Ed Riley ran through the layout: "Due to the warehouse not having a fixed lighting rig, we had to suspend limited amounts of truss from the roof and therefore had little space for lights. This is why we went for the Mac 250 Washes, which were highly versatile and allowed us to cover most areas of the set from one position. We were really impressed with the
The giant arena thunders with the hooves of Australian horses as the performance starts, creating an electric atmosphere with state-of-the-art lighting and sound, as leading stunt riders and stockmen playing out the story of two rival cattle stations. On arrival, guests enter a traditional Outback Pub for a cool beverage, receive their own Stockman's hat which they wear whilst barracking for their cattle station. Alongside this, a traditional Australian BBQ is served while the action unfolds
Although the set and props were imported from Japan, the lighting was locally contracted to LDS, with lighting design by Poon Limpapun and Sermsak Boonyhai. Because the venue was not capable of supplying enough power for 4,000 Par cans (as originally planned), the team had to get the biggest bang from the fewest number of fixtures as possible. They fit 300 Par 64 1000W fixtures with Wybron Forerunner colour changers and another 14 Kupo 8-lites with Wybron's Coloram II. 24 Nexera Wash and Profile fixtures were strategically placed in hard-to-reach areas throughout the hall to add additional colourful effects.
The equipment was rigged on 20 st
Luke Everingham, the man behind the design and its fruition, wanted a house that met the following criteria: the cost must not exceed that of a conventional house of the same size and level of appointment; the layout and finish must be highly functional; it must require very little maintenance; it must be white ant proof and; must allow the occupants to maximise weather conditions, seasonal conditions and the outstanding 360° views on this property located in the Australian bush. The result is a house that rotates 360° - capabl
At the same time, Artistic Licence says that Excel Union will continue to build market share in mainland China. Excel Union has offices in Beijing and Hong Kong, and is headed by Victor Tsang. Simon Fraser, Artistic Licence Hong Kong manager, comments: "Both of the new appointments have a long term relationship with Artistic Licence. I'm looking forward to assisting them with the growth of their business and providing an even higher level of support."
Artistic Licence Hong Kong is headed
A flexible and modular system, each unit is composed of 25 lamps that are independently controlled. They are totally integrated and programmable to produce accessible and powerful lighting extravaganzas. The electronic controls are integrated in the projector for instantaneous operation.
The system allows the creation of a matrix of lights without the need for separate dimmers - only a direct feed and
UK - It was all guns blazing down at the Opera House, as manufacturers pitched their wares against each other in the tungsten wash shoot-out that the theatre world had long been waiting for. As the lights were fired up, the atmosphere on the battlefield was surprisingly relaxed as competitors called a truce for the test, paving the way for an open and frank discussion.
Hosted by lighting supplier White Light, and organised in conjunction with the Royal Opera House, a steady stream of invited lighting designers, production electricians and venue technicians passed through the ROH's Linbury Theatre to cast a critical eye, and ear to the proceedings.
So what was in the firing line? Well, in alphabetical order, Clay Paky'
From LDR, Lightfactor had the Xpress range of scrollers along with a new Xpress power distribution system designed to feed a single Xpress colour scroller. Also from LDR, the new Canto followspot.
LightProcessor's Paradim and Dimension dimming ranges, available as installation or touring versions, were also shown.
First previewed in L&SI back in December 2005, these innovative products are designed for use in technical backstage or FOH interior and exterior areas. BlueBeam offers a spot source and BlueDome a flood. Both are IP67 rated, produce little heat and are capable of dimming via an integral 0-10V dimmer, and large numbers can be daisy-chained together if required.
Also showing were accessories for the fixtures - a push-on cowl (for the Beam or Dome fixture) and an eyelid (for the Dome).
Lighting designer is Al Gurdon (Brit Awards, MTV Europe Awards, Classical Brit Awards, Nobel Peace Prize Concert) who has been lighting top television programs and events for the past 18 years, as well as DVD shoots for some of the top performers in the industry like U2, Phil Collins, Sting, and many more. Yet this is Gurdon's first concert tour design.
"I was excited to have the opportunity to design the lighting for Robbie's tour," he says. "The brief has been evolving in a fairly organic way for over a year or so. The choice of fixtures was predicated on the
"The premise of Cascade," says Corder, "is that a local jazz duo had been booked to play a set following dinner . . . and find themselves playing in the midst of the spectacular Alnwick Garden Cascade."
The audience was invited to follow the bemused pair as they walked through the garden; an element of performance art was introduced as a waiter, accompanied by umbrella-bearers, clambered through the cascade to deliver a bottle of Newcastle Brown Ale to the musicians.
White Light supplied the lighting services and the theatrical lighting installation, overseen by project manager Jack Thompson. The instal
White Light is also UK distributor for Wireless Solutions' DMX system, which was on display, as was LDDE's SpectraConnecT5 four-colour fluorescent flood units. ELC's range of DMX signal distribution tools was also on stand.
The TW1 has a twin lens zoom that offers a variable range of between 19°- 40°. The fixture can be used with external or internal dimming systems and a mechanical shutter allows for dimming without variation in colour temperature, and a strobing effect. Provision for turning off the cooling fans is made via DMX control. Lamp replacement is simple with a single-ended quarter-twist lamp, and its modular design has maintenance in mind. An auto-sensing switch-mode power supply ensures global compatibility. A range of accessories is also available, such as barndoors, gel frames, or top hats.
"We needed a bright, colour mixing, tungsten-source washlight with a great range of subtle pastel and tonal colours that was consistent across all units," explains Howe. "As the show's scenery is entirely projected, a fixture with a wide focus range was essential to prevent any unwanted light spill. For this reason, the automatic top hat on the Alpha W
Daly brings more than 17 years of lighting industry sales and management experience to Color Kinetics, including specific expertise in OEM sales. He most recently served as president and general manager of the 68-year-old Rig-A-Lite division of AZZ Inc, an electrical equipment manufacturer. He previously held sales and OEM management positions at Venture Lighting, GE Lighting and Philips Lighting.
"We are confident in the technologies, expertise and IP that differentiate our OEM value proposition, which many partners have already embraced to bring unique pro
The tour promotes the collaborative album of the same name from the Dire Straits front-man and 11-time Grammy award-winner, Emmylou Harris. The pair have been compiling duets for seven years.
Lighting designer Simon Tutchener was asked to produce a simple look for the stage - with no video production onboard - the visual scenography was all down to lighting - and he in turn again asked Lester Cobrin at Bandit to help realise his design.
The design was based on using two very elegant eight metre diameter A-type interlocking circular trusses - which Bandit had custom fabricated. Tutchener wanted an architectural feel to the stage that defined the space. The circles symbolised the fusion of two of the greatest l
The lighting rig was designed by Mark Powell of Bandit Lites, and consisted of 40 Martin moving heads, including Mac 600s, Mac 2000 Profiles, and Mac 2000 Washes, providing ambient lighting, logo projection and car specials.
The fixtures were all controlled from the Frog 2 using real-time triggers for cues. This allowed for turning on of the rig each morning, running the show throughout the day and dowsing the lamps at the end of the day. The timecode triggers enabled stand staff to simply power up the stand each morning with the Frog 2 then taking control.
Lotus launched two new models at the show, the Europa S and the Elise S. The Frog 2 was programmed using multiple cue stacks. Different stacks were used to control different areas of the stand. One sta
Madrix supports DMX interfaces with outstanding DMX capabilities, and includes an installation CD-ROM, a software protection dongle and English and German user guides. Madrix features an easy matrix control, Music2Light (real-time audio analysis, 60 DMX - universes (30720 DMX channels), two effect pipelines for live performances and 100 storage places with layer technology.
The new website address is www.madrix.de.
(Chris Henry)
Lighting designer Nick Jevons, of Electric Fly, has been using a Maxxyz PC with a wing to control the lighting for the whole tour. His son, Jake Jevons who now works for Bandit Lites was working with him in the UK.
The lights being used for the UK leg of the tour were Mac 300s, Mac 500s, Atomic 3000 Strobes, which were hung from four upstage ground based 12" truss in a Y formation. The lighting was supplied by Bandit Lites.
It is the first time Jevons has toured without using a lighting desk and as far as he's aware it was the first time that this setup has toured. He says: "I found the system portable, creative and flexible without losing any of the capabilities of a lighting desk, and my job was made more convenient by the
Designed by exhibition designers Ralph Appelbaum Associates (RAA), the lighting for Dino Jaws has been designed by leading architectural and exhibition lighting consultants dha design. "Dino Jaws features eight automated dinosaurs and an interactive display area called the LAB. The aesthetic requirement was to light each dinosaur, but not to make a light show so dazzling it distracted from them," explains Flick Ansell of dha design. "The brief was subtle changing landscapes and, importantly, to make shadow play on the different coloured backdrop between each dinosaur."
"There was also a practical brief that each display area could, in
