Tubes Warm Siberian Truss

Transcription

S
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T IO e
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E C a
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P O ts
C ar
t
The Power to Move Mountains, page 28
Jan. 2007
Vol. 7.12
Tubes Warm Siberian Truss
Trans-Siberian Orchestra onstage
Photo by Steve Jennings
N. HOLLYWOOD, CA — According to lighting designer Bryan Hartley, the lighting rig for the Trans-Siberian Orchestra has doubled in size over the past
couple of years. New to the 2006 show was about
100 Element Labs Versa Tubes, which helped realize
Hartley’s video-based design. Though there is no Imag, two Catalyst media servers feed textures to the
LED-based low-res video displays.
“They didn’t want any video at all, but I finally
talked them into the Versa Tubes,” Hartley said. “No-
body really wanted them, but they turned out to be
the biggest hit. Everybody thinks they are awesome.
They add another dimension to the show.”
Tour director Elliot Saltzman concurred. “If we
were all LDs, we wouldn’t need guys like Bryan,” he
said. “Fortunately we are not. Sometimes Bryan has
an idea that in our mind’s eye is hard to imagine.
Most of the time it’s because Bryan uses effects like
no other LD uses them. He did that with the Versa
continued on page 7
Tubes. We love them. They
ACN Protocol Now Available
NEW YORK — ANSI E1.17 - 2006, Entertainment Technology - Architecture for Control Networks, better
known as ACN, is now available for sale on the ESTA Foundation Web site. ACN is a suite of documents that
specifies an architecture, including protocols and language, which may be configured and combined with
other standard protocols to form networked audio, lighting or other control systems. It can be implemented
continued on page 6
on networks that support UDP, IP and related protocols. It is not bound to Ethernet as
Super Vision
Settles Suit
ORLANDO, FL — Super Vision
International, Inc. and Color Kinetics, Inc. have announced a joint
settlement agreement ending all
pending litigation between the
two companies.
Through the agreement, Super
Vision will pay Color Kinetics a set
fee as settlement for all past claims
that Color Kinetics has against Super Vision, including the amount
awarded to Color Kinetics by the
U.S. District Court for the District
of Massachusetts. Super Vision will
drop its pending claim of infringement against Color Kinetics with
respect to U.S. patent #4,962,687,
known as the 687 patent, in the
U.S. District Court for the Eastern
District of Texas. Color Kinetics
will drop its declaratory judgment claim of non-infringement
of the 687 patent filed in the U.S.
District Court for the District of
Massachusetts. Color Kinetics will
grant Super Vision a royalty-bearing license to its worldwide patent
portfolio, allowing Super Vision to
continue the manufacture and sale
of its LED-based lighting products.
Super Vision will grant Color Kinetics a royalty-free license to the
687 patent.
Super Vision waives its rights to
appeal the final judgment granted
to Color Kinetics by the U.S. District
Court of Massachusetts on November 8, 2006, in which the Court
permanently enjoined Super Vision
from manufacturing or selling in the
United States any of the Super Vision
products that were held to infringe
Color Kinetics’ patents, and all other
Super Vision
continued on page 7
Shining Light
on an HD HOW
After two years, and an exhaustive team effort devoted to the staging installation in its new, 3,000-seat
worship facility, the leaders and
members of the Church at Pinnacle
Hills in Rogers, Ark. are enjoying a
high-tech, TV-ready church that
boasts an integrated and responsive
theatrical system.
Brawner & Associates, a live event
production and technical consultancy firm based in Springfield, Mo.
thought big — but big obstacles also
came into play when planning and
producing such a mammoth installation. For example, how do you make
a 6000-square-foot window directly
behind the tabernacle play nice with
HD cameras filming the service? For
the answer, check out page 24.
16
22
Inside Theatre
For The Boy From Oz, there’s no
place like home
Choosy LDs
Choose...
Notable products from 2006
30
Product Spotlight
This Hula skirt isn’t made out of
grass, but every stylish convention booth will be wearing one
Ad info:http:// www.plsn.com/instant-info
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Ad info: www.plsn.com/instant-info
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12/29/06 12:05:56 AM
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12/29/06 12:07:50 AM
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TABLE OF CONTENTS
What’s New
Features
The Boy From Oz goes back home
with razzle, dazzle and persona to
spare.
22 Choosy LDs Choose...
Designers get dreamy-eyed over
these notable tech toys and tools
from 2006.
24 Installations
Photo By Steve Jennings
18
The Captain is No Longer a Kid
Elton John’s new tour reflects on 30 years of hit-making.
The church at Pinnacle Hills
installed a 6000-square-foot window and an HD video package.
28 Product Gallery
Staging Automation products sit
still long enough for us to compare them all.
30 Product Spotlight
Hula skirts meant not for dancing,
but keeping light under control.
36 Product Spotlight
It’s game day for Sharp’s XGMB67X projector.
Columns
4 Editor’s Note
Photo By Steve Jennings
26
Legends on Stage, Legends
Behind the Scenes
The Who bring a big sound, a big presence and a big
show, so pull out the stops and let the rock commence.
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¡Viva la revolucion!
35 Video Digerati
Master those digital movers with
simple DMX.
37 Technopolis
Dichroics can take the heat, and
filter the light.
38 The Biz
PRG’s new video department
points a finger toward the future.
39 Feeding the Machines
Media server mystery
and mastery.
40 Focus On Design
Light moves fast; sometimes you
have to look where it’s going.
44 LD-At-Large
When in doubt, follow these three
basic rules.
Departments
5 News
7 The Event Calendar
8 On the Move
9 International News
12 New Products
14 Showtime
31 Projection Connection
32 Projection Connection News
34 Projection Connection New
Products
16 Inside Theatre
12/29/06 1:38:39 PM
EDITOR’SNOTE
The Publication of Record for the Lighting,
Staging and Projection Industries
‘
Publisher
Terry Lowe
[email protected]
Editor
Richard Cadena
[email protected]
Editorial Director
Bill Evans
[email protected]
Managing Editor
Jacob Coakley
By Richard”Che”Cadena
R
esolutions are made to broken, but
revolutions go down in history.
That’s why I’m not making any New
Year’s resolutions, but I am planning my
New Year’s revolutions. Just call me Che.
Revolution #1 — Put some muscle in
your balance sheet.
John F. Kennedy was fond of saying,
“The time to fix the roof is when the sun
is shining.” Ladies and gentlemen, the sun
is shining on the production industry right
now. But you don’t have to go too far back
to remember a time when that wasn’t so.
The summer of 2001 was ugly. Then along
[email protected]
Associate Editor
David McGinnis
[email protected]
came 19 terrorists with box cutters and around at the companies who are still in
the whole situation went south in a hurry. business today that were around during
The economic implosion had a domino 9/11. What do they have in common? A
effect on the industry. Events were can- strong balance sheet. The economic times
celled, produchave changed, but
tion companies
the law of survival
To balance your life, you
were left with
hasn’t: cash is king;
idle inventory,
debt is toxic to your
first have to get one.
and manufacbusiness. Now that
turers had a
business is good
hard time collecting receivables. Lots of and jobs are plentiful, it’s time to fix the
companies went out of business. The ones roof. Pay down your debt, and fill your cofleft standing were the ones with a strong fers with cash.
balance sheet — little debt and lots of cash
to carry them through the hard times. Look Revolution #2 — Put some margin in
your profits.
Lawrence L. Steinmetz, Ph.D., in his
book How to Sell at Prices Higher Than Your
Competitor, said: “Never let the dumbest (or
the fattest) guy in town set your price.” You
don’t have to compete with the lowballers
of the industry. Think profit. Let your competition take some low profit jobs. It’s okay
to walk away from thin margins. There’s
no better time to fatten your profit margins than when you have lots of business.
If you’re too busy to take on another job,
instead of turning down a project, ask for
more money to do it. You just might surprise your bad self.
Revolution #3 — Get a life, then
balance it.
To balance your life, you first have to
get one. If you’re like me and you find it
hard to put down your work, think about
someone you know who worked themselves to the point of burnout. It can happen to the best of us. Plan a life around
your work, and work your business around
your life.
Contributing Writers
Vickie Claiborne, Phil Gilbert, Rob
Ludwig, Kevin M. Mitchell, Bryan
Reesman, Brad Schiller, Nook
Schoenfeld, Paul J. Duryee
Photographer
Steve Jennings
Art Director
Garret Petrov
[email protected]
Graphic Designers
Dana Pershyn
[email protected]
Michelle Sacca
[email protected]
Josh Harris
[email protected]
National
Advertising Director
Gregory Gallardo
[email protected]
Account Managers
Holly O`Hair & Warren Flood
[email protected] & [email protected]
Production Manager
Linda Evans
[email protected]
General Manager
William Hamilton Vanyo
[email protected]
Executive Administrative
Assistant
Mindy LeFort
[email protected]
Business and
Advertising Office
6000 South Eastern Ave.
Suite 14J
Las Vegas, NV 89119
Ph: 702.932.5585
Fax: 702.932.5584
Toll Free: 800.252.2716
Editorial Office
10305 Salida Dr.
Austin, TX 78749
Ph: 512.280.0384
Fax: 512.292.0183
Circulation
Revolution #4 — Maintain your brain.
Like any living organism, that three
pounds of tissue wrapped in your cranial
cavity needs to stretch its legs and go for
a walk on a regular basis, or it will atrophy,
which is a another way of saying it will
shrivel and die. Reading is great exercise
for your brain, and learning a language,
like user-manglish, is even better.
Revolution #5 — Give back.
There’s something very therapeutic
about giving, and the Lord knows I need
lots of therapy. If you have lots of money
and no time, write a check to your favorite
charitable cause. If you have lots of time
and little money, volunteer to help your
favorite organization. If you have neither
time nor money, see #2 above.
Revolution #6 — Have fun!
When life gets tough, have a laugh.
Can’t think of anything funny? Have you
looked in the mirror lately?
100.0701.04.ED.indd 4
Stark Services
P.O. Box 16147
North Hollywood, CA 91615
Projection, Lights & Staging News (ISSN:
1537-0046) Volume 07, Number 12 Published monthly by Timeless Communications Corp. 6000 South Eastern Ave.,
Suite 14J Las Vegas, NV 89119.
It is
distributed free to qualified individuals in the
lighting and staging industries in the United
States and Canada. Periodical Postage paid
at Las Vegas, NV office and additional offices.
Postmaster please send address changes to:
Projection, Lights & Staging News, PO Box
16147 North Hollywood, CA 91615. Mailed in
Canada under Publications Mail Agreement
Number 40033037, 1415 Janette Ave., Windsor,
ON N8X 1Z1 Overseas subscriptions are available
and can be obtained by calling 702.932.5585. Editorial submissions are encouraged but must include a self-addressed stamped envelope to be
returned. Projection, Lights & Staging News is a
Registered Trademark. All Rights Reserved.
Duplication, transmission by any method of
this publication is strictly prohibited without
permission of Projection, Lights & Staging News.
ES TA
E NTERTAINMENT SERVICES &
TECHNOLOGY ASSOC IATION
12/28/06 11:43:30 PM
NEWS
Bandit Pushes Buttons for Pussycat Dolls
KNOXVILLE, TN — Bandit Lites is supplying
full lighting production for The Pussycat Dolls’
first production tour, with lighting designer
Scott Warner. The show plays UK arenas and an
extensive European leg, promoting the ‘Dolls
first album, PCD.
It is also the first time that Bandit has
worked with Warner and production manager Bryan Cross — who also mixes both FOH
and monitors.
Bandit UK’s chief executive, Lester Cobrin,
comments,“The initial contact was made in August, and the lines of communication between
myself, Bryan and Scott were so good that this
tour was wrapped up, finalized and put to bed
quicker than ever.“
Warner wanted to make the stage resem-
ble a disco — colorful with lots of beams and
movement — in keeping with the pace of the
song set.
Bandit supplied 10 trusses — upstage,
midstage, downstage and two side trusses.
There are also four upstage “finger” trusses,
which move during the show, as well as a
rear drapes truss. Warner’s design concept
was to maximize the positioning of all fixtures to ensure all corners of the stage and
set were reached.
Lighting instruments include Martin
MAC 2000 profiles, Martin MAC 700 washes,
Martin MAC 700 profiles, Atomic 3K strobes
and 8-light Molefays.
Warner added JTE PixelLine 1044s to
light the girls and to enhance the over-
all “disco”’ feel, in addition to introducing illuminated
architectural
lines which compliment
the stage set.
Additionally, there are
2kW FOH followspots, plus
smoke and cracked oil machines. Warner is operating
the show using a Wholehog II and Wing.
Bandit’s crew include
Steve ‘Stona’ Rusling (crew
chief ), Ewan Cameron (dimmers), Dennis ‘Bear’ Brown
(technician) and Bryan ‘Bad
Dog’ Wilson (tour rigger).
The Pussycat Dolls onstage.
ETCP
Announces
Exam at
USITT 2007
PHOENIX, AZ — The ETCP Council
electrical, arena rigging and theatre
rigging examinations will be offered
at the USITT Conference and Stage
Expo on March 17, 2007, in Phoenix,
Ariz. Those who pass will become
ETCP certified.
If you would like to take the arena
rigging, theatre rigging or electrical
examination at USITT, please submit
your completed application, including all supporting documents and
fee, postmarked on or before February 1, 2007.
If you would like more information
or would like eligibility requirements
or applications sent to you, please
contact Katie Geraghty, ETCP certification director, at certification@esta.
org or 212-244-1505. Complete information is also available on the ETCP
website: http://etcp.esta.org.
If you are unable to attend USITT,
you can apply to take an examination at a testing center near you. The
arena rigging and theatre rigging examinations are now offered at over
150 testing centers in the U.S. and
Canada on most business days. The
electrical exam will also be available
at these centers beginning February
15, 2007. For these exams, information will be sent on how to schedule
the examination after the candidate
is accepted by ETCP.
The certifications are designed
for highly experienced electricians
(including leads, supervisors, and
managers of entertainment electrical work) and riggers (rigging
supervisors, high steel riggers, flypersons, etc).
The ETCP Council members are
drawn from entertainment business,
labor, facilities, associations and academia, representing the diversity of
the entertainment industry. Members include AMPTP, CITT, ESTA, IAAM,
IATSE, InfoComm, The League, Live
Nation, PRG, TEA and USITT.
www.PLSN.com
100.0701.5-9.indd 5
JANUARY 2007 PLSN
12/28/06 11:44:52 PM
NEWS
UVLD Lights Up Grand Central Station
NEW YORK — Unlimited Visibility
Lighting Design (UVLD) was hired by Ray
Bloch Productions to design the lighting
for Grand Central Station’s Vanderbilt Hall,
which hosted the awards ceremony and
the interactive public exhibition marking
Popular Science magazine’s “Best of What’s
New” 2006 Awards.
Dubbed “the ultimate Popular Science accolade,” the annual “Best of What’s
New” awards recognizes 100 breakthrough
products and technologies in 10 categories ranging from Auto Tech to Personal
Health. Among those honored this year
were XM Satellite Radio, Ossur’s Proprio
Foot prosthetic foot, General Motors’ OnStar system and the Olympus EVOLT E-330,
the world’s first interchangeable lens digital
SLR camera.
“It’s our client’s big event of the year,”
commented Karen McGetrick, executive
producer for Ray Bloch Productions, “and
we wanted to make sure it was memorable
for all involved.” The company branded the
event based on its technology focus, with
everything from signage to truss evoking a
high-tech feel.“We wanted to make sure that
everywhere you look in Vanderbilt Hall, you
saw ‘Pop Science.’”
Vertical truss, designed by ONSET De-
sign, featured arcing elements, which mimicked the Hall’s barrel-vault ceiling and carried both signage and fixtures. It served
as the set for the ceremony and exhibition.
“Vanderbilt Hall has stringent venue requirements: No rigging is permitted, so everything had to be floor supported,” notes
Gregory Cohen, UVLD’s lighting designer for
the project.
“The amount of truss required to carry
the fixtures was fairly intrusive,” noted Cohen. “It was clear that it needed to become
a scenic element in and of itself.” One hundred Color Kinetics ColorBlast 12 fixtures
were used to internally light the truss, allowing the structure to both glow and
animate, creating a dynamic draw to the
event itself.
Cohen lit the awards ceremony
with conventional fixtures. The exhibition itself featured an overall lighting
scheme, as well as lighting tailored to
each hands-on display. UVLD furnished
the individual exhibitors with Source Four
ellipsoidal spots for their signage, and
with general illumination to punch up
specific features of their award-winning
product or technology.
Karen McGetrick of Ray Bloch Productions acted as executive producer, with
The Popular Science accolade pavilion at Grand Central Station.
Marty Goldenberg and Adam Crowley of
Marlyn Productions the technical directors
and Steve Leif the production electrician.
The set was designed by Onset Design with
Matt Hicks serving as principal designer.
In Brief
Lex Products Corp. has been awarded US Patent No. 7,136,278 B2 for its
PowerGATE Company Switch, the main
power distribution connection point for
a variety of entertainment venues, such
as theatres, convention centers, studios and arenas… Charles Kirby, owner
of Thematics, was named the 2006
recipient of The Wally Russell Fund’s
Most Promising Newcomer Award…
Barbizon Lighting Company will begin
distributing Thematics’ LIGHTBOX, an
LED and fiber optic model lighting kit for
any scaled theatre…Audio Visual Innovations (AVI) has announced that their
Hotel Services division established a new
partnership with Union Station, a Wyndham Historic Hotel in Nashville, and that
they recently renovated the Grand Hotel
Marriott, Resort Golf Club and Spa… AV
Concepts recently added Coemar ParLite LED lighting fixtures to its inventory.
The Coemar ParLite LED can be used in
lieu of traditional pars and scrollers. . .
Kinetic Lighting, Inc. has added Color
Kinetics® ColorBlaze® 72 fixtures to its
rental inventory. This move makes the
popular light more available to southern California’s market… Martin’s MAC
TW1 Tungsten washlight was recently
awarded the “Best Product” accolade in
the illumination category at the 2006
Professional Production and Audio Production Awards hosted by Spanish magazine Producción Audio… Theatrical
Lighting Systems, Inc. (TLS,Inc.) anticipates the addition of the recently released PixelRange PixelLine Micro W, a
“mini” version of the PixelLine 110 fixture
and the Jands Vista T2 console.
Corrections
In last month’s “Sixth Annual Parnelli
Winners Revealed” article, Dizzy Gosnell’s
name was misspelled.
PLSN JANUARY 2007
100.0701.5-9.indd 6
“We love working with UVLD,” concluded McGetrick. “They have a very talented group of people, and they always
deliver beautiful shows. Our client was
thrilled as well.”
Joe “Light”
Marchese Dies
NEW YORK — Joe “Light” Marchese,
technical director at Guild Hall’s Drew Theatre, and a catalyst for the ESTA “Behind
the Scenes” program, died Sunday, December 2, 2006, after a long fight against
a brain tumor.
In support of Marchese, Guild Hall had
established the Joe Marchese Benefit Fund to
defray the cost of treatments. Many in the tech
industry had learned of Marchese through
the efforts of Backstagejobs.com to assist the
Marchese family in any way possible, and
to invite others to lend assistance.
A man of many skills, Marchese had served
as technical director at the Drew Theatre since
1998, after working as production manager
for The Ritz, monitor engineer for Iggy Pop
and stage manager for Allen Peppers.
No formal ceremony is anticipated. Marchese’s memorial will be held at
the Drew Theatre, with family, friends
and coworkers in attendance.
He is survived by his wife, Lea,
and their three sons.
ACN
Protocol
Available
continued from front cover
a transport medium, but Ethernet is a possible choice.
ACN is being distributed via download as a
five-megabyte ZIPped archive of 17 PDF and
two DDL files. The “hardcopy” is a CD-ROM;
there is no paper version offered. The ReadMe
file lists the 18 other files that make up the
suite and provides links to the human-readable PDFs, as well as giving acknowledgments
and stating legal notices.
ACN is available on The ESTA Foundation
Web site at
http://www.estafoundation.org/pubs.htm.
ESTA member discounts are available, and
sales help support The ESTA Foundation’s
charitable and educational work.
www.PLSN.com
12/28/06 11:45:45 PM
NEWS
TSO
continued from cover
look amazing. They add texture and definition and compliment the complete
lighting rig.”
The balance of the lighting rig includes
54 Vari*Lite VL 3000 Spots, 58 Martin MAC
2000 Wash fixtures, 80 Martin Atomic 3K
Strobes, 96 Color Kinetics Color Blast 12s,
12 SXB52 Syncrolites, 120 PAR 64s, 210
ACLs, 51 ETC Source Four PARs with color scrollers and eight 20-light audience
blinders with color changers. Hartley and
West Coast lighting director Dan Cassar
are working on two Compulite Vector Red
lighting consoles. Q1 Production Technologies supplied the lighting and crew,
while XL Video supplied the video gear.
Pyrotek and Laser Design Productions
supplied the pyro and laser, respectively.
The rigging is supplied by SGPS Showrig.
This is the seventh year for Hartley
to design the lights. “We have more pyro
than KISS,” Hartley said. He ought to know,
Event Calendar
2007 Rigging Seminars
Las Vegas February 12th-16th
Boston April 10th-13th
Chicago July 9th-12th
Seattle October 8th-11th
www.riggingseminars.com
1-206-283-4419
ETCP Exam at USITT Conference and
Stage Expo
March 17, 2007 Phoenix, Ariz.
Submit completed application, including
all supporting documents and fee, postmarked on or before February 1, 2007.
Contact: Katie Geraghty,
[email protected] or 212-244-1505.
http://etcp.esta.org.
IALD Conference at ARC SHOW
February 12-13, 2007
Business Design Center
£20/session
www.thearcshow.com
The Illuminating Engineering Society/
Designers Lighting Forum New York
(DLF-NY) LEDucation
Wednesday, January 17, 2007
5:30PM
McGraw-Hill Conference Center
1221 Avenue of the America’s (between
48th and 49th Streets in New York City)
$10.00 admission fee For more info, visit
http://www.iesny.org/
Mountain Productions 22nd Annual
CM Hoist School: March 26–29, 2007,
Wilkes-Barre, Pa. (www.mountainproductions.com/hoistschool.html)
Stage Lighting Super Saturday
January 13, 2007
Pace University, New York, NY
www.stagelightingseminars.com
Siel
February 11-14, 2007
Paris, France
www.siel-expo.com
Mid-Atlantic Technical Training Week
With PLSN’s Richard Cadena
January 29 - February 2, 2007, 10 a.m. – 5 p.m.
Prince George’s Comm. College in Largo, MD
www.estafoundation.org
since he has worked as KISS’s lighting designer in the past. “It’s sensory overload,
for sure,” he said. In addition to five lasers,
the show also features pyro at the FOH
mix position on a lift that rises 15 feet in
the air.
”What stands out on this tour is the
amazing job by our crews,” said Saltzman.
“They do what no other crew in this entire
business has ever done before, putting
an eight-truck tour into arenas at 6:00
a.m. for a matinee with a 1:00 p.m. sound
check for a 3:00 p.m. and a 7:30 p.m.
show, and doing it all again the next day.
TSO did 120 shows with 30 matinees in 60
days between the two bands (west coast
and east coast). That can only be done because of the dedication and pride in the
work they do on this tour, and in my opinion, being the best of the best.”
Crew
TSO Tour Director: Elliot Saltzman
Production Manager: Patrick Whitley
West Coast Tour Production Manage
Jeff Boguski
Lighting Designer/East Coast Lighting
Director: Bryan Hartley
West Coast Lighting Director: Dan
Cassar
East Coast Lighting Crew Chief (Q1):
Darryl Magura
West Coast Lighting Crew Chief (Q1):
John Lunio
Lighting Supplier: Q1 Production Technologies (Craig Redden, Jim Rink)
Audio Supplier: DB Sound (Todd Johnson)
Pyro: Pyrotek FX (Doug Adams)
Lasers: Laser Design Productions (Doug
Adams) Syncrolites – Syncrolite (Jack
Calmes, Jimmy Page)
Video Supplier: XL Video (John Wiseman)
Rigging: SGPS Showrig (Eric Pearce)
Staging: Touring Resources
(Patrick Whitley)
Trucking: Potenza Enterprises (Paul
Potenza)
Busses: Wildfire Coaches (Allan Thrasher)
Catering East: Tourcats Catering (Mark
Metzger)
Gear:
2
2
2
9
24
40
54
58
12 96
80
51
8
120
210
4
4
Compulite Vector Red Consoles
High End Catalyst media servers
ETC 96 X 2.4k Channel Dimmers
36-Ch Motion Labs Distro Racks
7’ 7” Thomas 26” x 30” PRT
8’ Thomas 30” x 30” APRT
Vari*Lite 3000 Spots
Martin MAC 2000 Wash
SXB52 Syncrolites
Color Kinetics Color Blast 12
Martin Atomic 3000 Strobes
ETC Source Four PARs w/ Color Scrollers
20-light audience blinders w/
Color Scrollers
PAR 64 Very Narrow
PAR 64 250-watt ACLs
High End Systems F100
fog machines
Reel EFX DF50 haze machines
Visual Terrain Designs
Lighting for IAAPA Kickoff
VAN NUYS, CA — Visual Terrain designed
the lighting and set for the 2006 IAAPA (International Association of Amusement Parks
and Attractions) Kickoff Event presented in
November at the IAAPA Attractions Conference and Tradeshow Expo in Atlanta.
Produced jointly by the TEA (Themed
Entertainment Association), IAAPA and ShoConcepts, the 2006 IAAPA Kickoff Event was
the opening event for the annual IAAPA Expo
trade show. It featured industry leaders discussing the latest trends in the industry, and
honored individuals who have made significant lifetime contributions. Part awards show,
part morning talk show, the IAAPA Kickoff
presented to an industry audience of nearly
2,000.
According to Chip Cleary, senior vicepresident for Palace Entertainment and IAAPA
third vice chair elect for 2007, “When IAAPA
decided to update the What’s New Theater
into The Kickoff Event, we knew we needed
a great new look to the show and
that the lighting design and execution would be key to making
the show pop. Visual Terrain took
a limited budget for equipment
and made it look like a world class
production. Our thanks to the
whole Visual Terrain Team, and in
particular Edward Marks and Nick
McCord.”
When asked about the collaboration between TEA, ShoConcepts and Visual Terrain, Gene
The 2006 IAAPA kickoff
Jeffers, executive director for TEA,
Nick McCord, explained, “We looked for fixreplied, “Both Marks and McCord
helped set an entirely new bar for the open- tures that could deliver the punch needed for
ing session of IAAPA Attractions Expo 2006. the wide stage in the Georgia Ballroom and
As the executive producer for the session, TEA help us stay within the modest budget. The
deeply appreciates their willingness to work Martin MAC 700 moving head fixtures were
bright enough to give us the saturation deon this project.”
When asked about the challenges of desired and provide us with enough patterns to
signing in the venue, the lighting designer, give a variety of different looks.”
SuperVision Settles
continued from front cover
products that are merely colorable variations
of the litigated products. By granting a license,
Color Kinetics is allowing Super Vision to continue the sale of all enjoined products.
In August 2005, the Court granted summary judgment that all five of Color Kinetics’
asserted patents were not invalid, that certain
Super Vision products infringed those patents, and that Color Kinetics did not engage
in inequitable conduct before the U.S. Patent
and Trademark Office.
Stated Mike Bauer, president and CEO of
Super Vision, International, ”It was time to put
the past behind us and get refocused on the
business of lighting.”
This settlement agreement resolves all current claims between the two companies and
allows both Color Kinetics and Super Vision
International to focus their efforts on the expanding market for solid-state LED lighting
systems around the world.
In further developments, Super Vision has
announced that it closed a private placement
of Class A common stock and warrants led by
a group of institutional investors, for gross
proceeds of $9.0 million. The net proceeds
will be used to reduce Super Vision’s liabilities
and strengthen its balance sheet, for general
working capital and to fund the company’s
new strategic plan to expand its platform of
products to meet the increasing demand for
LED lighting systems.
Bauer stated, “Over the course of the last
11 months, we have been working very hard
to eliminate the legacy issues that have burdened the company, and we have created a
dynamic plan to capitalize on the growing
demand for white light LED lighting systems
for general lighting applications. However,
given the company’s financial resources, an
infusion of capital was required in order to
fully execute our plan and position the company for accelerated growth.’’
Gross proceeds of approximately $9.0 million resulted from the sale of approximately
40,360 units at a price of $223.00 per unit,
each unit consisting of 100 shares of Class
A common stock, a warrant to purchase 60
shares of Class A common stock exercisable
at $2.23 per share expiring five years from the
date of issuance and a second warrant to purchase 15 shares of Class A common stock exercisable at $3.00 per share expiring five years
from the date of issuance.
The securities offered and sold by the company in this private placement will not and
www.PLSN.com
100.0701.5-9.indd 7
Catering West: Deb Reves Catering (Deb
Reves)
Travel: Imperial Consultants (Susan
Saltzman)
have not been registered under the Securities Act of 1933, as amended (the “Securities
Act”), or state securities laws and may not be
offered or sold in the United States without
registration with the Securities and Exchange
Commission (“SEC”) or an applicable exemption from registration requirements. The company has agreed to file a registration statement with the SEC covering the resale of the
shares of Class A common stock and shares
underlying the warrants issued in the private
placement.
Lastly, Color Kinetics also signed a global
licensing agreement with Neo-Neon International Ltd. Neo-Neon will be granted access to
Color Kinetics’ complete patent portfolio.
Neo-Neon is a China-based manufacturer
of decorative and entertainment lighting
products that include a growing number of
LED-based offerings. The license will apply
to sales of numerous Neo-Neon products in
all markets covered by Color Kinetics’ patent
portfolio.
Color Kinetics today holds 58 issued patents that range from core technology and
products to high-level control systems, complete lighting systems, applications, environments and methods of use.
JANUARY 2007 PLSN
12/29/06 2:01:19 PM
ONTHEMOVE
At Audio Visual Innovations
Nathan Barrett has
earned the Certified
Technology
Specialist-Installation
(CTS-I) certification.
Glen Lamison
Kristina Warner has
joined the Systems
Integration
division as an account
manager in Nashville. In addition,
AVI promoted Glen
Lamison to the poRichard Andrade
sition of video teleconferencing (VTC) network engineer and
Richard Andrade to director of IT support
for AVI’s Tampa headquarters.
AV W - T E L AV
Audio Visual Solutions has appointed Chris Herring
national
director
of sales operations.
Chris will serve as
liaison
between
Chris Herring
AVW-TELAV Corporate and AVW-TELAV branches on these
issues. Chris will also continue to manage
the Austin sales team.
Da-Lite Screen
Company has promoted Blake Brubaker to systems
display manager.
Blake Brubaker
Electrosonic
Systems, Inc. has
named Jerry Garner
operations manager
for the Managed Media Services group
in Burbank, Calif. Ed
Jerry Garner
Lopez has been promoted to fabrication
department manager
for Electrosonic’s Custom Solutions business, also in Burbank.
Kathy Senatore has
been promoted to
facilities manager for
Edman Lopez
Electrosonic’s Public
Spaces business in
the U.S. Ian Scott has
been promoted to
production manager
for the North American Products group
of Electrosonic in BurKathy Senatore
bank. Tim Wilson has
joined Electrosonic as custom solutions proj-
ect manager, working
out of the Orlando
office. Mike “Doc” Dwyre was recently hired
as an installer with
the Orlando office.
Joe Messer joined as
Jackson Benedict
project coordinator
for the custom solutions operation. Henry La
has been hired as recruitment manager for the
Public Spaces business based in Burbank. Jackson Benedict has joined as a project coordinator in Orlando.
FOR-A Corporation of America has
named Pedro Silvestre as their regional
sales manager–Caribbean and Latin
America. Silvestre
will be based out of
Pedro Silvestre
FOR-A’s new Miami
office, which opened on November 1.
G-LEC has opened G-LEC America, Inc.
Based in the Greater New York Metropolitan
area, these new facilities will serve or facilitate
the company´s rental, sales and installation
of display solutions in the United States and
NAFTA region. The new contact info is: G-LEC
AMERICA Inc., Corp. HQ./Executive Office 19
Spear Road Ste. 312, Ramsey, NJ 07446. Phone:
201.236.5072 Fax: 201.236.5073
High End Systems has appointed
Randy Mayer as the
regional
manager
for West Coast Sales,
specifically California.
Mayer will also manage the Hawaii, New
Zealand and Australia
sales territories from
his home-base at
HES Los Angeles. Jeff
Washburn is moving
his territory to focus
on sales in the Pacific
Western region of the
U.S. Trey Hensley joins
Randy Mayer
High End Systems,Inc.
as the regional sales
manager for the Central U.S. territory. He is
based in HES’ Austin,
Texas headquarters.
Trey Hensley
Infinite Designs,
LLC has hired Ben Hay
as a lighting designer
and project manager.
Ben brings a wealth
of experience in the
lighting industry from
the past 15 years.
Ben Hay
Lex Products,
Inc. has hired Cynthia Carraway as
part of their technical sales staff.
Cynthia Carraway
Light Source, Inc.
has hired Gary Pace
as director of marketing. Gary is responsible for development
and implementation
strategies to support
LSI’s corporate clients
Gary Pace
as well as expand LSI’s
participation in the house of worship, theatrical, institutional and touring markets.
MDS Creative
Group has named
Nicolas Nicolaou its
new director of sales
and marketing.
Nick Nicolauo
Jeff Washburn
Union Connector has open a
new business development office in
the Midwest. President Rich Wolpert
will be operating out of this office in
Rogersvile, Mo.
L e t t er t o t he Edit or
Dear Richard,
I was pleased to read your “2006 In Review” article in the latest issue of PLSN. I think
you did an excellent job covering the industry, with two exceptions.
In 2006 The ESTA Foundation’s Behind the Scenes program began taking applications and making grants to technicians and their families facing difficult financial situations due to serious illness or injury. One of the grants helped pay for a motorized
wheelchair for a master electrician and another helped pay for rent and physical therapy for a well known lighting programmer. In all, seven grants were awarded this year.
The Behind the Scenes program is in its infancy but is already having a tremendous
impact on technicians in need and their families.
In October, the ETCP conducted the first Entertainment Electrician certification examination at LDI. Over 100 people participated in the test in Las Vegas; many becoming
the first electricians to be certified by the ETCP in North America. The ETCP now has
certifications for riggers in both the theatre and arena disciplines and electricians for
all venues.
I believe both these events will have a far-reaching effect on our industry
and are worthy of being included on your list.
Bill Sapsis
Sapsis Rigging
We couldn’t agree more. Thanks for catching our oversight and helping to illuminate the very important work of these two organizations. – ed.
PLSN JANUARY 2007
100.0701.5-9.indd 8
www.PLSN.com
12/28/06 11:46:52 PM
INTERNATIONALNEWS
LKL Colors Croydon
CROYDON, UK — LKL Lighting has supplied 64 of i-Vision’s Lumos Strip 1200 nonoptic LED strip fixtures to illuminate 32 balconies of Croydon’s landmark building, the
“NLA Tower,” for a lighting design by Howard
Green, director of Leeds-based LKL Lighting.
The R Seifert & Partners-designed 1970s,
24-floor, eight-faceted, 250-foot tower, colloquially known for resembling a stack of
50-cent pieces in shape, has been re-branded as No. 1 Croydon.
As part of its new look and new image,
the management company of the building asked LKL to design a colorful lighting
scheme, with no light pollution. This was to
be operational throughout the night and
enhance the building’s general appearance,
ensuring it became a local talking point and
attracted new clients and commerce.
LKL Lighting has designed floodlighting
schemes for a number of other prominent
buildings throughout the UK, but this is their
first major LED project. They started talking
to i-Vision’s Luke Dodd about the practicality of using LEDs and the potential cost and
carbon emission savings of using them, as
opposed to the discharge light sources that
were originally considered.
The Energy Audit Report produced by iVision was convincing. The planned running
the lighting, from 3 p.m. to 8 a.m., projected
to save 34,648 KW/H of electricity per year (a
£4,915 per annum saving over conventional
lighting), and using LED would save approximately 14,898 Kg of carbon emissions a year.
“We emphasized the environmental impact
of using LED as well as all the practical advantages, like low maintenance costs and the general robustness of the product,” states Dodd.
The Lumos Strips project onto the underside of the balconies, two per balcony,
and the balconies to be lit were selected for
even coverage around the building.
LKL and i-Vision also were responsible
for the installation. Luke Dodd then commissioned and programmed the lights in collaboration with Howard Green, resulting in a
series of color changing sequences.
i-Vision and LKL considered the various
control options before choosing the Pharos
LPC1 controller, which was picked for many
reasons, including its ability to control large
numbers of DMX fixtures and channels, including the option of feeding in video inputs, plus
The NLA Tower displays a blue hue.
other features like daylight saving and the connection to an astronomical clock.
The scheme was officially switched on by
the mayor of Croydon, Janet Marshall, to an audience of more than 100 guests and tenants.
Robe in Rhythm
at Paladium Club
The dance floor at the Paladium Club.
HODONIN, CZECH REPUBLIC — Robe
moving lights have been installed at the Paladium Club in Hodonin, Czech Republic, in a
1400 capacity newly built venue. Eight Robe
Spot 250XTs have been installed to enhance
the overall atmosphere of the space.
The club was opened after a reconstruction project. “We wanted to make it the biggest and best club in this area,” says owner
Zdenûk Kostiha, “As well as a destination for
those seeking fun and good entertainment.”
The Paladium Club’s lighting and sound
system was specified by Robe’s Czech Republic distributor KVS. The Spot 250 XTs are the
workhorses of the lighting system. They are
controlled with a Robe DMX Control 480, with
the lighting installation picture completed by
a Robe Faze 1000FT for fog effects.
Marek Najgebaur (a.k.a. DJ Najgec) says
that it’s challenging to play music and run
lights simultaneously, so they maximize the
Control 480’s pre-programmed functions.
There are four basic lighting sequences.
The first is for up-tempo music, mostly using
strobe effects. The second is a gobo and colorflipping sequence; the third is for slow dances,
and the last is multi-purpose.“It is a huge help
to use these when you need to concentrate
on playing music,” Najgebaur says.
To keep his clientele engaged and
constantly turning over, owner Kostiha
keeps the Saturday night themes rotating and changing — including foam parties, Mexican parties, go-go dancers, etc.,
each relying on the lighting rig to complete
its look.
www.PLSN.com
100.0701.5-9.indd 9
JANUARY 2007 PLSN
12/28/06 11:47:38 PM
INTERNATIONALNEWS
Serious Situation for
Children in Need Concert
COLWYN BAY, WALES — Three powerful gusts of wind lifted and twisted the
Serious Stages 18-meter Orbit roof built
over the stage for the BBC’s “Children In
Need” concert at Eirias Park in Colwyn Bay,
Wales in December.
The incident occurred about midnight,
with the stage fully constructed and rigged
with lights — awaiting the P.A. and video
rigging to continue through the next day, in
readiness for the Friday night live broadcast.
The site was deserted, apart from on-duty security personnel.
Production manager Keith Morris quickly
assessed the situation; at that time the wind
was still gusting up to 70 mph, but the immediate danger had passed. The wind gusts had
followed a very specific path and had also
caused serious damage to a large oak tree.
Upon hearing of the incident, Steven Corfield and the Serious Stages team went into
action, working through the night to amass
two teams of riggers and a complete replacement roof, all ready to roll by first light.
The first team of nine, led by Serious
crew chief Dave Manuel, arrived on site and
worked at clearing the wreckage and assessing the impact on the Luna P.A. wings
and decking, which were also supplied by
Serious. Luckily, these elements had incurred
only minor damages that were inspected by
structural experts and rectified by the Serious team where necessary.
P.A. and Video rigging was able to continue almost as planned, as their positions
were all located off and to the sides of the
actual stage, so they could work alongside the roof rescue team. In the meantime,
Morris and his production crew ensured
that all the required health and safety procedures were followed, and lighting contractor
HSL also supplied emergency technicians
to disentangle their damaged equipment
and rounded up replacement fixtures
and trussing.
The second Serious team of 12 was led
by Vic McConnell. As soon as the site was
cleared — by about 5 p.m. on the day before the show — they set to work erecting
a new two-bay 18-meter Orbit, which was
finished and fully skinned, complete with
side sheds, by midnight.
Movers, truss and motors lay piled on the stage floor.
McConnell comments that he has
been erecting Orbit structures and roofs
for 17 years, and has seen them withstand all types of extreme weather conditions, including gusting winds in excess
of 90 mph, and he’s never even seen a
roof damaged — let alone witnessed
anything like this.
By 3:30 a.m. on the morning of the
show, the lighting was re-rigged and
working, with LD Martyn Rourke programming his show, almost as if nothing
had happened.
Keith Morris says, “It really was a case
of the show having to go on. We had a
national TV deadline to make, and it goes
without saying how impressed I was with
Serious — they really pulled it off. Dave
and Vic did a sterling job; their crew are excellent, and they have a great team spirit.”
The Colwyn Bay show had a live audience of over 10,000 people, who witnessed
performances by Ronan Keating, Jamelia,
The Feeling and others. It was one of several events staged throughout Wales for
the BBC’s 27th “Children In Need” event,
all of which helped push the total on-thenight figure raised to £18.3 million.
Avolites at Not So Secret Policeman’s Ball
MUMBAI, INDIA — Lighting designer Atul
Sonpal specified an Avolites Diamond 4 Elite
console for an event in the Andheri Sports
Complex in Mumbai, celebrating the 150th
Anniversary of the Mumbai Police.
Sound for the Mumbai Police welfare
Show was supplied by Sound.com and pyro
by Morani Fireworks.
Appearing onstage were Salman Khan,
John Abraham (recently voted the “Most
Desirable Man in India”), Sarf Ali Khan, Paryanka Chopaq and Shilpa Shetty, among
others. In attendance were the Chief Commissioner of Mumbai Police A. N. Roy and
assorted Mumbai Police top brass, various
signatories and VIPs, plus 15,000 members of the public, who came to see the
stars performing.
Sonpal, one of India’s premier LDs, works
regularly with all the Bollywood glitterati,
designing shows for their awards ceremonies and other shows, so he was a natural
choice as LD for the Police Welfare Show.
The show was also recorded for
broadcast on India’s national Star
100.0701.10-11.indd 10
TV channel, so Sonpal was lighting for the camera as well as for
the live audience.
“I knew I would have very little programming time,” says Sonpal. “And that’s
one of the main reasons I chose the D4
for this one — because I could work really quickly and efficiently on it. It helped
me fully utilize the one full night, and
only about three hours of optimum darkness, that I had to program for more
than 20 guest appearances, plus looks
for all the other speakers and elements
of the show.”
The lighting load-in commenced on
Friday for a Sunday show, with all equipment supplied by Mumbai-based Jagmag
Electric, plus a crew of seven.
The lighting rig featured a 120-foot
span front truss (suspended off two giant
cranes) containing 60 PAR cans, plus four
Clay Paky Alpha Washes and four CP Alpha
Spots. On two side-stage scaffolding pods
were another 120 PAR cans. A third scaffolding structure at the back of the stage
Entertaining the Mumbai police
featured 16 SGM ColorLab 250s and 12
Robe ColorSpot 1200 ATs, with another six
Robe CS 1200s upstage on the deck.
All of these fixtures were run through
the D4, and all of the moving lights had
data run via a radio DMX system.
The steps of the stage set were illuminated by more than 700 40-watt light
bulbs, which were also run through the
console, and there were also a series of
DF50 hazers dotted around the stage, also
controlled from the D4.
1/4 TAB HORIZONTAL AD
12/28/06 11:01:31 PM
INTERNATIONALNEWS
Hot Lighting at Ice Disco
100.0701.10-11.indd 11
session and games, as well as being open to
the public, so it’s a hectic schedule.
Phill Knight has a long standing relationship with LTM’s John Jones, from before and
after the formation of LTM by Jones and others in 2004, and has always used them to supply Knight’s rigging requirements. “You can’t
beat a Lodestar,” he comments, adding, “And
you can’t beat service from LTM either”.
Phill Knight has worked for Riverside Ice &
Leisure’s owners Chelmsford Borough Council for several years. When it came time to replace the original rig, which had been in residence since it opened 13 years ago, Knight
suggested having a rig that could be brought
in easily and worked on at ground level for
maintenance, re-focusing and swapping fixtures in and out.
The Chelmsford rig in action.
CHELMSFORD, UK — Lift-Turn-Move
(LTM) have supplied eight one-ton Model L
Lodestar hoists for a new lighting installation
by Knight International at Riverside Ice & Leisure in Chelmsford, Essex.
The Lodestars are rigged in the roof void
and are suspending a 45 by 16 meter box
truss constructed from Milos M390L heavy
duty trussing, complete with 30 Robe moving lights and effects. LTM also supplied the
eight-way motor controller, one of their new
Guardian range.
The new lighting rig is part of a technical
upgrade at the venue, which features ice disco sessions four times a week, a large annual
festival on ice and is also home to the Chelmsford Chieftains ice hockey team. The weekly
schedule also includes the Chieftains’ practice
12/28/06 11:01:53 PM
NEWPRODUCTS
»Zero
88 Light Converse Lighting Control
System Software
The Light Converse lighting control system software program has an internal 3D visualizer. The software is intended for lighting control in theatres, concert halls, clubs, bars and architectural lighting. 3D visualizer shows realistic pictures of light in live mode, depending on
lighting control system parameters
and texture of the room, including
furniture and architectural lighting.
Key features include 3D real-time visualization of up to seven universes
of DMX, realistic fixture models (including parameter timing channels,
split color wheels, etc.), pre-visualization of camera moves for audiovisual applications and optional
hardware DMX interface to enable
visualization from any DMX console
— up to four universes.
Zero 88 • +44 0 1633 838088 • www.zero88.com
»Elation
Design LED 36 RGB Color Changer
The Elation Professional Design LED 36 RGB Color Changer uses RGB color mixing technology and a 39° beam angle to cover wide stage areas. The Design LED 36 uses 36 Luxeon colored
LEDs (12 red, 12 green, 12 blue) to illuminate and highlight stage sets and performers from a
distance of about 25 feet or less. It offers four channels of
DMX operation, so lighting directors can mix colors and
fine-tune their intensity on the fly. Small enough to fit
into standard 12-inch box trussing, these color changers
can be used as truss warmers or mounted separately on
their own. The fixtures also feature a bracket design that
allows them to be mounted on the floor and used as “up
lighting.” Other practical features of the Design LED 36
include a three-pin XLR serial data connection, built-in
power supply, on/off power switch (120V, 60 Hz), 12-position binary dip switch, master/slave auto program and
sound activation trigger. In addition to stage and concert use, the Design LED 36 also has architectural applications and can be used for permanent installations. Its
36 colored LEDs and one white LED are rated at 100,000
hours. MSRP: $1,199.99.
Elation Professional • 323.582.3322 • www.elationlighting.com
»Wright
Group ProMobile Double Decker
Super Stage
The Wright Group Event Services/MSR (Mobile Stage Rentals) ProMobile Double Decker
Super Stage is a mobile stage featuring two accessible levels and 2000 square feet of vertical
space. The stage features a hospitality deck and viewing platform 24 feet above ground level,
a corporate event stage, promotional
touring unit, skybox for sporting events,
VIP area for sports and concerts, mobile
broadcast booth, multi-level exhibit
booth and more. The ProMobile has a
strong enough roof to rig most types of
equipment and has banner hanging capabilities. It allows for product and talent
showcasing, as well as brand visibility
and promotion. The upper deck allows
for a VIP area or can serve as an area for
special displays and presentations.
Wright Group Event Services • 303.399.9947 • www.thewrightgroupnow.com
»Grace
12
Corporation Osiris MR Line
The Grace Corporation Osiris MR line of luminaires (which includes models Seth MR
250 wash and spot, Thot MR 600 Zoom spot and wash and Cronos MR 1200 Zoom spot
and wash) include a German crystal reflector, a
color correction system, ballasts and igniters,
linear zoom combined with focusing, indexable and replaceable rotating dichroic gobos, a
metal gobo wheel, a dichroic filters wheel, CMY
color mixing and a number of frost, prism or
strobe effects.
Grace Corporation S.A. • 951.479.8817 • www.osiris-proline.com
PLSN JANUARY 2007
100.0701.12-13.NP.indd 12
www.PLSN.com
12/28/06 10:57:57 PM
»Hy-Safe
Fall Protection System
Hy-Safe’s system is a hands-free continuous fall protection system that facilitates worker safety
and compliance. The system is capable of functioning in truss-mounted applications. It also locks
onto the rail and can traverse corners. The extruded aluminum rigid rail eliminates deflection found
in cable systems, adapting it for low-clearance situations. Specialized expansion plates allow the
system rail to float, expand and contract in a wide variety of environmental conditions.
Hy-Safe • 800.642.0775 • www.hysafetech.com
»ESP
Vision 3D Studio Max 9 Plugins
Modeling plugins for use with Discreet’s 3D Studio Max version 9 are now available from ESP Vision now allow Vision models to be created using 3D Studio Max
Versions 6 through 9, Autodesk VIZ 2005, Autodesk
VIZ 2006, Vectorworks 11.5
and Vectorworks 12.5. Vision 2.2 also provides the
ability to create models
directly within the Vision
using stock library items.
ESP Vision • 702.492.6923 • www.espvision.com
»LEDtronics
LED Bulb
B321-XIW Bi-Polar Bayonet
The Smart 9mm B321-XIW Bi-Polar Bayonet LED Bulb supports 6 DC to 48 DC voltage
ranges. This bulb is designed to replace many ordinary incandescent bulbs and is bipolar.
It was designed to directly replace 6MB, 44, 47, 755 (5/6V), 12MB, 756 (12/14V), 24MB (24V),
313, 757, 1819, 1829 (28V)
and 48MB (48V) incandescent bulbs. The B321-XIW
LED bulb comes on a T 3
bayonet base that mounts
directly into industry standard sockets making it perfect for panel-mount. The
polarity of the positive and
negative lead is no longer
a factor. Operating at standard voltages of 6V to 48V
DC, this LED bulb will shine
at 6500 MCD with a viewing
angle of 40° degrees.
LEDtronics • 800.579.4875 • www.ledtronics.com
»Doug
Fleenor Design Rerun DMX Recorder
Doug Fleenor Design’s Rerun DMX recorder is a lighting control station capable of storing
up to ten 40-minute shows. Shows are recorded by capturing the output of a DMX512 console.
The recorded show start and end points may be trimmed non-destructively. Each show can be
set to hold the last
look, loop to itself
or link to another
show. Shows are
started by pressing one of the 10
show buttons. Rerun comes in an architectural version
(model RERUN-A),
a portable version
(model RERUN-P)
and rack mount
version
(model
RERUN-RM).
Doug Fleenor Design • 805.481.9599 • www.dfd.com
www.PLSN.com
100.0701.12-13.NP.indd 13
JANUARY 2007 PLSN
13
12/28/06 10:58:23 PM
SHOWTIME
Third Day on Tour
Equipment
Crew
Lighting Company: Creative Stage Lighting Co., Inc
Production Manager: Dave Jacques
Lighting Designer: John Caudill
Lighting Technicians: Andrew Miller (crew chief ),
Will Kent
1
10
1
4
9
12 5
1
1
1
1
9
5
6
Flying Pig Systems Wholehog III
Five-channel Cable Ramps
16’x33’ Main Light Industries SoftLED High
Res Curtain
Syncrolite SX3K/2s
Tomcat Swing Wing Truss, 126-inch
High End Systems Color Commands
Altman ZS-4 Zip Strips
Catalyst Pro w/ Apple Powermac G5 server
CAE BVX-1 72x3kW dimmer rack
EPS moving light distro, 36-circuit, six paired Soco out
DMX snake – 300-foot, 5 – 5-pin, 2 – 3-pin, 2 AC
Thomas 12-inch GP Truss 120”
Thomas 20.5-inch GP Truss 120”
ACL 4xPAR 64 black
4
4
6
16 14 5
8
1
1
13 2
1
5
4
1
2
ETC Source Four ellipsoidal, 26 degrees, 750W
Drop-in iris
James Thomas 8-Lite Molefay
High End Systems Studio Beams
Martin MAC 2000 Profile II “E”
Half-ton motors, 7-pin Socopex
1-ton motors, 7-pin Socopex
16-channel motor power distro
16-channel motor remote control
Single-motor rigging package
30‘H x 25‘W black backdrop
Clear-Com CC-95, single muff headset
Clear-Com RS-501 belt pack
Clear-Com CC-260 and DT109, double muff headset
Clear-Com CS-222, A/B base station
Reel EFX DF-50 hazer
Firefighter’s Benefit Show
Equipment
Venue
Carmen’s Entertainment Facility
Hamilton, Ontario
Crew
Promoter/Producer: Hamilton Firefighters
Lighting Company: Soundbox Productions
Production Manager: Jamie Altena
Lighting Designer/Director: Tran Langford
Automated Lighting Operator:
Cooper Smith
Lighting Technicians: Paul Roseneck
Pyrotechnics: Shawn Branton
1
16 16
10 6
60 MA Lighting grandMA Light
Robe 1200 AT Spot
Robe 575 AT Wash
Robe 250 AT Spot
Martin Atomic Strobes
400’ Christie truss
575 PAR
The Pussycat Dolls
Venue
Wembley Arena, London
Crew
Promoter/Producer: Live Nation UK
Lighting Company: Bandit Lites
Production Manager: Bryan Cross
Lighting Designer/Lighting Director/Automated Lighting
Operator: Scott Warner
Lighting Technicians: Steve “Stona” Rusling, Ewan Cameron,
Dennis Brown
Set Design: Beefy Guy Design
Set Construction: Lite Structures, UK
Rigger: Bryan Wilson
Staging Carpenter: F. Duffy
Video Director: Dan Ormerod
Video Company: XL Video
Equipment
1
36
12 4
6
35 30 24 Flying Pig Systems Wholehog II with Wing
Martin MAC 2000 Profiles
Martin MAC 700 Washes
8-Lites
Pixel Range PixelLine 1044s
CM Lodestar 1-ton hoists
14
PLSN JANUARY 2007
100.0701.14-15.SHOW.indd 14
www.PLSN.com
12/28/06 11:51:26 PM
Hologic RSNA
Venue
Staging Company: Blue Hive Exhibits
Staging Carpenter: Mike Cunningham/
Steve Edwards
Staging Products: Tomcat
McCormic Place, Chicago, Ill.
Crew
Promoter/Producer: Hologic
Lighting/Video Company: AVFX Inc.
Production Manager: Kevin Reilly
Lighting Designer/Director: Daniel
Gerstenhaber
Automated Lighting Operator/Lighting
& Video Director: Angel Banchs
Lighting Technician: Soline Velasquez
Set Design: Blue Hive
Set Construction: Willwork, Inc.
Rigger: Tom O’Neil
1
82 22 37 24 17 1
1
1
1
Equipment
2
38 12 72 28 12 24 1
Flying Pig Systems Wholehog lll
w/ 2 DP 2000
High End Systems Studio Colors
High End Systems Studio Beams
ETC Source Four PARs
6-cell far cyc lights
Color Kinetics Color Blaze
Color Kinetics Color Blast 12
ETC 96-channel touring rack
ETC 48-way touring rack
8’ 12” box truss
10’ 12” box truss
Corner blocks
5-foot 12” box truss
one-ton CM Lodestar chain hoists
DLP Highlight 12K
projector
100-inch acrylic rear
projection screen
Folsom Image Pro HD
Turbo media playback server
The 21st Annual Gemini Awards
Venue
River Rock Casino Resort,
Richmond, BC
Crew
Promoter/Producer: Moyra Rodger
Lighting Company: Christie Lites
Lighting Designer: Robert
Sondergaard, Electric Aura, Lighting
Design, Inc.
12 6
24 24 8
8
8
120 48 2
Automated Lighting Operator: Jason
McKinnon
Set Design: Mark Patterson
Staging Company: Eclipse Productions
Video/TV Director: Floyd Lansing
Equipment
1
263 MA Lighting grandMA console
Chroma-Q Color Blocks
Martin MAC 2000 Performances
ETC Source Four 15° - 30° Zooms
ETC Source Four 25° - 50° Zooms
ETC Source Four 19° ellipsoidals
Chroma-Q Digital Scrollers
Lycian M2 short throw Followspots
DECA WRLC 2006 “Fire Up”
Venue
Kiva Auditorium
Albuquerque, NM
Crew
1
1
1
8
4
4
4
4
2
2
5
3
1
1
1
1
1
1
SGM Studio 24 Scan Control
ADI Custom 400-amp Distro
Leprecon VX-2400 Dimmers
Martin MAC 250 Entours
Elation Design Spot 250s
SGM Giotto Spot 250s
ETC Source Four PARnels
ETC Source Four 10-deg
ETC Source Four 26-deg
MBT PAR 38s
4-Lite crowd blinders
Reel EFX DF-50 Hazer
Fleenor Opto-Isolator
City Theatrical WDMX System
Penn Tri-Truss
Da-Lite Fastfold Screens
Opti-TriLite Truss Podium
1
1
1
4
1
1
1
1
5
2
1
40’ Tomcat one-foot box truss
40’ Applied Electronics
one-foot box truss
150’ Penn 8-inch Tri-Truss
8 Coffing 1/2-ton hoists
CM Lodestar 1/4- ton hoists
Motion Labs 8-Way
motor distro
Grass Valley Group 200-2N switcher
Sony FXE switcher
Edirol switcher
Sony DSC cameras w/Studio
Packages
Viewsonic PJ750 2300-lumen projectors
Eiki LC-X5 6000-lumen
projectors
JVC DVD players
1
1
5
1
2
2
1
Sony scan converter
Sony Preview Monitor
Package
Da-lite Fastfold 7.5 X 10-foot RP Screens
Da-lite Fastfold 9 X 12-foot RP Screens
27-inch LCD Monitors
15-inch LCD Monitor
Promoter/Producer: Western Region
DECA
Lighting Company/Set Construction/
Staging: ADI Productions
Production Manager/Lighting
Designer/Director/Set Design/Rigger:
Jon Glasrud
Automated Lighting Operator: Tim
“Jumbo” Martin
Lighting Technicians: Chris “Buckey”
Pacheco, Tim “Jumbo” Martin,
George Estill
Video Director: David Brame, Steve Pace
Video Company: Dynamx Digital,
Adobe Productions
Equipment
www.PLSN.com
100.0701.14-15.SHOW.indd 15
PLSN
JULY
2006
JANUARY
2007
PLSN
15
15
12/28/06 11:51:52 PM
INSIDETHEATRE
The
Oz
Boy From
Colorful Character Creates
Rainbows Down Under
By CatStrom
A
fter
conquering
Broadway,
The
Boy From Oz has
returned to Australia in
a new production of the
original musical, especially designed for the arena
stage. Hugh Jackman has recreated his Tony
Award-winning role as Peter Allen in a nationwide tour for the production and its star.
This new production is directed by Kenny
Ortega, director/choreographer of many largescale events. Joining the main cast are a supporting cast of 40 singer-dancers, a 25-piece
orchestra, elaborate sets, spectacular lighting
and more than 400 dazzling costumes.
The Boy From Oz premiered in Sydney in
March, 1998. This Australian musical, exploring
the life story and music of Peter Allen, toured
Australia for two years, winning numerous
awards and grossing in excess of $60 million.
the show from Ortega,
Woodroffe tackled the technical and budgeting tasks, and once a
lighting production company had been
appointed, Chameleon Touring Systems,
Pacholski was able to start specifying the gear
required.
“Richard took care of a lot of the details,
many of them of his own bat, and was able to
take on a lot of the responsibility,” Woodroffe
said. “He was able to attend the production
meetings and did many of the things that I
was unable to do, as I was not in the country.
As they were putting the rig up in Australia, I
was still in Europe, so Richard would e-mail me
photographs and take important decisions on
my behalf. I can’t emphasize enough what a
key part of our team he was and how he very
“We were always working from the idea of the
big picture — creating a strong base atmosphere
and then finessing it once we had the arc of the
show.” –Patrick Woodroffe
In October, 2003, Hugh Jackman starring
in the title role launched the production on
Broadway. The show played to capacity houses for a year, and it was nominated for a Tony
Award for Best Musical, winning a Tony Award
for Hugh Jackman. An Australian-conceived
production about an Australian, starring an
Australian, had conquered Broadway.
So what began life eight years ago as a
musical has now become an arena spectacular. And with a minimal set, the lighting plays
a major part in setting the right atmosphere
for each of the scenes. Hence, the producers
decided to bring in lighting designer Patrick
Woodroffe, who was closely assisted by Richard Pacholski, an Australian lighting guru.
The Design Process
Having read the script and familiarized
himself with this version of The Boy From Oz,
Woodroffe flew to Barcelona to meet Kenny
Ortega.
“We discussed generally what this show
was about, and then we went through it number by number,” said Woodroffe.“You want the
director to be knowledgeable about lighting,
but not too knowledgeable! A lot of the show
actually takes place in live situations, what we
call our ‘show look,’ so Peter Allen is here entertaining people in the present day, but he’s also
thinking back to other places. We had to find a
way to make those two elements different; the
live show and the intimate dream moments.”
Having gotten a sense of the shape of
16
PLSN JANUARY 2007
100.0701.InThet.indd 16
much set the style and the pace of the way that
the whole Australian crew worked together.”
Woodroffe arrived in Sydney 12 days before opening night, going straight to an offsite rehearsal of the show, where he made cue
notes. Later that day he sat down with Jason
Fripp (the console programmer who Woodroffe describes as one of the best that he has ever
worked alongside), and in four hours they had
roughed in the first act.
“By that, I mean that we set something
for every one of those cue points, however
sketchy it might be, to give us a basis for the
cast rehearsals, which were to follow,” he said.
“It was just enough to show how that song
might look. The next day we did the same with
Act 2, and so we then had about 100 cues in
the console. Jason had, of course, done a lot of
preparation before we started, including palettes, focuses, chases and color combinations
from a brief that I had given him, but also a lot
of things that I hadn’t thought about.”
This all meant that when rehearsals began
the next day, the performers could rehearse
their numbers under a lighting state that had
the atmosphere of that scene without the fine
detail. Over the following days the lighting was
finessed; one cue that was originally just blue
would become 10 cues because it was dim to
start with and some floor lights were added —
like an artist painting with large brushstrokes
and adding the detail later.
“We were always working from the idea of
the big picture — creating a strong base atmo-
CREW & GEAR
Crew
sphere and then finessing it once we had the
arc of the show,” revealed Woodroffe. “If I have
any distinct style in lighting, it’s that I’m monochromatic; I don’t like to mix up too many colors. I come from a background of rock concerts,
where things tend to be a little chaotic, and I’ve
always tried to make sense of the lighting by
organizing the songs into strong, simple color
pictures.
“Because of the discipline of the director in
the way he has run the rehearsal process, and
because the lighting team was well prepared,
we’ve managed to finish work each night before midnight and still be ready for the company the next day. A lot of this is due to Jason’s
programming, which was not only fast and efficient, but also imaginative and to the point.”
The Rig
The control console for the show is an MA
Lighting grandMA console, which Fripp is extremely adept at using.
“I’d have a scene in my head, relay it to Jason, and almost instantly he would make the
stage look like that,” Woodroffe said. “This is
not always the case with programmers, particularly if it’s the first time that you are working
together. The speed between thinking about
something and having it actually happen is
hugely important, however it works. I’ve always thought that, one day, a voice-activated
console may happen; can you imagine sitting
with a microphone and saying ‘orchestra lights
50%’ and it happens? However, it probably
still wouldn’t be as fast as working with Jason,
because I can’t say ‘the orchestra lights are
the wrong color.’ Jason would know, because
we’ve altered the color on the stage, that the
orchestra light now does not match because
he has a certain amount of sensitivity as a designer.”
Remarkably for a vast arena, the mood
slips easily from flamboyant razzmatazz to moments of intimacy. This is achieved primarily
though Woodroffe’s intuitive lighting design.
“There are some very poignant moments
in the show, and you have to combine these
successfully with the glitzy numbers,” he said.
“For example, you have to be able to focus on
a small child onstage who has just been told
his father is dead, so what do you do? You can’t
just turn everything off because it all becomes
very dead. It’s not like a blackbox theatre,
where you can have a single Leko isolating the
child. In the lower-key scenes, I tend to leave
light painted around the main focus, just to
Lighting Company: Chameleon Touring
Systems
Lighting Designer: Patrick Woodroffe
Lighting associate (UK): Adam Bassett
Associate Lighting Designer: Richard
Pacholski
Programmer: Jason Fripp
Head LX: Dale Mounsey
Lighting Crew: Jeff Pavey, L’Argent Wilson,
Rob Baker, Daniel Gordon
Lighting Gear
2 2 285 28 71 32 8 22 22 3 78 12 8 144 14 8 MA Lighting grandMAs
Martin Maxedia media servers
Element Labs VersaTubes
Vari*Lite VL500s
Martin MAC 2000 Wash fixtures
Martin MAC 2000 Profile fixtures
Pulsar ChromaBanks
Pulsar ChromaBanks (half size)
3K Syncrolites
Pro Shop LED Tiles
Rainbow 8”
Rainbow 15” - cut
PAR 64 ACLs
PAR 64 NSPs
3-cell Altman Zipstrips
keep the composition full.”
When Woodroffe first saw a model of the
stage set, he knew that large masses of light
would be required overhead from three or
four trusses. Nestled within the main trusses is
a separate central grid that flies in for the Studio 54 disco scene.
“To pick out a single person on a stage in
an arena, you need a fixture that can deliver
great intensity, and so we have some Martin
MAC 2000 Washes,” he said.“They’re a wonderful, bright, powerful wash light, but they also
have precise and useful beam characteristics.”
According to Pacholski, Woodroffe was not
initially too fussy about which brand of equipment was used, but it soon became obvious
that the MAC 2000 Profiles and Washes were
the best choice, as they are the real work-horses on the show. All of the 71 MAC 2000 Washes are overhead in the rig, while the 32 MAC
2000 Profiles are on both the overhead rig and
the arch. The Profiles favored the downstage
trusses, from where they could do more specific lighting and get a bit tighter into areas.
www.PLSN.com
12/28/06 10:58:21 PM
The Washes were mainly used on the audience
trusses and the backlight trusses.
Vari*Lite VL500s were used for side lighting from the upper and lower decks, as well
as a low back light along the front edge of
the elevated platform. Side-mounted on custom mounts, the VL500s took a lot of work
to integrate in this way, with both Pacholski
and ES Staging struggling to make the positioning successful.
“They were very exposed in this position,
delivering the typical VL500 look that we really love,” said Pacholski. “They were close
range lighting, so the incandescent level of the
VL500s still matched the MAC 2000s, as they
were further away.”
Followspots are only used in the show
scenes, not in any fantasy or flashback scene,
which helps to make it clearer to the audience
where they are.
Set designer Brian Thomson was adamant
that a color-changing dance floor, similar to
the one in Saturday Night Fever, be used during the Studio 54 and Hong Kong numbers,
so one was created on staging that is lifted via
hydraulic lifts. Rather than go to the expense of
something custom-made, Pacholski chanced
upon Pro Shop LED tiles, which are cost effective. While only visible from the cheap seats,
maybe about 30% of the audience, the 78 LED
tiles still reflect quite a bit of light onto scenery
and performers.
“It was great to be able to pick something
off the shelf, and these tiles are very bright and
directional,” said Pacholski.“They fitted the job
perfectly.”
The designer desired a rainbow arch as the
main set element framing the LED screen, and
initially, colored globes in rows seemed a good
idea, but Pacholski questioned the wisdom of
building something that could only be a rainbow.
“I started looking for a product that could
be a rainbow, but also many other things as
well,”he explained.“Eventually, I came across the
Element Labs VersaTubes, and my first idea was
to have the tubes running lengthways so there
were six long rows of tubes forming an arch. But
we discovered that they looked much better in
a vertical array fanning out, and then by running
media through them, we could create our rainbow. The consistency of color and the brightness of the VersaTubes was the main reason we
chose them. The fact that they use video LEDs,
not just colored LEDs, also impressed us.”
By choosing the 285 VersaTubes, the design team was able to create a myriad of effects through the arch, courtesy of a Martin
Maxedia, programmed by Fripp.
“My preference was by far for the Maxedia
because of the support from Show Technology, Martin’s Australian distributor, and we
were starting the show in Sydney, where they
are based,” explained Pacholski.“It was an easy
choice and, of course, it all married in with the
Martin MACs and MA boards, also distributed
by Show Technology. The rainbow and the
Chinese characters that scroll around the arch
were made as custom media by Interactive
Originals, while every other piece of media was
sourced from the standard Maxedia library,
which is vast.”
The VersaTubes are 16 pixels in length, and
because there were 285 tubes, the team had
a screen that was 285 pixels wide but only 16
pixels high, a strange format to work with, and
some media files just didn’t suit this sizing.
Another problem to be solved was how to
light up the treads of the stairs. Again, Pacholski didn’t see the point of just using colored
globes, so he opted for Pulsar ChromaBanks
instead. Unfortunately, the ChromaBanks were
available in only one length, and the treads
were one and a half times that length. Fortunately, Pulsar was more than happy to make a
special batch of half-length ChromaBanks to
solve the dilemma.
“We could then do whatever we wanted
color-wise, including yet another rainbow
effect, as each tread had individual control,”
stated Pacholski.
Another colorful rainbow effect for a
colorful character; this production is the ultimate Boy From Oz experience. It’s a flashy, tinselly and excessive celebration of one man’s
flashy, tinselly and excessive life.
www.PLSN.com
100.0701.InThet.indd 17
JANUARY 2007 PLSN
17
12/28/06 10:58:52 PM
PRODUCTIONPROFILE
The
is No Longer
a
Photos and Text By SteveJennings
E
lton John’s idea of celebrating
the 30th anniversary of the number one platinum-debuting album Captain Fantastic & the Brown Dirt
Cowboy is to play a series of shows.
With the more recent re-release of the
follow-up CD to that album, The Captain & the Kid, his newest tour serves to
promote the new release and closes the
book on the celebration. PLSN caught the
first two nights of the tour in Northern
California where he debuted the album
and new tour while taking a break from
his on-going Las Vegas Red Piano show.
We spoke with lighting designer Kevin
“Stick” Bye about the show.
Bye’s original concept was to fly a
truss structure that emanated from John’s
piano position off-center stage right. But
line of sight issues changed that.
“Sometimes we sell the seats behind
the stage,” says Bye, “which are actually
quite good because of the way Elton sits
at the piano. So I opted for a more symmetrical design, and I added the curves
because it draws your attention in. I am
able to trim it several different ways
based on the needs of the day. I needed a
flexible design that commands attention
in a stadium setting, and also works well
in an arena.”
Despite the fact that seats are sometimes sold behind the stage, there was
still a need for a backdrop. The designers
found something that provided the right
combination of new technology and old.
When they saw a Main Light Industries
SoftLED curtain at LDI in 2004, Kirkham
18
PLSN JANUARY 2007
100.0701.20.PROPRO.indd 18
and Bye were “intrigued.”
“When the lighting rig came up for a
re-design, we pitched the idea to Elton’s
tour manager, Keith Bradley. When it
was all said and done,” Bye says, “Elton
purchased a custom-built 32-by-60foot LED curtain framed by a fiber optic
header and border panels. It’s great because when you’re not running content
through it, it just looks like a large black
curtain or a star-drop. I’m not allowed to
shop at LDI anymore without a chaperone,” he laughs.
With the backdrop in place, all that
was needed was some content to throw
onto it. The inspiration came from their
boss’s legacy. “Keeping the 30th anniversary Captain Fantastic album shows in
mind, we used a lot of the imagery from
that album, then added some content that
we were able to compile based on the album art and lyrics from the latest album.
“My design partner, Benny Kirkham,
is immensely talented with Motion, Photoshop and other programs used to create the content for the show. He ended
up learning a lot of new programs onthe-fly. The SoftLED curtain, at the time,
was such a new technology that we really had to play with it to see what would
and wouldn’t work. We used a lot of existing high-contrast content, live camera shots and custom content created
by Benny. Crew chief Ronnie Beal also
Photoshopped some content for us. The
final decisions were made by Benny and
myself, with input from tour manager
Keith Bradley.”
www.PLSN.com
12/28/06 10:49:48 PM
“I’m not
allowed to
shop at LDI
anymore
without a
chaperone.”
– Ke i t h B r a d l e y
When it came to selecting the
lighting, Bye relied on some legacy of
his own. “I’m an old Vari-Lite guy with
more than 10 years in that company,
so I guess I’m a little biased,” he said.
“Elton has used Vari-Lites for 22 years!
But really, I simply love the colors, and
the reliability has improved so much.”
With a trim height of 40 feet, the
rig needed some lights with enough
punch to throw a long distance. What
they ended up with was a combination of washes and spots that included
Vari*Lite VL 3000 Spots and Martin
MAC 2000 Wash fixtures. The controller was selected by Bye for its popularity in the industry.
“I am a Virtuoso guy, and that is
what I use on the Vegas Red Piano
show. But for this tour I’m using an
MA Lighting grandMA. The learning
curve is really steep, but the board has
served me well, and it seems like it is
becoming the industry standard.”
Bye seems to be pleased with the
resulting rig and his current boss. Living in Vegas is also a bonus, not just
for the show girls. “I have the best job
in the world to work with someone
like Elton, because he lets me do what
I want with the show. He has a short
list of things he likes and doesn’t like,
and every now and then he’ll have a
specific request, but in general, the
look of the show is left to me and the
www.PLSN.com
100.0701.20.PROPRO.indd 19
JANUARY 2007 PLSN
19
12/28/06 10:50:24 PM
Crew
PRODUCTIONPROFILE
Lighting Company: PRG
Account Rep: Curry Grant
Lighting Designer: Kevin “Stick” Bye,
talented people that I am lucky enough to
work with. Living in Vegas, I am fortunate
to have ESP Studios right in my back yard.
We are able to pre-program in the studio
using their award-winning visualization
software, ESP Vision. We usually have four
to 10 days in the studio, then another day
or two on site to clean things up.”
Bye is always mindful that his good
fortune is due in part to those who have
helped with his career, and he makes a
point of recognizing them. “My thanks
go out to Steve Cohen and Robert Cochran, who entrusted me with directing
their shows years ago and ultimately letting me take on the design responsibilities. Our PRG lighting staff are second to
none, and many are good friends of mine
with whom I have worked throughout the
years. It’s a very ninja-like crew — they
show up, the rig goes together and trims
quickly, though not easily since I’ve outrigged all the lights! Then they go about
their separate duties, very professional, no
drama, which is how Elton’s management
likes it.”
As he reflects on his experience with
this tour, Bye is grateful for the gig. “We
play all over the world in so many interesting and different places, so it’s not always
the same show, and that part of it keeps
me from getting bored and allows me to
stretch creatively.”
After touring with the band for seven
years, he counts himself among the newer
members of the entourage. Many of the
band members have been with Elton for
more than 30 years, and Bye says about
them, “You couldn’t ask for a nicer bunch
of guys.” And that’s a good thing, since
he’s likely to be with them for a long time
to come.
Benny Kirkham
Lighting Director: Kevin “Stick” Bye
Lighting Crew Chief: Ronnie Beal,
Greg “Gorgo” Wershing
Lighting Techs: Andrea Jepson, Dave
Evans, Chris Lose, Todd Latvia
Tour Manager: Keith Bradley
Stage Manager: Dennis Mc Manus
LED/Video Company: Main Light
Industries
SoftLED techs: Ian Twell, Michelle Sarrat
grandMA Programmers: Demfis
Fyssicopulos, Benny Kirkham
Lighting Gear
40
Vari*Lite VL 3OOO Spot
32
Martin MAC 2000 Wash
12
Vari*Lite VL 2402 Wash
12
Vari*Lite VL 1000 Spot
10
Vari*Lite VL6c Spot
12
8-light Mole with Color Changer
7
28
MA Lighting grandMA consoles
1
Main Light Industries
SoftLED Curtain
2
High End Systems
Catalyst media servers
20
Color Kinetics Color Blaze
2
ETC Source Four 19 degree ERS
PLSN JANUARY 2007
100.0701.20.PROPRO.indd 20
www.PLSN.com
12/28/06 10:51:21 PM
100.0701.ADS.indd 21
12/29/06 12:08:36 AM
Media Servers, LEDs Top List of Notable for 2006
A
By RichardCadena
sking designers about their favorite technology is something akin to asking a new mother about her baby — they get a dreamy look in their eyes, and they go on and on about every last detail.
We asked some mothers...er, I mean designers and end users, to name their favorite tools of 2006, and we got responses from a wide variety of them, including a video production designer,
a couple of television lighting designers, several corporate event lighting designers, some touring designers, a technical director and a production manager. Not surprisingly, topping the list
were media servers, LED-based lighting and moving lights. The surprise is that several designers hailed the arrival of tungsten-based moving lights as their salvation. Here’s what they had to say.
Media Servers
“(PRG) Mbox, (MA Lighting) grandMA
Video,
(High
End Systems)
Catalyst...The
integration of
video and automated lighting is
a powerful tool
allowing the LD
total
control
A screenshot of High End
over
the
entire
Systems’ Catalyst programming
visual experience of the
software, v4.
p ro d u c t i o n .
Though these
systems have
been out for
a number of
years, the control platforms
are now beA Maxedia screenshot.
coming more
accessible to the simple-minded designer!”
–Fabian Yeager, lighting
designer, Yeager Design
“ P i xe l
mapping
would
be
high on the
A grandMA Video screenshot.
list, but to me
the media server in
general has changed
my life, and pixel mapping is a powerful tool
in that realm. Video
content that can be
manipulated though a
light board...who would
A PRG MBox Extreme.
have thunk it.” –Howard
Werner, principal designer, Lightswitch
“Pixel mapping — whether a Martin
Maxedia, a Green Hippo Hippotizer, PixelMad — whatever — the ability to quickly,
easily and controllably manipulate lighting
using video images has forever changed the
way I program shows.” –John Featherstone,
principal designer, Lightswitch
Green Hippo Hippotizer
“Hands
down my favorite piece
of gear. It led
the field in
being able to
The Green Hippo HippotizerHD.
produce HD
output with up to eight layers simultaneously across two outputs. [It’s the only] media
server to be able to input automation tracking data and automatically move projections
around to follow automated screens. Version
3 includes HippoNet, allowing the control of
multiple Hippos from one computer (Mac, PC,
laptop, whatever), timeline cue programming,
freeing the media server from the requirement of using a DMX controller, and it introduced integrated encoding... Drop any kind
of file into the Hippo Media Manager (AVI, QT,
MPEG2, MPEG4, whatever) and it encodes it
for optimum playback.” –Bob Bonniol, partner/
creative director, Mode Studios
Tungsten Moving Lights
“Be it the VL500, Coemar Halo (my personal
favorite this week), or Martin MAC TW1, I’m so
happy to see this color temperature return to
a moving light. I always had a sick fetish about
the original VL5, and this year I can get that tingle…never mind. To have a dimmer that isn’t
mechanical, to have color correction that really
is corrected, to have warm ambers and real red
is a welcomed return of a layer that had been
missing from my cold, arc lamp world.” –Seth
Jackson, lighting designer, Visionering
Coemar iWash Halo
“I’ve become attached to this fixture. The
size of the fixture is small and compact, but
the colors — oh, the incredible colors — just
scream at you through the camera lens.”
–Carlos Colina, lighting designer, Univision/Grid
Munky Designs, Inc.
Martin MAC TW1
“It has all the features of a MAC 2K
with the true tungsten quality of light
that only comes in the
VL5/500 and HES Color Command. These
other fixtures, while
fine instruments in
their own right, both
The Martin MAC TW1.
come with significant
compromises in feature sets, which greatly
limit their effectiveness. Great light!” –Chris
Medvitz, principal designer, Lightswitch
Element Labs Stealth
“While not the first, it’s the first truly flexible,
visually attractive (when off), and high-enough
resolution display of its type. Its light-weight
and insanely simple construction opens up all
sorts of new creative doors.” –Chris Medvitz
MA Lighting grandMA
“I can go from ‘A’ rig to club gig and still
have a hot show. Simply replace, clone, update.
I love its networking capabilities for focusing
lights on stage with a handheld pocket PC and
that I can save the show directly to my laptop
using the grandMA offline software. But I am
still in floppy hell. Using the USB port in back
would be more useful for a ‘jump-drive’ than
for an LED desk lamp. Then the floppies can
serve their absolute purpose: drink coasters.”
–Kevin Christopher, lighting designer
Clay Paky Alpha Wash 575
“The color mixing
and beam architecture
are outstanding. And
the fixture really packs
a punch for a 575 watt
source. Truly, the best
wash fixture I have used.”
–David Poole, director,
Fine Arts Facility, Westlake The Clay Paky Alpha
Wash 575
High School
ESP Vision 2
“I only
have
to
draw
my
design once
for the lighting vendor
and
my
visualizer
A screenshot of ESP’s Vision
program.
Software, version 2.
Normally I would draw a plot in VectorWorks
for the lighting vendor and then have to draw
another plot in a visualizer program. Now I
just patch the fixtures on my VW drawing,
export it into ESP and start turning the lights
on through any console, virtual or real.” –Nook
Schoenfeld, lighting designer
Favorite? “ESP Vision — when it works.”–Lee
Rose, lighting designer, Design Partners, Inc.
PRG AutoPar
“It makes focus so easy on items that move
around — like cars!” –Patrick Stansfield, production manager, P. Stansfield & Associates, Inc.
Kinesys Elevation 1+
“Their Elevation 1+ system has brought the
ability to move objects with accuracy and reliability while making that intrinsically difficult
physical process simple enough that it can be
taken care of by lighting crew with only the
simplest of training. The hardware is simplicity
defined, doesn’t slow down the load-in or out
process, and it’s rock-solid.” –Alex Reardon, lighting designer
Large Format Lights
“Love the new Falcon 7 and 8K big lights.”
–Bob Bonniol
“The features
[3-color changing scrollers and
quick strobe effects] — and
most importantly,
the price — have
The Zap Technology BigLites
made the Zap
on a Univision show.
Technology BigLite [distributed in the U.S. by Martin] one of
my favorites this year. On my last show they
were the star. With only seven of them, they
cut through the haze with blazing authority.”
–Carlos Colina, lighting designer, Univision/Grid
Munky Designs, Inc.
22
Vaporware
“I love the really cost effective, arc source,
framing shutter, moving ellipsoidal without
lots of bells and whistles that can really replace the ‘Leko’...No, wait, no one’s made that
yet. My mistake.” – John Featherstone
PLSN JANUARY 2007
100.0701.22.indd 22
www.PLSN.com
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100.0701.ADS.indd 23
12/29/06 12:09:16 AM
INSTALLATIONS
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By Erin M.Blakemore
T
“Normally I don’t
like putting
trussing that
has to be climbed
into a church
environment,
but this was a
request backed
by the church.”
–Dave Loftin
hink show-stopping effects and
state-of-the-art design elements
are reserved for big-time Broadway
shows or Hollywood sets? The Church at
Pinnacle Hills in Rogers, Ark. begs to differ.
After two years and exhaustive team effort devoted to the staging installation in
its new 3,000-seat worship facility, church
leaders and community members alike are
enjoying a high-tech, TV-ready church that
boasts an integrated and responsive theatrical system as it helps to redefine production values in worship.
The new worship center at Pinnacle
Hills isn’t just a congregant’s dream — it’s
unbelievable theatrical eye candy with
impressive specs. Brawner & Associates
(www.brawnerassociates.com), a live
event production and technical consultancy firm based in Springfield, Mo.,
thought big — but big obstacles also
came into play when planning and producing such a mammoth installation.
Window on Innovation
When president and principal consultant
of Brawner & Associates Donnie Brawner took
on the contract in 2004, he knew it wouldn’t
be easy. Not only was the project conceived
on a large scale, but it also had to meet flexible technical specifications for HD live broadcast, weekly service, touring production and
special event capabilities. The contract included lighting design for three systems for
the main sanctuary, children’s ministry and a
Gatheria lobby area where the pastor will be
doing televised weekly summits. The space
itself presented real lighting difficulties, given
its range of projected uses. Featuring a spectacular 6000-square-foot rear upstage glass
window, the space was designed around
natural backlighting that would highlight the
pastor and provide a view to an outdoor water and sculpture landscape.
“It was an obstacle,” admits Brawner, noting that the outdoor view provided an undeniable sense of inspiration to the space. “The
natural light challenged us in terms of color
temperature and the ever-shifting changes
in the room’s light level.” After exploring the
possibility of HMI sources that would fight
against the room’s color temperature concerns, Brawner’s team abandoned the idea
in favor of other solutions that could allow a
color-corrected theatrical system. In conjunction with the architect, Brawner & Associates
opted for “smart glass” technology and sought
out a glass product that would meet its multiple goals of maintaining transparency and
view while reducing light by several F stops.
SPD or Sage glass may be what the doctor ordered — for the present, at least, the
window has been given a heavy tint for
worst-case scenario light transmission. In
the future, the ideal glass product will be
determined and the tinted glass replaced.
An extensive virtual lighting study had to
be undertaken. This study pitted the designed lighting system against a barrage
of sunlight projections throughout the
course of a day or a year. A 3D model was
built with realistic textures and surfaces.
“Our renderings showed accurate sun projections at over 36 times throughout the
year,” says Brawner, whose team then designed a system that uses color scrollers to
correct to daylight during the day and retain a 3200k color temperature at night. The
virtual lighting and sun study provided really gave us the confidence and knowledge
we need to proceed in this
space,” says worship pastor
Josh Stanbery.
A service at Pinnacle Hills.
24
PLSN JANUARY 2007
100.0701.24-25.INSTAL.indd 24
Sizzling Lighting Effects with
an Eye on Safety
Natural light wasn’t the
only challenge Brawner & Associates faced while designing
the custom church space —
the installation’s flexible service
and video applications meant
that a responsive and flexible
lighting design was needed.
The end result is over 500 lighting fixtures in a fully integrated
ETC network that features 42
intelligent lighting units and
more than 600 dimmers. In addition to the array of lights from
lines such as Robert Juliat (Korrigan followspots), Martin (MAC
2000 wash units and Profile
with custom gobo package),
and Apollo (Smart Color scrollers), LED units
from Color Kinetics play a vital role in Pinnacle
Hills’ lighting design. Point-of-light LED units
were designed to mount inside the intersection points of the window mullions that face
the congregation, bringing color into the
naturally-lit room and providing an instant
background when the window is shaded or
natural lighting is sub-optimal.
“We designed our LED installations to
change the tone of the picture without altering the spectacular view,” says Brawner, who
worked with lighting systems design manager Ron Robertson, rigging design and project
supervisor Dave Loftin and Associated Theatrical Contractors on the lighting design and
implementation. “There was definitely nothing standard about this installation,” adds
Loftin. “We really enjoyed the challenge.”
Loftin faced a more specific challenge
when the space’s architect asked for illumination on catwalks in order to take the site’s
lighting as high as possible. This required
the custom design of eight self-climbing
trusses. “Normally I don’t like putting trussing that has to be climbed into a church
environment, but this was a request backed by
the church, so we worked to design a system
that could be as safe as possible,” says Loftin,
who chose James Thomas custom 20-inch by
20-inch truss with custom motors and line
shaft winches by Rigging Innovators. “By using
the internal line-set winch system that incorporated two wire ropes at each pick up point,
we were able to maintain stability. Truss control was specified to be on a pendent, allowing
direct line of site from operator to every truss
and allows only one truss to be moved at a time
for added safety.” Loftin adds that standard
horizontal fall arrest systems were specified for
each truss, ensuring that safety would accompany the space’s amazing visual effects.
Efficient power distribution was also a priority for the lighting designers, who designed
208V intelligent lighting power and 110V Edison convenience power into the raceways and
circuit boxes along with the dimmer circuits
to provide maximum flexibility for light placement. No matter the element — and scrollers,
moving lights and LED are well-represented
in the Pinnacle Hills installation — light placement is effective and efficient. And the designers went the extra mile to plan for touring
shows and special events when they included
road show power disconnects for lighting and
sound in their installation.
The final decision for ETC was a no-brainer
for Rob Robertson, who chose the grandMA
console to preside over the installation’s multiple lighting and architectural elements. The
console allows stable control of multiple universes within the ETC network in a state-of-theart system that is flexible enough to handle
future expansion.
www.PLSN.com
12/29/06 1:38:05 PM
Construction on the Pinnacle Hills Worship Center’s new sanctuary.
The 6000-square-foot window dwarfs the large
HD projection screens and pastor during service.
Pinnacle Hills’ new sanctuary during a service.
“Our renderings showed accurate sun projections at over 36 times throughout the year.”
–Donnie Brawner
Scenic Design and Video
When it came to scenic design, Brawner
& Associates recruited award-winning scenic
design partner Michael Hotopp, whose career features runs with the CBS Morning Show,
Olympics, Emmy Awards, National Basketball
Association and the Oprah Winfrey Show. Hotopp was tasked with creating a set that could
accommodate a full orchestra, choir risers and
pastor while providing background treatments and television set for the church’s daily
television broadcasts.
The Church at Pinnacle Hills’ media minister, Bryan Bailey, was impressed with the
results produced by Hotopp. “It’s a seamless
integration of elements,” he says, noting the
space’s wood-finish selections, metal work and
frosted glass. “Better yet, it shows beautifully
on video.”
Video was the next piece of the mammoth installation’s puzzle, and SG Integration
was on hand to design and install the space’s
video projection system. Tony Bishop, senior
designer and general manager of SG Integration, notes that the video system had to be integrated into the space’s overall design along
with decorative elements. Eventually, he chose
two Barco 16-foot by 9-foot ILite 6mm LED video displays, which were installed in the sanctuary for video content delivery image magnification. Seven Ikegami high-definition video
cameras capture live video, and the screens
also project pre-produced content recorded
on Sony digital disc recorders. A Visual Circuits
Mantis content server manages the impressive display programming, while an Extron IP
link system monitors all projection and video
components throughout the installation. As
usual, “flexibility” was the keyword behind the
church’s video installation.
End Result: Worldwide Outreach on an
Integrated Scale
The Church of Pinnacle Hills has an ambitious mission — “Reaching Northwest Arkansas, the Nation and the World for Jesus Christ.”
It’s a mission they’ve come closer to achieving
with the help of the massive team effort that
produced the TV, performance and serviceready space in Rogers. But the success was
hard-won; implementing the big vision of architect, consultant and church required a team
effort with an eye on flexibility, integration and
future growth.
Bailey is enthusiastic about the results.
“We’ve already featured Travis Cotrell Band,
The Crabb Family, and Veggie Tales in addition
to regular services in the past five weeks,” he
notes. “It looks incredible on high-definition
recordings.” He is grateful that the church’s
unique lighting and installation needs were
responded to with innovation and a sense
of challenge, a sentiment that is echoed by
Brawner. “This project was definitely out of the
box. Luckily, this church realized the importance of the integration of lighting, video, audio and set elements and didn’t indulge in all
of the value engineering options and cutbacks,
and Brawner & Associates was able to maintain
these important elements.”
The impressive and inspirational space is
slated for good use: Pastor Ronnie Floyd’s “Winners” program will receive wide satellite distribution nationwide in the coming year, and
current congregants are enjoying a state-ofthe-art space as they engage in worship services and see touring productions and concerts.
“It’s a new form of church worship,” says Stanbery.“I think it has definitely put us on a track of
originality and creativity that is missing in many
modern worship services.”
www.PLSN.com
100.0701.24-25.INSTAL.indd 25
JANUARY 2007 PLSN
25
12/29/06 1:38:33 PM
L
EGENDS ON STAGE,
EGENDS BEHIND
THE
SCENES
The Who blows away the smoke, and the crowd,
with the light and video show on their new tour.
A
s a fledgling college kid, standing in
line for The Who at Berkeley Community Theatre in June of 1970,
I could never have predicted that I’d be
enjoying their music from FOH 36 years
later — let alone that the band would still
be touring. Fast forward to November 17,
2006, at the American Airlines Center in
Dallas — a magical evening of Who music
and stunning visuals.
The Who are true legends, and by many
accounts, one of the greatest and most influential rock ‘n’ roll bands of all time. At
this point in their career, a “greatest hits”
tour would have been a safe bet. But for
their 2006/2007 World Tour, with their first
album in 24 years and a new mini-opera,
they certainly did not play it safe, visually
or musically.
In 1970, if memory serves me, their
stage show consisted solely of colored
lights. But over a generation later, amidst
the constant shouts of “Play ‘Pinball Wizard’,” their remarkable audio/video production is being hailed as “a cornucopia of visuals” by music critics and concert attendees
alike. To stage the series, XL Touring Video
joined forces with George & Goldberg
Design Associates and Barco to provide a
dynamic and completely reconfigurable
video presentation environment — and
one in which the video is as much a part of
the concert as the music.
I-mag screen above the proscenium arch
and two SLM R12 projectors for the side
screens. Backstage, Barco’s Encore Presentation System drives the LEDs, while a Ross®
Synergy-2 switcher is used to cut the I-mag
video. Additional production equipment
includes three Doremi® disk recorders for
content playout and eight Sony® cameras:
two at FOH with long lenses, two handhelds in the pit, three robotic cams onstage
and a single lipstick cam on the keyboards.
The lighting desk is a grandMA™ console
from MA Lighting Technology.
Moving Big Walls
George & Goldberg Design Associates
is a full range company that handles everything from small-scale drapery systems to
huge motor-controlled turntables. In addition to “big,” their forte is accuracy and
repeatability. Tommy Booth, the tour’s motion control operator, works for G&G and
was instrumental in the system’s design
and integration. “XL came to use because
of our experience with moving big walls,”
explained Booth. “We’ve worked on sets for
American Idol, Streisand and Tim McGraw,
among others, and hundreds of industrials, so this is something we know how to
do. Engineering wise, the challenge here
was to move five 3200-pound walls safely,
smoothly and with perfect repeatability.”
“For vertical movement, we’re using
very robust CM® Chain Motors — the in-
“Engineering-wise, the challenge here was to
move five 3200-pound walls safely, smoothly
and with perfect repeatability.” – Tommy Booth
The Who’s Creative Palette
In order to provide a completely different physical and graphical “look” for each
song, five individual 9-foot by 12-foot Barco DLite7 LED screens provide the show’s
creative palette. Using a custom G&G Motion Control System, all screens have the
freedom to move both horizontally and
vertically. They can be combined into
a single seamless 45-foot cinemascope
screen, or five individual panels at various
angles — or a configuration that combines a three-panel widescreen flanked by
two single panels.
Additional video gear includes dual
Barco ELM R18 projectors for the center
26
PLSN JANUARY 2007
100.0701.26-27-41.indd 26
dustry standard,” said Booth, “but with our
own modifications for variable speed. And
for horizontal movement, we’re using an Ibeam rack-and-pinion tracking system that
gives us accuracy to 1/100th of an inch,
and absolutely no slippage. Perhaps more
importantly, our control system has a builtin ramp up and ramp down feature, which
eliminates the problem of swaying with
these huge screens.”
Rescued by Custom Controls
With eight cameras to cut on the Synergy, three playback devices to trigger, plus
eight unique destinations to switch on the
Encore, Video Director Stuart Rowsell is
seriously busy backstage during each concert. “It makes for a very stimulating show,
shall we say,” grinned Rowsell.
During rehearsals, his hardest challenges were those moments when he simply
didn’t have enough pairs of hands to cue
and switch the cams and the destinations.
The solution turned out to be the Synergy’s
custom control feature. “Ross has designed
a whole battery of machine control functions that allow me to cue and trigger
the Doremi servers as well as the Encore
— using the same desk that I cut my cameras on,” explained Rowsell. “I have perfect
timecode control over the clips, and I can
recall presets from the Encore — exactly
the same for each show.”
I asked if he had any breathers during
the shows — to enjoy the music and the visuals. “This is probably the most technically
demanding show I’ve worked on for XL.
The level of concentration — it’s just mad,
and you can’t take your eye off the ball. My
cues have to be spot on,” he emphasized.
“Yes, there’s a lot going on, but it’s a brilliant
show.”
Hipgnosis Creations — Then and Now
The Who’s set was designed by Aubrey “Po” Powell, the founder of Hipgnosis
— the legendary company responsible for
creating album covers for Pink Floyd, Led
Zeppelin, Wings, Genesis and many more.
Equally as impressive as seeing The Who
(once again) in concert, was talking with
the gentleman who designed Dark Side of
the Moon.
“I’ve worked with The Who since 1996,
when we did the Quadrophenia conception,” explained Po, “and I’ve known Pete
Townshend since I was 21 — when he was
smashing guitars onstage at universities.
When Pete and Roger Daltry decided to
go out this time, Pete wanted to do something special — something very different in
a ‘staging’ kind of way. This was not going
to be a normal Who tour. When I met with
them back in April,” continued Po, “they
talked about wrapping a different concept
around each song, with incredible graphics.
It might be stills, animation, live action, or
even a combination of old film and contemporary footage.”
“Soon afterwards, Tom Kenny (the
lighting designer) and I sat together at a
Japanese restaurant in Miami, and we did
some drawings on a napkin,” said Po. “And
the ideas that came along were to create
five LED screens that could join into one,
Video Director Stuart
Rowsell at the Encore
or split into five, or split into three plus two
— and each could track and move around
the stage at the same time. They could
show the same image in cinemascope, or
many different images — all according to
the song.”
In creating the look, one of Po’s biggest challenges was to find a correlation
between the visual images on screen and
the method by which the screens physically move within the proscenium arch.
“In actual fact,” said Po, “by using the motion control system and the video, we put
together a very theatrical show that combines all these elements. Pete has always
been about the entire experience, and this
show truly has 21st century graphics and
a video delivery system that’s simply cutting edge.”
Under Po’s direction, the graphics and
animations that embellish each song were
created by Bristol-based Hello Charlie, Ltd.
“They weren’t a big company,” noted Po,
“but I’d seen things that they’d done, and
I was very interested in seeing what they
could do for us. So, I gave them one song
to play with, ‘Baba O’Riley’ — before I
launched them on the entire project.”
“And it was mind blowing,” said Po
with a grin. “When we went into rehearsals, that was the only clip I showed. And
everybody went ‘That’s amazing, that’s
what we want!’”
Throughout the graphics creation
phase, Po had Pete and Roger’s complete
trust for the remainder of the songs
www.PLSN.com
12/29/06 1:44:18 PM
— even though they’d only seen visuals
for one number. “As the tour date neared,
I finally got an e-mail from Pete saying,
‘Here we are in August, we’re going out to
America in September. Is there a chance
we might see something?’ I had just completed the mini-opera segments at that
time, and I emailed everything through to
him. And I got an e-mail back saying just
two words, ‘Absolutely outstanding.’”
Powerful Visuals — Clean
and Smoke Free
Tom Kenny, the tour’s lighting director
and creative director, has been around the
band since 1990, when Pete Townshend did
his first solo tour, Psycho Derelict. “It was a
complete audio visual tour,” explained Ken-
ny. “Pete had just won a load of Tony awards,
and he was completely ensconced in the
Broadway way of doing things. The next
thing that Po and I did was Quadrophenia,
which was one serious step forward when
we started using LED. And every night, the
LED told the story — because all of Pete’s
stuff is written theatrically, with a story and
a message,” said Kenny.
“So, it’s come to this,” said Kenny,“and for
their first new music in 24 years, Pete wanted
to cocoon it with visuals and stories, and to
really treat it differently. I wanted to have a
different type of lighting system – and that’s
where the moving screens came in.”
At The Who’s request, and in stark contrast to almost every other rock concert on
tour today, the entire production is smoke
free — perhaps to emphasize the visuals
and the music, or perhaps, just to be different (once again). “Since Pete and Roger
wanted to stop using haze and smoke, I really needed to have some powerful visuals,”
said Kenny. “It’s not been a problem — it’s
been fabulous. It’s the cleanest rock show
you can have, with no smoke, all visuals and
LED, and all the colors complementing the
music. Pete is the idea man, and Roger takes
a different approach, with a very visual eye.
To be honest, they wanted to get the most
technical, the most up to date production
possible,” continued Kenny.
Kenny summed up his feelings on the
entire production with a comment about
Pete Townshend, the songwriter. “He said,
‘Let’s create something that people have
to think about.’ He doesn’t want it easy, he
doesn’t want it literal,” added Kenny. “This really shows the intelligence of The Who. You
listen to The Band, Van Morrison, Eric Clapton and others, and you think — that’s great,
that really touches my heart. But when you
talk to a songwriter about what the song
is really about, this production comes very
close to pulling out those emotions.”
Pixel for Pixel with Encore
Chris Mitchell, XL Touring Video’s chief
engineer, was a key player during the tour’s
pre-production phase. His challenge was to
design a video playback and delivery system
that could precisely reconfigure five LED
screens into multiple layouts. The solution
was Barco’s Encore. “Tom Kenny is the crecontinued on page 41
Video for the song “Who Are You”
2/3 JR. VERTICAL AD
Video for the song “Behind Blue Eyes,” showing full proscenium arch and I-Mag
“I finally got an e-mail from Pete saying, ‘Here
we are in August, we’re going out to America
in September. Is there a chance we might see
something?’ ”
– Aubrey “Po” Powell
CREW & GEAR
Crew:
Manager: Bill Curbishley
Tour Manager: Rex King
Production Manager: Roy Lamb
Stage Manager: Scott Williams
Video:
Video Director: Aubrey Powell
Video Switcher: Stuart Rowsell
Video Engineer: Seth Sharpless
Technician / Cameraman: Justin
Kreutzmann, Andrew Welch
Camera: Mark Wilkinson, Jerry Rogers,
Damion Gamlin
100.0701.26-27-41.indd 27
Projection: Steve Falconer
LED: Mark Inscoe
Video Tracking / Motion Control:
Tommy Booth
Set, Lighting and Rigging:
Lighting / Set Designer: Tom Kenny
Lighting Techs: Drew Sanchez, Glen
Rupert, Michael Mehmet, Carl Horahan
Assistant L.D.: Kathy Beer
Lighting Crew Chief: Jason Stalter
Head Rigger: Bart Durbin
Ground Rigger: Dan Gurchik
12/29/06 1:44:43 PM
PRODUCTGALLERY
AUTOMATING the Stage
By RichardCadena
I
n the late 1940s, George Izenour installed what might be one of the first automated
rigging systems for the stage at the Kalita Humphrey Theatre in Dallas and at Hofstra
University in Long Island. A series of synchronous motorized winches with 1/ 8” aircraft cable were mounted on the wall, and the cables were run to a number of sheaves
mounted on the underside of the roof steel. With a matrix of mounting locations, the
sheaves could be easily relocated to provide for flexible rigging options.
Ultimately, the system failed due to problems with accuracy and repeatability. The
technology that was available at the time didn’t have the accuracy to prevent lines and
set pieces from hitting the ground or from running into each other.
A lot has changed since that time, including the development of the integrated circuit and the desktop computer. What hasn’t changed a lot is motor technology. But the
28
Verlinde’s Stagemaker Compact 500
Applied Electronics MC Touring Hoist controller
Chain Master’s VarioLift and Trolley
J.R. Clancy Scene Control 500
Serapid, Inc.’s Link Lift 80
Columbus McKinnon Prostar
PLSN JANUARY 2007
100.0701.28-29.indd 28
marriage of the two — computers and motors — has opened new avenues in the realm
of staged productions. ChainMaster chain hoists, for example, have optional encoders
with positional accuracy of 0.2 millimeters and can operate at speeds of up to 138 feet
per minute. We’ve only scratched the surface of applications for computers and motors.
It’s for those creative, forward-thinking individuals that we offer this month’s Product
Gallery.
For this gallery on automating the stage, we tried to be as inclusive as possible,
which necessitated a very general format. Most of the off-the-shelf solutions involve
chain motors and hoist controllers, and those that are more specialized are typically
more custom-made, or as they say in England, bespoke systems. Here is a sample of offerings from across the industry.
www.PLSN.com
12/29/06 2:11:23 PM
Manufacturer
North American
Distributor
Product Name
Description
What it's for
Specs
Retail Price
(or P.O.A.)
Comments
MC Touring Hoist
controller
Portable chain hoist
controller with power
distribution & remote
pendant in touring
ready case
Provides power and
control for chain hoists
using 3-wire (up, com,
down) format. Remote
allows hoists to be
controlled individually
or in groups.
Available in 4-12 channel units in either single or three
phase. Multiple connector options including 7-pin Soco,
P-14 & dual twistlock.
P.O.A.
Custom configurations available for rack mount,
terminal block connection & control only versions.
MC Install Hoist
controller
Wall-mounted install
chain hoist controller
available with or without
remote pendant
VarioLift
Variable-speed chain
hoist
Human rig, live
movements of truss,
scenery, stage, etc.
Double brakes, quiet, friction clutch, load cell, 1 to 150'/min,
BGV-D8, D8+ or C1 rated, 1mm accuracy, from 125Kg to
12500Kg
1
/2 ton =
$12,026 US
Fixed speed
Hoists
Fixed-speed chain hoist
Rigging
Jam-free plate, small body size, lightweight, quiet, friction
clutch, optional double brake, BGV-D8, D8+, C1 rated
1-ton single
brake = $2,542
US
Show Controller
Computer controller
with load monitoring,
position monitoring,
synchronization, etc.
Show motion controller
Control any electric motor, e.g., hoists, scenery elements,
stairs, elevators, hydraulic motors, etc.
8-channel
with tour
rack= $30,856
US
VarioTrolley
Variable speed trolley
Human rig, live
movements of truss,
scenery, stage, etc.
Load cell, 4 to 130'/min, BGV-C1 rated, 1mm accuracy, light
or heavy load capacity
2-ton = $7,246
US
Coffing UJC
Electric chain hoist
Lifting loads on a stage.
Applied Electronics
www.appliednn.com
Chain Master
www.chainmaster.de
Show Distribution
www.
showdistribution.
com
Coffing Hoists
www.coffinghoists.com
Available in 2-12 channel units in either single- or threephase. Terminal block connections standard with others
available.
1
Custom configurations available for rack mount &
control only versions.
Used for tours and permanent installations like
Metallica, U2, Pentagon Auditorium, etc.
/2 - to 2-ton capacities; speeds to 32 fpm; CE-type controls; oil
bath xmission; 5-pocket load sheave; lifetime warranty.
/4 - to 1-ton capacities; 16 fpm; double DC brake; hi-res
encoder; integral load monitoring components; lifetime
warranty.
1
CM Lodestar
BGV C1
Columbus McKinnon
www.cmrigging.com
Electric chain hoist
CM Lodestar
/2 - to 2-ton capacities; speeds to 32 fpm; CE-type controls; oil
bath xmission; 5-pocket load sheave; lifetime warranty.
1
CM ShowPro
J. R. Clancy, Inc.
www.jrclancy.com
Prolyte Products Group
www.prolyft.com
Serapid Inc.
www.serapid.com
Verlinde
www.stagemaker.com
R&M Materials
Handling, Inc.
www.rmhoist.com
459-1/2 Draw
Curtain Machine
Traction drive curtain
machine available
in fixed and variable
speeds. May be outfitted
with other options. Curtain machine
is used for moving
performance and
acoustical curtains
in theatres, concert
halls and other
entertainment venues. 1
/2 HP traction drive curtain machine capable of operating
between preset open and close positions at a line speed of
78 feet per minute. $3,730.00
SceneControl®
500
Multiple winch
controller
Control of motorized
rigging with 3D
graphics for pre-viz
before pressing Go.
Touch screen with 3D graphics, two independent playbacks,
every motor in a cue can have its own speed/time and
target position, joysticks for speed override.
P.O.A.
Shamrock
Motion controller
Custom motion control
for theatrical rigging,
acoustic canopies,
reverb chamber doors,
acoustic curtains, etc.
Touch screen, pushbutton stations, custom video displays,
remotes, all PLC-based
P.O.A.
SceneControl®
100
Multiple winch
controller
Simple position control
of up to five channels
of motorized rigging.
Touch screen, fixed or variable speed winches.
P.O.A.
PLE-11
500 kg, 4 m/min chain
hoist
Direct/low voltage, power outlet top side, five-pocket
chain wheel, multiple disk brake, internal one-piece chain
guide, grade 80 chain (FEM 3m), standard swivel hook, free
rotating hand grips, FEM 3m, CE, BGV-C1
PLE-12
hoist
Direct/low voltage
PLE-13
hoist
C-one, PLE-50-04
hoist
C-one, PLE-51-04
hoist
C-one, PLE-52-02
hoist
LinkLift, Stage
Lift, Orchestra Lift
Vertical column that lifts
with strength of a steel
beam
Stage, piano and
orchestra pit lifts.
Can accommodate more than 22,000 pounds, reach heights
of up to 40 feet and be compacted to 8 inches from the
ground
Linear Motion
Systems, Rigid
Chain, Push/Pull
Chain
Horizontal motion
systems with high
transfer speeds and low
noise levels.
Stage wagons or other
on-stage transfer
systems, allowing for
quick scenery changing
or special effects, even
over long distances.
Can move up to 200 ft/min, quiet enough to operate during
performances and is able to move up to 35 tons per chain.
Stagemaker SM1
60 kg - 125 kg, 8-16
m/min chain hoist
Stagemaker SM5
250 kg & 500 kg, 4, 8 & 16
m/min chain hoists
Stagemaker
SM10
500 kg, 1000 kg, 2000 kg,
2, 4, 8 & 16 m/min chain
hoists
Stagemaker
Cyberhoist
250 kg, 500 kg, 1000 kg,
0-10, 0-20 & 0-40 m/min
chain hoists
Installed at Carnegie Hall, the Mondavi Center at UC
Davis and the Carnival Center (Miami).
Single-phase version, double brake (D8+), limit
switches, encoder, lifetime warranty with regular
service; each hoist equipped with electronic tag to
track history.
Direct/low voltage, FEM 1Am, BGV-C1, CE
Direct control, electronic under/overload protection, dual
limit switch with LED indicator, double brake system, slack
chain detection, 10:1 design factor, lower swivel hook,
BGV-C1, CE
P.O.A.
P.O.A.
Low-voltage control
Facilitates crossing tracks and allows stage-wagon
systems on multiple levels.
Options include dual brakes, 10:1 safety factor,
programmable control, variable speed and singlephase units.
Direct or low voltage control, overload limiter, limit switches,
CEE as standard
www.PLSN.com
100.0701.28-29.indd 29
P.O.A.
300 lb. to 1100 lb. capacities; speeds up to 40 fpm; weighs
less than 36 lbs; 10 pocket lift-wheel reduces chain wear;
lifetime warrant
CM Prostar
H&H Specialties
www.hhspecialties.com
1- to 3-ton capacities; speeds up to 64 fpm; cast aluminum
housing; black power-coat finish; lifetime warranty.
Meets German standard for entertainment rigging
programmable control, variable speed and singlephase units. VBG C1 as option
programmable control, variable speed to 16 m/min,
and single-phase units. VBG C1 as option.
programmable control, variable speed and singlephase units. VBG C1 as option.
JANUARY 2007 PLSN
29
12/29/06 2:33:11 PM
PRODUCTSPOTLIGHT
Shadow Management
Hula Skirt
By NookSchoenfeld
V
by exorbitant fees from the venue for
labor and equipment charges. Then, the
house lights located over the aisles are
considered “no man’s land” and cannot
be extinguished, regardless of the problems the spill of this unwanted light is
causing your presentation.
The solution to these problems is
the Hula Skirt ™, from Shadow Management L.L.C. The Hula Skirt is a colorable,
configurable and containable lighting
shroud specially designed to control
the output of all high bay-style lighting
fixtures. It consists of upper and lower
octagonal aluminum frames that support snap-on side drape panels. The
upper frame attaches via standard lighting safety cables to the top of the pendant of
the house light. The lower frame attaches to
the upper frame via the drape snaps and four
safety cables. The lower frame can be utilized
as a large format gel frame, thus allowing you
to color the output of the light.
In a scenario where it is desirable to
eliminate the output of the house light, the
lower frame supports a light stop fabric panel that allows you to “bag” the light. The side
The Hula Skirt, coloring
a high bay house light.
The Hula Skirt can also be
used to block out one side
of the light.
drapes and the light stop panel are manufactured from an inherently flameproof fabric, the same material used in the uniforms
of fire fighters. Since the fabric is inherently
flameproof, it never needs to be re-treated
with flame proofing, even if laundered. In the
scenario where an aisle light is the problem,
you can simply attach a single side panel on
the upper frame, thus shrouding one side
and blocking the light in only one direction.
The only way to do this in the past was utiliz-
Though open here to show it’s
light stop fabric, the Hula can
also be used to completely
block off a light.
ing large quantities of black wrap, and then
praying that your makeshift shroud did not
end up in a heap on the ground on opening
day of the show.
The Hula Skirt includes all parts and weighs
only 12 pounds. It carries a list price of $650.00.
For more information on the Hula Skirt, visit
www.shadowmanagement.net.
Nook Schoenfeld is a freelance lighting professional. E-mail him at [email protected].
ery frequently, I am touting the highest high-tech lighting products on the
market. This month, I would like to fully
embrace the lowest low-tech lighting control device I have ever seen. The Hula Skirt is
such a simple, yet cool and useful, device that
I cannot believe no one has devised one before now.
Scenario: You are designing or programming the lighting for a trade show exhibit in
a convention center. You have a great rig with
a complement of all of the best and brightest lighting devices known to man, and yet
you are fighting a losing battle with your evil
nemesis, the high bay house lights. For anyone who has been fortunate enough to live
through the process of lighting a trade show
in a convention center, this will have special
meaning to you.
Obviously, the simple answer is to turn off
all of the venue lights; however, this is not as
easy to achieve as it sounds. First off, the lights
directly over any given booth may or may not
be circuited in such a way to allow convenient
control without having an effect on other
booths around you. Also, any light you are allowed to turn off will also be accompanied
30
PLSN JANUARY 2007
100.0701.30.PSHULA.indd 30
www.PLSN.com
12/29/06 1:48:32 PM
Off The Wall Zigs & Zags with Robe DigitalSpot 5000 DT
LONDON — The first Robe DigitalSpot
5000 DTs in the UK have been delivered to
Leeds-based Zig Zag Lighting, with one
immediately dispatched on tour in Europe
with Pink Floyd tribute band, Off The Wall.
The DS 5000 DT is rigged at the center of
the front truss, and is used to project all the
band’s visuals onto a five-meter diameter
circular screen positioned center-stage.
As with any Floyd show, visuals — a
carefully selected assortment of video
Off The Wall onstage.
clips, graphics and animations — are critical to the show. Off The Wall’s video designer and manager Paul Barker has produced a full show’s worth of material, all of
it original interpretations of classic Floydesque visual themes. Off The Wall put immense importance on production values,
and their growing popularity has enabled
them to steadily drop more into the production budget.
The DS 5000 DT is being looked after
by LD Paddy Sollitt and his
crew, and Zig Zag are also
supplying all of the lighting equipment and lasers,
which are also central to
the show.
In addition to projecting
the video (stored on a separate video machine with VGA
signal sent to the DS5000),
the DigitalSpot 5000’s onboard digital media server is
also being utilized to create
liquid style effects. All of its outputs are being triggered via Sollitt’s Avolites Pearl 2004
lighting console, while some of the video
sequences are synched to a click track.
Sollitt notes that the fixture also makes
a great lighting and beam effect, and has
aroused plenty of interest from local crews,
most of whom are seeing it for the first time.
Sollitt created the DS 5000’s media
server content from the onboard library
sources and also added some of his own
Particle Illusion-originated clips.
Gigs range from 2000-seat theatres
to 500-capacity clubs, some of which are
limited in terms of points and flying, and
the DS 5000 has helped make adjustments
and line-ups easier.
He’s also finding the zoom, focus
and keystone correction facilities, plus
the digital flags for reshaping the image,
equally useful. The fixture is relatively light
in weight (32 Kg) for what it is, and apart
from anything else, maintains Sollitt, the
aesthetics are sleek and “It looks fantastic.”
Barco Sets Stage for George Michael Tour
and danced on. Barco specialists
MiSTRIP LED Modules
were involved in the set design
form a display for
from the very beginning and
George Michael.
worked closely with XL Video to
design the stage.This concept initially came from show designer
Willie Williams.
Phil Mercer, project manager
of XL Video, states, “The project
was very ambitious, demanding for extremely high resolution. So we were worried that
it would not be achievable, as
we expected problems with the
this resolution. However, this proved to be
weight and reliability because of the no issue at all for the MiSTRIP. It has stood
continued on page 33
high number of LEDs needed to reach up really well
A “Night at the Proms” performance.
LONDON — “The Night of The Proms” is
a three-month show that combines classical
and pop music as it tours Belgium, Holland
and Germany.
It’s the third year running that the show’s
visual designer, Geert Vanhout, has used
large format projection as an integral element.“It adds an extra dimension and depth
to the stage, and also gives us a good source
for narrative
continued on page 32
Inside...
32
Projecting a Dark Vision
Projection creeps over the stage
in Grey Gardens
35 Video Digerati
Programming tips for dealing with
DMX-controlled digital fixtures.
36
Product Spotlight
The Sharp XG-MB67X Projector
KORTRIJK, BELGIUM and LONDON —
XL Video called on LED specialist Barco
for 3,000 of their MiSTRIP LED modules for
George Michael’s “25 Live Tour”. The modules, playing video and graphics effects,
form a curved display of LED behind and
underneath the former Wham singer. XL
Video is supplying full video production
and crew to the “25 Live” tour.
For the tour, a nine-meter wide and
25-meter long screen was designed, incorporating 3,000 of Barco’s MiSTRIP
LED modules. This backdrop flows onto
the stage and beyond via both concave
and convex curves to create a visual element strong enough to be both stood
Projection Goes
to the Proms
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JANUARY 2007 PLSN
31
12/28/06 11:56:59 PM
NEWS
Projection Creeps Through Grey Gardens
NEW YORK — The eerie world of Grey
Gardens is recreated on Broadway by projection designer Wendall Harrington, with
support from Scharff Weisberg. The company is providing five projectors, a WATCHOUT
system and Medialon control for the musical, which sold out Off-Broadway and recently opened on Broadway at the Walter
Kerr Theatre.
America was first introduced to Grey
Gardens, the crumbling East Hampton mansion inhabited by the reclusive, elderly Edith
Bouvier Beale and her mentally-challenged
daughter, Little Edie, in the 1975 documentary by the Maysles Brothers. When the quirky
high-society pair — the aunt and cousin of
Jacqueline Bouvier Kennedy Onassis — were
discovered living with innumerable cats and
raccoons in the derelict family home, they
made fascinating subjects for the Maysles
up-close-and-personal film.
For the Broadway version of their story,
Scharff Weisberg is furnishing three Barco
R6 6K-lumen projectors mounted sideways
off of the balcony rail to create one large
blended image onstage in a short-throw
space. Three WATCHOUT display machines
distribute media to the Barco projectors,
while also creating the necessary image
blend. Two more WATCHOUT display machines feed content to each of the two onstage Christie projectors, which sit onstage,
mounted on a pipe so they can project onto
various set pieces. An
intermediary show
control system, Medialon Manager, is used
to translate MIDI
triggers sent from
the main lighting
console to facilitate
synchronized control
of the WATCHOUT
system, the projectors and externally
mounted projection
dousers.
Harrington
employed
Scharff
Weisberg’s equipment in unique applications for Grey
Gardens. She designed a huge wall
of newspapers to
come up at the top
of the show. “It was
big news at the time
that Jackie O’s aunt
Grey Gardens onstage.
and cousin were
found in a houseful
of cats,” she recalls. “Initially, this was going to be a voiceover, but I suggested we
use news clippings instead.”
Harrington also crafted a lot of shadowy,
leafy gobos to give a sense of over-growth
to the mansion. “I photographed moving
shadows and built up the darkness of the
house by layering and moving shadows over
shadows for a real landscape beyond your
imagination,” she explains.
“It was also necessary to find a way to
represent the cats and other animals in the
story,” Harrington continues. “I wanted to
populate the house with cats and convey
the creepiness of the place. Although I
tried to use as much of the Maysles’ footage as possible, I ended up putting my
own cats in there, too.”
The cat clips were reconfigured in After
Effects and saved as a QuickTime Movie for
projection onto the scenery in an imageblended projection by the Barcos .
Harrington also projected Little Edie’s
memories onto the wall of the attic space
she retreats to. She says of her intricate visual
stitchery, “The image of the attic is within a
single video frame. I took a bunch of separate items and recombined them to create a
patchwork projected onto the wall.”
Projection Goes To The Proms
continued from page 31
suggestion,” he says.
“Night of the Proms” is a demanding
in terms of producing visuals, and each
year Vanhout comes up with a new concept and design. The performance runs
for three hours, featuring a 72-piece orchestra, 50-member choir, a five-piece
electric band and a guest artist lineup
that currently includes UB40, Tears For
Fears, Ike Turner, Ruth Jacott, Tony Henry,
John Miles, Il Novecento and Fine Fleur.
This year, Vanhout is using two overlaid PIGI projectors, both fitted with
double rotating scrollers to beam onto
an oval shaped mid-stage surface. Arranging the projectors like this enables them to utilize the full potential
of the scrollers for contra-masking and
other effects.
The rectangular gauze is rigged onto
a customized roll drop mechanism, with
the 13-meter wide by 9-meter deep
ovular shape created by blacking out
the square edges.
Over the stage are four irregularly
shaped scenic trussing triangles that
fly in and out (when the projection
is running), and far upstage is a vast
ShowLED cloth.
The PIGI projection and the ShowLED
— fed from an Arkaos system — are sometimes used in conjunction with each other,
and both are controlled through a Wholehog II lighting console run by Olivier Demoustier, which is also running over more
32
PLSN JANUARY 2007
100.0701.31-32.PROJCONN.indd 32
than 200 moving lights. Vanhout operates
all of the conventionals, plus color scrollers,
smoke machines and other technology,
from an Avolites Pearl console.
The 6K PIGI projectors are positioned
on their own FOH truss in front of the
screen, sitting in special flying cradles
designed and built by E\T\C UK.
Projection is used in about half of
the show’s 32 songs, and each projector is fully loaded with 40 meters of film.
Vanhout worked closely with E\T\C UK’s
Ross Ashton and Paul Chatfield to produce the projection artwork, all of which
was originated for the show. Ashton
comments, “We had a lot of fun working
on the content, and the results speak for
themselves in terms of impact and what
they bring to the performance.”
The mix of images encompasses
colorful Native American Indian hieroglyphics, dreamy landscapes, swirling
abstracts and texturings and numerous others, topped by some quirky cartoon character rats that strut their stuff,
spliffs in hand, for UB40’s classic “Rat In
Mi Kitchen.” The rats were drawn by artist and animator Bill Mather, an associate of Chatfield’s.
The PIGI artwork changes as the
show visits the different countries, along
with the guest artist lineup, necessitating the diligent task of adding new artwork to the scrolls, while ensuring that
what’s already been programmed is
not affected.
www.PLSN.com
12/28/06 11:57:29 PM
Light As Art Success for Projected Image Digital
LONDON — Projected Image Digital
presented a special “Light As Art” seminar at
BAFTA, in central London, attended by more
than 120 industry people from the world of
design and architectural lighting.
The event was a collaboration between
PID, Cadmium Design and lighting design
collective The Creative Mix.
“Light As Art” kicked off with a presentation in the Princess Anna Theatre aimed at
raising awareness of the ever-growing convergence of video and lighting technologies
in the entertainment world, and how this is
filtering into architectural environments and
applications. Chris Barlow, from The Creative
Mix, started with a talk entitled “Branding
Buildings,” highlighting some of the ways
in which light can be applied to buildings,
structures and spaces of all types in all locations. He included urban regeneration projects and the positive benefits of a well and
interestingly lit environment.
Tina Fox, from Cadmium Design, talked
about how light is fundamental to our lives,
our everyday existence and our perception of
the world. She also looked metaphorically at its
many different forms and uses — from naughty to peaceful, simple and cool to sophisticated,
mystical and spiritual to functional.
PID’s David March then took the lectern
with his “Content is King” presentation. He
traced the historical link between lighting
and video with specific reference to the entertainment industry, showing how this innovative and fast moving world has moved
both lighting and video technologies forward, unlocking their enormous power for
theatrical presentations and stage shows of
all types.
These three very diverse talks illustrated
the dynamics of lighting and video, the wide
range of contexts for their convergence and
the potential for their application.
Afterwards, guests went downstairs
Barco Sets Stage for
George Michael Tour
Bramley. Ed Jarman is the chief engineer, and
on cameras are Roger Nelson and Gordon Davies, and the LED techs are Koen Lavens, Martin
Mcauley and JP Van Loo. The fourth LED tech is
Neil Ogilvy, who also oversees the installation
of a complex mini cam and monitoring system
for the band, MD and monitor engineer, enabling them to clearly see each other.
Sam Pattinson, from OneDotZero, produced all of the custom created video content and show visual material. Digital Antics
designed and built the show’s computer
based playback system.
Additionally, there’s an interactive element, with an IR camera linked into the LED
playback system. This tracks Michael’s movements, and pre-cued content is triggered
and played back in time on the screen. It was
developed by architectural lighting designer
Jason Bruges of Jason Bruges Studio.
XL is also supplying two Lighhouse R16 LED side screens solely for
IMAG, each three meters wide by four
meters high.
InfoComm Announces Intent
To Set International Standards
FAIRFAX, VA — InfoComm International has announced its intent to become a recognized standards-setting
body and to seek accreditation through
the American National Standards Institute (ANSI). Standards will be presented
for adoption by the International Standards Organization (ISO).
“Standards development is an integral part of the development of professions seeking to be recognized as
legitimate and distinct,” said Randal A.
Lemke, Ph.D., executive director, InfoComm International. “As the AV industry works closely with industries that
use standards, such as architecture, IT,
telecommunications and more, it has
become obvious that AV standards are
necessary to grow the profession to the
next level. InfoComm has already assembled a substantial body of knowledge through the development of its
courses and Best Practices manuals,
which makes becoming an ANSI Standards-Setting organization a logical
next step.”
The AV standards InfoComm intends to develop will focus on the
physical measurements of systems
performance, such as sound pressure
levels and contrast ratios. The emphasis will be on system performance, not
on individual product or technology
standards. With these standards, designers can specify the output performance of systems and subsystems for
customers, so that when the facility is
put in use system performance can be
verified against these standards.
InfoComm will be establishing a
Standards Committee and Joe Bocchiaro, CTS-D, CTS-I, has accepted the position as Director of the InfoComm Performance Standards program.
to the demanding tour schedule and fulfilled
a very exacting design brief.”
The MiSTRIP is a linear LED screen element, essentially a “strip of pixels” that can be
combined to make up many sizes and forms
of LED screens.
The modularity of the MiSTRIP system
and special mechanics developed for the
show allow the lower rear part of the screen
to open up, an unexpected entrance for the
artist onto the stage.
In addition to this, XL has also supplied
220 Barco I-12 tiles that make up two tracking
LED screens 4.5 meters wide by five meters
high. These are positioned behind the band
and risers, and are fed from a combination
of live camera feeds and content stored on
Doremi hard drives.
The PPU is one of XL’s GV Kayak’s, complete with four Sony D50 cameras — located
at FOH, two in the pit and one to left of the
stage, and there’s an XL crew of nine.
The live mix is being directed by Andy
to the David Lean Room
to see an art installation
made from light sources
designed by Cadmium. It
utilized some of the technologies at the cusp of
entertainment and architectural markets, including
Element Labs’ VersaTUBE,
VersaTILE, Versa RAY and
Stealth screen products,
High End Systems’ Catalyst
Version 4 and DL2 moving
head projectors and the
One of the presentations from
Pharos DMX architectural
the “Light As Art” seminar.
lighting controller.
Lightfactor
supplied
its West Ealing offices, where its digital mesome SGM PALCO LED lumidia experts will be on hand, including Nev
naires to dress the Princess Anne Theatre.
Next on the information exchange agen- Bell and Hugh Davies Webb. Contact caroda from PID are two one-day Catalyst tech- [email protected] for more information
nology forums on January 16 & 17, 2007, at and to register.
www.PLSN.com
100.0701.31-32.PROJCONN.indd 33
JANUARY 2007 PLSN
33
12/28/06 11:57:59 PM
VIDEO NEW PRODUCTS
»
Barco ScreenPRO-II Extended Output Card
The Barco ScreenPRO-II Extended Output Card (EOC) enables operators to utilize a new
second output channel at a separate resolution from the current main/program output. In
addition, users can now select the ScreenPRO-II with EOC to output either the signals from
the main/program output channel or from the preview output channel. The ScreenPRO-II
with the EOC option will allow for simultaneous output of analog and SDI signals at NTSC/
PAL and HD resolutions such as 480p, 720p and 1080i. This would also include analog output for RGB signal types such as VGA, SVGA, XGA and SXGA. In addition, the EOC increases
ScreenPRO-II’s total available memory for
image storage. Users can now have more
than 100 images available for recall as background images, down stream key images or
logo images. ScreenPRO-II is a multi-layer
video display system that combines seamless switching with a variety of flexible video
effects to provide a versatile video production tool for live event staging and fixed
installation applications.
Barco • 678.475.8000 • www.barco.com
»
High End Systems DL.2/Axon Software v1.3
New software enhancing High End Systems’ DL.2 digital light and Axon media server has
been released. Software v1.3 is now available for immediate download from the HES Support
Web site at: http://www.highend.com/support/digital_lighting/DL2andAxonSoftwareUpgrades.asp.
Axon is High End Systems’ new media server offering all the graphics engine capabilities of DL.2 but in a rack-mount version. The new v1.3 software includes all the new features of DL.2 and Axon shown at the LDI 2006 trade
show, including Enhanced Collage Generator, an
expansion of the Collage Generator up to 8x8 arrays
with increased resolution, and a number of new effects.
It also includes many software improvements, including
a number of networking improvements for the DL.2 and
the Content Management Application (CMA).
High End Systems • 800.890.8989 • www.highend.com
»
Da-Lift 10M
Da-Lite Screen Company has added the Da-Lift 10M
to its projector lift line. The electrically operated Da-Lift
10M is 15-inches high and travels 10-inches vertically.
The Da-Lift 10M has a projector weight capacity up to
40 pounds. The frame is black welded steel with two
electrical outlets furnished on the platform designed
for ceiling recessed installation. The bottom of the projector lift (with removable tray) is adjustable to allow
flush installation with surrounding surfaces. An optional
plenum kit is available.
Da-Lite Screen Company • 800.622.3737 • www.da-lite.com
»
Doremi Labs 4k System
Doremi Labs’ 4k resolution image mastering and playback system provides a total of 4,096
by 2,160 lines of resolution, more than four times the display area of 1080p video. Doremi Labs’
engineering team has developed a unique 4k system that circumvents common 4k design
barriers by developing a playback system that requires only one Doremi server and an image processor for playback. Doremi Labs’ 4k playback system is available at a fraction of the
price of existing 4k solutions. It uses 4RU of space and does not require the synchronization
of multiple servers. The 4k system provides four DVI or four dual-link HD-SDI video streams
for connection to the 4k projector. The 4k
playback system uses JPEG2000 compliant 4k image files. This file can be created
by Doremi’s DMS-2000 hardware accelerated JPEG2000 mastering station or other
software based encoders.
Doremi Labs • 818.562.1101 • www.doremilabs.com
»
Pharos Audiovisual Controller
The Pharos Audio Visual Controller incorporates AV elements into a compact, solid-state
audio visual playback device, and can be thought of as two DVD players and a vision mixer
under show control. Designed to complement the Pharos Lighting Playback controllers, the
AVC stores MPEG-2 data on an internal compact flash card. Two streams
can be decoded simultaneously for smooth transitions between
clips on command. It also supports picture-in-picture, superimposed text and keying effects. An input is also
included. The AVC comes with Pharos Designer
software to simplify presentation creation, allowing
“drag and drop” media capability into timelines. The
AVC can run alone, triggered from its internal clocks, or
be remotely triggered via RS232/485 serial (including
DMX) or Web browser.
Electronic Theatre Controls • 800.688.4116 • www. etcconnect.com
34
PLSN JANUARY 2007
100.0701.34.PCNP.indd 34
www.PLSN.com
12/28/06 11:59:15 PM
VIDEO DIGERATI
DMX-Controlled
Digital Movin g L i g h t s
A
n important part in the convergence of lighting and video is the
evolution of DMX-controlled lighting projectors. Have you used one, yet?
With the increasing use of media servers
on productions, many designers not only
want to control the video content from a
lighting desk, but they also want to have
control over how and where that image is
being projected. This is where digital lighting fixtures like High End Systems’ DL1 and
DL2, as well as the new Robe DigitalSpot
5000DT, step up to the plate.
By VickieClaiborne
tween these digital lighting fixtures will
help you tremendously when integrating
the newest digital lighting technology
DL1
Digital Spot
DL2
into your next show. Choosing a fixture
5000DT
that suits the application before arriving
the DL2 also involves channels for pan, tilt, the large number of video images in the onsite will result in a great-looking proremote focus and zoom, and the digital library. And most importantly, content for- duction, eliminate some last minute probcamera onboard is a stock feature. There mats vary from fixture to fixture, so follow lem solving and reduce your stress level all
the manufacturer’s recommended specifi- at the same time.
cations for formatting the content before
There are many reasons why a digital fixture is
loading your images into the server, only Vickie Claiborne (www.vickieclaiborne.
to discover that the images don’t play com) is an independent programmer and
popular with lighting designers, but the primary
back correctly.
training consultant and can be reached at
reason can be summed up in one word: control.
Understanding the differences be- [email protected].
PC
Understanding the Tools
Without implying one digital lighting
fixture is superior to another, there are
unique differences in the features of each
unit, and as such, their applications can be
varied. To begin, let’s look at the DL1 from
High End Systems. This unit is a digital
projector built into a housing supported
by a yoke that can pan and tilt. The DL1
does not have an onboard media server,
and it requires a video input from a video
source and/or media server, such as Catalyst or Maxedia, in order to project an image. Since it can be used with practically
any media server or video source, there
are no limitations as to how it can be programmed. The unit is controlled via DMX,
and the channels include pan, tilt, remote
focus and zoom. There is also an optional
camera.
The DL2, also from High End Systems,
differs from the DL1 in that it does have a
media server built in. The programming of
are also a multitude of software visual effects, both 2D and 3D, and custom effects
and objects created in third party programs can be imported as well. Additional
media server control channels include
XYZ rotate, scale, CMY mixing, keystone
correction and a digital image library with
space for approximately 65,000 files. A
huge advantage when using the DL2 is its
networking capabilities. Uploading new
fixture software and new video content is
very simple and not very time consuming
when you use the Content Management
Application and connect all of the DL2s
and a computer into a network hub. Lots of
useful information can be obtained from
the fixture using the CMA as well, such as
lamp hours and software version.
Both the DL1 and DL2 have SVideo inputs and outputs and can easily be connected to a video switcher, such as the
DMix Pro, either to send or receive a live
video image. They may also be connected
to other DL1 or DL2 fixtures as well to
share live video between fixtures for a truly interesting perspective of the stage.
New on the scene is the DigitalSpot
5000DT from Robe. This unit was recently launched at industry trade shows
in 2006, and is already making a name
for itself. [Although it was exhibited at
PLASA and is shipping in Europe, Robe
is not yet ready to release it in the U.S.
pending intellectual property licensing
agreements. –ed.] This digital moving light
has a more direct approach with its two
digital gobo layers, both with 255 images
each, and control channels for XYZ rotate,
scale and indexing.
All of these projectors are in the 5K
lumen output range, and can be easily
controlled from virtually any DMX console. Programming with any of these
units requires some pre-production time
to load content into the media server, as
well as to arrange some basic palettes in
the lighting console that will help manage
www.PLSN.com
100.0701.35.VIDIG.indd 35
Why use Digital Moving Lights?
PC
There are many reasons why a digital
fixture is popular with lighting designers,
but the primary reason can be summed up
in one word: control. Lighting designers often find themselves in the role of visual designer for the show, and this can, and often
does, include scenic and video elements in
addition to lighting. A digital moving light
can be easily controlled from a DMX lighting console, which simplifies the process of
using a projector from the start.
The integration of video into a show
has to be well thought-out and planned.
In some cases, a high-output projector in a
fixed location may be all that is required for
the production. However, having the freedom to direct the output of the projector
onto various surfaces in multiple locations
is integral to many of today’s shows. This
flexibility is the reason designers using
media servers are specifying fixtures like
the DL1, DL2 and DigitalSpot 5000DT.
JANUARY 2007 PLSN
35
12/29/06 1:54:58 PM
PRODUCT SPOTLIGHT
Sharp
XG-MB67X
Pr oject or
By PaulDuryee
O
3000 ANSI lumens in Bright Mode and 2600
lumens in Eco+Quiet Mode. Other features
include a 2000:1 contrast ratio, 385W in
Bright Mode and 308W in Eco+Quiet mode.
It weighs only 8.6 pounds.
The unit comes with all the usual
I won’t bor e you with the usual; this pr ojector does accessories. I received a brand new
enough unusual things that make it a power ful tool. one, and was really glad to find
that they had included adapters with it as well. The unit
had a number of movies to catch up on.
uses the HD15 computer video
The XG-MB67X is a “compact” proconnection for its component
jector that packs all the features that
video input. For that, they inyou would expect to find on larger
cluded a VGA-to-RCA adapter
models. While certain accommodathat was color-coded for red,
tions have been made for its small
green and blue. There is also
footprint, Sharp does not compromise on
a PS2-to-RS232 adapter for serial
its performance. It does all this while staycommunications. Few things are more
ing at a very competitive price point.
frustrating to an installer than being caught
The XG-MB67X is a single-chip DLP prowithout the right connectors. The unit also
jector that uses a triple-speed, four-segment
comes with a remote control, manuals (both
color wheel. This, in conjunction with its conin print and on CD-ROM) and batteries.
denser lens optical system, greatly improves
The projector has all the usual features,
color and image quality. The unit is rated for
like being able to set the projector for
ne nice thing about writing a
product spotlight is all the cool toys
we get to play with. The Sharp XGMB67X is one such cool toy. Especially since I
36
PLSN JANUARY 2007
100.0701.36.PSSharp.indd 36
front or rear projection, table top or ceiling
mount. But I won’t bore you with the usual;
this projector does enough unusual things
that make it a powerful tool for both inte-
grators
and rental houses.
As with any projector, if it can’t make
good clean images, there is no point. The
DLP engine impressed me. I spent a couple of weeks watching sports and action
movies, looking for the rainbow effect,
and never noticed it. The only time I ever
saw any indication of that was when I accidentally bumped the table the projector
was sitting on. I was also impressed by how
consistent the colors stayed, even after the
projector had been on for a few hours. Neither the color wheel nor the lamp seemed
to change color as the projector stayed on
longer.
In Eco+Quiet mode, the projector almost disappears. I had set the unit next to
me during a movie and even the quietest
passages could easily be heard over the fan.
The lamp does dim in this mode, but I was
pleased that it did not adversely affect the
color output.
The unit has two 15-pin mini D-Sub connectors for the computer video inputs.There
is also a monitor output. Other video inputs
include S-video and composite. There is
audio onboard as well, with audio outs on a
mini-jack connector.
The unit also has an RJ45 connector
for connecting directly to a network. Local
network administrators can set the unit up
to alert technicians of any problems the
unit may have.
The unit is also impressive in that it
does not act as a small space heater. In
bright mode, it gives off 1450BTU/hr and
1160BTU/hr in Eco+Quiet mode.
The unit performed very well, and I
found it to be very flexible in its applications. I liked that in its quiet mode, it did
not compromise on its performance. The
image was everything I expected from a
DLP projector and I was very pleased with
its color performance for a single-chip projector — so much so that I have recommended them for a couple of jobs I am currently specifying.
Paul J. Duryee the systems design lead at
Maxx Technology. He can be contacted at
[email protected].
www.PLSN.com
12/29/06 12:00:46 AM
TECHNOPOLIS
D ichroic H eroics
I
have to admit it: Once in a while it is great
fun being a teacher. I can’t brag about the
pay, and the job gets tedious sometimes,
and after a few years of teaching it gets
harder to talk to adults. But sometimes it’s
great. The most fun is when you make up a
new lesson, from nothing really, and it succeeds beyond your wildest expectations.
Just the other day I had the kids using
photocells to measure light output and reflected surface light. They are building robots, and for several days had been trying to
get the robots to see, or at least sense, light.
I had just returned from a local trade show
and had a bagful of gel sample giveaways. I
suppose you can guess what happened next.
I pulled out the gel samples and said, “See if
you can get the photocells to distinguish different colors of light,” and the kids were off
and running.
Within a day, several groups of students
had built color wheels, some had glommed
onto the red/green/blue trifecta (and some
the cyan/magenta/yellow); a few had even
written a computer program to sample
white and colored index cards through the
various gels and actually could tell you what
color paper was under their color wheel
without even looking at the paper. It was
pretty cool, and I knew I had to top their
best efforts in order to maintain my knowit-all attitude.
So I developed a little sampler that
could tell you what color background was
on your computer screen automatically.
I cheated a bit, and didn’t use the same
colored gels I had provided to the kids.
Instead, I found three perfectly matched
dichroic filters, hooked them up to a little
motor and passed them across the computer monitor screen. I read the photocell
resistance (with an ohmmeter) and got
surprisingly good results. I knew dichroics
were good, but I had no idea they were so
very, very much better than gels for filtering light. So I had to find out why.
The answer is both surprisingly simple
and incredibly complex. The simple version
is that dichroics are built differently, and
filter light differently than gels. A gel (the
gelatin gels are long gone, but they are still
called gels), no matter what color it is passing, absorbs the other colors emitted by the
light source behind it. The absorbed light is
changed into heat, which is one reason gels
burn up so quickly. Regular glass filters work
pretty much the same way.
Dichroics, on the other hand, don’t absorb the unwanted wavelengths of light.
They are built to reflect those rays back into
the unit, where the heat can be dissipated
more easily. It’s this reflective property that
makes them fun to play with. I know most of
you have used a dichroic filter as a monocle
(à la Col. Klink, or that guy from Monopoly),
turning it this way and that, watching the
reflections instead of working on your light
plot. If you haven’t, hold a dichroic filter
sideways, and you’ll see a pronounced color
shift (this has actually caused problems
for the manufacturers, but they seem to
have beaten them down pretty well). The
reflective ability of the filter is what allows
it to stay cool, which extends the filter’s
useful life. And, since the unwanted light
is not turned into heat, the filter can be
used closer to a light source. The filtering
process can be more precise as well, giving a more saturated look. One more bonus: total light transmission through the
filter is greater, making the filtered light
on the subject brighter.
Did I hear you say you want to learn
about the complex part? OK, here goes.
Dichroics are made on fancy glass using a process called vacuum deposition. The glass is usually some kind of
borosilicate, which has superior thermal
properties. That means it doesn’t shrink
or expand too much during manufacture and use. The filters themselves
are generally created by vaporizing
minerals onto a heated glass surface,
hot, hot, hot — 240 degrees hot. That’s
Celsius, mind you, which is about 460
degrees “American.”
Check your oven to see if it gets to 460,
maybe you can make your own dichroics.
But probably not, as the atomized minerals are applied in a vacuum. What minerals?
Why TiO2 and SiO2, of course. You might be
able to track down the silica (silicon dioxide), but you’ll have to travel to Rutile Beach
to get the rutile beach sand that makes
the titanium dioxide. Good luck; Rutile
Beach isn’t even listed on Mapquest. Lastly,
you’ll have to have one heckuva vacuum
cleaner to achieve the vacuum necessary
to properly deposit the super hot minerals on the super hot glass. (See, I told you it
was complicated.)
If dichroics have any flaws, besides
their expense, it’s a slight tendency to color-shift if the light passing through them
isn’t exactly perpendicular to the filter.
This is what you saw when you were play-
By JohnKaluta
ing Col. Klink with the monocle earlier. You
might notice the color shift when using a
dichroic in a wide angle fixture, but chances are you’ll be so happy with the superior color transmission and purity of color
that you’ll overlook any slight shift that
passes through.
Now, if I can just get the kids busy on
that gasoline substitute…
John Kaluta teaches Research & Experimentation and Robotics at Montgomery Blair
High School in Silver Spring, Maryland. He is
also the author of The Perfect Stage Crew,
available on the PLSN Bookshelf.
ALL PRODUCTION ALL THE TIME
YOUR PASSION IS PRODUCTION.
SO IS OURS.
At Timeless Communications our staff includes
production company owners, audio mixers,
lighting programmers & designers.
We understand
understand your
your world
world because
because we
we are
are aa part
part of
of it.
it.
We
Stay
passionate.
Read
the
industry’s
#1
trade
magazines.
Stay passionate. Read the industry’s #1 trade magazines.
www.PLSN.com
100.0701.37.TECH.indd 37
JANUARY 2007 PLSN
37
12/29/06 1:50:23 PM
THEBIZ
By DanDaley
W
hen staging company PRG
launched its video division in
September, it had an interesting impetus: Broadway and Wall Street.
Tim Wiley, who is heading up PRG Video
out of the company’s Orlando office, cited both domains as driving the addition
of a video division, giving PRG capability across the entertainment technology
spectrum that also includes lighting and
sound. And he’s got company on this
convergent road, as he readily acknowledges — OSA International did the same
at right about the same time, just a few
months after adding their own lighting
capability to augment their core audio
services. Others are doing the same.
“I think Broadway and the increasing
sophistication of ‘corporate theatre’ has
a lot to do with staging companies increasing the range of their services,” says
Wiley, who previously worked at LMG.
“There’s more demand for better media
in both of those arenas. Corporate theatre has been growing since the 1980s,
and it’s really reaching a peak lately, and
more Broadway shows, like Lestat, which
we worked on, are incorporating video
elements into their staging and scenery.
When you see that kind of activity taking place, it’s hard not to show interest.”
PRG did show its interest, with an
initial investment that Wiley loosely estimates as “a couple of million” dollars,
capitalizing the acquisition of technology, including the Snell & Wilcox Kahuna
switching system; Di-VentiX high-resolution switcher; Grass Valley LDK cameras;
Panasonic PT-7700U, Digital Projection,
Inc., 12000DSX, 35 HD and 22K 40HD
video projectors; and the new Element
Labs VersaTube HD.
Paul Driggs, vice president at OSA
International, which also added video
and lighting capability this year, and
which added an integrated solutions
division about 18 months ago to leverage the burgeoning installed media
sector, says technology companies can’t
operate in one or two dimensions anymore. He states further that audio-only
companies might be at the greatest risk.
“The one-stop shops are giving the audio away,” he says. “It’s package pricing
38
100.0701.biz.indd 38
PLSN JANUARY 2007
It’s a media-driven culture now;
some people find it hard to explain
a recipe for tuna fish salad without
a PowerPoint presentation. The
staging companies are reacting
to this cultural shift.
— they’ll sell
video at rack
rate and discount the audio. So companies have
to expand so
they have a
leveraged package to price.” ( The psychology of the trend is evident in the
subtle but clear shift in emphasis in the
name of the company, which started as
Onstage Audio, towards the less-definitive OSA International.)
So the convergence isn’t driven by
the technology, as it has been in, say,
music recording. Rather, the broadening
of the technology base by expansion of
services is driven by convergences of a
different sort. Broadway and Wall Street
are coming together because the citizens of both have had their entertainment media expectations raised considerably. If you have an HD television
at home and bump into HD in retail environments, at some point you’re going
to expect to see it at the concerts and
in the boardroom. It’s a media-driven
culture now; some people find it hard
to explain a recipe for tuna fish salad
without a PowerPoint presentation. The
staging companies are reacting to this
cultural shift.
Companies like Live Nation and AEG
are already leveraging this trend, incorporating media technologies into new
venues, like the O2 arena going up in
London, and retrofitting older ones.
“This all suggests that the scale of live
presentations is on an upward trend,”
says Wiley. “Video is already a big part of
that. You need video to be a player. It’s
not going to be a mom-and-pop business anymore.”
Wiley also says that staging companies are going to have to create new dynamics for interfacing with the creative
talent as video integrates itself further
into the business. “The projection designer is joining the audio systems designer and the lighting designer as the
talent we have to work with,” he says.
“I think that we’re going to see a lot of
those people coming in from the broad-
casting side, as well as people from the
large-format projection business — areas where big projected Kabuki backdrops are used and 100,000 ANSI lumens
is not uncommon. It’s going to be seen
mostly on large music concert tours, but
it’s going to work itself into every other
kind of presentation environment.”
It’s almost as though this trend had
been waiting for HD to propagate itself. As Wiley points out, the scale of
projections had heretofore been limited to the pixel resolution of the projectors. As soon as a viewer perceives
that the pixels are creating the picture,
the illusion is lost. More pixels equal
better illusions.
The first project that PRG put it all
together for was in October, at an event
called “Pride Fight” in Las Vegas, where
the company provided sound, lighting,
scenery, I-Mag video projection and
playback to an audience of 12,000 people. But Wiley expects that video will develop quickly as a stand-alone revenue
generator, apart from sound and lighting. PRG Video has its own three-person
sales staff; he says that cross-selling
across the technology services palette
will stimulate even more video revenue.
He’s not concerned about the increased
competition from other staging providers adding video. “There’s enough demand for that to go around right now,”
he says.
If there’s a fly in the ointment for video, it’s a very subjective one. Some see
video’s increased applications in concerts and other events as a remedy for
ever-larger productions. But, says Wiley,
it could also be viewed as a symptom.
“The distances between the audience
and the stage are growing,” he laments.
“And that’s kind of sad.”
E-mail Dan at [email protected]
www.PLSN.com
12/29/06 12:03:53 AM
FEEDINGTHEMACHINES
TH E
M e d i a
M y s t e r y
the time was nearly 11 p.m. I decided I better inspect the functionality of this fixture
with my console. Luckily, my computer had
the latest off-line editor installed, so I started
a new show and began the process to patch
in a fixture. I am no detective, but I quickly
discovered that the fixture library was very
The protocol documentation said the
fixture used 160 DMX channels; however,
my console fixture library seemed to only
control 40 channels. How could this be?
— would be involved. Then he dropped the
bombshell: media servers were in on the job.
Being the sly programmer that I have grown
to be, I decided to investigate the routines
related to preparing for programming media servers from a DMX console.
I drew the blinds and locked the door.
You can’t be too careful in this business.
Then I accessed my secure server, entered
my password and passed the retinal scan
authentication. It was only then that I was
able to launch my specialized Internet
browser application and download DMX
protocols, user manuals and fixture libraries related to the media server described to
me by the LD. Once securely downloaded,
I opened the DMX protocol and began to
study the capabilities of this server and how
it could be controlled.
My trained eyes were shocked by the
total number of channels required for control; it seemed that the parameters repeated themselves per “layer.” Many new functions needed to be identified: scale, mask,
aspect, trail, pixilate... This server contained
more new parameters than the total number of gobos in my favorite moving light.
I knew this investigation was going to be
a long one, so I called my secretary into
the office. She slowly slinked through the
doorway and asked how she could help. I
promptly ordered up a couple of Red Bulls
and asked not to be disturbed for the rest
of the day. She swiftly fulfilled my order,
and I suggested that she take the rest of
the day off. That was the last time I ever
saw her…
I slowly drifted back to the protocol; I
knew it was very important that I grasp the
capabilities of this new technology. I started
with the first channel and continued down
the list. With each suspect parameter I encountered, I referred to the user manual for
further investigation. When I encountered a
particularly confusing function, I would take
a deep breath and re-read the documentation until I could understand the principles.
Media servers cannot be taken lightly; they
don’t operate like automated lights. If I was
going to impress this LD, I had to know all I
could about the tools in front of me.
I glanced at the clock and realized that
confusing. The protocol documentation
said the fixture used 160 DMX channels;
however, my console fixture library seemed
to only control 40 channels. How could this
be? Did the great console developers make
a major error, or was this the result of some
malicious computer virus?
The case would not be so easily solved.
No, this “oversight” was actually a very well
conceived plan derived by the lighting industry to allow a way to control complex
media servers with simple automated lighting consoles. The very nature of these con-
each layer based on the ones digit. For example, he said that media server one could
be numbered as fixtures 211, 212, 213 and
214. That would allow me to quickly know
that I was selecting the first server, third
layer (213) or the sixth server, second layer
(262). I was intrigued as I headed back to
my office for further patching. As I exited
the alley, I glanced back only to see this
stagehand mysteriously sink into a bundle
of cable and gels. He, too, has never been
seen again…
After returning to my office and resecuring the locks on my door, I finished
patching and numbering my rig. The advice
of my back-alley friend paid off very well. I
removed my shoes and dove into the computer for further preparations. I decided
to build palettes for many of the common
functions. First, I began with the content,
because quickly selecting gobos has always
been a forte of mine. If the LD asked for an
image of a shaking tree or burning fire, I
wanted to be able to quickly recall them on
demand. This meant I had to take the time
to create palettes for each piece of content
that might be relevant to the show. I also
made quick palettes to relate to the custom
content that the highly creative LD would
surely spring on me at the last minute.
He suggested that I number each
server based on the tens digit and
each layer based on the ones digit.
soles results in limited capabilities for products such as media servers and digital lights.
Because these devices exploit multiple layers of duplicated control parameters, they
do not fit into the existing logic of modern
lighting consoles. As a result, the consoles
“break” the media server protocol into multiple “fixtures” that represent each layer. If
I was going to patch and control this 160
channel thing, I had to add in four 40-channel “layer fixtures.”
Of course, each of these fixtures had
to be patched in sequence for the protocol to align with the single DMX starting
address of the unit. If I wanted to select
the entire server, I had to actually select
four different, but identical, layer fixtures.
With multiple media servers on this gig,
how would I keep up? I decided to contact
my snitch on the street for further information. I printed the protocol and headed
out of my office, carefully checking that I
was not being followed.
As I entered the back alley of the
Greystone Theatre, I looked around for my
contact. He was a skinny bloke, dressed
in black with a Mag-light strapped to his
belt. I cornered him and slipped him a 20.
Only then did he suggest a method that
has supposedly been refined by many top
programmers. He suggested that I number
each server based on the tens digit and
With this part complete, I began to
build more palettes based on functionality. I would need to switch to various effect
modes, scale sizes, framing looks, masks,
etc., with speed and accuracy. Suddenly, I
realized that all these palettes would be
great for creation, but what about restoring to defaults? With this foresight, I created more palettes to restore various parameters to their default values. I remember a
time when default values for parameters
were not so important. It was a simpler
time in our industry’s history, back before
media servers became so popular.
Now, however, a media server requires
a fixture library with proper DMX values
assigned as defaults. Simply setting all
values to zero could have devastating effects, like not being able to see the output. Luckily, I had downloaded the latest
fixture library and confirmed that the
defaults matched those suggested in the
media server user manual.
With all my preparations in place, I archived my show file and packed my bags. It
was going to be a long pre-production with
many obstacles along the way. If only my secretary had not vanished. Maybe I should have
been a detective instead of an automated
lighting programmer… Nahhh!
Contact Brad at [email protected].
www.PLSN.com
200.0701.50.FEED.indd 39
By BradSchiller
Ad info: http:www.plsn.com/instant-info
E
arly on a Tuesday morning, I sat in my
office recalling the details of my last
gig, when suddenly the phone rang.
An LD wanted to retain my services, and
began filling me in on all the sorted details
of the event. He led me to believe that only
the usual suspects — automated fixtures
JANUARY 2007 PLSN
39
12/28/06 11:14:15 PM
FOCUSONDESIGN
Look Up,
Look Down,
Look All Around
By RichardCadena
Your Show is Falling D own
“Art! Who comprehends her? With whom can one
consult concerning this great Goddess?”
J
ust the other day I was driving along,
just another contestant in the rat
race, navigating all those little mazes,
when all of a sudden, out of nowhere, a
car that had been driving along in the
lane right next to
me swerved into
my lane and almost rearranged
my
left
front
fender. The little
rat that was driving had decided
to make a U-turn,
and he swung
very wide to make
the turn, very
nearly denting my
chariot. He looked
left and swerved
right when he should have looked right
and stayed left.
Inevitably, when you don’t watch
where you’re going, you’re going to cause
a train wreck. The same thing applies to
running a console. When you push a button, you should be watching what’s going
on onstage rather than looking down at
your console. Otherwise, the train could
jump the tracks and you might not even
know it.
Lighting is a dynamic art. It moves, it
changes, it morphs, it dances and plays.
At times, the changes are imperceptible,
like the sun moving across the sky. But
most of the time, the transitions are the
defining moments in a show. The beginning, the end, and all those changes in
between, are very important.
By now, we’ve all gotten the message
about the way the brain works.“Aoccdrnig
to rscheearch at Cmabrigde Uinervtisy,”
goes the e-mail, “it deosn’t mttaer in waht
oredr the ltteers in a wrod are, the olny
iprmoatnt tihng is taht the frist and lsat
ltteer be in the rghit pclae. The rset can be
a taotl mses and you can sitll raed it wou-
- Ludwig van Beethoven
thit a porbelm. Tihs is bcuseae the huamn
mnid deos not raed ervey lteter by istlef,
but the wrod as a wlohe.”
I wouldn’t go as far as to say that,
in lighting, the only important thing is
realize what I was doing. But watching the
console instead of the stage is a mistake.
When you push the button, the action
takes place on the stage, away from the
console. That’s where you should be looking. Once you press
the button, it doesn’t
hurt to look down at
your console notes to
make sure the next
cue is the one you
think it is. But before
you press the button
again, look up.
When you watch
the
transitions
onstage, a whole new
world opens up in
front of your eyes. You
start to get a good
sense of the timing of cues. Once you realize the power of a well-timed cue, then
you can start to understand why certain
designers and lighting operators are in
heavy demand. Brian Hartley is a prime
example. If you’ve ever watched him run
a TSO show or a KISS show, then you’ve
seen the best at work. Lenny Kravitz did,
and that’s how Brian came to design and
operate Kravitz’s shows. He insisted on
hiring Hartley — no one else would do
— because he recognized the incredible
timing of the show. And if you’ve ever
watched Hartley work, then you might
have noticed that he’s watching the stage,
not the console.
Lighting is one part design, one part
programming and one part operating. If
any of those parts are not carefully executed, then the entire show suffers. Operating a lighting console is not difficult,
provided you know the cues and you can
push a button without looking at it. Timing is...everything.
It deosn’t mtt aer in
waht or edr t he
ltt eer s in a wr od ar e.
40
PLSN JANUARY 2007
100.0701.40.FOD.indd 40
the transitions. But it just might be the
single most important thing. The most
beautiful, creative looks in the world
without rhythm or timing will produce
a show with an awkward feel. If you’ve
ever pushed the wrong button at the
wrong time and caused a huge transition at a totally inappropriate time, then
you know just what I’m talking about. I
once pushed the wrong button during
a slow song, and instead of fading into
the next cue, the console jumped back
to the previous cue with no timing, just
a hard cut. It caused the stage to go from
a meditative blue to a flash of bright
white. The singer almost choked on the
lyrics and his fingers just about tripped
over the keyboard. He paused ever so
slightly and glanced up at the lights. I
felt like crawling under the console. It’s
all about the transitions.
Which leads us back to the train
wreck. When you’re first starting out, it’s
a natural inclination to look at the button
you’re pushing rather than at the stage.
Sometimes you don’t even realize that
you’re doing it. It took me a long time to
Now is the time to e-mail the author at
[email protected].
www.PLSN.com
12/29/06 1:53:09 PM
Video for the song “Pinball Wizard”
Video for the song “I Can’t Explain”
Video for the song “Baba O’Riley”
ative director for the show, and he’s the vision
behind it,” said Mitchell. “Po was brought in
to create the content, and I consulted on how
they should do it technically. It’s a 720p production throughout, done entirely in 16 by 9,”
explained Mitchell.
“Not only did Encore provide us with ‘destination’ freedom for the various screen configurations, but we were also able to exactly
match the size of the screens to the content
— pixel for pixel,” remarked Mitchell. “During
pre-production, when we first got the material for the screens from England, it came as
five different pieces. Using Encore, I was able
to sew those pieces together to transfer them
to the three Doremi servers. And during the
show itself, one of the reasons the video looks
so crisp is that there’s no interpolation or scaling. We have a direct pixel-to-pixel path from
the electronics to the screens.”
I asked about his overall impressions on
working with The Who behind the scenes.
“With their new album, they wanted a new,
modern approach, and this video was a leap
forward for them,” said Mitchell. “They’ve
gone way beyond in terms of video staging
and positioning, that I haven’t seen before.
It makes me proud to work with such a high
profile band.”
Outside the Box
John Wiseman, CEO and president of XL
Touring Video, has an interesting and ironic
history with The Who. “Like most of us, I was
a big fan of The Who as a kid,” said Wiseman,
“and when I got into the music business in
the late ‘70s, I managed a band called Steel
Breeze. We were signed by RCA records, we
had two hit singles, and in 1980 we toured
with The Who as their opening act — and the
first show we did with them was here in Dallas, 26 years ago. So I’ve toured with them, I
was their lighting vendor for years, and now
— it’s all about video.”
Video for the song “Won’t Get Fooled Again”
Video for the song “Behind Blue Eyes”
For the World Tour, Wiseman was
tasked at the highest level with realizing
The Who’s visual concepts, both technically and creatively. “The technical challenges
were solved by Chris Mitchell,” explained
Wiseman, “and all the creative elements
were perfectly coordinated with Po and
Tom Kenny, with no egos involved.”
Before the tour, XL Touring Video
was also instrumental in pre-staging the
entire set for a series of London festival
dates and key rehearsals. At XL’s UK office,
all logistics were coordinated under the
leadership of Chris Mounsor, chairman,
and Phil Mercer, project manager. “That’s
the beauty of having a great operation on
both sides of the Atlantic,” added Wiseman. “Our UK and LA offices collaborated
on the London shows, and then on this
side of the pond, LA took over to execute
the North American leg of the tour.”
At the outset, when the show’s ideas were
coming together, Wiseman and XL Project
Manager Pat Morrow worked closely with Trinifold/Sanctuary Management and Bill Curbishley, The Who’s longtime manager. “We talked
about every aspect of the project,” said Wiseman, “from budget issues to creative issues.
Bill explained what the goals of the band were,
and what they wanted to achieve visually, and
then Pat and I went forward from there. Pat
has a very long history with The Who, and he
was absolutely key in securing this project for
XL, and ensuring that all of their video goals
came true. I mean, just look at it,” remarked
Wiseman, “The show is just gorgeous, and the
band is great to work with.”
Paul Berliner is president of Berliner Productions in Davis, California — a company providing video production and
marcom services to the broadcast and entertainment industries. He can be reached at
[email protected].
Video for the song “Who Are you”
www.PLSN.com
100.0701.26-27-41.indd 41
Video for the song “Baba O’Riley”
Video for the song “Amazing Journey”
Video for the song “Amazing Journey”
Video for the song “My Generation”
JANUARY 2007 PLSN
41
12/29/06 3:58:07 PM
MARKETPLACE
Employment
Your #1
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continued
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Visit www.plsnbookshelf.com
Call 702.454.8550 or contact [email protected] for Marketplace rates
42
PLSN january 2007
100.0701.42.MP.indd 42
www.PLSN.com
12/28/06 11:23:07 PM
ADVERTISER’S INDEX
COMPANY
PG# PH
URL
COMPANY
PG#
A.C.T Lighting, Inc.
AC Lighting
All Access Staging & Prod.
American DJ
Apollo Design Technology, Inc.
Applied Electronics
Atlanta Rigging
Branam
Bulbtronics
Chauvet Lighting
Checkers Industrial Prod.
City Theatrical Inc.
CM Rigging Products
Coast Wire & Plastic Tech., Inc.
Creative Stage Lighting
Doug Fleenor Design
Elation
Element Labs
Full Sail
High End Systems
Intelevent Systems
Legend Theatrical
Leprecon/Cae Inc.
Light Source
Lightronics
Littlite
Martin
MDG Fog Generators Limited
Navigator
NSCA
5, 40
19
32
1
9
31
8
3
30
21
12
36
25
39
13, 25
34
C4
38
30
12
13
34
14
4
C3
10
C1
17
12
20
www.actlighting.com
www.aclighting.com/northamerica
www.allaccessinc.com
www.americandj.com
www.internetapollo.com
www.appliednn.com
www.atlantarigging.com
www.branament.com
www.bulbtronics.com
www.chauvetlighting.com
www.checkersindustrial.com
www.citytheatrical.com
www.cmrigging.com
www.coastwire.com
www.creativestagelighting.com
www.dfd.com
www.elationlighting.com
www.elementlabs.com
www.fullsail.com
www.highend.com
www.intelevent.com
www.legendtheatrical.com
www.leprecon.com
www.coolclamps.com
www.lightronics.com/plsn
www.littlite.com
www.martinpro.com
www.mdgfog.com
www.hiretrack.com
www.nscaexpo.org
Ocean Optics
Orion Software
PR Lighting LTD
R&M Materials Handling
Robe America
Roc-Off
Rosco Laboratories
Selecon
Sew What
Show Distribution
Staging Dimensions
Strong Entertainment Lighting
Techni-Lux
TMB
Tyler Truss Systems
Xtreme Structures & Fabrication
11
35
23
33
2
37
22
36
11
27
15
34
C2
13
20
6
727.545.0741
877.755.2012
253.395.9494
800.955.9967
954.615.9100
877.978.2437
800.767.8652
410.638.0385
866.444.2062
877.632.6622
866.591.3471
800.262.5016
407.857.8770
818.899.8818
903.877.0300
903.473.1100
www.oceanoptics.com
www.orion-soft.com
www.omnisistem.com
www.rmhoist.cm
www.robeamerica.com
www.roc-off.com
www.rosco.com
www.seleconlight.com
www.sewwhatinc.com
www.showdistribution.com
www.stagingdimensionsinc.com
www.strong-lighting.com
www.techni-lux.com
www.tmb.com
www.tylertruss.com
www.xtremestructures.com
MARKET PLACE
City Theatrical Inc.
DK Capital
ELS
Hybrid Case
Light Source Inc.
Lightronics
RC4
Roadshow
TLS
Upstaging
42
42
43
42
42
42
43
42
42
42
800.230.9497
517.347.7844
800.357.5444
800.346.4638
248.685.0102
757.486.3588
866.258.4577
800.861.311
866.254.7803
815.899.9888
www.citytheatrical.com
www.dkcapitalinc.com
www.elslights.com
www.discount-distributors.com
818.707.0884
416.255.9494
310.784.2464
800.322.6337
800.288.4626
800.883.0008
404.355.4370
661.295.3300
800.227.2852
800.762.1084
800.438.9336
800.230.9497
800.888.0985
800.514.9473
518.251.3302
888.436.9512
866.245.6726
512.491.9111
800.226.7625
512.836.2242
800.348.2486
888.485.2485
810.231.9373
803.547.4765
757.486.3588
888.548.8548
954.858.1800
800.663.3020
615.547.1895
800.446.6722
PH
URL
www.lightronics.com/plsn
www.theatrewireless.com
www.roadshowservices.com
www.tlsinc.com
www.upstaging.com
www.PLSN.com
100.0701.43.JUMP_INDEX.indd 43
JANUARY 2007 PLSN
43
12/28/06 11:24:56 PM
LDATLARGE
Nook’s Big Thr 3
Lighting theories
for the working designer
By NookSchoenfeld
T
his New Year’s Eve I was in Rio with LD
Alex Skowron lighting the Black Eyed
Peas as part of a worldwide celebration
Nokia was throwing in six cities. English LD
Dave Hill designed the same lighting rig for
six different festivals in separate time zones
with different directors. It’s a TV thing. I imagine none of them looked close to the same,
and that’s the beauty of this project. Everyone
has their own style of lighting events.
Alex and I spent a week at Upstaging’s
visualization suite outside of Chicago, preprogramming our looks from scratch using
the same cues Alex executed all year long on
tour with the Peas. Our theory about concert
lighting is the same, and it’s not complex. We
believe in achieving three objectives: first, always light the artist; second, illuminate your
set; third, light some air.
asses wherever they may roam. I hate seeing
spotlight beams crisscrossing each other and
messing up my beautiful looks onstage, so I
often play what I call “zone defense.” I talk to
the rear spot ops, and we designate some
imaginary lines onstage. Whoever runs into
your zone, you pick them up. If a performer
runs far out of your zone, I will fade you and
point out someone else for you to light closer
a TV screen and seeing a newscaster’s head
lit, but everything else in the room is dark. It
looks like a stupid head talking in space. Your
eye needs some kind of background against
which to reference the performer — hence
all the LED eye candy you see on every sports
wrap or game show these days. For the Nokia
show, we have a giant 3D ribbon that intertwines through the whole stage and rig,
If you don’t light the surrounding
elements, the performers will look
stupid being the only thing lit onstage...
LD
Rule #1
Light the money. Certainly, everyone understands this, right? Nope. I constantly see
shows where designers light some of the performers onstage while some are in the black. I
cringe when I see two spotlights on one performer while the guy next to him has no light
at all. This is an LD’s prerogative, mind you; it’s
just not my style. You need to front light an
act if you want them to be seen. In the case of
the Peas, Alex has four 3K Gladiator spots for
the four principal singers in the band. There
are four backup musicians onstage. We have
eight hard-edge and eight wash fixtures on a
front truss to bathe them in bright washes or
gobo patterns.
We like to keep the performers backlit
properly as well. Alex will always designate
some rear lights for the stationary musicians. Since the four singers rarely stop moving, there are four truss spots to cover their
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to your zone. This is all fast and furious when
rappers are running amok, but a good LD like
Alex can pull it off and keep everyone backlit
for the TV cameras.
LD
Rule #2
Light the scenery. Face some facts here.
Somebody has come up with an idea and
talked somebody else into paying a lot of
money to construct this so-called set. If you
do not light it, no matter how gaudy or stupid
it looks, you are not doing your job. And, of
course, the scenic designer, set fabricator and
event producer will make certain they never
employ you again.
If you don’t light the surrounding elements, the performers will look stupid being
the only thing lit onstage, and you will have
the talking head effect. Imagine looking at
and Hill has hung 100 LED fixtures in all the
trusses to throw color-mixing light at it. I am
confident I will chase and highlight the hell
out of this set piece simply because it’s there
(and of course, I want Dave to get his gig back
next year).
LD
Rule #3
Light some air. Use your light beams to
create some pretty geometric focuses, not
to light anything in particular, just to see the
beams. In the old days we used to call these
“graphic” focuses. Take all your odd moving
light fixtures and swing them to one position
across stage. Grab the even fixtures and swing
them the opposite way, creating a mirror image of the last group. Your stage now looks
like a bunch of Xs. There’s your first graphic focus position. Take groups of lights to various
fan focuses and make more positions. Floor
lights are perfect for aerial focuses.
My only pet peeve is lighting designers who build graphic focuses that blind the
audience constantly. Moving light through a
crowd is often beautiful and dramatic, even
more so when there are gobos breaking up
the beam. But it’s tantamount to having a
car approach you with high beams on. Unless you’re at a rave, nobody but the designer
thinks it’s cool.
With many performances, you have no set
to light — maybe a backdrop and a few risers,
but little else. The light beams are your only
set. Use your lights in combinations of focus
positions to build layers. For instance, slash
some upstage beams across the backdrop,
and color them magenta. Use some other fixtures to build a straight wall of light pointing
downstage, and color them blue. Now point
some hard edge fixtures at band members,
and color them pink. You now have a pretty
blue scene with the performers standing out,
and the slashes of light on the curtain add to
the layers you have created.
The biggest problem when you are trying to build light layers is that you can end
up with mud. That’s when you have too many
light beams of different colors converging
on a stage at once, creating a white-pinkish
mush. It’s crap, and I see it all the time with
young designers. To stop this is really simple.
Look at your stage and start turning lights off
one group at a time. The more you turn off,
the sexier the scene looks. There is no rule
that says all lights must be on all the time. But
it works for some designers.
There are two separate paths a designer
can choose. Some choose to leave the intensity of all of their lights on all the time. They rely
on big fat grand looks. They also justify huge
salaries and budgets that some designers feel
they need for their craft. The opposite of this
is something called negative space.
Many great designers excel at this, which
is using minimal lighting onstage to create a
few shafts of light that performers can walk
in and out of. The shafts will stand out because they are not competing against any
other light source and there is nothing else
to catch your eye. Turn these lights off, and
turn on a few selected fixtures for a second
look. Going quickly between the two separate looks gives the illusion of movement.
Front light the artist with some foot lights or
sparse colored PARs on a front truss to complete a sexy simple look.
Lastly, the effect you can achieve in bumping from a big fat look to a negative space
scene in zero time is quite dramatic. As Roy
Bennett once told me, “I can have 200 moving lights going wild, but when I black them
all out and just leave on that one blue Leko
upstage, that’s when the crowd goes crazy.”
He is so right.
E-mail Nook at [email protected].
www.PLSN.com
100.0701.44.LD.indd 44
12/28/06 11:29:07 PM
100.0701.ADS.indd 3
12/29/06 12:09:51 AM
100.0701.ADS.indd 4
12/29/06 12:10:27 AM

Tubes Warm Siberian Truss

Transcription

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