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NEWS PROJECTION LIGHTS & STAGING NEWS Projection and Pyro Light Up Sandhurst A James Bond sequence celebrated 100 years since the birth of Bond creator Ian Fleming, a Sandhurst graduate. SANDHURST, U.K. — Large-format projection joined the fireworks, orchestra and chorus for the Royal Military Academy Sandhurst’s 2008 “Music on Fire” extravaganza. The biannual three-day mixed-media event and “Firework Prom” attracted up to 10,000 visitors per night to the main training center for British Army officers, with proceeds going to the Army Benevolent Fund. Large format projection specialists E/T/C London supplied seven 6kW PIGI projectors with double rotating scrollers to project images on the 120-meter-wide backdrop on the academy’s Old College building. It was the third time that E/T/C London has been involved with the event. The PIGI scrollers contained 19 meters of film and produced over 100 looks on the building, with all artwork created by media designer Paul Chatfield. Chatfield took approximately a month to research and compile the finished artwork, working closely with show producer, Major Sir Michael Parker. Major Parker also storyboarded the show, which was accompanied by specially selected music and a narrative voice-over. The creative brief was relatively broad in terms of eras, dates and timescales, with much of it referenced to times when Britain was involved in specific wars and conflicts. Chatfield had access to the Imperial War Museum archives among other resources. For one section, he photographed the stained glass windows of the Indian Chapel inside the Old College Building, which bear memorials to all the foreign troops who died for England up to World War II. Since James Bond creator Ian Fleming was a Sandhurst graduate and 2008 is the centenary of his birth, there was also a 007 sequence at the start of the second half of the show. The projections served as a graphic and pictorial backdrop to the two-hour performance featuring music from different military orchestras and bands. The event also featured guest performers and pyrotechnics from Pyro Vision. If the audience had a keen appreciation for military precision, the crew was challenged to achieve it since the music was being played live each night. Working with a script containing a series of cues and no guiding soundtrack, the projection crew had to be flexible. The seven projectors were positioned 46 meters from the building, covered by Steeldeck hides, with special weatherproof covers. Andy Murrell, who worked alongside E/T/C’s projection technician Adam Masters, programmed and operated the Only- Cue control system. They pre-programmed some of the projection show beforehand at E/T/C London’s HQ, saving a night of programming in on site. Once the installation was complete, there was very little time to coordinate the lighting design by John Pope with the projected visuals. PRG supplied the lighting gear and the event was production managed by Fiona Nolan. Ad info:http:// www.plsn.com/instant-info Projecting Rock ‘n’ Roll Looks for Hair Stylist Awards continued from page 51 The show featured models walking the catwalk, six choreographed dance shows and the finals of Redken’s Urban Talent Competition. The stage included three parts: a 12 meter by 10 meter main stage with a 9-meter-long catwalk protruding into the audience area; a connecting 5-meter-by- 4-meter DJ stage, set 18 inches higher than the main stage and catwalk; and a 7-meter-by-6-meter band stage, also elevated, for the 10-piece show band. All were covered with white Marley and skirted in white. The main event was followed by a party, which continued through midnight. A six-camera DVD shoot was also produced during the event for Redken NYC. 52 PLSN NOVEMBER 2008
PROJECTION LIGHTS & STAGING NEWS NEWS Church Invests in Video Production, Podcasting Moving Set, LEDs and Projection for Janet Jackson Tour WALNUT CREEK, CA — Northcreek Church (NCC), now in the third phase of a construction project that started two years ago, needed lighting, video and stage components for the new building being added to the church campus in response to an increase in church attendance, and relied on Michael Garrison Associates (MGA) to do the job. The church is also upgrading from the basic lighting and A/V production to new gear, including the Slate 1000 live production system from Broadcast Pix to power the video element for the church’s new facility. The Slate 1000 is installed within a 600-square-foot area dubbed “the blender” by Brent Moutier, director of communications. The Slate 1000 connects to three Panasonic 860 robotic cameras, 1 Canon camera, DVC recorders and an Apple 4TB computer editing system. It powers the complete A/V system while broadcasting to 25 flat panel monitors throughout the NCC campus during two weekly worship services. NCC offers copies of their services on DVD for congregants and plans to stream video of its services at the church’s Web site, www.northcreek.org, and Apple’s iTunes, www.itunes.com. The previous A/V system at NCC had been in use for several years. Moutier and his team researched a variety of equipment solutions before selecting the Broadcast Pix Slate 1000 due to the large investment required for the upgrade. “It was very important for us to make sure our new equipment would take us through technology advancements over the next decade or so,” explained Moutier. “I saw that the Slate 1000 would grow with us and support our future plans of advanced video production, streaming, and podcasting. “Perhaps the most important selling point of the Slate was its ability to provide us with the power and features of an entire control room in a self-contained unit,” he continued. “It integrates everything and eliminates the need to buy 20 different components. The multi-view feature was a big plus as well, since we only needed to buy one monitor.” As is common in many churches, NCC relies upon a crew of volunteers to operate equipment during services. Moutier says he considers the simplicity of the Slate system an added benefit. “Church members from age 11 to 70 with initially little or no experience are running our equipment regularly. They may be intimidated at first but quickly become comfortable and excited about operating the equipment.” A 600-square-foot area called “The Blender” houses a Slate 1000 system from Broadcast Pix. An array of PixelLine LEDs light up set elements that add motion to the screen visuals. NEW YORK — A dynamic set, moving light rig and projection screen visuals combine to punch up three decades of hits for Janet Jackson’s Rock Witchu tour, which appeared to be back on track in late October after the performer’s brief hospital stay. The light rig, created by LD Vince Foster, has a total of 150 PixelLine 1044s. One of the major moving set elements is a bridge, which is lit with an array of the PixelLine units. Together, they serve as a key focal point for singing and dancing. “I’ve been a great fan of PixelLines since I started using them back in 2003 on a Massive Attack tour,” said Foster. “They are consistently a very reliable and robust fixture, and I don’t think I have designed a show without them since then.” With all of the elements of the show in motion — bridge, truss, stage and screens — the tour serves up a steady stream of visual energy to accompany the 35 songs performed on tour, which add up to a concert experience of nearly three hours in length. “Janet Jackson contacted me after seeing one of my Kylie shows on DVD,” Foster said. “I worked with her creative director who had a story and a script for the show, and after several meetings I designed both the lights and set.” Upstaging, Inc supplies the Pixel- Lines. A Whole Hog Full Boar console and Catalyst media server are used for programming and control. Ad info:http:// www.plsn.com/instant-info 2008 NOVEMBER PLSN 53
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