [d&b] J8’s are
top-of-the-line systems but all the voices
coming straight out of the boxes were
not effective for this application.”
“I wanted to pull the audio image
down so the audience would feel as
though the voices were coming directly
from the cast on stage. We managed
to achieve an 80-degree audio field
with the J8 systems while the Norton
gave us 100-degrees which provided a
wider coverage and this helped make
everything seem more real.”
“It was our first time using the Norton
speakers and for their size, they are
really powerful. For front-fill applications,
if you send the same thing to all the
speakers that are close to each other you
will have issues with comb-filtering. With
the Norton front fills, that adverse effect
was surprisingly minimal.” added Jeffrey.
Notably, the audio was made so
authentic that Jeffrey even took an
unassuming portable radio prop and
attached it to a simple Bose wireless
speaker that was fed via an IEM, for
sound effects such as radio broadcasts
from the 1960s. Also a combination of
the Mac Pro computers running Qlab 3
software and Timax 2 Soundhub digital
matrix dealt with the intricate execution
of surround sound and spot sound
effects playback.
Handling the video system design was
Wee Cheng, the co-owner of Ctrl Fre@k.
With content created by PurpleLab, Wee
Cheng placed 3 x Panasonic PT-DZ21K
projectors behind the main set to act
as the stage backdrop against a large
cyclorama. “Most of the time, when
you gain the short distance, through
using ultra-short throw lens, you lose the
brightness of the projection. To counter
“You’re telling a story, to tell the story, you need your
systems to be right... I wanted to pull the audio image
down so the audience would feel as though the voices were
coming directly from the cast on stage. We managed to
achieve an 80-degree audio field with the J8 systems while
the Norton gave us 100-degrees which provided a wider
coverage and this help make everything seem more real.”
- Jeffrey Yue, Owner of Ctrl Fre@k
this, we went with higher lumens so
that even with the short distance, we
wouldn’t lose the brightness,” explained
Jeffrey.
Up front, 2 more Panasonic PT-DZ21K
projectors used the set itself as a
projection screen. By building and
dividing the set into a 3 storey high
structure, wooden mobile slats were
constructed to act as 9 ‘projection zones’
that would help move the audience
across space and time. Helping the team
work-out details such as scene timings,
footage length and zoning properties
was a Green Hippo Boreal V4 media
server, controlled through a High End
Systems Roadhog 4.
Despite its mixed reviews from critics,
the show itself was aesthetically
beautiful. By using sound and video
projection, the creative team kept the
historical account fresh, dynamic and
current with a modern approach. Proud
of his work, Jeffrey concluded, “There
is no such thing as an easy production
but the results of this show definitely
surpassed our expectations, especially
the projections. Not only was this set
was a monster to build, we had barely
enough time to do it and after these past
few weeks, it looked and sounded really
great.”
ctrlfreak.sg
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LIVE!
97
{ MALAYSIA }
ACME Lights Tune Up “MY FM The Show 2015”
E
very year since it's inception,
the hit radio station, MY FM in
Malaysia celebrates its birthday
with a bang. In 2015, for the first time
ever, the bash was held Resorts World
Genting where fans from around the
country were invited to celebrate with
their favourite announcers and artistes.
Solutions from the ACME inventory
were once again put to good use for
the 8000+ My FM fans that filled up
the venue. There were more than 252
x ACME fixtures combined with 26 x
ACME XP-1500WZ professional wash, 26
x ACME XP-1000SZ professional spots,
82 x ACME XP-5R professional beams,
44 x ACME CM-300Z LED moving heads,
16 x ACME ST-5000 LED mega strobe
effect lights and 4 x ACME LED-BL8 LED
special effect fixtures.
As with every good party, there
is a theme and this year's was
'The Miracle Box'. The story
of the box revolved around
a musical box owned by a
mysterious character and it
was up to the radio presenters
and artists to fill the night with
suspense, excitement and of
course, jokes. For 2 consecutive
days in September, more than
40 DJs, artists and celebrities,
both local and internationally
known, joined in the fun.
“The main lighting surrounded the
performance stage in order to get bring
the best visual experience to life,” said
an ACME rep.
Highlighting the stage background were
54 x ACME BW-54-3RGBW IV building
wash lights mixed with ACME XP-5R
beam fixtures. This led to stable yet
dazzling effects that grooved with the
rhythm of the music.
In their official press release, ACME
thanked the Event Co-Technical /
Production Director; Absolute Technical
Production Sdn Bhd who built and
designed the brilliant staging.
With over 30 years of expertise in stage
lighting, ACME’s has now expanded
their sales office located to Malaysia,
Singapore, Japan, Thailand, Korea
and Italy covering more regions for
distribution.
www.acme.com.cn
98
Have U Met...?
24 years young, Pharm Thanh Duc, also known by his nickname Pi Ko, is based in Ho Chi Ming City,
Vietnam and is part of a new breed of young professionals coming into the lighting and sound scene in
Vietnam.
Tell us a little bit about yourself
I was born and grew up in Dong Nai,
Vietnam. After having completed
my high school I attended a lighting
programming course in Vietnam. I
also have a diploma in mechanical
engineering and have been working in
the lighting industry for 5 years.
What prompted you to get into
the industry?
My cousin is the Director of a company
that is involved in the sound, light and
visual industry. She is the one who
persuaded me to join her company.
Before joining her I was actually working
as a motor mechanic.
What is your weapon of choice?
I prefer to use the Sunlite software, but
I can also work with the Avolite console.
Using the Sunlite is easier for some
shows because of all the preprogram.
I like to work with
the Beam and
Moving Head spot
lights, cause I can
create some of
my best works
using this
lighting fixtures.
Have you ever been on tour?
No I have not been on tour, but if given
a chance I would love to follow Mr. Son
Thung who is a Famous Vietnamese
Singer. I would love to be the
programmer for his shows.
Describe the most memorable
show you have done
My most memorable would be the
Circus job I did, installing all the lighting
fixtures. I had just started working in
the company and my knowledge of
lighting was not up to standard but the
installation involved was for more than
200 fixtures. My job was to set up all the
lighting and hand it over to the in-house
lighting programmer which the circus
had engaged directly. But on the day
of the opening of the circus the lighting
programmer quit, and I had to take over
the programming of the lights. I had only
2 hours before the doors were to open.
I started at 4pm and
by 6pm the customers
started to come in. The
lighting program was
satisfactory, but the
next day I had more
time to do a proper
program and that
experience taught me
a lot.
What has been the greatest
challenge for you in your career
so far?
The greatest challenge was for a job
where we did lighting rental for a club.
We had set up about 30 lighting fixtures.
All was well until nearing the event. The
signal cables were faulty causing some
of the lights to mess up. Lucky for us we
have a good relation with the club and
somehow they forgave us. We are still
the contractors for the club. But this is an
important lesson learned.
If you were not in this industry,
where would you be?
If I was not in this line I would probably
be a mechanical technician.
What have you learned the hard
way?
Most of my job scope requires hard
work. During my early years as I was
not so experienced, my time to set up
lighting fixtures would take a longer
time, making the job difficult. But I stood
by it and made sure I got everything
done despite not having enough sleep.
What does the future hold?
I would like to improve myself to the
best of my abilities. At the moment we
do only mid-scale production and 5
years from now, I hope to be involved in
bigger scale productions.
Further down I hope to be a manager
within the company.
..................................................................
To get in touch with Pi Ko, email him at
[email protected]
Christie Roadster Projectors Make History Come Alive
at Renowned Dhauli Peace Pagoda in India
Photo courtesy of Tricolor India Schauspiel
Christie Roadster S+22K-J projectors create a stunning projection mapping show on the dome of prestigious white peace
pagoda also known as Dhauli Shanti Stupa, built in the 1970s
Christie’s valued partner Tricolor India Schauspiel enabled history to come alive on the dome of the
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www.christiedigital.com
USA
ph: +1 714 236 8610
[email protected]
CHINA-SHANGHAI
ph: +86 21 6278 7708
[email protected]
INDIA
ph: +91 80 6708 9999
[email protected]
KOREA
ph: +82 2 702 1601
[email protected]
AUSTRALIA
ph: +61 (0) 7 3624 4888
[email protected]
CHINA-BEIJING
ph: +86 10 6561 0240
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JAPAN
ph: +81 3 3599 7481
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SINGAPORE
ph: +65 6877 8737
[email protected]

- Spinworkz Pte Ltd

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