Without any rehearsal time before the first show in Mexico, pre-visualization of both lighting and video was essential to the success of the initial shows. In order to achieve this, Diagonal Research's own WYSIWYG studio in Newbury Park, California, was utilized. This allowed for the pre-visualization of lig
Lighthouse screens have been relaying action to the crowds at Formula One from the first race of the season in Australia, where Clipsal Vision supplied a complete Lighthouse package for the Melbourne Grand Prix. The LVP2056 screen's 20mm pixel pitch makes it ideal for the viewing distances of a trackside position and its 5600 Nits of brightness means that it can cope with the high levels of ambient light of the Grand Prix venues. The 2004 Grand Prix of Bahrain was the first ever round of the FIA Formula One World Championship to be held in the Middle East and marked the official culmination of a multi-million dollar project started back in September 2002, when the Kingdom of Bahrain signed a long-term
The thousands who participated in the carnival-like atmosphere were given a clear view - thanks to the strategic placement of two of the giant screens with which CT Screenco first established the industry-standard for outdoor big-screen reference.
Meanwhile, across the north-west of the city, the Municipality of Lisbon were making plans to ha
The first product of its kind to be offered in the LED display market, the Supervisor LH accepts both digital and analogue formats, including standard and high-definition television and computer graphics, to create digital content for LED display screens and panels. Ideal for rental, staging and fixed installations, the Supervisor LH features an intuitive user interface, illuminated display and front panel, easy access to connectors, convenient carrying handles and rear connector protection and a lightweight aluminum chassis.
"As the content platforms and technology evolves, Lighthouse has taken steps to offer a solution that would si
Spectators lining the Mall were able to see the show at close quarters via a series of six delay rigs, supplied by CT Screenco, with a further three designed into Mark Fisher's massive stage set. Commissioned by production manager Robbie Williams, of RWP Ltd, the big screen specialists supplied three Barco DLite 7 stage displays, in 16:9 aspect ratio. The large upstage centre screen, measuring 9.8m x 5.4m, provided the centre-piece at the back
Carrying its own production onboard, the Masted Mobile came through its London initiation with flying colours, its onboard production facilities enabling CT to take the incoming digital feed from the Royal Opera House, interspersed with locally inserted graphics, VT playback and live camera work. Boasting the largest rotating mast screens
All this action was captured on two giant screens supplied by CT Screenco. Contracted by the Ministry of Defense, the company sited two of their waterproof displays a modular 18sq.m 25mm LED screen accompanying their 10sq.m 25mm mobile mast on the Normandy beach, just yards from the English Channel. The screens took feeds direct from the BBC trucks, enabling veterans to follow the ceremony and s
The production is a collaboration between Theatre de Complicité and The National. It encompasses several firsts for video - the first time a Catalyst digital media server has been used at the National Theatre; the first time video images from camera playback have been manipulated live; and the first time that the whole performance area floor has been utilized as a projection canvass.
Video takes on many roles throughout the performance. It's used as a scene and location setter and as moving metaphorical backgrounds or textures to emphasize the interac
Blitz, working with live event specialist production company Aspect Ltd., supplied equipment, which included Sanyo XP55 projectors, Extron SGS 408 Data Video Mixer and one of Blitz's Sony D35 Triax Camera Portable Production Units. There was also a satellite downlink for the event at the Prague Hilton. The sales conference was aimed at the customer facing sales force in BT Global Services and was attended by over 1200 delegates from 35 countries. The event was held over three days with a total of 17 hours of presentations. Over 100 presentations were given by 75 individuals, combining keynote speeches, interactive sessions, guest speakers, cus
Production values are always at the top of the agenda for Gabriel's performances. The precise, highly original Growing Up show (see L&SI July 2003) was originally conceived by Canadian film maker Robert Lepage and Peter Gabriel. Lighting designer Patrick Woodroffe was asked this year to produce a new design and feel for the original show, one more suited to arenas, sheds and larger performance spaces.
Woodroffe worked alongside long-term Gabriel Growing Up lighting director Dennis Garner, who was with the tour from the start. He added many new dimensions to the show, boosting the large bright looks department for the traditional crowd pleasers, but also keeping many of the original ideas and sub
Constructed from modular intelligent LED pixel blocks, two of the venue's walls act as backdrops upon which graphics and animations, triggered from a real-time generator or MIDI keyboard, create a constantly morphing environment. Clad in Barco's proprietary MiPIX system and displaying intelligent lighting effects, 3D logos or graphics - even full video content - these moving images curve around the contours of the walls and wrap into the alcoves, giving a strangely three-dimensional depth t
Topaz is working with The Consultancy's global program leader, Emma Smith, on public relations strategy, messaging, support materials and media and analyst relations. Both firms are coordinating Lighthouse's marketing communication efforts, and Topaz Partners is leading the North American visibility campaign.
"As the LED video display market continues to grow and the technology advances, Lighthouse anticipated the need to strengthen its North American presence," said Emma Smith, president of The C
Big Pit is a real coal mine and one of the UK's leading mining museums. The historic site around the pithead has been restored, and the lamp room has been relocated to where it would originally have been. The expanded mining gallery features an exciting new audio-visual experience, together with exhibitions of modern mining equipment. The unique Pithead Baths building has been refurbished, and now houses the Museum galleries with exhibitions of industrial and social history surrounding the coal industry in South Wales.
There are three main A
Using four Mbox servers and a GrandMA lighting console, Westcott was able to control all of the visual imagery on eight video screens rigged onstage and over the audience. He was also able to cue the front-of-house audio console for playback of selected audio tracks throughout the show. The show's video and audio elements included support for the live acts during their performances as well as playback of clips between acts for artist introductions a
Housing an extensive media library for convenient access to creative special effects, Maxedia incorporates 3D effects and mapping (bitmap or video), real-time layer manipulation, and various playback and real-time transition effects. Maxedia, which includes integrated DMX control, provides full control of both lighting and video elements.
Maxedia runs up to a maximum of 20 layers simultaneously, depending on the type of layer, and offers 3D effects with unique real-time manipulation features. Programming is carried out on the Maxed
Phil Goddard brings 29 years of experience in the AV business to the company. He has recently worked with some of the leading rental companies in the market, and before then was an event manager for major corporate financial institution Coopers & Lybrand (now PricewaterhouseCoopers), handling all their events worldwide. Greg Rice, meanwhile, joins XL Video having worked for Blitz Vision and Stagestruck, technically project managing many of their corporate events. Immediately before, joining XL Video, he was freelancing. He's already familiar with many of the XL management team and crew, and is enthusiastic about joining the company.
(Lee B
Howard Jenkins from Blitz commented: "The format of the conference consisted of both plenary sessions and a series of morning and afternoon workshops, complete with PowerPoint presentations. We used ViewScape technology with a twin screen system to maximize stage space, allowing members of the audience to observe the presentations with ease. We also installed two Barco SLM R8 projectors, and to ensure continuity and minimize downtime, two further R8 projectors were used
Alfred's Bar is independently owned by local entrepreneur David John, whose family operates other bars and businesses in the area. The multi-function two-storey venue is open in the morning for coffee and breakfast, morphs into a lively lunch bar at mid
Lighting designer Andi Watson is especially pleased with the ClassicFrame and chose it because of its numerous strengths, the most important of which for Watson is its unique appearance: "It's the fact that they are see-through," he said. "They can disappear into the set when they are not in use and they are an integral part of the show because of this." During the show the G-LEC ClassicFrame is used to display a range of innovative graphics and abstract images from the High End Catalyst system, as well as 'oscilloscope' type wave images in
IMAG, another of Barco's leading North American rental partners, is taking to the road with Barco Dlite 7 and R18 projectors, which can be seen on shows by Three Doors
Production designer for the show, Grier Govorko, gave V-Squared Labs a free hand to design what they thought would be most appropriate based on their work with other artists such as Sting, Beyoncé, Blink-182 and Korn. "I sat down with Vello and a list of possible songs, I think there were 23 possibilities at the time," said Govorko. "I had in my head a list of ideas in terms of basic visual concepts. Vello and I went over these ideas, elaborated where possible, and I wh
New digital media libraries have also been added, with graphics specially enhanced for optimum projection performance. For the first time, Catalyst now features SDI video input for real-time video capturing and is shipping with SCSI drives.
High End Systems chief technology officer Richard Belliveau says: "The addition of SDI input makes the Catalyst more valuable in the audio-visual industry." Catalyst has won numerous industry awards, and is being specified on concert tours, in corporate presentations, on televi
This was the first major project undertaken by multi-national cinema operators SBC International Cinemas upon completion of their acquisition deal with former owners Warner. The new Vue cinema circuit is the second largest in terms of box office, and the largest UK multiplex operator.
PAI was originally involved in branding all the same venues for Warner Village, which is when they specified and installed the highly flexible AV systems. Glasgow-based Unick Architects were responsible for creating a complete new look and design scheme for the Vue foyers, and PAI was asked to take care of the AV and effect
Zafar explains: "I was very aware that in today's competitive market I could get a plasma screen from anywhere at a very competitive price; however, it was the high level of technica
