Lighting

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14 March 2016

Since the launch of the last White Light website in 2006, the company has grown dramatically. The company is now the UK, European or exclusive distributor for 20 of the world's finest lighting manufacturers, and offer products from many other manufacturers besides, says the company.

"Our last website served us well," notes Bryan Raven, White Light's managing director, "but as White Light has evolved and the web has evolved it was clearly time for something new. Given that lighting is a visual medium, our key aim was to make the website more visual as a showcase for some of the great projects we have been involved with; we think we've achieved that pretty w

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14 March 2016

HSL was again working for the event's overall technical production suppliers The Design Group from Tel Aviv and Jerusalem, in an operation co-ordinated by event technical director Eyal Lavee and technical production manager Elad Mainz from Stage Design, and project managed for HSL by Mike Oates.

Lighting for the stunning looking 'bare-stage' production was designed by Avi Yona Bueno (Bambi), Israel's best known performing arts lighting designer. The set was created by William Orlandi and the show directed by Giancarlo del Monaco both from Italy.

HSL's crew of Ian Stevens and Matt Brown worked on site with Israe

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14 March 2016

Speirs' career as an architectural lighting designer spanned almost 30 years and included projects across the world including Madrid's Barajas Airport, Gateshead's Millennium Bridge, Dubai's Burj Al Arab Tower, the Sheikh Zayed Mosque in Abu Dhabi, The Copenhagen Opera House, the interior of St Paul's Cathedral, London and the Beijing Capital International Airport.

Mark Major, Speirs' long-time business partner and friend, paid tribute to him on the Speirs + Major website. He said: "Whether you were a client, a fe

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14 March 2016

Blown Away - Sir Elton John had to cut short his concert at a new seafront arena in Blackpool because of the threat of strong winds. Almost two hours into his set at the Blackpool Tower Headland arena, he told the 11,000 crowd they had to leave.

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14 March 2016

"Fly Piggy Fly is a young, vibrant production company based in Port Elizabeth," commented Dave Whitehouse from DWR Distribution. "This is their first lighting purchase. They always rented in gear and with P.E. not being very central, they would have to hire from outside areas." DWR Distribution supplied the order.

"We've been using the LED panels on a film for a client from Ethiopia," said Scott Kelly, partner and art director at Fly Piggy Fly. "The client wrote the script and provided the necessary funding, while we did the entire production side. It has been really great using the panels on loc

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14 March 2016

"I chose the RevEAL LED Profile for the keylighting of the judges since the light provided me with a beautiful, flat field and for the fact that I could choose any colour temperature that I wanted-and maintain that balance," explains Healy.

"I am typically using them with a color temperature around 4,700-4,800K. We have a lot of different arc sources in the lighting design and that just averages it out. It is also easy to match the followspots, because you want all your keylights to match. Invariably the handheld

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14 March 2016

A timely debut - the ABTT Show followed closely behind the Theatres Trust Conference on Delivering Sustainable Theatres. Graham Eales, general manager for Philips Selecon discusses, "The prototype LED Fresnel is built around the same engine as the popular Selecon PLCyc1 , PL1 and PL3 LED luminaires. Not only does it look and behave like a conventional Fresnel but it also focuses in the same way as any other traditional Fresnel - ie by moving the light source in relation to the lens. The fixture has been specifically designed with small to mid scale theatrical applications in mind so it is neat, easy to rig and easy to focu

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14 March 2016

Martin Tarpy comes to Northern Light from leading installer TMC, where he had worked for more than 20 years. Tarpy will be a project manager for Northern Light and will be involved in the design and installation of lighting, sound, AV, media and stage systems across a range of Northern Light projects - beginning with a raft of schools in the Birmingham area.

Tarpy said, "After 20 years of working with TMC, I'm sure working anywhere else will be a shock to the system! However, I'm very much looking forward to the new challenge and to bringing my skills to Northern Light. This is a company that I've been very much aware of throughout my career and it is with a sense of excitement that I join the much bigger operation that is Northern Light."

James Ho

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14 March 2016

The world premiere was staged in the Royal Opera House's Linbury Studio, Covent Garden. Set inside a specially built room the audience and performers were arranged on four sides of a centrally located sunken orchestra pit. The room, comprising four high walls each of which feature a built in video screen, are washed throughout with various colours to denote the changing mood and atmosphere of each story.

Carter chose to use sixteen of the newly launched PLCYC1 LED luminaires, supplied by Stage Electrics, to define the mood of each piece as she explains: "I needed a fixture that could give me multiple colour choices, wash the walls and the room but not deman

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14 March 2016

Lighting equipment was supplied by Knoxville, Tennessee based TERI Productions and co-ordinated for them by Brad White. Blagg has worked with AKUS for around ten years, and his creative starting point for this design was the fact that Krauss likes a very intimate atmosphere onstage which is conducive to her music and style of delivery.

The call was for subtle texturing and colouring of the environment, with different layers of illumination which could be added to or stripped back to the look of the performance space as necessary.

The set consisted of a set of black velvet drapes and white sharkstooth gauze

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14 March 2016

Six grandMA2 consoles and over 200 Clay Paky moving lights were utilised in programming and lighting this part of the event, which included a stellar line up of UK artists and performers.

Marenghi specified Clay Paky moving lights for the stage, while his associate LD and lead programmer Tim Routledge chose two grandMA2 full-size consoles (live and tracking backup) to control all the stage lighting on the night.

grandMA2 control was picked for its flexibility and stability - it is the preferred control platform of both Marenghi and Routledge - and has proven itself time and again on major events like th

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14 March 2016

The two companies guarantee the full compatibility of their devices to simplify virtual show creation and reduce programming times.

Thanks to this collaboration between Lightconverse and Coemar, the virtual lighting effects of Coemar products can be simulated at the design stage and important information can be obtained from the light designers even before the product is available on the market.

"This joint venture by two leading companies points to the future," says Fausto Orsatti, Coemar sales and marketing manager. "Combining our strengths and skills to the advantage of our customers is a step in the right direction for those wishing to meet the ever more stimulating requests of th

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14 March 2016

Martin Kubánka was once again the lighting designer - his fourteenth year of Miss Universe SK! The lighting equipment included a substantial Robe moving light rig - supplied by Q-99, Slovakia's leading technical production and rental operation.

Kubánka was given an open brief as to how to light the show. He used Daniel Šichman's raw, stripped back set as the visual starting point, complimenting it's clear linear cuts and shapes with a futuristic styled lighting rig to match.

The set and all the high brightness LED elements also had an impact on how the show was lit. Bright lightsources were need

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14 March 2016

As well as a new vision switcher, production area and studio floor upgrade, the studio control room now houses a new MA Lighting system comprising of two grandMA2 light consoles, a MA NPU (Network Processing Unit), a MA onPC command wing and a grandMA2 fader wing. The installation was completed in only a few weeks and training was given for those in the lighting department who had n

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14 March 2016

Paule's prolific design portfolio includes creating lit environments for the highest profile international theatre and opera productions, and her work is renowned worldwide for its experimentation, invention and creativity.

She had not used Color Force products before, but sought a powerful, well sized lightsource that could be utilised as an even spread 'soft light' tool to illuminate the numerous cloths and drapes that give Cameron Mackintosh and Andrew Lloyd Webber's classic musical its period flavour and ambience.

Paule was impressed with the information available about the Chroma-Q Color Force range, so initially contacted Chroma-Q's exclu

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14 March 2016

Hunt is a founding director of Pharos and his appointment as managing director reflects his current responsibility for the management of the growing international sales team and the day-to-day operation of the company.

Hicks joined the company in 2006 as a software developer, quickly progressing to technical product manager. As technical director, Simon has wider responsibility for steering the development of Pharos products and the management of the technical support team.

The other directors are Richard Mead and Nick Archdale, both founders who remain actively involved in the company.

(Lee Baldock)

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14 March 2016

The system is based on the successful MTC- BATTEN2 and uses 18x8W quadcolour LEDs combined with a specially coated barn door reflector to give an even wash of light up to 5m plus. It is designed for lighting cycloramas and large flats, making it suitable for use in theatres and corporate presentations.

The CycWash system has already been specified for installations by some of the leading installation and consultancy companies, having seen it in operation at the show.

(Jim Evans)

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14 March 2016

Since the open house will be held in Elation's new showroom, visitors will have the opportunity to see the company's lighting and video products in realistic settings that mirror real world applications. The recently completed showroom has a full stage setting as well as a simulated broadcast studio and architectural display featuring our sister company Acclaim lighting products.

"Our new showroom has been designed to allow visitors to see h

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14 March 2016

The venue regularly reinvents itself in order to keep on top of the city's club scene and the latest transformation saw a new Martin lighting system installed courtesy of Josh Frey Productions, the club's preferred lighting installer.

Production manager David Fairless received an all Martin lighting package consisting of eight MAC 700 Profiles, eight MAC 101 LED moving head wash lights and four MAC Aura compact LED moving head wash lights with zoom.

Every three months or so, Fairless changes the lighting set up but currently there are two circular trusses above the dance floor; the outside ring h

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14 March 2016

Audioscène supplied the lighting and the W-DMX for this event and managed by Paris-based W-DMX distributor CSI-France.

The client wished not to impinge on and distort the scene but highlight each relief and ornament of the palace and Audioscène co-manager Vincent Cognard was asked to provide discreet and quiet products. Two Wireless Solution W-DMX BlackBox F-1 transmitters were used to send signal to a subtle assembly of EventKolor Starway and Vari*Lite VL3500 fixtures. The result was a stunning reveal of the architectural aspects of the interior of the building.

"CSI is a very strong team," says Niclas Arvidsson, CEO of Wireless Solution, "Our products fit in very nat

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14 March 2016

The series is recorded at Fountain TV Studios in Wembley, London, and broadcast on ITV 1.

Presented by Philip Schofield, contestants can win up to £250,000 of prize money by completing straightforward tasks within a 4 x 4m perspex cube, which becomes extremely challenging with the addition of disorientating visuals and sonic effects plus the pressure of being in front of a live audience. As such, the video floor has an integral role in the show's overall concept.

S+H's product was specified by set designer Julian Healey as a versatile, robust and cost-effective solution to run their floor based immersive visual effects.

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14 March 2016

Set designer Brian Thomson's minimal but striking stage design was dominated by a giant chandelier, measuring 9m x 9m, which sparkled with thousands of Swarovski crystals symbolising the world of Verdi's much-loved opera with its glittering Parisian salons. The chandelier was suspended from a 26m crane, blackened out so that it is invisible against the night sky.

The La Traviata chandelier took 720 man hours to manufacture and 240 man hours to assemble. Along with the beautiful 10,000 Swarovski Elements crystals, the chandelier contained 1,025 crystal shapes, 23,104 facets, 3,000 LED lights and 12 Vari*Lite VLX LED wash lights. The VLX were chromium plated especially for this product

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14 March 2016

The new 100 million euro development in the Czech Republic's third largest city is one of the largest inner-city development projects in the country and part of one of central Europe's largest urban revitalisations .

The spacious multi-level environment was designed by architect Har Hollands from Dutch company T+T Design, working with Czech architects K4 from Brno.

It includes hundreds of high profile premium brand and designer stores, quality food and drink outlets, a multi-screen cinema complex and sports and leisure facilities.

The frustum (truncated triangle) shaped centrepiece ('Komol? Jehlan' in Czech) creates a sense of drama and spectacle right at the heart of the busy spa

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14 March 2016

The band's show visuals were designed by Andy Hurst. As it was also the band's only UK festival appearance this summer Hurst wanted to do something on an epic and grand scale.

HSL's Mike Oates project managed with HSL's Tim Fawkes working as system and console tech on-site, and also assisting Hurst with the WYSIWYG pre-programming, completed in HSL's dedicated visualisation facility at their new warehouse in Blackburn.

The backbone of the rig was 16 custom 8m high curved 'ribs' which were all individually outlined with LEDs, flown across the full stage width on three