MEDIA BIZ Oktober 2018 #234

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Weatherproof moving heads at Nature One
Nature One, Germany’s biggest and most diverse electronic music
festival is attracting every year on the first weekend in August a crowd
of tens of thousands of EDM fans on the former missile base of Pydna.
This year, around 54,000 people came together to party on 23 “floors”
along with 350 DJs and live acts.
Since 2011, Thomas Gerdon (Gerdon design), and his team have been
supporting the Open Air Floor, the largest floor of the festival, and for
the first time this year also handled the visual design for Century Circus,
the festival’s second largest floor.
Although EDM festivals have grown massively in recent years, Nature
One is something special for Gerdon. „At most EDM festivals today
you find broad, high and massive stage setups. That‘s different with
Nature One. The producers of the festival
want to create the largest open-air club
in the world and in clubs the lights usually
hang above the dancefloor. That‘s an integral
part of the design.”
The pyramid-styled giant steel structure
above the Open Air Floor had dimensions
of 40 x 40 meter footprint and a height of
approximately 26 meters. “We chose to do
a pyramid again this year because it has
been effective in the past,” Gerdon stated.
“It’s also cost effective and from a rigging
point of view you can hang 20 tons on the
main construction. This year we wanted to give it a massive look.”
Gerdon, who was familiar with the Proteus Hybrid, had recently seen it in a
shootout and was impressed. “It was obvious how much more powerful the
Proteus was,” he said. “The CMY was really good for a hybrid fixture and
the speed of gobos and color was also good. It was really a ‘wow’ moment
and an improvement compared to other fixtures.”
The Proteus Hybrid moving lights were installed on a central truss element
fixed at the middle of the pyramid. The truss element consisted of eight inter-hanging
tapered circles, each of which held eight Proteus Hybrid fixtures
and eight LED blinder lights. “This year we wanted a greater concentration
of fixtures. This center effect with the Proteus Hybrid was the key design
element,” Gerdon confirms. Each leg of the pyramid held 8 Proteus Hybrids
with a further 32 Proteus Hybrid fixtures located on stage - 8 on side wings,
8 surrounding an LED screen, 8 on the floor and 8 on a back truss. Gerdon
exploited the hybrid moving head’s versatility, using it as a spot, beam and
wash light. “It was the only moving light in the rig so it was important that it
delivers in all three modes.”
The Open Air Floor, exposed to the weather and completely unprotected,
is an ideal environment for the IP65-rated Proteus Hybrid. “With weatherproof
lights you don’t need additional weather protection and manpower,”
Gerdon explained. “In addition, there are no more weather-related limitations
with the Proteus Hybrid. From a lighting perspective using protective
domes is limiting - you can’t pan/tilt the fixture completely, there are focus
problems, etc. It was the first time at Nature One that we were really able to
use a fixture the way we wanted to, while during past shows we always had
problems because of the protective shields.”
Humidity at night at Nature One can also be a problem and, says Gerdon,
there is no protection against humidity with protective covers. “In the past,
we would have to keep the fixtures on all night so they wouldn’t get wet
inside. That wasn’t necessary with the Proteus.”
Since the lighting crew did not get any timecode or playlists from the artists,
the operators had to react live to the music in real time. No problem, as
Gerdon explains: „The rig made this type of spontaneous work possible.
The crisp pan / tilt engine of the Proteus Hybrid was as much fun as their
fast color and gobo changes.”
Technical service provider was Schoko Pro who rented the Proteus fixtures
from Motion Rental. Gerdon was thoroughly satisfied in his choice of fixture.
“As a relative first mover with IP65 it is impressive that the fixtures work
100% from the beginning,” he said. “They operated for five days outdoors
and held up really well and it’s not like they were just out of the box either.
These fixtures had been on other shows and they worked great.”
www.gerdon.tv
www.elationlighting.eu
© Elation Professional
Fantasy Studies – Petra Stump-Linshalm
orlando records, EAN: 9120040732349
The Austrian composer and clarinetist Petra
Stump-Linshalm draws her inspirations from
adventures and life experiences, travels, visual
arts and finally from her fantasy. On her new
CD she describes different whiskey aromas in
sound in “A Guide to Flavors”. “Händelesen”
for alto flute, bass clarinet and violoncello was
inspired by a text from a book by Sudabeh
Mohafez. “Cinnamon roses” for two clarinets
focuses on the blossoms in spring. “Blanda”,
composed for two tenor recorders is named
after the longest river in
Iceland and “Trotzig”
for three bass clarinets
is a reference to Wassily
Kandinsky´s aesthetic
and colours.
Winning various awards
she pays attention not
only to the classical
repertoire, but also of
contemporary and improvised music. In addition to
her own chamber music projects Petra Stump-Linshalm
is a member of the ensemble XX. century.
Since 2012 Petra Stump-Linshalm is a senior lecturer
of chamber music at the Joseph Haydn Institute
of Chamber Music and Special Ensembles at the
University of Music and Performing Arts Vienna.
www.youtube.com/watch?v=8wuEJI1zw00&frags=pl%2Cwn
www.orlando-records.com
www.stump-linshalm.com
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Bruno Burtre Joins NOA
Vienna based AV digitizing and archiving specialist
NOA GmbH has named Bruno Burtre as
director of business development. In his new
role, Bruno is responsible for all strategic and
operational marketing and customer relationship
activities worldwide.
Before joining NOA, Bruno held the position
of executive director for the Education,
Research and Training Department at the
French National Audiovisual Institute (Ina)
since 2012. At Ina, he was in charge of driving
Ina EXPERT’s strategy and strengthening the
organization’s leading place as educator and
trainer in the audiovisual, digital and transmedia
fields, reinforcing its expertise and encouraging the
development of research as a source of innovation.
Bruno Burtre, who has a technical and audiovisual
background, also previously worked as sales director
at specialized audiovisual laboratory, Vetracom,
and earlier in his career at Sony Europe, where he
contributed to the sector’s technological developments.
Initially in charge of the Broadcast Customer
Support Department for Europe, in 2002 he set up
the first massive migration of audiovisual archives
and established innovative ways of preserving magnetic
tapes. Bruno Burtre and NOA began to collaborate
in 2005 with the launch of a digital multithread
audio channel using NOA Record system.
www.noa-archive.com
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