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INTERNATIONAL NEWS PROJECTION LIGHTS & STAGING NEWS James Blunt Tour Tests New Gear, Looks PARIS — Paul Normandale of Lite Alternative, the U.K. based lighting production company that is supplying James Blunt’s All the Lost Souls tour, is putting seven of Martin Professional’s new MAC III Profiles through their paces. “I’m impressed,” Normandale said, of the 1500-watt profile spots. “The fixtures offer a significantly brighter tier of lighting, a great wide aperture source, a dramatic zoom, real strobing — and finally a real red.” The James Blunt tour, which is also supported by Upstaging in Canada, is one of a handful of field test outings for the profile spot. The new gear was added for the recent European leg of the tour, which moves to Canada in mid-November. Martin LC Series panels have also been added for the tour’s larger venues. Normandale, who is serving as creative director and lighting, set and video designer, said he chose the MAC III because he was looking for a bright hard edge fixture for venues with trim heights of up to 48 feet, and he needed a powerful spot to go with the Martin LC Series LED panels. “Even at extreme zoom it has light to spare from a trim of nearly 50 feet across a video wall,” Normandale said, of the MAC III’s ability to punch out more than 33,000 lumens. Located high in a circle truss arch, the MAC III’s broad front lens provides fat beam looks in mid-air, Normandale said. “The high output is a nice feature and when you combine it with the broad beam it gives a very different look.” The MAC III Profile is the first luminaire in Martin’s third generation of MAC moving heads. Its list of new features includes a new design, inside and out, new 1500-watt lamp technology and advances in control, handling and service. “So far there have been no failures in the rig, which for a new light is fantastic,” said Glen Johnson, who handles lighting direction and runs the lighting and video on the tour. Along with the MAC III Profiles, a checkered wall of LC Series LED panels provides a backdrop to the set. Normandale chose 22 LC 2140 panels, partly because of their twometer-by-one-meter configuration. “Moving trusses with the panels mounted on them reconfigure through the show, forming a true screen only once for one song,” Normandale said. “The interlock of the screens was critical and the modular speed of the LC made this possible.The touring rig also includes MAC 700 Profiles, MAC 250 Washes (which changes to MAC 700 Washes in Canada), MAC TW1s, Stagebar 54L LED bars and Atomic 3000 strobes with Atomic Colors scrollers. Blunt’s All the Lost Souls tour has played in the U.K LD Paul Normandale used seven of the MAC III fixtures, and created a moving checkerboard backdrop with 22 Martin LC 2140 LED panels. Ad info:http:// www.plsn.com/instant-info Neo-Industrial Club Washed in Waves of Color Lighting and video at the new club called matter create an immersive environment. LONDON — With its neutral coloration and cool concrete, stone and opaque metal surfaces, matter, a 2,500-capacity nightclub that opened recently inside the O2 in Greenwich, had plenty of neo-industrial edge, but little chromatic excitement. Dave Parry of the Most Technical worked with club owners Keith Reilly and Cameron Leslie and also architects and interior designers William Russell and Sarah Adams of Pentagram to change that. The result is a series of color-changing LED lighting and video in matter’s three main spaces that, synchronized with sound, creates a three-dimensional immersive environment controlled by three Avolites consoles for those whose recreational interests range from dance to trance. In all, there are thousands of LED light sources, including several kilometers of Philips Color Kinetics iColor Flex embedded in various architectural features around the venue — walls, pillars, balconies, corridors, stairwells — even the venue’s restrooms, which also feature images projected by two Sanyo projectors. Parry specified the Avolites Diamond 4 Vision console to be at the center of the control system for the stage, dance floor and wall washing LED sources in the main room, which has curved shapes and a second-floor wraparound balcony. Two of Pixel Addict’s digital media servers, also triggered from the Avo D4, feed the video images running to 12 Sanyo projectors, all fitted with custom scanning mirrors. The stage and dance floor moving lights include eight Robe ColorSpot 700E ATs and six ColorSpot 575E ATs, chosen in part because of their compact size and reliability, according to Parry. The lighting system also included eight strobes ensconced in the custom 75,000-watt BodyKinetic dance floor, eight ETC Source Fours, 24 PARs and four Robe 2•96 LEDBlinders, all patched through 96 channels of Avolites ART2000i installation dimmers. “The ART dimmers were a complete no brainer,” said Parry. When it came to specifying a console for the main room he added, “I needed something powerful and versatile enough to deal with all the elements we wanted to control from one user interface. It had to be quick and easy to use patch and program and have innate buskability as it’s a club environment and so essential for any lighting operator to be able to go with the flow of the rhythm and vibes.” He also needed a desk that was familiar to LDs who come in with touring bands. The second and third club spaces, called matter 2 and matter 3, are darker and more intimate spaces for guests stepping away from the main room and its brighter dance floor visuals. Both feature color-changing LED wall and alcove washing architectural light sources, controlled by two additional consoles, the Avo Pearl Expert and Avo Pearl Tiger. matter 2 uses a mix of Philips Color Kinetics iColors, iCoves and iColor Flex units, with 24 Kam 800S LED bars in the ceiling, and moving lights consisting of four Robe Scan 575 XTs and eight Robe REDWash 2•36 LED wash lights. matter 3 features a long corridor with a dance floor at the end, lit by Robe Scan 250 XT moving lights. The space can also provide some immersive color sweeps with its interlinked lighting and video sources. These include 16 large plasma screens in the roof, 12 custom LED floor panels, 16 Kam LED bars and more of Color Kinetics iFlex LEDs. 12 PLSN NOVEMBER 2008
PROJECTION LIGHTS & STAGING NEWS INTERNATIONAL NEWS EXIT Festival Stages Going Wireless NOVI SAD, Serbia — Founded in 2000 by three student activists calling for the removal of Slobodan Milošević and his regime, the EXIT Festival has become a widely popular musical celebration of his ouster, and this year it moved near the 316-year-old Petrovaradin Fortress on the Danube, attracting over 200,000 vistors to more than 25 stages, half with lighting systems relying on a wireless control system. The main stage featured four universes controlled with W-DMX by Wireless Solution Sweden AB, which controlled over 100 moving heads including instruments from Robe, Vari-Lite and Martin, and a separate Dance Arena with two wireless DMX universes. Other stages ran one DMX universe with one or two W-DMX receivers. Chameleon D.O.O. from Russia supplied the W-DMX equipment. “The W-DMX signal was rock solid,” said Ivan Krsev of Chameleon. “It was reassuring to have this technology for one of the most popular festivals in Europe. It was absolutely seamless.” With more than 500 artists performing, including Nightwash, Primal Scream, Ministry and The Sex Pistols, among others, the rigs Half of the stages at this year’s event used wireless controls for automated lighting. needed to be flexible enough to light a variety of bands and also to accommodate those bands travelling with their own LDs. Rental company Studio Berar supplied over 100 Robe moving light fixtures for lighting the Main and Dance stages, and Studio Berar’s Marko Malešević also lit several bands playing at the event, including Gogol Bordelo, Juliet & The Licks and Manu Chao. Prolyte distributor PSP provided Prolyte’s 25-meter wide and 15-meter deep LT roof system for this year’s Main Stage. Studio Berar arranged 20 Robe ColorSpot 700E ATs and 50 Robe ColorWash 575E ATs across the trussing grid with 60 meters of Tecno Vision LED at the back. “Robe’s a great choice, specially for open air gigs, and the lights have proved reliable time and time again,” said Malešević. “All the visiting LDs were also happy to use them.” The Robes — along with strobes, other moving lights and a large conventional rig — were controlled via an Avo Sapphire console. On the Dance Stage, Studio Berar supplied lighting for the fifth consecutive year. LD Arsa Zlatkovic used an Avolites Pearl to control all the moving lights, which included 12 Robe ColorWash 575E ATs, 12 ColorSpot 575E ATs and 12 Robe Scan 575 XTs, along with other moving lights and effects, strobes, space canons and 80 conventional fixtures. Zlatkovic has seen the festival grow in popularity and production values over the last five years — it was named “Best European Festival” by the UK Festival Awards/Yourope in 2007 — and he noted that “Robe is a great brand to use for an event like this as the products are so tough and robust in any type of weather.” Ad info:http:// www.plsn.com/instant-info Ad info:http:// www.plsn.com/instant-info 2008 NOVEMBER PLSN 13
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