The exhibition's main contractor, Themetech, was appointed by project manager Jacqui Wicks, in December 2001; they, in turn, approached David Hurst and Steve Richley of Entserv to assist in the huge project’s realization. Entserv have worked on numerous international touring shows and exhibitions, including Madame Tussaud’s in Hong Kong via Singapore and Australia.
Lighting designer David Hurst followed an initial brief to design a lighting concept using a modular system with a standard range of fittings, which was flexible enough to be moved and reassembled in all the touring venues. Entserv’s ideas also took onboard the initial brief which included designing an electrical system and supplying the equipment, which was bought from Lightfactor Sales.
The Science Museum was actually the first venue on the tour to be designed, as it was hosting the exhibition in its largest format. The equipment orders to Lightfactor were based on this. ‘Bond, James Bond’ utilizes a custom designed audio-visual system operating on a Cat 5 Ethernet network, which involves 25 interactive computers, interactive ‘Bond Props’ and LCD projectors. Entserv assembled this audio-visual equipment in London and will make any necessary additions enabling it to tour internationally.
The vast majority of the lighting equipment is a bespoke track system, designed by David Hurst in conjunction with Lightfactor. This includes low voltage arms, specified with Thomas MR16 Birdies, for the artwork panels, enabling the panels to be illuminated with up to three fittings according to the detail of the graphics themselves. David Hurst comments: "I specified Birdies for several reasons - they gave me flexibility with lamp type and filter, and could be supplied as a bespoke unit to match the graphic panel. They are robust and suitable for touring and they met the budget."
The design work for both exhibitions (London and Bradford) including all the bespoke fabrications, commenced in December 2001, to be ready for delivery to Bradford in February 2002. A variety of theatrical lighting fixtures are also utilized, including MAD colour changers, MAD scans, High End Dataflash strobes and assorted up-lighters. All distribution and electrics is controlled by LightProcessor Paradime touring racks supplied by Lightfactor. As it was designed as a modular touring exhibition from the outset, adaptations to the lighting between venues was minimized.
M's office was the most difficult to light - the scene had to be recreated with ‘natural’ daylight beaming in through the window. There was little room for manoeuvre behind the window so Hurst did a mock up at Lightfactor's warehouse, and then recreated the scene using two 2kW Bambinos with white panels below to redirect any stray light. He also used Strand Bambino 650W fresnels and Ladi floods on a rig above the 'office' ceiling, imbibing it with a film studio feel. The exhibition's next move is to the Ford Museum in Detroit in 2003. Entserv, will be going over to train the American crew and hand over the project. After three years touring the US, the exhibition moves to Australia and then to Singapore and Hong Kong.
(Ruth Rossington)
