As Chauvet's second European facility, the Belgium office will cater to demand in the Belgium, Netherlands and Luxembourg regions. In conjunction with Chauvet's UK branch, the new office will also play a key role in servicing and supporting distributors elsewhere on the European mainland, with particular emphasis on France, Germany and Italy.
Among the highlights of the evening was a lightshow of epic proportions that
Right in the thick of all the Mallory Knox live onstage action is lighting and set designer Jordon Cooper who has worked with the band since 2013 after initially being asked to light a one off gig which they liked.
On the previous tour, Jordon has used Robe Pointes, and for this one as a floor package he chose 24 x Robe LEDBeam 100s which were supplied by north Yorkshire based R&M Productions together with four strobes and some LED battens. They hooked into the house overhead rigs at each venue.
R&M additionally built the set which was designed by Jordon and the band and inspired by the Asymmetry album artwork.
With
With heavy foot traffic throughout every performance, both the stage floor and the printed design needed to be incredibly durable yet still provide a comfortable surface for the performers themselves.
"We explained what we needed and Le Mark were quick to provide a quality product. They were professional all the way: from placing the order right through to delivery. It was exactly what we needed for this musical." said Tristan Baker, producer at Runaway Entertainment.
The bespoke design was printed on to Le Mark's most popular floor
In this beautiful scenery, Hotel Impozant is situated in Valca Valley. The hotel owner has for a long time sought the nearby creek illuminated by a light source which could be hidden under the bridge. His intention was to increase the attractiveness of the site to a new and higher level. Therefore, he turned to Milan Ondisko, sales manager of City Light Slovakia s.r.o., who quickly arranged a demonstration on one summer evening during sunset.
"The hotel owner preferred two strong quality lights instead of several smaller fixtures. Once we turned on the light, no more words were necessary. The SGM P-5 talked for itself and proved to be the perfect tool; plenty of rich coloured light output to illuminate the creek with its banks and sur
Head of sound Mike Somerville explains: "It's a very busy show for sound and having Leopard for our sound reinforcement was the ideal solution to deliver the best overall sound possible. With nine Leopards and 2 900-LFC subs each side I've never heard anything in that theatre sound so good. I was extremely impressed by the way the sound was very even across the entire frequency range as you walked both towards and away from the arrays. It was a much smoother progression, in both level and consistency of frequency response. To me this
tn.jpg "Shaping Sound is hitting stages all across North America")
The dance team that can be seen in Carrie Underwood's Something in the Water and So You Think You Can Dance? created a show that is immaculately choreographed, requiring lighting designers Seth Jackson and Nathan W. Scheuer to create a rig mainly comprised of VL 3500 Spots.
"We needed the framing shutters, the zoom, the iris, all of those elements to lock in with the incredible specificity of the choreography," said Jackson. In addition to the Spots, Bandit provided Impressions for wash f
Once a year, leading lighting designers and companies are invited to Alingsås to demonstrate their expertise, attend networking events and hold workshops. For five weeks, the dark evenings of Sweden are transformed into beautiful lighting installations around the town.
The theme for Lights in Alingsås 2015 was The Evolution of Light, from the big bang to the present age, with a specific focus on how new technologies such as LED can help reduce the environmental impact. W-DMX was used to demonstrate the elimination of excess cable.
Lighting designers Bertil Göransson and Johan Moritz from the company Luxera were responsibl
!["CIExy1931" by User:PAR - Own work. Licensed under Public Domain via Commons - https://commons.wikimedia.org/wiki/File:CIExy1931.png#/media/File:CIExy1931.png](/newsarchive/nov2015/cie1931tn.jpg ""CIExy1931" by User:PAR - Own work. Licensed under Public Domain via Commons - https://commons.wikimedia.org/wiki/File:CIExy1931.png#/media/File:CIExy1931.png")
The CIE have also accepted that the CRI has several significant sources of colorimetric inaccuracies and accept that it should be updated with the latest well-accepted formulae and an improved set of test samples. CIE's own Technical Committee (TC1-90) is in the process of developing a new improved colour fidelity metric that can update the CRI. The CIE also recognises that the colour fidelity metrics including the CRI do not assess other important aspects of the colour qualities of light sources, in particular, those related to colour preference.
CIE TC 1-91 is developing a Technical Report on this subject, which will be the groundwork for developing colou
Using lighting provided by Bandit Lites, lighting designer Mark Wheatley took his knowledge of Anderson's lighting preferences (no haze, no 'mad flashing lights' and dislike of follow spots) to compliment Jethro Tull - The Rock Opera, which features both earlier hits and newly written songs.
"The workhorse fixtures are Martin MAC Viper profiles, GLP Impression X4s on mid and back truss, Mac Auras on front truss and pros booms and Sharpys on back truss and floor," said Wheatley. "We also use Showtec Sunstrips as blinders and effects on floor towers and back truss. An 18k HD projector on the show is rigged either on the front or mid truss depending
Simon Garrett from Oceania Productions lit the show-space which is also known as 'The Runway' by NZFW fans. Simon has been involved with the event for many years, but this was his first using 12 x of Robe's powerful BMFL Spots, which were rigged on a spine truss above the 30m polished concrete presentation runway.
Fashion - and its increasing penchant for drama and theatrical presentation - is demanding more thought, imagination and lateral thinking - when it comes to lighting, in addition to the pressure to replicate those camera-perfect flesh tones for the massed photographers and video
Nipius has been working with Suede since the late 1990s and was asked to create a lighting design to complement the band's 'experiential' new shows, which were performed to launch a new concept album and short film.
For the first half of the show, lead singer Brett Anderson and his bandmates performed behind a partially transparent screen, onto which their movie - a 'dark and dramatic tale of love and despair' - was projected. For the second half, the screen was pulled up to reveal the group as they played a selection of Suede classics.
Avolites' exclusive Netherlands distributor Fairlight supplied the Tiger Touch II to Keylight's Gary Yates after inviting him and
Five DTS Raptors were mounted on a large commercial ship's helicopter pad, while Blyth's historical lighthouse was highlighted with help from a single Raptor. Full advantage was taken of the limitless pan rotation to create an unforgettable sight. Back on firm ground the DTS Evo fixtures delivered stunning effects across the bow of the ship and along the starboard side with rotating gobos and colours. The EVO fixtures provided bright and crisp beams.
"The DTS fixtures delivered stunning aerial displays of light across the skies of Northumberland and out into the North Sea," says David Thompson of Steadlands Lighting & Sound. "It was very impressive to see the incredi
In 2002, Peroni graduated from the film and television school, Institut des Arts de Diffusion (IAD), in Louvain-la-Neuve, Belgium, where he studied lighting. Following his graduation, Peroni began working for television studios in Rome, then joined Link S.r.l., an entertainment-product manufacturer based out of Italy. There he served as a project manager for the American market. In 2011, he began a new job at Luxemburg's Codex Events, serving as production manager for events. Then in 2013, Peroni joined ETC as
"This is a 13-city tour playing a lot of the markets that Miranda hasn't been able to hit in recent years," notes Nashville-based production designer Chris Lisle. "The design of the show is pretty straightforward with three overhead trusses and a floor lighting package. We also have some soft goods and scenic pieces that play heavily into the design. Miranda wanted to keep this one simple, so there are no video elements. She just wanted to go out, have fun musically and do a 'bad ass light show.'"
Lisle selected 20 Clay Paky B-EYE K20s for the rig. Ten each are in midstage and upstage trusses alternating with spot and beam fi
The Samis (performers) danced and sang in the middle of the crowd holding and juggling a long light pole, designed by interactive experience's designers Rafael Mizrahi and Mickey Martin - the object was made of telescopic aluminium poles and 3D printed plastic parts, making it lightweight for the performers. "Wireless Solutions provided the most reliable wireless technology
Around 100 people rocked up to the event which took place in the foyer space of the Linbury Studio Theatre at the Royal Opera House, preceding the evening's three provocative performances staged by the Leeds-based Phoenix Dance Theatre, which were lit by Yaron.
Yaron was delighted with the turnout and interest in the book, which received its world premiere at the 2015 Prague Quadrennial in June, also supported by Robe.
The book presentation followed a similar format to that of the PQ, with a three-way conversation between Yaron and Nick Moran, senior lecturer in lighting for live performance, BA Theatre Practice course team at London's Centra
Thought provoking speakers include Grant Anderson, the Scottish Lighting Designer, in collaboration with lighting, AV and sound specialists Black Light who designed the popular Botanic Nights - 2015, a unique night-time experience. Grant Anderson explains how the light installation evoked an emotive reaction from the audience.
Anderson comments: "In Scotland, it's often said that you can experience four seasons in one day. Visitors to Botanics Lights have been able to experience four seasons in just one night. It made perfect sense to me to combine nature and light with seasonal changes as the three are inextri
Staged on Saturday 12 September, the show, Ar Waith Ar Daith was a year in the planning and making and with over 600 participants, the largest outdoor theatre production in Wales to date. The show attracted crowds exceeding 12,000 who were enrapt as the age old tale of Welsh history, myth, allegory and magic unfolded via a series of promenade choreography, large format projections onto the side of the building, gravity-defying aerial stunts, lantern processions, choral singing, dance numbers and a truly exhilarating py
Show director, Francisco Negrin, describes the elegant ice-skating show as "a generator of the energy of shadows and light". The two acts depict very different aspects, where Act I starts with the dark energy in violent and chaotic forms exploring the dark sides of male/female relationships with both loneliness and desire. The desire turns into passionate lust and then into real love. Act II, however, is about light, joy, playfulness culminating in a celebratory finale.
For such an impressive and emotional show, lighting played an essential role. And with a lighting designer on board internationa
Lighting is designed by Michael Sevholt, the venue's technical manager, and a partner and founding member of Kulturtuben, who has included eight Robe DL4S Profiles and 14 x LEDWash 300s in his rig.
After reading the script, he realised that he needed moving head profiles to effectively key out the actors and also a moving wash light for illuminating the musicians located on a platform that changes places onstage during the show.
The set - designed by Rolf Allan Håkanson - is mainly lit with conventional fixtures. During the rehearsal period,
More than 17,000 people flocked to Devon's Somersault Festival in July for a five-day musical extravaganza. Fineline provided lighting for four main music performance areas at the festival, including the 15m wide Main Stage.
The production lighting rig was designed by Fineline's Stuart England, and based around the requirements of the various headliners, an eclectic and interesting line up of Bombay Bicycle Club, Laura Marlin and The Staves. "The house lighting desk was an Avolites Sapphire Touch and all the dimming was Avolites," says England.
At Cornwall's Eden Project, Fineline provided the production lighting for the 2
Phil Mercer, PRG XL's Music Group director, worked with Major Lazer's production manager, Joel Stanley, and lighting and visual designer, Kyle Kegan, to create a custom-built video setup which could be varied in size according to the venue.
Using Pixled F-12 LED, the video team worked closely with All Access, who constructed the staging for the tour, to create four pods and a DJ booth. Everything was prepped together to ensure the construction precisely fit the LED tiles. Joel Stanley explains, "We wanted a more scalable design for this tour, and having video and staging prepped together made everything much easier
Users can send pictures of their dot2 in action on projects and post them in the blog. They can learn more about the dot2 in the 'tips and tricks' section, find out about other dot2 users on the road in the 'stories' area, or discover all hot news and dates - from trainings to tradeshows - in the 'dates' section.
Besides the blog, there is also the dot2 website which offers multi-language product-related information, and the dot2 forum which is all about technical topics and support.
MA invites
The Show Must Go On was introduced at the 'Sustainable Strategies' panel at the UK Festival Conference in London's Roundhouse, which focused on how festivals can minimise their carbon impact. It is subsequently being presented to the UN Convention on Climate Change, Paris, Nov 30th to December 11th 2015, where 196 countries will meet to sign a new climate change agreement.
The report's authors hope that by presenting a concise overview and proposed roadmap for reduced carbon impact at festivals in-line with international targets and that the UK festival industry sector can lead by example in achieving impact reduction targets by 20
