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Visual Creator brings sophisticated control of motion-through-time out of the realm of specialist applications and makes it available to all. The advantages of theatrical automation are clear. At the push of a button, a modern power flying system can move a substantial load from A to B with pinpoint accuracy time after time. But what about the movement along the way between A and B? To date, most flying systems have been unable to handle the sophisticated motion profiles through time that designers and directors imagine in their shows.
Visual Creator addresses this need: gauzes drifting in a breeze, an automated bouncing ball, an acrobat flying in 3D around the auditorium - all these effects and more can now be drawn as imagined and executed seamlessly with Stage Technologies' standard automation systems.
Blackout¹s project manager Kevin Monks collaborated with GSP's Jules Stevenson from the outset to design and build a blacked-out freestanding studio, where over 50 EOS 300Ds took centre stage. Suspended on tracks, they were deployed remotely to capture real-time effect images of the guests Matrix style.
The freestanding truss structure measured 10m x 8m, and was initially constructed to GSP's exacting specifications at Blackout's headquarters, before being rigged on site by the Blackout team. Dressed in black serge drape, the box totally excluded a
A CM manufactured variable speed Lodestar hoist, dubbed the Varistar will also be making its worldwide debut. This will be shown alongside a sample of the company's new BGV-C1 specification Lodestar hoist.
"Although Lodestars with these features are already available they are conversions of standard units made by end-users or our distributors" comments Adrian Forbes-Black, CM's regional manager
With a capacity for just 1848 passengers, Oosterdam has the highest passenger-to-space ratio of all Holland America ships giving a greater sense of intimacy yet maintaining the same elegance Holland America is known for. A unique feature of the ship is the exterior glass elevators with sea views that carry passengers to any of the 11 decks.
Nautilus Entertainment Design (NED) designed the systems in the entertainme
These conversion kits allow standard CM Lodestars to be run as full variable speed hoists while still allowing the hoists to be controlled, fixed speed, from a standard motor controller. The conversion kit upgrades all the wiring within the Lodestar and includes a new 24V transformer and a high-resolution encoder. A circuit board accommodates all the contactor and brake switching components; provision for circuitry to control silent DC brakes is also included ensuring a simple and cost-effective upgrade path. The conversion kit leaves the hoist fitted with a multi-way
The system uses a dependable analogue radio system which is certified for the transportation of people. Servo-motors guarantee constant speed, independent of load, so that the motion of dancers on the Frendelaus revolve will not affect the movement of the floor.
(Lee Baldock)
For nine years, ChainMaster has been developing and manufacturing stage chain hoists and chain hoist controllers. The firm's current range covers chain hoists for weights ranging from 125kg to 12 tons. ChainMaster's most successful product worldwide is the VarioLift (which includes models for loads ranging from 125kg to 6,300kg) which was introd
Blackout's team suspended the drape onto the truss and rigged the giant 60f x 25 ft screen supplied by Bell Theatre Services. Andrew Owles explained: "It was great working with Blackout - the team handled the project professionally from start to finish with great attention to detail. W
Those who attended the seminar on the last day of the show were hoping to get an opportunity to discuss the application of the new Regulations and how their impact would affect the entertainment industry, but all that was on offer was a run-through of the existing proposed Regulations published in the last draft, which may or may not have some bearing on the final set of Regulations.
The delayed consult
The Alexandra Theatre, Birmingham is an Edwardian Theatre with a seating capacity of 1,347. The theatre presents a variety of productions from pre- and post-West End productions to touring shows, opera, ballet, musicals and concerts.
(Sarah Rushton-Read)
The company's Francois van der Merwe oversaw the installation and reprogramming of the show on a dummy rig set up in the M.J. Lighting premises a week before the load-in to the Gallagher studio. A variety of fixtures was used on set, including six High End Systems Studio Colors, 13 High End Studio Spots, 11 Martin MAC 2000s, 11 custom-made Zip Strips, 2k Fresnel units, 5k softlights and eight 1k spots or 'Pups'. ETC Source Fours were used as key lights on each contestant, as well as on the quizmaster, Fiona Coyne. M.J.'s back-up Wholehog 2 w
Gray developed three onstage scenic bars with fully working optics and drink mixing facilities. He utilized existing set elements from the ADlite warehouse, and created others with the help of Scenex from the Midlands, who made the bar fronts and mirrors. Them
Each year owners of vehicles from the pre-1966 period descend on Goodwood to display their treasures for the first two days, when visitors can take a good look at the cars. For the owners there is also the business of winning, after two days of qualifying and warming up, the third and final day of the event offered some surprisingly competitive races around the circuit.
This year event was blessed with fine weather, which meant the ground remained very dry and the Rola-Trac gro
Featuring many of the production team from the Mastercard BRIT awards, the MOBOs was directed for television by Julia Knowles and produced by Sharon Ali. MJK, for the eighth year since the event's début, were in charge of the live production and a team that included Britannia Row (audience sound), 021 (broadcast sound), VLPS (lighting), XL Video (video), Outback (rigging), Steel Monkey (set) and Eat Your Hearts Out (catering).
The show featured MJK's trademark five-minute changeovers between live performances, a substantial lighti
Morrissey called SCV London's marketing director, Steve McDonald, and asked him for a Fostex VF-160 Digital Multitracker for free. Steve was more than happy to give the Men Behaving Badly star the equipment to assist the charity, which works with deprived children. The Fostex VF-160 will be used to teach youngsters the elements of sound recording.
Morrissey also put in a call to LiteS
The X-Stage S2 platform is produced in 2m x 1m decks using a custom low-profile aluminium extrusion with a 22mm plywood surface. The deck, which is rated at 750kg per sq.m, weighs only 25kg and is just 100mm deep when stored making it extremely efficient for transportation, storage and
The theatre stages all types of production, including classical to contemporary live music, theatrical productions, dance, musicals, cabaret, panto and comedy. Their busy schedule often sees four or five different shows going through in a week, all with different lighting and production requirements. PCM's projects manager Tony Griffiths spotted an opportunity to recommend the company's new Unibar - winner of the PLASA 2003 Award for Product Design Excellence in the Stage Engineering category.
The Unibar is ideal for this style
Ford was one of the main sponsors of Mela 2003 and the all-encompassing
Star Rigging, part of the newly-formed Star Events Group, was hired to create a structure for the show to centre around and provide an impressive setting for both the live and television audience, working alongside other contractors and the production team. Star Rigging's Phil Broad and Production North's Steve Levitt worked closely to realize Disney's ideas, developing a flying bungee stunt, which involved three aerial dancers from Cirque Bijou appearing from above the set and descending into a blaze of pyrotechnics.
Star Rigging brought all elements together, producing the detailed rigging plot required by
(Sarah Rushton-Read)
The rigging element of the production was co-ordinated by Summit's Jon Bray. Using over 1,100m of various Supertruss types and 120 chain hoists, Summit created two large presentation areas in different auditoriums, occupying 9,000sq.m within ExCel. Auditorium One incorporated raked seating for 750 and featured keynote speakers, a quintet of musicians, fashion shows with dance numbers, interviews and audience participation. Auditorium Two was a star-clothed dining room, which accommodated the black tie gala dinner and entertainment.
Summit's team of 10 riggers
Why change the format of your events?
We wanted to create events which would work within the overall festival calendar and still allow us to focus on our organization and promotion. We wanted to produce top-notch events that gave the public good, free entertainment that they couldn't get anywhere else. We were careful to place our three main shows across the summer months, starting in May in Manchester and finishing in September in Cardiff with the 'On