Lighting Effects Distribution has received enormous interest in the Color Stream effect since demonstrating it at The Bar Show back in June, and Julian Healy confirmed at an early stage that he would be using strips ranging in length from 500mm to 2000m, giving him in excess of 100m of tubing in total. These have been deployed in such a way as to emphasise the vertical and horizontal lines of the gantries, handr
The CX-10's highly-efficient optical system uses with a 250W MSD/2 lamp, which combines with a glass reflector and lens system for extreme output. A 22° standard lens and 15° and 32° optional spread angles, as well as soft or hard-edge beam options, allows for highly versatile projection options.
The wide range of effect possibilities originates from 12 interchangeable colours and a double-sided effect wheel with 2 x 13 positions, giving more than 200 possible combinations. The colour wheel can be replaced with a
(Lee Baldock)
The ubiquitous colour changing was supplied in the form of eight fixtures, each featuring eight Optopod 30 LED Par 36-tyle lamps, making a total of 64 colour changing heads surrounding the dancefloor. By utilizing all of Artist's built-in effect generators, powerful scenes were quickly put together which would have taken significantly longer with many other desks.
Norwich also saw the first UK inst
Magadini began her career on the West Coast, and after moving to New York in 1985, she continued to work within the ever-evolving lighting industry - including five years as the general manager of VLPS New York office in the mid-90s. "I am very excited about returning to VLPS," Magadini says. "When Rusty Brutsché, chairman and CEO of VLPS, gave me a preview of the company's growth plans and the future products currently in development, I was eager to be involved."
Magadini's experience and reputation has made her a welcome and familiar face within the lighting community, especially in the New York area. Her prim
With DMX as standard (optional digital remote available soon), the Magnum Hazer comes with an elementary analogue control panel. It also features new technology in the digital calibration of its electronic system - leaving technical adjustments to its on-board software. To ensure an even haze dispersal every time and in any environment, the Magnum Hazer uses a VGA system (variable geometry airflow), adjusting the airflow inclination between 0° and 60°. An Auto-fan mode also adjusts the radial fan's output to achieve a consis
The DJ contest runs in conjunction with the massive PALME expo, the region's first professional sound, light, audio-visual and systems integration exhibition. It was held for the first time earlier this year and organizers say the coming expo, to be held 17-19 February 2004 at Dubai International Exhibition Centre, will be
Coca-Cola used a hand-picked team of British designers and technical experts, who spent over a year working to create one of the biggest and most intelligent signs of its kind and allows The Coca-Cola Company to deliver cutting-edge entertainment to transform the face of the world's most famous billboard. Lighthouse's Simon Taylor explains the strict brief: "There could only be a gap of a 1mm (maximum) between panels ensuring it was completely
Lighting designer is UK-based Louis Ball, who lit the band initially from 1984 to 1987, and then continuously since the mid-1990s. Ball's own high profile career started at 18, with the Alex Harvey Band in the late 1970s. Since then he's lit some of the best-known names in rock 'n' roll, including Judas Priest, Ozzie Osborne, Slayer, Anthrax, Wishbone Ash, Climie Fisher and a host of other diverse artists including Wet Wet Wet and French superstar Johnny Halliday.
Ball was first introduced to the Robe ColorSpot 1200s by Robe's German distributor, L.M.P. who supplied the gear to the German rental hire company, T.D.A. Ball was then contacted by Randy Wade of Robe America - the two having worked on many of the same shows and pr
Fourth Phase London, working for Unusual Services, was chosen to provide the lighting for the historic event. Due to the nature of the event (staged virtually on a traffic island), a lighting rig would have compromised sightlines, so Fourth Pha
Age-Sex-Location sees internet and virtual reality come alive on stage in a play that for the first time fully realizes the potential of integrating theatre and technology. The production combines, writer Marcus Markou's, entertaining, ingenious and dramatic script with Sven Ortel's state-of-the-art video projection and lighting design, under the direction of award-winning young director Pip Pickering.
Age-Sex-Location has video projection and lighting design by Sven Or
The road now runs under this skyscraper, which architect and building constructor Sigrid Kressmann-Zschach originally planned as a shopping centre. Construction began in 1969 and ended in 1980. The building contains more than 700 rooms, including the city council offices, the area's largest hotel, a bank and a number of restaurants and offices. The bus station and a car park take up the underground floors.
Hans-Peter-Stoerl Architects were commissioned to refurbish the area in 2001. Their design included lighting of waterfalls us
Lightfactor's Mick Hannaford commented: "We believe that in VXCO we have found another bright young company capable of providing new and innovative products into a fast moving market. Their first products have already established them as serious professionals: we are very happy to be their commercial partner in the UK."
(Lee Baldock)
James Thomas's Pixelline fixtures were used as ground cyc up-lighters for the main screens at the rear of the set. The screens were made from twin white cyc material, with a silver lattice trussing effect fixed to the front. The idea was that these were lit with plain washes of colour in keeping with the lighting aesthetic of the show, which was understated and non-glitzy.
Pearce, who has used Pixelline in different ways on a variety of shows, commented: "They are a lovely lamp."
Speaking about the change of distribution for USA and Canada Paul Mulholland, CEO of Jands, said: "Our products were previously distributed in the USA, by ACT Lighting of Agoura Hills, California. However, recently both ACT and Jands have moved in different directions and we mutually agreed to end our association."
Mulholland went on to say: "Jands has had a long standing relationship with AC Lighting in the UK and Europe and we look forward to being a part of their plans for expansion into Canada and the USA."
Jands will be showing an updated version of the Vista lighting console on the AC Lighting boot
EC1 brought in Ben M Rogers to look after the scenic and lighting design for both productions. The OperaBabes show was designed as a fusion of classical styles with rock and pop technologies, mixing album tracks with incidental music and dance to create a narrative thread to the show. Rogers' lighting rig, supplied by Lumen Art, included eight Martin Pro MAC 600s and 16 Clay Paky Stage Zoom 1200s, along with 60 Par cans and an Airstar Lumex 2000 4kW balloon, which made an impressive entrance rising up behind the stage during Act 2 and remaining at a height of 10m over the stage. Rogers programmed on a Wholehog II from Stage Electrics, using his WYSIWYG Perform
The facility has enabled Belinda King Productions to rehearse the shows working with all the relevant scenery from the start, a crucial part of the process considering most of the show's scene changes are either automated or executed by the performers themselves. With limited rehearsal time once on board, it seemed logical to get the productions as close to the finished article as possible prior to embarkation. The rehearsal space at Stage Electrics has given both companies an opportunity to iron out t
Lighting is programmed and operated by Mike Owen using a Virtuoso VX console. The rig features over 100 Vari*Lite automated luminaires, assorted PARs and conventionals as well as the 30 Pixelline units, which are being run in their fully expanded DMX mode. The Pixellines are used upstage in a broken up matrix-style - 15-wide and 2-high - to illuminate the back wall of the set, a large translucent metallic structure.
Pixelline is proving to be an in-demand rental item, VLPS now has over 78 battens i
Edward Gordon Craig was a theatre designer, actor, visionary and the first British theatre artist to write a book of theatre theory. Rejected by the British theatre establishment he was embraced by the French and the Russians, most notably Stanislavski. Adolphe Appia was a Swiss designer and philosopher of theatre, and the first to write about theatre as a visual art form. In his collaboration with the Swiss c
The space has been saturated with a fine mist that occasionally accumulates into faint, cloud-like formations along the walls, then disperses again. Overhead, the glass atrium of the Turbine Hall has disappeared and in its place is a reflection of the space below, created by a huge m
Chameleon Touring Systems provided lighting designer Mark Hammer with a rig that included over 350 intelligent lighting fixtures. The rig, predominantly Martin Pro, included MAC 2000 washlights, MAC 2000 profiles, MAC 2000 Performances, MAC 600 washlights, MAC 300s and Atomic Strobes; this was also one of the first ever events for the new MAC 550. The 2000s did the main work on the stadium floor, from a height of up to 46m, while the 550s were used on the performance stage. Other fixtures included 56 VL2402 washlights from Vari-Lite, 24 Studio Due fixtur
Marenghi has also revealed that he is to return to London's Royal Albert Hall in November with Classical Spectacular, the son-et-lumiere of favourite classical pieces featuring the Royal Philharmonic Orchestra and accompanied by a new lighting and laser design. The sell-out event, conducted by Anthony Inglis and produced by Raymond Gubbay, runs from the 20-23 November.
Marenghi's work can currently be seen illuminating the world tour of Diamonds for Holiday on Ice and the UK national tour of Saturday Night Fever.
(Lee Baldock)
For this demanding schedule Fourth Phase London was selected to supply an extensive lighting rig as well as full technical support and backup for both UK and European legs of the tour.
(Sarah Rushton-Read)
Litetec first contacted Business Link for Essex in search of advice on how to obtain ISO recognition. It became clear to Business Link adviser Angela Kimberley that they would need to look at other areas of business development in order to achieve this standard. Litetec needed to consider developing a new corporate identity and planning their sales strategy. An action plan was put together including a website development strategy, assisted by another adviser Colin Harvey. Specialists fro
