The UK's Neg Earth is the primary lighting contractor, with Upstaging as its partner on the North American legs. The Neg Earth crew includes programmer/operator Dennis Gardner, crew chief John Shelly, head electrician Andy Porter, and Dave Cox in charge of Catalyst systems.
(Lee Baldock)
The latest addition to the sales team is Dave Peacock: based in Manchester and starting on 6 January 2003, Peacock will become 5 Star's North West sales manager. With 14 years’ experience in every aspect of the flightcase industry, having worked for BSH Transit cases and Condor, Peacock will aim to improve service and support to 5 Star’s existing customers whilst developing new conta
The event allowed CT to combine Dataton Watchout and QMotion screen movement. Four high-brightness Barco ilite 10mm LED screens in a portrait orientation were flown with Stage One’s Qmotion system. This enabled them to be tracked around the stage, each screen receiving input from the Dataton Watchout System. The Watchout content took the form of colourful images which set each scene, and this was supplemented with Video Stings timed to match the screen movement. The output to the i10 was pixel matched to maintain image
The Barco ELM R18 Director projector combines extreme light output, high resolution and advanced signal processing to deliver remarkable performance. It is specifically designed for large screen video projection, and is equipped with the state-of-the-art DLP technology. Combined with Barco's expertise in electronics and optics, the R18 features an impressive 17,000 ANSI lumens and SXGA resolution.
XL Video's busy autumn schedul
Following his successful North American tour stops, McCartney then toured to Mexico City
Set designer Bill Dudley was struck by the shortness of the play’s scenes and the frequency of location changes. His design had to allow for quick, simple scene changes, which provided the opportunity to use 3D-computer modelling: it was but a short step then to the use of computer-animated projections to provide instant scene changes.
With 75 scenes, kinetics were key to the set and lighting design. The production sees a partnership between Dudley, lighting designer David Hersey, DHA’s projection specialists Wyatt Enever and Steve Larkins, the RNT’s new video department and Dick Straker, its vide
The lighting and visual elements for the new Marquee have been designed and co-ordinated by Dan Cook, who vacated his post as technical manager of the Ocean Music Centre in Hackney to take up the role of lighting manager. Cook designed a flexible lighting rig to cater for a diverse range of artists.
For its rock and roll credentials, Entec Sound & Light was asked onboard by Gary McGovern, Dave Stewart’s studio maintenance manager and the club’s technical consultant. Entec supplied the lighting e
The atmosphere was more like that of a gig than an awards ceremony, due in large part, to its tight production and planning. The show itself changed format considerably this year, with the guests having dinner before the show in a separate draped area before moving into the main auditorium for the awards.
The event’s production manager, Mick Kluczynski, of MJK Productions, expanded: "We changed the layout in order to keep the show fresh. I brought together my regular team of suppliers, who make a consistent and professional team for the big awards shows I run each year.
The show is a superlative example of high production values, with Chris Vaughan’s CV Productions team featuring many who made the first Pop Idol tour gel. With 12 trucks and 24 sold-out UK arena dates, this is some achievement in these politically jittery times.
With Vaughan himself in the States for American Idol, the UK tour is production managed by Kenny Underwood and Debbie Bray, with tour management by Bill Barclay. XL Video UK is once again the live video equipment supplier, working in conjunction with Blink TV - the latter hiring the gear
Robin Coles, managing director at SPS, says: "We are delighted to be extending the working relationship with the BDC, and we hope that our expertise will continue to add value to all events at the venue. We have become an integral part of the way in which the BDC works and the two members of the SPS team that are permanently based at the BDC is testament to our close working relationship."
This sentiment is echoed by Dominic Jones, Managing Director at the Business Design Centre. He says: "We fe
The Barco portfolio is certainly impressive, ranging from the compact state-of-the-art Cine Versum 80 home theatre projector through to the ScenergiX seamless wide screen and SLM Performance projectors - ideal for panoramic backdrops on stage.
Also on view to visitors was Barco’s iStudio, one of the most advanced all-in-one solutions for managed monitoring. Intended for use in studios, control centres, playout centres, uplink centres and for downlink monitoring, it has a high quality display with rear screen projection, a graphic controller and web-based operating softwar
The 64-panel LVP1650 (15.875mm pixel pitch, 5000-nit brightness) screen is in an 8x8 configuration 26.7ft wide by 20ft high. The 13-bit panels utilize Lighthouse’s M4 uniformity control and the screen has an overall resolution of 512 x 384 pixels. Although the high brightness, high resolution LVP1650 screen has been installed at the new Seattle Seahawks stadium, this is the first billboard application for it worldwide.
Skye Media’s newest outdoor advertising location is in the heart of Toronto's retail, financial and theatre district, on the south-east corner of Yonge and Dundas Square. Overlooking the new Dundas Square project, whic
The company specializes in audio visual production and hire and sale of AV equipment. Its clients range from those requiring a simple audio-visual presentation at a small event to large-scale productions for conferences, outdoor concerts and festivals. Clients include household names such as the BBC, Leeds City Council, Dyson Appliances, The Salvation Army, Pfizer and Dairy Crest. Matt McCarty, managing director at 6th Sense Solutions, told us: "The move will enable us to be more efficient and give us greater opportunities to display our technology. We need to continually invest in the latest equipment in order to satisfy our clients’ expectations."
Th
Having spent the last 18 years within the sales and marketing environment, he is ideally suited to the role. Prior to joining Blitz Vision, he spent 15 months as sales director at Autograph Sales Ltd. Previously he was at Sennheiser UK for 10 years, six of which he spent as sales and marketingmanager. Andy Watterston, sales director of Blitz Vision, told us: "Our appointment of Rob reflects the
Video is the central visual concept to Blue’s energetic, up-tempo show. The artistic director is Kim Gavin, whilst the set is designed by Paul Staples, and the show’s video baseline developed by lighting designer Peter Barnes. Central to video being the defining visual counterpoint is an enormous 60ft by 24ft low resolution Westerhagen LED screen from Germany. This was originally designed and built by XL Video for German touring and recording artist Paul Westerhagen. Barnes had heard about the
Among the 25+ stands that Gearhouse SA was involved in were Land Rover, Ford, Mazda, Alpha Romeo, Fiat, Chrysler Jeep, Renault, Honda and Porsche. The range of equipment was extensive: for example, a cube wall on the Mazda stand involved 48 separate cubes. "To set that up they had to be perfectly balanced and stitched together which was quite a job,"
Impact Europe integrates audio visual products into a variety of presentation systems ranging from simple meeting rooms, to network management centres and virtual environments, as well as providing customer support and facilities management contracts for those installed systems. "With over 39 engineers and dedicated support staff, based out of their Customer Support Centre in Sunbury, UK, Impact Europe is ideally positioned to provide its customers with Christie solutions, which can be supported by a comprehensive range of service and maintenance offerings, with the added security of facilities management and full service contracts when needed,"
As the final winner was announced, the face of Winston Churchill, voted the all-time greatest Briton by the public, was then projected onto all three buildings - in London, Liverpool and Bristol - in a simultaneous live broadcast.
The project followed on from E/T/C’s work with the BBC for the first programme in the series - on Viscount Horatio Nelson. They projected the face of Nelson onto the Shell Building on London’s South Bank. This projection was such a success, that the BBC decided to publicise the finale using the same hi-impact promotional techniques of large format p
The company was contracted by BBC Resources to build on the Totaliser screen reinforcement they provided last year, as well as adding a spectacularly ‘retro’ LED dancefloor. The dancefloor dominated the stage and was in use for much of the evening. CT’s project manager Paul Holden commented: "Last year we provided a flown screen over the Totaliser using Barco i6 high-brightness panels. This year we used 80 of the Barco i8 panels, in a 16 x 5 configuration."
The display - measuring 7.16m wide by 2.24m - was run in 16:5 format, receiving 16:9 aspect ratio feeds, to create a letterbox effect. The content mostly comprised of Totaliser-specific graphics. But the more challenging aspect of the set wa
Scharff Weisberg Pro Audio and Staging in New York is supplying production for the event, using two Catalyst systems with orbital heads on two projectors, controlled by the Flying Pig Systems Wholehog II lighting console. The Catalyst system blends moving light technology with graphics projection technology: when fitted with the optional orbital head, images can be projected anywhere in three-dimensional space. The system can be run on most programmable lighting consoles.
The show started 19 November and runs through to the 31 December, with showings every 15 minutes from 11am to 9pm on the ceiling of the Grand Central concourse in the historic Manhattan landmark. The six, three-minute video projection shows reflect artists' interpretations of the meani
In November, Projected Image announced an exclusive UK distribution deal with RADlite, the revolutionary new PC-based computer generated effects package. Expanding to the new, larger, 1100sq.ft premises will allow Projected Image to enlarge its gobo production facilities and move all administration into the new space, leaving the original area free to be set up and utilized as a permanent RADlite demonstration. "We’re very excited about the move," said director David March. "The intention is also to offer the facility to lighting designers and vi
The installation is the work of systems integrators, Sysco, whose relationship with The Tussauds Group extends back nearly 10 years to when they first fit out sister attraction, Tussaud’s London Planetarium. Managing director Hugo Roche explained: "Over the years we have undertaken a lot of the Group’s AV work - sometimes winning competitive tenders, on other occasions being appointed during the design phase and working more on a design/build basis."
In terms of delivery, Sysco looked at a number of ways of achieving th
Throughout the week, leading up to Friday, they are also filmed auditioning, working, performing and practising, etc. In the studios, the screen panels are configured in two very different-sized formats. One is a seven panel wide by four panel high widescreen, and the other is a three wide by nine high horizontal screen. The latter is split into three equal sections, allowing images of three different performers to be shown simultaneously. This effect is specifically used as they approach their ‘jeopardy moments’, after which the voting elimin
CMT was approached by event organizers Mask Event Design & Productions to supply the design and technical infrastructure for an impressive opening show to kick-start the four-day World Travel Market exhibition running at ExCel - sited across the River Thames from the Mills. CMT’s Gino and Ram Malocca and Tim Fothergill jumped at the opportunity to stage the event, which had many technical and logistical challenges, and also included unorthodox live elements such as speedboats and helicopters.
For lightin
