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INTERNATIONAL NEWS Live Outdoor Concert Lit for Eurovision Fans A crowd of 20,000 stormed the historic fortress to attend the live show. BELGRADE — Azerbaijan hosted a free live concert at a historic fortress here to showcase singing duo Elnur & Samir and other top contenders for the Eurovision song contest. LD Robert Kelber and operator Tobias Aberg used three grandMA full-size and two MA NSPs to control the lighting for the event, which drew a crowd of over 20,000. Called Legends and Sensations of Eurovision, the event used an outdoor rig that included 94 Martin moving lights, six Space Cannons and a full complement of conventionals and LED screens. “The grandMA provided the flexibility, versatility and safety to make this show the success it became,” said Ola Melzig, lighting project manager. The event, which took place on the grounds of the Kalemegdan Nebojsina Kula Fortress, was planned by RTS and produced by Euro Media from the Ukraine. Sky Music of Belgrade, managed by Milenko Skaric, provided stage, lighting, video, sound and crew. Procon supplied the lighting consoles, followspots and some of the moving lights. In addition to the Azerbaijani headliners, whose full names are Elnur Huseynov and Samir Javadzade, the show featured other Eurovision standouts including Ruslana, Dana International, Marija Serifovic and Zeljko Joksimovic. 18 PLSN SEPTEMBER 2008 OSLO, Norway — The Oslo Opera House, home of the Norwegian National Opera and Ballet, has three auditoriums, and each required a lighting rig including spotlights that can perform well with throw distances ranging from 15 meters to 40 meters. London-based designers Theatre Projects Consultants specified Robert Juliat profiles and followspots for the job. The 1,350-seat Main Stage measures 16 meters wide by 18 meters deep and is mirrored by the Rehearsal Stage. Stage 2 is a slightly more modest 12 meters by 12 meters. They all opened in April with a ceremony presided by King Harald of Norway and attended by Cecilia Bartoli, Bryn Terfel, along with the Berliner Philharmoniker with British conductor Sir Simon Rattle. A total of 277 Robert Juliat 1.2KW 600SX zoom profiles and 81 Robert Juliat 2K 700SX² zoom profiles, with various lens tubes, were employed front of house, overhead and on side booms, while followspot positions were filled by four 2,500-watt HMI RJ Cyranos, four short throw 1,200- watt HMI RJ Lucys and two 1,200-watt HMI RJ Super Korrigans. PROJECTION LIGHTS & STAGING NEWS Lighting the Oslo Opera House’s Multiple Stages Theatre Projects Consultants wrote the final specifications for the Robert Juliat equipment following consultations with the technicians at the Opera House. “We think they are solid lanterns which perform well over a very long period of time,” said Paul Vidar Saevarang, head of lighting. “You get a great light out of them and they are excellent for projecting gobos, which we use a lot.” Robert Juliat’s zoom profile products use double condenser optics with operational features such as shutter locks and a rotating barrel with a barrel lock. Robert Juliat’s Norwegian dealer AVAB, through local agents Elpag AS, supplied the Robert Juliat profiles and followspots. Other Scandinavian projects relying on Robert Juliat products include the Copenhagen Opera House and the new Royal Danish Playhouse. Edinburgh’s Festival Fringe Stays in Control EDINDBURGH, Scotland — As its name suggests, the 2008 Edinburgh Festival Fringe is not about predictable theatrical fare. The performances include comedy, dance, theatre and music from around the world, much of it edgy. But if the element of surprise is an important aspect to the festival, it’s not exactly what the technical crew wants from the lighting and video gear that they’re using. To help keep the lighting for the performances on track, ETC supplied Congo lighting control systems to two festival venues, both run by Universal Arts. Congo and Congo jr. lighting systems were installed at Hill Street Theatre, one of the Fringe venues, and at the Universal Arts Theatre in Freemason’s Hall on George Street. ETC also sent Florian Baeumier to train the technical staff in both venues. The Universal Arts technical team put that training into practice, helping designers and technicians from the visiting international companies to plot and operate the lighting for their shows for the duration of the festival. They helped introduce the Congo systems to 22 groups from across the world, including music acts from Mexico, the U.S. and South Korea and theatre companies from Poland, Romania, Ukraine, Taiwan, Spain and the U.K. “We provided full size Congos for the Universal Arts Theatre and the smaller Congo jr for the Theatre and the Studio at Hill Street,” said ETC’s Jeremy Roberts. “We’re excited to demonstrate our products to lighting designers from across the world.” “I first toured with the Congo desk to Venezuela with Universal Arts in 2006 and it’s been our desk of choice ever since,” said Anthony Newton of Universal Arts. “We have used Congo for all our work in Edinburgh, the U.S., Germany and the Netherlands. The relationship with ETC has been mutually beneficial and has been developed with the full support of Stage Electrics, our supplier of other stage equipment.” LEDs Frame Visuals for Kaiser Chiefs Homecoming LEEDS, U.K. — Kaiser Chiefs Lighting Designer Richard Larkum and rental company Prism Lighting used over 300 Chroma-Q Color Block DB4 LED fixtures to create a different kind of lighting look for the band’s recent homecoming concert at the Elland Road soccer stadium. The show drew the band’s largest ownheadlining crowd to date, and XL Video UK supplied equipment and crew to give the 35,000 who turned out for the Elland Road Stadium performance a closer look at band members as they performed with a 15-screen live video mix. LD Richard Larkum has used the Chroma- Q Color Block DB4 for the Kaiser Chiefs since 2005, and the Color Block has also become a workhorse fixture in the rental stock inventory of Prism Lighting. For the most recent Kaiser Chiefs tour, Larkum came up with the idea of custom lighting “pods” consisting of square frames holding either strobes or Molefay strips. He then decided to ring the frame with LEDs to give a square light beam. “The size and shape of the fixture was very important — rectangular, big LED pixels, in Joan Lyman uniform rows,” Larkum said. “I didn’t want a fixture with the pixels spread out randomly. The uniformity also helps with the color mixing. Because they were forward facing, I needed the color mixing to blend evenly on the eye.” The pods, designed by Larkum and Prism Lighting and manufactured by Tomcat, are hung from a mother grid at various heights, angles and depths. Each pod features 22 Color Blocks providing a square light beam, outlining them using various colors and chasing them as whole entities, with various dimmer effects through them. Video director Jon Shrimpton, who had collaborated with Larkum in the past, cut the IMAG from FOH instead of the more conventional side-stage position. The Elland Road stage was similar in set up to the band’s arena tour, with five portrait format screens providing a key focal point above the front of the stage. At this show, these were constructed from Barco MiTrix that measured 18 tiles high and five wide, and chosen in part for light weight. On both sides of stage, offstage of the PA wings, Shrimpton added another five screens, The opera house opened with a gala ceremony attended by King Harald of Norway. each comprised of Barco OLite, two modules wide and five deep, and arranged in a quirky format that he described as an “Electric Legoland” effect. Shrimpton configured his GV Kayak vision mixer so all the screen cuts were individually controllable via its macros, and the crew used a Leitch router for additional routing “trickery.” The IMAG mix matched the lighting in energy and pace, often with screens flashing and chasing in time to the music and to Larkum’s lighting cues. XL also supplied three Catalyst digital media servers, overseen by Alastair MacDiarmid. The show was project-managed for XL Video by Phil Mercer and Jo Beirne. The homecoming show in Leeds added 84 Chroma-Q Color Blocks to the 220 units included on Kaiser Chiefs regular tour rig. Erik BErg Yllana from Spain presented PaGAGnini at the Universal Arts Theatre, Edinburgh Festival Fringe, lit with an ETC Congo console.
Ol’ Blue Eyes Tours U.K. with Custom Set PROJECTION LIGHTS & STAGING NEWS INTERNATIONAL NEWS Carrère Studios Equipped with Moving Lights PARIS — Studio 8 of the Carrère Studios at La Plaine St Denis has been equipped with over 140 Robe moving lights at the request of David Seligmann-Forest, director of photography. Impact Evénement installed the rig, which includes 15 ColorSpot 1200E ATs, 26 ColorWash 1200E ATs, three white ColorWash 250 ATs, 90 ColorWash 575 XTs, two white ColorWash 575 XTs and six ColorSpot 700E ATs. Most of the lights are hung in the studio’s ceiling on special trussing — also supplied by Impact Evénement. The white units are used for floor level lighting of sets and other scenic elements. The move followed Seligmann-Forest’s extensive use of Robe on the 2007 reality show, Secret Story, and also on Le Grand Soir d’Eliane et Francis. Seligmann-Forest credited Robe’s Color- Spot 700E ATs for their compact size, 15° to 60° zoom, optimized MSR 700W bulb and electronic ballast. The Carrère Studios’ Robe fixtures are rigged in the customized trussing gantries supplied by Impact Evénement, which are designed to match the layout of the studio scenery in the shape of waves, rings and curves. In the gantries, Seligmann-Forest has alternated the ColorSpot and ColorWash 1200E ATs and makes use of their gobo selections and defined beams when lighting shows. The ColorWash 575s are positioned all over the trusses to ensure complete coverage across the studio floor. The lights are programmed and run from Impact Evénement’s grand- MA console. Also on Seligmann-Forest’s lighting team are lighting director Pierre Redon, console operator Xavier Fossier, moving light tech Forward Hall, electricians Patrick Lelec, Guillaume Acani and Thierry Petit and rigger Vincent Garrick. Most of the 140 lights are hung on special trussing installed on the studio ceiling. Louise stickLand The set was built from smaller aluminum sections to make for an easier load-in at theatres where forklifts were not an option. LONDON — Karl Sydow’s Sinatra, directed by David Leveaux, is currently touring the U.K., a production based on the 2006 West End production at the London Palladium. The Art Deco-influenced set was modeled on the original West End production, and was designed by Tom Pye with significant input from his associate, Tim McQuillen-Wright. It echoes the 2006 production’s set, but was also customized for the road by staging company Brilliant Stages in about three weeks time. Brilliant Stages designed the rostra so it would be easy to transport and set up. “Because we are touring theatres, not arenas, fork lift trucks for loading and unloading are not an option,” said Nik Rea, Sinatra production manager. “Brilliant Stages therefore built the band rostra in smaller aluminum sections.” The video footage of Frank Sinatra himself, some of which has been rarely seen, is a focal point of the show. It carries the production’s momentum as Sinatra narrates his life story and sings his hits, “performing” alongside the live singers, dancers and musicians. Accordingly, the 13-by-9-meter Brilliant Roll view screen plays a key role in the overall set design. The projected images run as the screen is unrolled, so it was important that the surface should remain evenly tensioned and at a constant distance from the projector to maintain focus. The crew did this by constructing three 4.8-meter custom truss sections containing the motor and gearbox drive shaft system and bottom gather-up pipe. The bottom gather-up pipe is driven using fire-retardant webbing, which runs in slot drums fitted to each end of the pipe. The pipe, in turn, is wrapped in a Translite white rear projection screen from Harkness Screens. The motor and gearbox drive is housed in the central truss section to make sure the drive shaft loads and turns symmetrically. A 4kW Kinesys Elevation control system allows the screen to vary in speed by up to 0.9 meters per second. The webbing system remains rigged during transit, and the screen can be set up in about 25 minutes. 2008 SEPTEMBER PLSN 19
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