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P R O J E C T I O N L I G H T S & S TA G I N G N E W S NEWS Nocturnal, Catalina JazzTrax Festivals Lit with Elation Gear SAN BERNARDINO, CA — More than 100 top DJs pumped out tunes for the Nocturnal Festival, an 11-hour marathon for 42,000 at the National Orange Show Events Center. For the big main stage — 156 by 400 feet, and nearly 60 feet high — Stephen Lieberman of SJ Lighting and Andrew Gumper of AG Light & Sound chose Elation Professional LEDs, moving heads and video screens. Four video screens, configured with Elation’s EVLED 256 and EVLED 1024 low and medium resolution transparent LED video panels, were on stage, two on the floor and two flown in the air. Lieberman’s inspiration for the color-changing pyramid of cubes? The old video game, Q*bert. Elation and sister company Acclaim Lighting accounted for nearly 200 of the 380 fixtures used in the venue, including 24 Elation 700-watt Power Spot 700 CMYs, 24 Power Wash 575s, 10 Elation Design LED 60 TRI-Strips, 100 Acclaim X-Band 300s and 40 Elation ELED B48 LED blinders. Elation gear also helped Ryan Steidinger of Pacific Coast Entertainment overcome challenges posed by the Catalina Island JazzTrax Festival at the Casino in Avalon Harbor, a three-weekend gig with limited access and power issues. “You’re dealing with the original 1929 elevator, which is the oldest operating elevator in the state of California. We have to use it to bring everything upstairs to the venue, or else haul gear up a set of seven very steep ramps,” Steidinger said, crediting Elation fixtures for being “compact, versatile and bright” — and efficient enough to deal with the lack of 3-phase electric power. The all-Elation JazzTrax rig included six Elation Power Spot 700 CMY-IIs; eight Elation Design Spot 250s; 24 Elation Design LED 36 Bricks; Elation DMX Branch/4 (4-way DMX distributor); and two Antari Fazers. At the sides of the stage are six 15-foothigh spandex columns, three on each side, with 12 Design LED 36 Bricks lighting them from the bottom. “With the DMX control circuits we’ve individually addressed everything, so we can create a rainbow of colors across these spandex pieces with the DLED 36 Bricks to convey different moods.” The remaining 12 Design LED 36 Bricks were used onstage for backlighting. Pat Bentar CORRECTIONS Prolyte, Litestructures and LS-Live PLSN has learned that a news story posted online and published on the Oct. 2010 cover regarding Prolyte, Litestructures and LS-Live was in error. To clarify, Prolyte and Litestructures have merged, and LS-Live, a former division of Litestructures, is operating as a separate company, with no connection to Prolyte. Nelson Enterprises A news story on Nelson Enterprises (PLSN, Nov. 2010, page 5) incorrectly stated the year the company was founded. It was 1985. LCD Soundsystem Uses Energy-Efficient LED Lighting System from Bandit Lites NEW YORK — LD Eric Cathcart lit LCD Soundsystem’s touring shows this year with 25-foot wire ladders full of 80 of Bandit Lites’ GRNLite 3-54 Battens and 40 Thomas Linear 4 Lites, combining a barrage of light with energy efficiency and minimal heat onstage. MAC 2000 Washes and Performances, as well as Vari*Lite VL 2500 Spots, PARs and Martin Atomic Strobes rounded out the system, and Cathcart chose a grandMA Lite to control the show. Tour manager Keith Anderson and production manager Mike Laffety have been overseeing the performances in support of the album, This is Happening, with Bandit drawing from its offices around the world to provide an assist with its lighting gear. Catalina JazzTrax Festival Erik Hess Green lighting specified by LD Eric Cathcart helped keep the stage cool. 2010 DECEMBER PLSN 9
NEWS P R O J E C T I O N L I G H T S & S TA G I N G N E W S Rent What?, Sew What? and Bandit Lites Put Lady Antebellum Visuals on a Pedestal Chandeliers and star cloth added sparkle to the tour. NASHVILLE — Bandit Lites business development manager Brent Barrett started working with Lady Antebellum back in 2006, before the country music trio ascended the charts and winners podiums at the ACM, CMT, Teen Choice Awards and CMA Awards. Since then, manager Gary Borman, tour manager Tim Kreig, tour coordinator Dennis Brennan, production manager Curt Jenkins and lighting designer Carter Fulcham all worked with Barrett and Bandit to support the band with lighting designed by Chris Kantrowitz and Martin E. Potoczny and a set design by Jim Lenahan. Lenahan called upon Rent What? for a variety of rental drapery products to bring the tour to life. Staging includes a motorized drapery lift system which lowers and raises a digitally printed “Braille” drape custom-produced by sistercompany Sew What? Inc. In addition, the tour features metal mesh drapery elements offering a textured stage curtain look, from the Rent What? Industrial Texture series. The very theatrical lighting system is a hybrid of traditional fixtures and some new LED products. Martin MAC 700s, Vari*Lite VL 3000 Spots, VL 3000 Washes, 8 lights, 2 lights, Atomic Strobes and a single 10K Fresnel form the base of the system, complemented by Bandit’s new GRNLite Moving Wash 3-120 and GLP Impressions. The GRNLite Moving Wash, with white LEDs in addition to the standard RGB, has a 25-degree beam angle and output levels that Bandit said is bright enough to keep up with the VL 3000s. Fulcham, former lighting director for Alabama, Kenny Chesney and others controls the rig via a grandMA console. The lighting has complemented an array of new concert and event staging effects, from 35-foot wide LED star fields, to forest scenes popping in and out of view and other dramatic visuals, according to Rent What? Inc. partner Megan Duckett. “This has been a full exercising of our potential,” Duckett said, calling the tour an opportunity to push the visual experience with drapery and drapery track and lift systems. “It also gives us a chance to demonstrate the expanded possibilities when combining our rental products from Rent What? with custom-manufactured drapes from Sew What?,” Duckett noted. In the Lady Antebellum show, a forest scene emerges, digitally printed over a theatrical cotton Sharkstooth scrim that becomes transparent when lit from behind, allowing the lighting designer to play with a multitude of effects. The scrim, sewn as a “Braille” drape, flattens out when lowered from the ceiling but gathers together when raised, and the motorized drapery lift system from Rent What? can lift drapes as large as 60 feet wide by 30 feet high. Branam Enterprises and All Access Staging Announce Partnership continued from cover now able to move into this new endeavor together with Branam and the incredible trust that the Branam name carries, and, 10 PLSN DECEMBER 2010 better yet, we have the opportunity to work with such a good friend.” All Access and Branam Enterprises noted that they are capable of handling any size touring project and, with locations in the U.K., Australia and expanded national Scharff Weisberg Supports Three Events Following UN General Assembly NEW YORK — When the 65th Session of the United Nations General Assembly kicked off a round of international events and meetings at the headquarters of the world body, Scharff Weisberg supported three key events: the South Sudan Multilateral Meeting (SSMM) produced by The White House and the back-to-back Every Woman, Every Child event (EWEC) and the African Leaders Malaria Alliance meeting (ALMA), both produced by J. Marshall Events Inc. Scharff Weisberg supplied a lighting package for the SSMM specifically to light President Barrack Obama. Natasha Jameson- Randolph was lighting designer for the gathering convened by UN Secretary-General Ban Ki-moon and addressing a region often tragically in the headlines the last few years. The EWEC and ALMA events were held in the UN’s new ECOSOC (Economic and Social Council) Chamber where Scharff Weisberg provided Vari*Lite VL2500 and VL3500 spots plus custom VL gobos; Source Four ellipsoidal spots; ColorKinetics eW Cove Powercores; ColorKinetics ColorBlast LEDs and a High End Whole Hog IPC console for lighting control. “I’ve been told that these were the bestlooking events of the whole summit,” said Julie-Ann Marshall, head of J. Marshall Events Inc., adding that “people were really amazed how they stood out from more than 100 events.” “The ECO- SOC Chamber was a new room with electrics and lighting that were unknown to all of us,” Marshall continued. “It was the first time that the The Every Woman, Every Child event at Barrett Hall locations in California, Michigan, Louisiana, Atlanta, and New York, can also provide around-the-clock technical support. General Assembly was done in that room, and I wanted to make sure that our events didn’t come off as second-rate. So I worked with Scharff Weisberg and LD Barrett Hall to let them know the signature colors and logos for the two events, and they developed gobos that could be switched to give the perspective of two different rooms for those watching on television.” Although the turnaround time was tight, Marshall noted that “Scharff Weisberg always had my back. They always knew what I wanted and were great collaborators. They were a joy, and the UN loves working with them, too.” LD Barrett Hall said “it was very exciting being part of the first team to implement a design at such a prestigious venue. I’ve had many past collaborations with Scharff Weisberg and never hesitate to name them as my go-to company for lighting because they consistently provide top-notch gear and knowledgeable support staff through every step of the production process.” In addition to lighting equipment for EWEC and ALMA, Scharff Weisberg also supplied podiums, wireless mics and wireless and wired headsets for the events.
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