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Automatic Info on Automatic Consoles, page 45<br />
PROJECTION<br />
CONNECTION<br />
Starts on page 39<br />
Vol. 8.1<br />
Feb. 2007<br />
Blue, Green and Grand On Tour<br />
Blue Man Group on the “How to Be a Megastar Tour 2.0”<br />
LOS ANGELES — A pair of grandMAs is helping lighting designer Daniel Boland with Blue Man Group’s<br />
“How to Be a Megastar Tour 2.0.” The performers are playing arena-sized venues and select theatres with<br />
the production in which they download a tongue-in-cheek “how-to-manual” on be<strong>com</strong>ing a rock star.<br />
Joined by an eight-piece band, Blue Man Group subsequently take the audience through — step-by-step<br />
and song-by-song — every moment of a real concert.<br />
“The show is fairly unique <strong>com</strong>pared to productions I’ve done before,” Boland notes. “It’s a cross between<br />
theatre and rock ’n’ roll and a pretty interesting blend.”<br />
Boland uses two networked grandMAs to control all the lighting and video for the show. “We’ve got<br />
it down to one cue list. I just push ‘go,’” he explains. “We have the video program on one grandMA and<br />
the lighting program on the other. Lighting is saved into one cuestack and<br />
continued on page 8<br />
Lightronics Celebrates 25 Years<br />
VIRGINIA BEACH, VA — Kevin Nelson started building<br />
lighting controllers and equipment in his garage,<br />
and by the age of 20 he was designing lighting equipment<br />
for local bands, theatre plays and music venues.<br />
In 1982, the demand for his products and services<br />
were such that he couldn’t continue custom-building<br />
orders from scratch and could no longer be the sole<br />
operator of the soldering gun. That’s when he started<br />
Lightronics. Twenty-five years later, the manufacturer<br />
of dimming and control equipment is celebrating a<br />
milestone.<br />
Today Lightronics makes lighting control and dimming<br />
for the entertainment and <strong>com</strong>mercial architectural<br />
markets worldwide.<br />
continued on page 8<br />
Wells Purchases<br />
Xtreme Structures<br />
EMORY, TX — Xtreme Structures &<br />
Fabrication has announced that Michael<br />
Wells, formerly of Tomcat, has<br />
assumed the position of president<br />
of the <strong>com</strong>pany in an ownership<br />
capacity. Jacky Hawthorne, former<br />
president and owner will stay involved<br />
in the <strong>com</strong>pany with design<br />
and sales support. Matt Panther will<br />
remain vice president as head of production<br />
and Tim Kruse will continue<br />
his helpful role as general manager.<br />
Mike brings with him many more<br />
options to aid in the continued<br />
growth of continued on page 6<br />
Lighting Creates a<br />
Whole ‘Nother Game<br />
for Lakers<br />
LOS ANGELES — What Kobe Bryant<br />
wants, Kobe usually gets, especially<br />
when it <strong>com</strong>es to controlling<br />
the basketball court in the Los Angeles<br />
Staples Center. The star of the L.A.<br />
Lakers and his head coach, Phil Jackson,<br />
decided at the start of this season<br />
that they wanted to change the<br />
lighting in the arena. Jackson, who<br />
played on the New York Knicks and<br />
coached for the Chicago Bulls, and<br />
Bryant wanted to scrap the metal<br />
halide lamps and the glare that goes<br />
along with them in favor of more traditional<br />
lighting such as that found<br />
in Madison Square Garden or in Chicago<br />
Stadium where the emphasis is<br />
on the court.<br />
To facilitate their wishes, the Staples<br />
center contacted the NBA for<br />
approval, then started putting out<br />
inquiries to NBA lighting designer<br />
Randy Nordstrom and NBA production<br />
electrician continued on page10<br />
Flash, Trash and a<br />
Theatrical Splash<br />
Country plays to its roots, and<br />
takes more than a little pride in its<br />
humble origins. So how did “nice<br />
and theatre” LD Seth Jackson find<br />
his way into Toby Keith’s camp?<br />
And how did he manage to forge<br />
such a strong working relationship<br />
with “flash and trash” lighting<br />
director Eddie “Bones” Connell?<br />
<strong>PLSN</strong> talked to these two before<br />
a Keith show and discovered a<br />
tight-knit team that plays to their<br />
strengths and leaves it all out their<br />
on the stage. Find out how they<br />
do it, and what fixture everyone<br />
loves for its “big, fat, bright gigantic<br />
beams” on page 26.<br />
20<br />
32<br />
34<br />
Toby Keith in concert.<br />
Inside Theatre<br />
We examine how the design<br />
team for Mary Poppins breaks a<br />
three-story house onstage and<br />
recreates some classic film animation<br />
live.<br />
Installations<br />
East Kentwood High School<br />
learns a lesson in lighting<br />
First Call<br />
Programmers<br />
The top phone numbers in every<br />
producer’s little black book<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info
Ad info: www.plsn.<strong>com</strong>/instant-info
Ad info: www.plsn.<strong>com</strong>/instant-info
Ad info: www.plsn.<strong>com</strong>/instant-info
www.plsn.<strong>com</strong> F E B R U A R Y 2 0 0 7<br />
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<br />
C O N T E N T S<br />
Inside Theatre<br />
Mary Poppins sails onto the stage.<br />
Production Profile<br />
Under the big top with Panic! At the Disco.<br />
20<br />
30<br />
Steve Jennings<br />
FEATURES<br />
22 Vital Stats<br />
Get to know American AV.<br />
24 <strong>PLSN</strong> Interview<br />
Matthew Perrin, the “King of Congo<br />
Blue,” traversed the path from theatre<br />
to rock to Disney, and came out clear<br />
on the other side.<br />
26 Production Profile<br />
Toby Keith hooked up with a dynamic<br />
lighting duo, and he stuck with them<br />
for years.<br />
32 Installations<br />
East Kentwood High School needed a<br />
lighting makeover, and they got it.<br />
34 First Call Programmers<br />
Get in deep with the “go-to” programmers<br />
who get the call first.<br />
36 Lights, Camera, Budget<br />
Tony Caporale takes the plans in his<br />
notebook to the lighting rig with as<br />
little money as possible.<br />
38 Products to Watch<br />
Keep your eye out for the gear that will<br />
rock your world.<br />
44 Road Test<br />
The Robe ColorSpot 2500E AT ran the<br />
paces. How did it do?<br />
45 Product Gallery<br />
Automated lighting needs a stout console.<br />
Find one here.<br />
49 Product Spotlight<br />
The Martin MAC 700 Profile exposes<br />
itself to the trials of the road.<br />
0<br />
COLUMNS<br />
04 Editor’s Note<br />
We find the one e-mail from Nigeria<br />
that’s not a scam.<br />
05 Publisher’s Note<br />
Here’s to seven great years and more<br />
to <strong>com</strong>e!<br />
43 Video Digerati<br />
How do you impress some of the<br />
world’s wealthiest VIPs in Las Vegas on<br />
New Year’s Eve?<br />
50 Feeding the Machines<br />
Find out all that you can before the gig<br />
begins.<br />
51 The Biz<br />
Touring is about to get a whole lot<br />
more <strong>com</strong>plicated — and expensive.<br />
52 Focus On Design<br />
Swami Candela knows all, sees all, but<br />
does he tell all?<br />
53 Technopolis<br />
Gear <strong>com</strong>es with a manual for a reason.<br />
56 LD-at-Large<br />
This LD had not felt afraid in a crowd in<br />
30 years…until this.<br />
DEPAR TMENT S<br />
06 News<br />
09 Event Calendar<br />
12 On the Move<br />
14 International News<br />
16 New Products<br />
18 Showtime<br />
39 Projection Connection<br />
40 Projection Connection News<br />
42 Projection Connection New<br />
Products<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
WHAT’S NEW WHAT’S NEW
TECHNOLOGY ASSOCIATION<br />
EDITOR’S NOTE<br />
Think<br />
Zen Buddhists believe that when a student<br />
is ready, the teacher will appear.<br />
But I found that a student can sometimes<br />
be a great teacher, even a student<br />
across the globe in a Third World country.<br />
Several months ago, an Internet operator<br />
called and said that she was interpreting for<br />
a hearing-impaired caller. Through the operator,<br />
the caller asked me to help him buy some<br />
lighting equipment. He asked for my e-mail<br />
address to contact me directly. Being anxious<br />
to help, I obliged. After a number of e-mail<br />
exchanges, I eventually learned that it was<br />
a scam. The “hearing-impaired” caller from<br />
Lagos, Nigeria had a stolen credit card with<br />
which to pay for the goods. The goods were<br />
never shipped, and I was thankful the lesson<br />
was cost-free.<br />
A few months later, we received a large<br />
order on the <strong>PLSN</strong> Bookshelf Web site from<br />
the Republic of Niger. Before we could<br />
fill the order, we learned that the credit<br />
card was stolen. Again, no merchandise<br />
Globally ,<br />
Act Now<br />
changed hands, but it was a close call.<br />
It’s very easy to be<strong>com</strong>e cynical about<br />
people when you have these kinds of experiences.<br />
When you have two bad experiences in<br />
a row, it can really shake your faith in people.<br />
That’s where the student teacher <strong>com</strong>es in.<br />
No more than a month after the last incident,<br />
I received an e-mail from someone<br />
in Nigeria claiming to be a student. “Another<br />
scam,” I thought. I almost deleted it. Instead, I<br />
opened it and read about a 29-year-old man<br />
named Titus who had recently <strong>com</strong>pleted his<br />
degree in electrical/electronics engineering<br />
at Lagos State Polytechnic with an additional<br />
certificate in audio technology. He expressed<br />
an interest in lighting, and he said he had<br />
been given a copy of my first book, Focus on<br />
Lighting Technology. That’s how he got my e-<br />
mail address. He quoted from my book where<br />
I re<strong>com</strong>mended reading the Sylvania GTE<br />
Lighting Handbook, and he asked if I could<br />
send him a copy. Not only did I send him a<br />
copy of that book, but I also sent him a copy of<br />
By RichardCadena<br />
my newest book, Automated Lighting: The Art<br />
and Science of Moving Light, along with several<br />
other lighting and audio books, as a way of<br />
saying thanks for teaching me that there are<br />
still plenty of good and decent people all over<br />
the earth. I don’t normally do things like this,<br />
but we started exchanging e-mails, and when<br />
I read his words, I couldn’t resist.<br />
“My major aim in life and (in) Nigeria is to<br />
motivate youths to be good readers in order<br />
to be a leader. I also want to help my local<br />
church build a media ministry where I can<br />
share my knowledge and ideas with youths<br />
who have nothing. I have a dream of being a<br />
job and wealth creator by investing in humanity.<br />
What we really lack in Nigeria is investing<br />
in human life.”<br />
Wherever you are right now, take a<br />
look around. Most of us in this industry are<br />
blessed with abundance. We have laptops,<br />
cell phones, iPods, nice cars, beautiful houses<br />
and plenty to eat. But there are many people<br />
in this world who have very little, people like<br />
Titus, who live among poverty in conditions<br />
that you and I would find appalling. Yet, this<br />
man wants nothing more in life than to help<br />
those around him. And I believe that by helping<br />
him, we can take a step, however small,<br />
towards making the world a better place.<br />
If you agree, do me a huge favor. Look<br />
around your office or home and find one book<br />
about your profession that you no longer use.<br />
It can be about lighting, or it can be about one<br />
of the many subjects Titus is seeking — microphones,<br />
microphone techniques, signal proccessors,<br />
mixing techniques—Then put it in a<br />
box or an envelope, and address it to:<br />
The Publication of Record for the Lighting,<br />
Staging and Projection Industries<br />
Publisher<br />
Terry Lowe<br />
tlowe@plsn.<strong>com</strong><br />
Editor<br />
Richard Cadena<br />
rcadena@plsn.<strong>com</strong><br />
Editorial Director<br />
Bill Evans<br />
bevans@plsn.<strong>com</strong><br />
Managing Editor<br />
Jacob Coakley<br />
jcoakley@plsn.<strong>com</strong><br />
Associate Editor<br />
David McGinnis<br />
dmcginnis@plsn.<strong>com</strong><br />
Contributing Writers<br />
Vickie Claiborne, Phil Gilbert, Rob Ludwig,<br />
Kevin M. Mitchell, Bryan Reesman, Brad<br />
Schiller, Nook Schoenfeld, Paul J. Duryee<br />
Photographer<br />
Steve Jennings<br />
Art Director<br />
Garret Petrov<br />
gpetrov@plsn.<strong>com</strong><br />
Graphic Designers<br />
Dana Pershyn<br />
dpershyn@plsn.<strong>com</strong><br />
Crystal Franklin<br />
cfranklin@plsn.<strong>com</strong><br />
Josh Harris<br />
jharris@plsn.<strong>com</strong><br />
National<br />
Advertising Director<br />
Gregory Gallardo<br />
gregg@plsn.<strong>com</strong><br />
Account Manager<br />
Warren Flood<br />
wflood@plsn.<strong>com</strong><br />
Production Manager<br />
Linda Evans<br />
levans@plsn.<strong>com</strong><br />
General Manager<br />
William Hamilton Vanyo<br />
wvanyo@plsn.<strong>com</strong><br />
Executive Administrative<br />
Assistant<br />
Mindy LeFort<br />
mlefort@plsn.<strong>com</strong><br />
Business and<br />
Advertising Office<br />
6000 South Eastern Ave.<br />
Suite 14J<br />
Las Vegas, NV 89119<br />
Ph: 702.932.5585<br />
Fax: 702.932.5584<br />
Toll Free: 800.252.2716<br />
Editorial Office<br />
10305 Salida Dr.<br />
Austin, TX 78749<br />
Ph: 512.280.0384<br />
Fax: 512.292.0183<br />
Circulation<br />
Stark Services<br />
P.O. Box 16147<br />
North Hollywood, CA 91615<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ogunyemi “Titus” Oladimeji<br />
c/o Christ Apostolic Church<br />
181/183 Mushin Road<br />
Itire Surulere<br />
Lagos State, Nigeria<br />
Take it to the post office and buy some<br />
postage for it; give it to the postmaster and tell<br />
him you’re on a mission to bring peace to the<br />
world through education.<br />
I believe that we are an industry of caring people.<br />
Let’s extend that care across the globe.<br />
Projection, Lights & Staging News (ISSN:<br />
1537-0046) Volume 08, Number 01 Published<br />
monthly by Timeless Communications<br />
Corp. 6000 South Eastern Ave.,<br />
Suite 14J Las Vegas, NV 89119. It is<br />
distributed free to qualified individuals in the<br />
lighting and staging industries in the United<br />
States and Canada. Periodical Postage paid<br />
at Las Vegas, NV office and additional offices.<br />
Postmaster please send address changes to:<br />
Projection, Lights & Staging News, PO Box<br />
16147 North Hollywood, CA 91615. Mailed in<br />
Canada under Publications Mail Agreement<br />
Number 40033037, 1415 Janette Ave., Windsor,<br />
ON N8X 1Z1 Overseas subscriptions are available<br />
and can be obtained by calling 702.932.5585. Editorial<br />
submissions are encouraged but must include<br />
a self-addressed stamped envelope to be<br />
returned. Projection, Lights & Staging News is a<br />
Registered Trademark. All Rights Reserved.<br />
Duplication, transmission by any method of<br />
this publication is strictly prohibited without<br />
permission of Projection, Lights & Staging News.<br />
ESTA<br />
Use e-mail for good, not spam, with rcadena@<br />
plsn.<strong>com</strong><br />
ENTERTAINMENT SERVICES &
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<br />
PUBLISHER’SNOTE<br />
Looking Forward — Differently<br />
<strong>PLSN</strong> celebrates Seven Years of Publishing, Growing, Leading<br />
How are<br />
you doing<br />
out<br />
there? Will everyone<br />
who has<br />
been receiving<br />
<strong>PLSN</strong> since the<br />
February 2000<br />
By TerryLowe<br />
issue please<br />
raise their<br />
hands? Wow, that’s quite a few of you.<br />
You have certainly seen a lot of changes<br />
through the years. I believe they have all<br />
been changes for the better, and I hope<br />
you do too.<br />
<strong>PLSN</strong> just <strong>com</strong>pleted our seventh year<br />
of serving the visual presentation industry.<br />
It is certainly not an overwhelming milestone,<br />
but it is a very satisfying one for all<br />
of us here at the magazine. In honor of this<br />
anniversary, I want to take the time to say<br />
thanks to all of you subscribers and advertisers<br />
for making <strong>PLSN</strong> a part of your professional<br />
life. Our goal from the beginning was<br />
to give you a <strong>com</strong>munity forum everyone<br />
could feel a part of. We never wanted this<br />
magazine to be an exclusive club. We wanted<br />
<strong>PLSN</strong> to have something for everyone in<br />
it. Again, thank you for being a part of it.<br />
As we enter our eighth year of publishing,<br />
our hope is to raise the bar again. Recently,<br />
we moved our base of operations<br />
to Las Vegas from Southern California. The<br />
move made a lot of sense in a variety of<br />
ways. For those of you who have moved<br />
a business from one state to another, you<br />
have probably experienced the same thing.<br />
Finding the right people in your new location<br />
can be worrisome.<br />
We were fortunate in finding a great<br />
new artist to join our team. Our new art<br />
director, Garrett Petrov has been making<br />
some subtle yet distinct changes over<br />
the last few months. We hope you have<br />
noticed. With this February issue, there<br />
will be almost a <strong>com</strong>plete redesign of the<br />
magazine. We hope this crisp new look will<br />
again make the time you spend with <strong>PLSN</strong><br />
every month even more enjoyable. We<br />
thank Garrett for his good work.<br />
It is the seventh Anniversary of <strong>PLSN</strong>,<br />
but it is also the seventh anniversary of<br />
Timeless Communications Corp. We had a<br />
vision for the <strong>com</strong>pany back then, and we<br />
have kept our focus on it through the years.<br />
Our mission has always been to provide<br />
the event production industry with trade<br />
journals that were truly focused on the presentation<br />
industry in its many forms. Now<br />
with <strong>PLSN</strong>, FOH, the EPD and the recently<br />
acquired Stage Directions magazine, our 17<br />
full time employees and 31 correspondents<br />
in the field make Timeless the largest news<br />
gathering organization focused on the theatrical<br />
installation, technical theatre and<br />
live event production market in the world.<br />
It is just amazing what you can ac<strong>com</strong>plish<br />
in seven years if you set your mind to it.<br />
Terry Lowe, president<br />
Timeless Communications Corp.<br />
Terry can be reached at tlowe@plsn.<strong>com</strong>.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Stop Answering<br />
Stupid Questions!<br />
Let the LD FAQ T-Shirt do the<br />
answering for you.<br />
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NEWS<br />
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<br />
Draft Standards Available for Review<br />
NEW YORK — ESTA’s Technical Standards<br />
Program has announced that multiple new<br />
draft standards are now available on the ESTA<br />
Web site for public review. Recently added standards<br />
include: BSR E1.31-200x, Entertainment<br />
Technology — DSP — DMX512-A Streaming<br />
Protocol; BSR E1.22 - 200x, Entertainment Technology<br />
- Fire Safety Curtain Systems; BSR E1.35-<br />
200x, Standard for Lens Quality Measurements<br />
for Pattern Projecting Luminaires Intended for<br />
Entertainment Use; and BSR E1.36-200x, Model<br />
Procedure for Permitting the Use of Tungsten-<br />
Halogen Incandescent Lamps and Stage and<br />
Studio Luminaires in Vendor Exhibit Booths in<br />
Convention and Trade Show Exhibition Halls.<br />
BSR E1.31 will be available for review through<br />
March 19, the others through March 12. All<br />
documents can be found online at www.esta.<br />
org/tsp/documents/public_review_docs.php.<br />
BSR E1.31 is a protocol that offers functionality<br />
<strong>com</strong>parable to existing DMX512 over<br />
Ethernet protocols, but with <strong>com</strong>patibility with<br />
ANSI E1.17-2006 and easy implementation on<br />
managed networks. Device Management Protocol<br />
over Session Data Transport, borrowed<br />
from the ANSI E1.17 protocol suite, provides a<br />
mechanism for streaming DMX-type data intermixed<br />
with random access data and high-speed<br />
feedback in a flexible and scalable way.<br />
BSR E1.22 — 200x, Entertainment Technology<br />
— Fire Safety Curtain Systems, describes<br />
the materials, fabrication, installation, operation,<br />
testing and maintenance of fire safety curtains<br />
and fire safety curtain systems used for theatre<br />
proscenium opening protection. It is an attempt<br />
to avoid offering a cook-book description of a<br />
fire safety curtain system and, instead, to specify<br />
how a fire curtain shall perform. It doesn’t explain<br />
what kind of fabric to use for a fire safety<br />
curtain, for example, but instead explains how<br />
strong whatever fabric must be and what abrasion<br />
and fire tests it must pass.<br />
BSR E1.35-200x, Standard for Lens Quality<br />
Measurements for Pattern Projecting Luminaires<br />
Intended for Entertainment Use, describes a<br />
method for measuring stage and studio luminaire<br />
lens quality with particular emphasis on<br />
contrast and perceived image quality (sharpness).<br />
It also offers a way for presenting these<br />
results on a datasheet in a format that is readily<br />
understood by a typical end-user and that<br />
allows the end-user to directly <strong>com</strong>pare lenses<br />
in a meaningful way. There is currently no way<br />
to describe how clearly a stage lighting instrument<br />
projects an image, other than by showing<br />
a person. Standards exist for projection lenses,<br />
but these are not applicable to the lower quality<br />
lenses used in stage and studio luminaires.<br />
BSR E1.36-200x, Model Procedure for Permitting<br />
the Use of Tungsten-Halogen Incandescent<br />
Lamps and Stage and Studio Luminaires in<br />
Vendor Exhibit Booths in Convention and Trade<br />
Show Exhibition Halls, is a model set of procedures<br />
that can be used by convention center and<br />
trade show exhibition hall staff to mitigate the<br />
risks perceived to be associated with the use of<br />
tungsten-halogen lamps and stage and studio<br />
luminaires in convention centers and trade show<br />
exhibition halls and to allow their use. There is<br />
no evidence that tungsten-halogen lamps used<br />
in Listed luminaires or that Listed stage and studio<br />
luminaires present any greater risk as they<br />
are used in exhibition halls than any other light<br />
source or type of luminaire in those venues, but<br />
the management staff of at least one major convention<br />
center in the United States believe that<br />
they do have elevated risks. They have moved<br />
to prohibit or limit the use of this equipment by<br />
exhibitors, but the restrictions are inconsistently<br />
enforced, largely because there is no clear procedure<br />
to decide when their use is acceptable or<br />
not. This draft standard offers a model procedure<br />
to permit or not permit the use of tungsten-halogen<br />
lamps and stage and studio luminaires.<br />
In addition to being asked to review the<br />
document to see if it offers adequate and correct<br />
advice, reviewers are asked to look for protected<br />
intellectual property in the draft standards.<br />
ESTA does not warrant that its standards<br />
contain no protected intellectual property, but<br />
it also does not intend to adopt any standard<br />
that requires the use of protected intellectual<br />
property, unless that property is necessary<br />
for technical reasons and can be licensed and<br />
used by anyone without prejudice or preference<br />
for a reasonable fee.<br />
Ad info:http:// foh.hotims.<strong>com</strong><br />
Wells Purchases<br />
Xtreme Structures<br />
continued from front cover<br />
XSF in the Theatrical and Entertainment Industry.<br />
He also brings several years of hands<br />
on experience to <strong>com</strong>plement the existing<br />
success XSF has had. His experience as an engineer<br />
as well as in fabrication and manufacturing<br />
will be put to use to cater to the special<br />
needs and creative designs of XSF’s clients.<br />
Before XSF Wells worked with Parkhill, Smith<br />
& Cooper and has provided engineering &<br />
manufacturing consultation services for the<br />
entertainment industry for 13 years. His career<br />
began in college working local crew in Lubbock,<br />
Texas where he graduated from Texas<br />
Tech University in 1994 with a BS in Civil Engineering<br />
with emphasis on structural analysis.<br />
Following graduation he moved to Midland,<br />
Texas to work as a structural engineer<br />
for PSC where he also provided engineering<br />
services for local truss manufacturer Tomcat.<br />
The engineering relationships with Tomcat<br />
eventually lead to employment as head of<br />
design at Tomcat in the role of engineering<br />
manager. While there he also instructed the<br />
Truss Workshop portion of Tomcat’s annual<br />
Hoist & Rigging Workshop in the USA, UK and<br />
Hong Kong. In 1999 Mr. Wells returned to private<br />
consulting for the entertainment industry<br />
at PSC. His resume includes engineering<br />
and design for Pink Floyd, The Rolling Stones,<br />
U2, Disney Live, Ringling Brothers & Barnum<br />
and Bailey Circuses, and Disney on Ice.
AUBURN, AL — Bandit Lites is working<br />
with country music artist Dierks Bentley on<br />
his current “Locked and Loaded” tour, which<br />
started on October 4, 2006 in Auburn, Ala. and<br />
will wrap in late April, 2007.<br />
Currently in the Canadian installment of the<br />
tour, the lighting designer, Chris Reade, chose<br />
to use Coemar Infinity XL Lights, Martin MAC<br />
600 Washes, Martin MAC 2000 Profiles, Martin<br />
MAC 250 Profiles, Martin Atomic Strobes, Strand<br />
Fresnels, James Thomas Engineering PARs and<br />
Molefays. Lighting is being controlled by a Flying<br />
Pig Systems Wholehog II console.<br />
Reade said that after listening to Dierks’<br />
music about 100 times, and this being his first<br />
country artist, he decided to take a different<br />
approach to lighting Bentley.<br />
“Although the instruments are standards,<br />
besides the new Coemar Infinity Lights, the<br />
design incorporates a different vibe and feel<br />
to it,” Reade explains. “During the intro, the<br />
trussing moves to an asymmetrical design,<br />
and the focuses I use are asymmetrical in nature<br />
as well. The color palettes are a lot of different<br />
takes on white light and temperatures,<br />
along with some standards.”<br />
Reade also said that he chose to use no<br />
shade of pink or green in the show, as he felt<br />
that those colors did not really fit the feel<br />
of the music. He used the scrims within the<br />
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<br />
Bentley Tour Locked, Loaded, Lit<br />
structure to achieve some interesting looks,<br />
as well as the backdrop, which he requested<br />
to be manufactured prior to the tour.<br />
After numerous discussions with Micah<br />
Andrews, the tour crew chief, and Bandit Lighting<br />
technician David Langford, Reade decided<br />
to try out the new Coemar Infinity XL.<br />
“It can zoom out to 80 degrees without<br />
a lot of intensity loss. That is a feat in itself,”<br />
Reade <strong>com</strong>mented.<br />
Coemar sent their project manager from<br />
Italy, along with Gary Mass, who is their U.S.<br />
distributor, to ensure that the lights were up to<br />
par, which Reade said did not go unnoticed.<br />
“It was incredible being able to discuss<br />
ideas and programming situations with the<br />
actual people who represent the instrument,”<br />
Reade explained. “This<br />
is also the first time I<br />
have used Bandit Lites<br />
as a vendor. They have<br />
bent over backwards to<br />
make this show happen.<br />
All the way from preparation<br />
to the touring<br />
crew and daily setup, it<br />
has been great.”<br />
Michael Golden,<br />
Bandit vice president,<br />
added, “Chris Reade<br />
has brought quite an<br />
innovative look to the Dierks Bentley tour,<br />
and it’s refreshing to see such a different<br />
approach used. I applaud Chris and Dierks<br />
NEWS<br />
Dierks Bentley<br />
for sticking to their collective design beliefs<br />
and going beyond the boundaries of<br />
traditional lighting.”<br />
Vectortasks<br />
Launches Training<br />
Podcasts<br />
COLUMBIA, MD — Nemetschek North<br />
America has announced that Dan Jansenson<br />
and Pat Stanford, who provide Vector-<br />
Works training through Vectortasks, have<br />
launched a new VectorWorks-related audio<br />
podcast series, the PodCAD Podcast.<br />
The PodCAD Podcast is currently an audio-only<br />
program that focuses on the world<br />
of VectorWorks. Engineer Stanford and<br />
architect Jansenson, Vectortasks partners,<br />
host the podcasts. Through a <strong>com</strong>bination<br />
of news, how-to segments, interviews and<br />
panel discussions, each podcast covers<br />
part of the broad spectrum of VectorWorks<br />
tasks, activities, new developments and<br />
tips and techniques. New programs will be<br />
available every 10 to 14 days.<br />
The PodCAD Podcast is available at<br />
no cost.<br />
“We recognize the podcast as another<br />
convenient avenue of information and instruction<br />
for VectorWorks users and have<br />
been working on episodes of the PodCAD<br />
Podcast for some time,” says Stanford. “Now<br />
that we have a small inventory available,<br />
we’re ready to share them with the broader<br />
<strong>com</strong>munity of VectorWorks users.”<br />
“The PodCAD Podcast is an extension<br />
of the VectorWorks support we provide<br />
through Vectortasks training seminars,” says<br />
Jansenson. “We would love <strong>com</strong>ments from<br />
our listeners on the quality of the podcast,<br />
as well as suggestions for future topics.”<br />
Stanford is an engineer and president<br />
of consulting firm Coviana (www.coviana.<br />
<strong>com</strong>). He is also leader of the Los Angeles<br />
VectorWorks Users Group. Jansenson is<br />
principal of Daniel Jansenson Architects<br />
(www.danjansenson.<strong>com</strong>). He has authored<br />
the RenderWorks Recipe Book. Both<br />
also provide task- and tool-based Vector-<br />
Works training through their Vectortasks<br />
training classes (www.vectortasks.<strong>com</strong>).<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info
NEWS<br />
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<br />
Gamers and Lights Go Pro<br />
TORONTO, ONTARIO — Lighting Designer<br />
Nick Wisdom specified a Jands Vista S3 console<br />
and 32 Chroma-Q Color Blocks as part<br />
of his lighting rig for the Boost Mobile Major<br />
League Gaming Pro Circuit Tour 2006, an organized<br />
league for professional video gaming.<br />
The debut tour visited seven U.S. cities<br />
and saw around 200 teams of four per city<br />
<strong>com</strong>peting in the Xbox “Halo 2” tournament<br />
for large cash prizes and a place in the final<br />
in Las Vegas.<br />
Production for the live event was by LubieRocks,<br />
Inc, with management and scenic<br />
design by David Elliott, lighting design/programming<br />
by Nick Wisdom, graphics/video<br />
by Don Fisher and audio by Paul Tucci.<br />
The tour was also filmed for a seven-part<br />
U.S. cable TV series, which included live game<br />
play, interviews and gaming tips.<br />
The “Mainstage Arena,” which was reserved<br />
for the city finals and other key matches<br />
along the way, consisted of a custom set<br />
that housed eight gaming stations for two<br />
<strong>com</strong>peting teams and an audience bleacher<br />
seating area under the main truss rig. In-game<br />
footage was also shown on three large projection<br />
screens.<br />
Lighting the arena presented some interesting<br />
challenges for the production team,<br />
who had to strike the right balance between<br />
creating an exciting event for the different<br />
live and TV audiences, while at the same time<br />
avoid distracting <strong>com</strong>peting gamers with the<br />
haze and bright lights.<br />
Fortunately, the production team rose to<br />
the challenge, using the decision to rent the<br />
lighting rig in each city as an opportunity to<br />
experiment with the lighting design’s fixtures,<br />
angles and set-ups to constantly work on<br />
ways to make the show more interesting for<br />
both audiences at the same time.<br />
In addition to the rental rigs’ various<br />
moving lights and conventional fixtures, the<br />
production team purchased Chroma-Q Color<br />
Block DB4 LEDs and used Wisdom’s own<br />
Jands Vista S3 lighting control console as core<br />
equipment for the tour after being convinced<br />
that both products were vital to the set’s<br />
lighting design.<br />
The Color Blocks were originally just<br />
meant to add some color and interest to the<br />
set, but ended up being integral to the filming<br />
when the TV show producers discussed<br />
using them to denote teams’ colors.<br />
Color Blocks uplit the gaming stations<br />
and truss pillars on each side of the stage<br />
in blue and red team colors. Various effects<br />
were employed, including running an intensity<br />
chase across the truss in the color of the<br />
winning team at the end of each match. Color<br />
Blocks were also used to tone the main overhead<br />
truss rig supporting the various moving<br />
and conventional fixtures during downtime,<br />
to ensure the arena was visible while the<br />
tournament ran.<br />
Wisdom <strong>com</strong>mented: “The Color Blocks<br />
really jazzed up the set and added another<br />
layer of fun to the show. Having them in the<br />
set meant the truss was always changing colors<br />
and added a really nice look to the room.”<br />
When Wisdom first saw the Jands Vista, it<br />
quickly became evident to him that this was<br />
a desk that thought the same way he did, so<br />
he arranged a day’s training with Vista North<br />
American distributor A.C. Lighting. Despite<br />
his rule of never bringing equipment into a<br />
show that he’d only spent a couple of days<br />
on, Wisdom decided to take a gamble and<br />
rented a Vista out of his own pocket for the<br />
first Orlando MLG show so he could show the<br />
production team what a new console could<br />
add to the event.<br />
He <strong>com</strong>mented: “Normally I would want a<br />
Before the games began<br />
lot more playtime on a desk before I’ll throw<br />
it into the mix. However, after playing with the<br />
offline editor of the console for a few weeks<br />
and receiving the fantastic training from A.C. I<br />
felt very confident I would be fine with it. The<br />
show in Orlando went great and the Vista really<br />
opened up a lot of options for me, especially<br />
with the LEDs, so we were convinced it<br />
was the way to go.”<br />
InBrief<br />
Sew What? Inc. When created a<br />
1,500-yard, 360-degree stage curtain for<br />
Rod Steward’s new 2007 tour… Theatrical<br />
Lighting Systems, Inc. (TLS,Inc.) has<br />
donated a total of $2117.44 to the Susan<br />
G. Komen Breast Cancer Foundation/<br />
North Central Alabama Affiliate in honor<br />
of Sandra Glover.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Lightronics Celebrates 25 Years<br />
continued from front cover<br />
“Though we started in the entertainment<br />
lighting industry, and continue to support that<br />
important market, we now are really focusing<br />
on the <strong>com</strong>mercial architectural market,” Nelson<br />
said in a 2005 exclusive interview with <strong>PLSN</strong>.<br />
“This is a natural progression from our presence<br />
in worship facilities. We are also looking to expanding<br />
further into the educational market,<br />
our cost efficient yet durable lighting control<br />
equipment is a great fit for schools where budgets<br />
are getting squeezed harder each year.”<br />
Lightronics hallmark is their five-year warranty<br />
they offer for all of their products. They<br />
also pride themselves in their customer service<br />
Feedback<br />
Not That You’d Want To<br />
by providing live operators and telephone support<br />
rather than making users submit to an automated<br />
answering system.<br />
Long-time employees include Tammy Collins,<br />
VP of operations and Shannon Heederick, who<br />
rose from a shipping clerk to marketing director<br />
in seven years. Don Poppendick has been chief<br />
technician and head of customer support for<br />
more than 11 years.<br />
In the year of their 25 th anniversary, Lightronics<br />
is now offering much more <strong>com</strong>pact<br />
dimmers and such technology as wireless<br />
control. The Virginia Beach, Virginia-based<br />
<strong>com</strong>pany has <strong>com</strong>e a long way from Kevin<br />
Nelson’s garage.<br />
The December 2006 Technopolis column<br />
“Controlknobs & Broomsticks” gives<br />
us a good insight into the potential of ACN<br />
– ANSI E1.17. However, there is one error<br />
in the description of the standard. It is not<br />
“an Ethernet-based ANSI standard” — it is<br />
a suite of protocols that works with TCP/IP<br />
— the language of the Internet.<br />
Ethernet may be the most <strong>com</strong>mon<br />
medium that ACN is implemented over, but<br />
it is by no means the only way. For example,<br />
a controller in Los Angeles could be configured<br />
to control dimmers or automated<br />
lighting in London with ACN (not that you<br />
would necessarily want to, but you could).<br />
Regards,<br />
Mitch Hefter<br />
Member, ESTA Technical Standards<br />
Committee & Control Protocols Working<br />
Group Chair,<br />
USITT DMX512 Committee and ANSI<br />
E1.11 DMX512-A Task Group<br />
USITT Engineering Vice-Commissioner<br />
Blue, Green<br />
and Grand<br />
On Tour<br />
continued from front cover<br />
video into another. The lighting<br />
cuestack triggers the video cuestack.”<br />
Scharff Weisberg, which programmed<br />
Blue Man Group’s last tour<br />
and served as design consultants and<br />
system engineers for the sit-down<br />
shows, furnished “How to Be a Megastar<br />
Tour 2.0” with three Green Hippo<br />
HD players, an iLite 6XP LED wall, Olite<br />
510 LED strip displays, two Christie<br />
Roadster S+16 projectors and a <strong>com</strong>plement<br />
of Sony cameras.<br />
The Green Hippo HD players run<br />
through Artnet boxes into an Ethernet<br />
system. The video switcher for IMAG runs<br />
through the grandMA, as well as the iLite<br />
wall and Olite strip displays.<br />
“I love working with the grandMAs,”<br />
Boland reports. “The thing that attracts<br />
me the most is how user friendly it is.<br />
I’m able to set it up to ac<strong>com</strong>modate my<br />
programming habits for a smooth transition<br />
from any other console.”<br />
The artistic director for Blue Man<br />
Group is Caryl Glaab. The project manager<br />
for Scharff Weisberg was John Ackerman,<br />
and Scharff Weisberg’s programmer<br />
was Sean Cagney.<br />
<br />
<strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
NEWS<br />
Event<br />
Calendar<br />
Angstrom University<br />
Jan./Feb. lighting classes<br />
www.angstromlighting.<strong>com</strong><br />
Electricity 101 and Beyond; Working<br />
with Automated Fixtures: How to<br />
Choose the Right Light and The Play’s<br />
the Thing<br />
Projected Image Digital Digital<br />
Video Workshop<br />
Tuesday, February 6<br />
The Questors Theatre<br />
Mattock Lane<br />
Ealing, London W5 5BQ<br />
Tel +44(0)208 567 0011.<br />
www.questors.org.uk/us/map.html<br />
5th Annual Entertainment<br />
Industry Ski Jam<br />
Feb. 9-11, 2007<br />
“RSVP” required. For information visit<br />
www.CEC-Entertainment.<strong>com</strong> or email<br />
Lsiegel@CEC-Entertainment.<strong>com</strong><br />
Siel<br />
February 11–14, 2007<br />
Paris, France<br />
www.siel-expo.<strong>com</strong><br />
The ARC Show<br />
February 12-13 2007<br />
http://www.thearcshow.<strong>com</strong><br />
Entry to these seminars is free of charge,<br />
but visitors are required to pre register<br />
to attend.<br />
2007 Rigging Seminars<br />
Las Vegas February 12th-16th<br />
Boston April 10th-13th<br />
Chicago July 9th-12th<br />
Seattle October 8th-11th<br />
1-206-283-4419<br />
www.riggingseminars.<strong>com</strong><br />
VectorWorks Spotlight Training<br />
in February<br />
Las Vegas, NV<br />
Feb 26 - Feb 28<br />
Classes:<br />
Intro to VectorWorks<br />
Spotlight Fundamentals<br />
3111 S. Valley View Blvd. Suite F-104<br />
Las Vegas, NV 89102<br />
PR Lighting Opens New<br />
Building in Guangzhou<br />
GUANGZHOU, CHINA — PR Lighting has opened a new facility<br />
in Guangzhou, with more than 29,000 square meters of<br />
space. The multi-million dollar building took nearly two years<br />
to design and build, and is located only minutes away from<br />
their former location. It is equipped with state of the art technology,<br />
which PR intends to use for R&D. PR will be showing<br />
off its new home to clients and colleagues [And us — <strong>PLSN</strong><br />
is in finalizing plans to tour the facility and report on it –ed.] in<br />
March of 2007.<br />
Locklin’s Profilin’ Rhymin’ Simon<br />
WOODLAND PARK, CO — Lighting designer<br />
Rich Locklin lit Paul Simon for his current<br />
tour, Locklin’s first time working with America’s<br />
seminal singer-songwriter. “Paul Simon is<br />
an American icon,” Locklin <strong>com</strong>mented. “You<br />
don’t go to one of his shows for the lighting;<br />
you go for the songs, so I wanted to <strong>com</strong>plement<br />
the music in a tasteful way. I tried to program<br />
each song as a story. When you think of<br />
a particular Paul Simon song, you just know<br />
what type of lighting goes with it.”<br />
Locklin specified an all Martin MAC 700<br />
Profile rig with a handful of conventionals<br />
available for support. Lighting control is from<br />
a Martin Maxxyz. “I wanted to take out the latest<br />
fixture and learn a new console; it’s been a<br />
good exercise.”<br />
Specifying a rig that is all spot fixtures is<br />
unique in the world of show touring. “A wash<br />
fixture, that’s all it can do, but a profile can do<br />
so much more,” Locklin <strong>com</strong>ments.<br />
“There are so many other elements — effects<br />
wheel and extra gobos in the 700 for example,<br />
and the gobos that <strong>com</strong>e standard with the fixture<br />
are great. I was able to do a lot with them.<br />
“I wrote palettes for hard edge and soft<br />
edge looks and threw in beam changes and focus<br />
changes. If I want all hard edge, I use all hard<br />
edge, and if I want soft edge, I just pull them out<br />
of focus. It gives me a lot of flexibility.”<br />
Locklin used the 700’s gobo animation system<br />
extensively, throwing graphic effects in the<br />
air, stopping them for breakups or, as a song went<br />
through a scene change, activating it to rotate. On<br />
other songs he has them tailed down on pipes<br />
or aims them to graze across the velour drape.<br />
“It breaks up the image in an interesting way,” he<br />
says. Locklin also uses Color Kinetics ColorBlaze’s<br />
on the floor in back helping to light the drape.<br />
Downstage is key light from conventionals.<br />
Lighting supply for the Paul Simon tour is<br />
by Lite Alternative in the UK, while Upstaging<br />
handled the summer and fall’s U.S. leg. According<br />
to Locklin, “Both <strong>com</strong>panies have been flawless<br />
with their execution, with their service, their<br />
crews — just over the top, the job that both<br />
<strong>com</strong>panies did to make this tour work.”<br />
Locklin was shown the Maxxyz console by<br />
Paul Simon in concert<br />
lighting professional Nook Schoenfeld, who<br />
also handled the programming for the show. “I<br />
wanted to learn a new console, so I chose the<br />
Maxxyz,” Locklin states. “I scripted the show on<br />
the Martin ShowDesigner without ever seeing<br />
the rig or the fixtures. By production rehearsals<br />
I basically had the whole show in the can. Paul<br />
Simon does not do a traditional rehearsal. He’ll<br />
work on one song — a few measures — for<br />
two days, so by the time we got to the first<br />
show, I had only seen seven songs of a 24 song<br />
show. But I was totally <strong>com</strong>fortable because I<br />
had blocked out 24 or 30 songs in the console.<br />
The Maxxyz was phenomenal for that. During<br />
the day I did focuses and fixed my notes the<br />
next day with ShowDesigner.”<br />
ETCP Exam at USITT Conference<br />
and Stage Expo<br />
March 17, 2007<br />
Phoenix, Ariz.<br />
Submit <strong>com</strong>pleted application, including<br />
all supporting documents and fee,<br />
postmarked on or before February 1,<br />
2007.<br />
Contact: Katie Geraghty, certification@<br />
esta.org or 212-244-1505.<br />
http://etcp.esta.org.<br />
Mountain Hoist Productions 22nd<br />
Annual CM Hoist School<br />
March 26-29, 2007<br />
Wilkes-Barre, PA<br />
www.mountainproductions.<strong>com</strong>/hoistschool.html<br />
PALME Middle East expo<br />
May 20-22<br />
Dubai International Exhibition Centre<br />
Dubai, United Arab Emirates<br />
www.palmeonline.<strong>com</strong><br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong>
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
NEWS<br />
continued from front cover<br />
Rob Baxter. Nordstrom and Baxter discussed<br />
the idea of using conventional lights in a<br />
pre-rigged truss configuration, but there<br />
was the contentious issue of portability.<br />
To load-in and rig enough truss and lighting<br />
for the basketball events normally takes<br />
two days, a lot of stage hands, and a lot of<br />
space. The Staples Center is used for a lot of<br />
events between basketball games, and the<br />
gear was not allowed to live in the ceiling<br />
for these events.<br />
In their first meeting, Baxter proposed a<br />
folding truss system whereby the lighting and<br />
dimming could live in the truss while the truss<br />
could be folded and transported in a neat,<br />
<strong>com</strong>pact package. While he acknowledged<br />
that the bugs would have to be worked out,<br />
he advised that with a little R&D and a lot of<br />
patience that it could work. The Staples Center<br />
wasn’t entirely convinced until they tested<br />
a rental system to see how it would work.<br />
When Bryant first walked in and saw the<br />
test of the new lighting system on the court,<br />
he was impressed.<br />
“Oh s---,” Bryant said, laughing at the<br />
change. “This is going to change the edge in<br />
the building immediately. This is awesome.<br />
This is it,” he said.<br />
“It puts it all right here,” said Baxter, referring<br />
to the fact that the majority of the light<br />
is focused on the court while the house lights<br />
are much lower and have a blue color. (To see<br />
the video of Bryant seeing the system for the<br />
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<br />
Lighting Creates a Whole ‘Nother Game for Lakers<br />
first time, visit www.plsn.<strong>com</strong>/Kobe)<br />
After the game, they were given the green<br />
light to go ahead with the system under the<br />
condition that they had to be able to load the<br />
entire system in and out in six hours.<br />
Baxter then designed a system of five eightfoot<br />
sections of truss that fold, stack and roll on<br />
a single truss section. The individual sections<br />
hinge and pin using Tomcats’ spigot and pin<br />
locking system. Each 40’ truss is wheeled into the<br />
vomitory and a rigger drops the hook on a prehung<br />
chain hoist. When the hook is connected<br />
to one side of the truss, the chain is raised until<br />
the first section of truss can be spigoted and<br />
pinned from an eight-foot ladder. Each section<br />
is connected until the entire 40-foot section is<br />
<strong>com</strong>pleted. Three 40-foot sections join to <strong>com</strong>plete<br />
one of two 120-foot sections of truss.<br />
The 120-foot section of truss houses 14<br />
light bars, each with 12 ETC Source Four PARs<br />
with a narrow lens, and 168 channels of Leprecon<br />
ULD dimmers modified with Socopex<br />
connectors. Each section of truss takes about<br />
15 or 20 minutes to assemble.<br />
From the first game, the changed atmosphere<br />
had a noticeable effect. “You can see<br />
the change in the crowd,” Baxter said. “They<br />
reacted tremendously to it.”<br />
There were a few <strong>com</strong>plaints from the audience,<br />
Baxter confided, just because the moving<br />
lights are so bright by contrast to the conventional<br />
lights, but the positive feedback far<br />
outweighed the negative.<br />
Ian Levitt, the director of game operations<br />
for the Lakers headed the lighting project,<br />
while Gary LeMond of IATSE 33 was the head<br />
electrician and crew head. Tad Inferrera, IATSE<br />
33, is the Lakers lighting director.<br />
ELS supplied the lighting gear (Rafael<br />
Garcia, sales/project manager; George Gray,<br />
rental/project manager) and Frank Dawson<br />
of Kish Rigging was the rigging project<br />
manager. Tomcat fabricated the truss (Will<br />
Todd, Tomcat USA project manager) and AC<br />
Power Distribution supplied the PD (James<br />
Davey, AC Power Distribution president/project<br />
manager). Gear was also supplied by TMB<br />
(Tommy Stephenson, TMB sales).<br />
In addition to lighting director Randy Nordstrom,<br />
Amy Richards and Jared Sayed assisted<br />
in the lighting design while Chip Foody was<br />
the chief electrician and system installer.<br />
Strong Buys<br />
Technobeam<br />
Rights<br />
AUSTIN, TEXAS and OMAHA, NEB.<br />
— High End Systems Inc. and Strong Entertainment<br />
Lighting have <strong>com</strong>pleted a<br />
transaction to enable Strong to manufacture<br />
and sell Technobeam®, a moving<br />
mirror luminaire, which HES released in<br />
1998. Strong has purchased all rights to<br />
Technobeam including all tooling and<br />
product trademarks. Also, Strong has<br />
sublicensed all intellectual property associated<br />
with Technobeam.<br />
Strong expects to reintroduce the<br />
product early this spring and continue<br />
using the Technobeam brand name.<br />
States John Wilmers, CEO of Ballantyne<br />
of Omaha, Strong’s parent <strong>com</strong>pany,<br />
“This will be the same Technobeam<br />
that the industry has <strong>com</strong>e to appreciate<br />
over the past eight years. It will be manufactured<br />
using the identical parts and<br />
tooling that High End used, making this<br />
one of the most reliable lighting instruments<br />
in the industry.”<br />
HES CEO Frank Gordon says, “In the<br />
past eight years, we have shipped more<br />
than 10,000 units and rarely experienced<br />
service issues. It truly has been a work<br />
horse for the industry.”<br />
Wilmers further <strong>com</strong>ments, “The reliability<br />
and quality of Technobeam makes<br />
this a consistent product with our overall<br />
offering. We have always been focused on<br />
products that are backed by best-in-class<br />
service and support people and practices.”<br />
Strong expects to be shipping and<br />
selling Technobeam in the next 60 days.<br />
HES operations personnel will work with<br />
Strong employees during the pilot build<br />
of the product.
Ad info: www.plsn.<strong>com</strong>/instant-info
ONTHE MOVE<br />
Audio Visual Innovations has relocated<br />
their Madison office to downtown<br />
Huntsville. The new address is 200 West Side<br />
Square SE, Suite 70, Huntsville, AL 35801.<br />
A V W -<br />
TELAV Audio<br />
Visual Solutions<br />
has appointed<br />
Paul<br />
Fletcher general<br />
manager<br />
of the Austin<br />
branch. Previously,<br />
Fletcher<br />
Paul Fletcher<br />
was an Account<br />
Executive at<br />
the Houston<br />
branch where<br />
he pursued<br />
outside business<br />
and supported<br />
facility<br />
sales. He then<br />
managed the<br />
overall operations<br />
Pete Sackel<br />
of the branch as director of opera-<br />
tions. AVW-Telav has also named Pete Sackel<br />
director of sales at the Orlando branch.<br />
Most recently, Sackel was VP of sales and<br />
marketing with ProStage in Orlando.<br />
Wendy Long has been named director<br />
of marketing for the Da-Lite Screen<br />
C o m p a n y .<br />
Wendy will be<br />
responsible for<br />
all of Da-Lite’s<br />
i n t e r n a t i o n a l<br />
and domestic<br />
marketing activities<br />
for both<br />
the <strong>com</strong>mercial<br />
and home theatre<br />
markets.<br />
Wendy most<br />
recently held<br />
the position of<br />
product manager<br />
at Da-Lite.<br />
Also, Da-Lite<br />
has promoted<br />
Blake Brubaker<br />
to systems dis-<br />
Wendy Long<br />
Todd Hockeneyer<br />
play manager.<br />
In his new position, Blake will be responsible<br />
for writing a new series of white papers<br />
entitled “Angles of Reflection,” which<br />
will focus on the various aspects of systems<br />
design and display. In addition, this new position<br />
will involve design training for audio<br />
visual systems dealers and consultants.<br />
Gear-Source, Inc. has awarded Henry<br />
Kones the expanded title of VP of sales<br />
and special accounts. Henry will continue<br />
to work from his home office in Orlando,<br />
Florida, but will spend more time visiting<br />
the <strong>com</strong>pany’s headquarters in Wellington.<br />
The <strong>com</strong>pany is currently interviewing<br />
candidates for two new sales / listing positions<br />
based either in Florida or the West<br />
Coast, both reporting directly to Henry.<br />
Also, Cynthia Viteri has been promoted to<br />
senior sales director, and will be taking on<br />
additional sales responsibilities.<br />
High End Systems hired Zach Peletz<br />
as a product support specialist. Peletz has<br />
worked for Northern Lights (San Leandro),<br />
Musson (Santa Clara) and Shakespeare<br />
Santa Cruz (UC-Santa Cruz).<br />
H o f f m a n<br />
Co m m u n i c a -<br />
tions made<br />
several moves<br />
this month. First,<br />
Linda Flynn has<br />
been named a<br />
member of the<br />
Creative Producers<br />
team at Hoffman<br />
Communi-<br />
Jill Kieser<br />
cations, Inc. Flynn has more than 15 years of<br />
experience within the video production and<br />
television broadcast industry. Also, Jill Kieser<br />
has been named director of project management<br />
for Hoffman Communications, Inc. Kieser<br />
had been one of Hoffman’s senior project<br />
managers. Shelby Molina has joined the sales<br />
team at Hoffman Communications, Inc. as account<br />
executive.<br />
Molina most recently<br />
worked<br />
at High-Tech<br />
Institute, where<br />
she was director<br />
of admissions.<br />
Lastly, Hoffman<br />
has named Dan<br />
Rowles director<br />
Shelby Molina<br />
of production<br />
services. Rowles<br />
brings to Hoffman<br />
20 years of<br />
production experience<br />
in the<br />
audio and video<br />
broadcast industry,<br />
and was<br />
a contributing<br />
writer, producer<br />
and director of Prairie Home Companion,<br />
Dan Rowles<br />
where four of his projects earned Grammy<br />
Award nominations.<br />
Ben Hay<br />
has joined the<br />
staff of Infinite<br />
Designs LLC<br />
as a lighting<br />
designer and<br />
project manager.<br />
Ben Hay<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
12 <strong>PLSN</strong> february 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
L e v i t o n<br />
M a n u f a c t u r -<br />
ing Company<br />
appointed David<br />
Pomierski,<br />
RCDD, to the<br />
position of<br />
south-west region<br />
specification<br />
engineer<br />
for its Voice &<br />
David Pomierski<br />
Data division. Prior to joining Leviton,<br />
Pomierski worked as a manufacturer’s<br />
representative in southern California for<br />
Verizon (GTE).<br />
Lex Products<br />
has promoted<br />
three<br />
key individuals.<br />
Renee<br />
Page has been<br />
p r o m o t e d<br />
to corporate<br />
c o m m u n i c a -<br />
tions director.<br />
In her new<br />
Renee Page<br />
role, Renee will<br />
be responsible<br />
for publicizing<br />
Lex Products<br />
to customers<br />
and industry<br />
influencers.<br />
Also, Tom<br />
Silko has been<br />
upgraded to<br />
Tom Siko<br />
n o r t h e a s t e r n<br />
sales manager.<br />
Silko will be<br />
responsible for<br />
outside sales in<br />
New York, New<br />
Jersey, Connecticut,<br />
Mass<br />
a c h u s e t t s ,<br />
Pennsylvania,<br />
D e l a w a r e ,<br />
Mike Scala<br />
Rode Island, New Hampshire, Vermont<br />
and Maine. Lastly, Mike Scala has been<br />
promoted to director of operations for<br />
Lex Products and its divisions. Mike brings<br />
more than 10 years experience as a Manufacturing/Logistics<br />
Supervisor with more<br />
than eight years management/operations<br />
experience in the tele<strong>com</strong>munications<br />
and consumer products industries.<br />
ing designer, production stage manager<br />
and lead electrician.<br />
David Naone<br />
has joined<br />
the Robe<br />
America team<br />
as western<br />
sales manager.<br />
He will head<br />
up the L.A. office<br />
and look<br />
after all markets<br />
in western<br />
David Naone<br />
U.S. territories from the Mississippi River<br />
to the Pacific Coast — including Alaska<br />
and Hawaii. Naone brings 25 years of industry<br />
experience with him.<br />
T h e a t r e -<br />
works, LLC,<br />
tapped Helen<br />
Swan to<br />
head up their<br />
new offices<br />
in Las Vegas,<br />
NV. Swan<br />
has a diverse<br />
b a c k g r o u n d<br />
Helen Swan<br />
in the entertainment<br />
industry, recently working as<br />
entertainment manager for a local Las<br />
Vegas hotel/casino.<br />
To get listed in<br />
On The Move send your<br />
info to PR@<strong>PLSN</strong>.COM<br />
LightParts, Inc. are moving to a<br />
larger building. The new address is: 2507<br />
Howard Lane, Austin, Texas, 78728. The<br />
telephone number (512.873.7106) has<br />
not changed, but the new fax number is:<br />
512.787.2885<br />
S c o t t<br />
Weyrauch was<br />
recently promoted<br />
to senior<br />
account<br />
e x e c u t i v e<br />
at LMG, Inc.<br />
W e y r a u c h ,<br />
who was previously<br />
working<br />
in LMG’s<br />
Scott Weyrauch<br />
Phoenix location, has relocated to Las<br />
Vegas and will handle sales, project<br />
management and account coordination<br />
for that office. His industry experience<br />
ranges from MT V touring and a<br />
Superbowl halftime show to corporate<br />
theatre and tradeshows. Throughout his<br />
career, Weyrauch has worked as a light-<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 13
INTERNATIONALNEWS<br />
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<br />
“Manchester Double” for HSL<br />
MANCHESTER, UK — HSL, a UK lighting<br />
rental <strong>com</strong>pany, <strong>com</strong>pleted a “Manchester<br />
Double” Friday, December 15, with two of<br />
their current tours — Beautiful South and<br />
Snow Patrol — both playing Manchester<br />
area arena-sized shows the same night.<br />
HSL’s Simon Stuart <strong>com</strong>ments, “It’s<br />
been the first time in at least 10 years that<br />
both Manchester’s arena gigs have been<br />
in service, and for us to be able to provide<br />
lighting in both arenas on their opening<br />
nights was such a achievement. It’s been a<br />
long, hard year for us, and this was just the<br />
icing on the cake. What a fantastic end to<br />
a great year.”<br />
Beautiful South played the 19,000-capacity<br />
Manchester Evening News Arena,<br />
with a lighting design by Dave Byars, and<br />
Snow Patrol took the stage in the refurbished<br />
GMEX Centre with LD Davy Sherwin,<br />
Catalyst programmer and operator Robin<br />
Haddow and live video director Blue Leach.<br />
The Beautiful South rig is centered<br />
around Robe moving lights. Byars’ design<br />
features red and grey drapes, borders<br />
and legs and a theatrical feel. He’s operating<br />
the lights on an Avolites Diamond<br />
4 console, and HSL has supplied all of the<br />
UK and European legs of the tour since<br />
it started back in May. HSL has just purchased<br />
six new RADlite NG1 digital media<br />
servers, and Byars has one of these on the<br />
tour running a SoftLED backdrop.<br />
For Snow Patrol, HSL invested in a large<br />
stock of Liftket Motors and Kinesys motion<br />
control. These are used for suspending<br />
three moving upstage trusses and five<br />
moving hi res video screens supplied by<br />
XL Video. [For more on Snow Patrol’s video<br />
check out the story on XL Video in Projection<br />
Connection –ed.] Sherwin’s design utilizes<br />
more than 100 Robe moving lights, including<br />
33 of the new new Robe ColorSpot<br />
2500s, plus Robe ColorSpot and Wash<br />
1200ATs. HSL is also supplying 5KW Syncrolite<br />
B52s and a ColorWeb low resolution<br />
Dave Byars and the Beautiful South stage<br />
LED screen, also just acquired by HSL for<br />
the tour. Sherwin operates the show using<br />
a Wholehog 3 console, and Haddow runs<br />
two Catalyst digital media servers from a<br />
Wholehog 2.<br />
Claws Cover Basement<br />
Basement Jaxx with their Kinesys rig<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
LONDON — Lighting designer Leggy<br />
(Jonathan Armstrong) used a Kinesys motion<br />
control system for the recent Basement<br />
Jaxx tour. It was the first time he’s<br />
used Kinesys.<br />
He designed four upstage/downstage<br />
“claw” trusses as the key architectural<br />
elements of the lighting rig, and these<br />
moved constantly during the show into<br />
different positions.<br />
Each claw truss, two at 40 feet long<br />
and two at 38 feet, was suspended by five<br />
motors, two static Lodestar hoists downstage<br />
and three Kinesys vari-speed Liftkets<br />
on the upstage hinges, which moved<br />
the trussing in and out via a Kinesys Vector<br />
control system.<br />
Hung on the claws was the majority<br />
of Legg’s lighting rig — including five<br />
High End Systems Studio Command 1200<br />
fixtures, four X-Spot Xtremes, four Studio<br />
Beam PCs, one Zap Technology 4.5K<br />
BigLite xenon (used for key lighting the<br />
band), a 9-lite with scroller and three Martin<br />
Atomic strobes.<br />
Kinesys was originally re<strong>com</strong>mended<br />
to Leggy by the tour’s lighting contractors<br />
Neg Earth.<br />
Basement Jaxx is a dance-y show,<br />
and moving the lighting rig into different<br />
positions throughout the set was<br />
a vital element of Leggy’s creative vision.<br />
He “needed different parts of the<br />
rig to be moving different distances<br />
and speeds, but all arriving at the same<br />
point at the same time to make the<br />
different stage and lighting looks,” he<br />
says, adding that this was well beyond<br />
the brief of a rigger switching motors<br />
on and off.<br />
The system was operated by Craig<br />
Lewis, who had used the system once<br />
previously on a one-off. He visited Kinesys<br />
in south London for one of their<br />
standard training sessions, and picked<br />
it up very quickly.<br />
14 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
INTERNATIONALNEWS<br />
Dolls Designer Develops Disco Display<br />
Glasgow Club<br />
Gears Up<br />
LONDON — Lighting designer Scott<br />
Warner has worked with the Pussycat Dolls<br />
since March, and they have been performing<br />
shows all over the world. The lighting<br />
rig has developed along the way and now<br />
includes a battery of Martin fixtures and 35<br />
PixelLine 1044s.<br />
Warner first discovered PixelLines by<br />
chance. He explains, “When we first came to<br />
the UK, I was using a different LED fixture that<br />
wasn’t available in the UK. The rental <strong>com</strong>pany<br />
asked if I would like to try PixelLines.”<br />
Scott wanted a clean look with a disco<br />
feel and was happy that the budget allowed<br />
him to create a show that would <strong>com</strong>plement<br />
the movement of the band. He continues,<br />
“I feel the 1044s give such a unique<br />
look to my truss configuration, and I’ve been<br />
so pleased with the PixelLines — I’m adding<br />
PixelEights and PixelPars to our next leg of<br />
the tour.”<br />
Scott embraces the development of LED<br />
fixtures for touring and <strong>com</strong>ments, “LEDs integrate<br />
perfectly with the moving lights and<br />
makes the rig look hi-tech — well, at least<br />
to the most important aspect of the show<br />
— the audience. I’m amazed how far lighting<br />
has <strong>com</strong>e.”<br />
The lighting for this UK tour was supplied<br />
by Siyan.<br />
The Pussycat Dolls<br />
The interior of the Classic Grand<br />
GLASGOW, SCOTLAND — Robe Show Lighting<br />
moving lights, including ColorSpot 575 ATs,<br />
have been installed upstairs at the Classic Grand<br />
in central Glasgow, by locally based installation<br />
and sales <strong>com</strong>pany Flashlight. Flashlight’s Andrew<br />
O’Neill <strong>com</strong>pleted the new lighting design<br />
as part of a recent refurbishment for the 750<br />
capacity club, which is owned by local entrepreneur<br />
Michele Pagliocca. Burns Design, also based<br />
in Glasgow, designed the interior of the club.<br />
The Classic Grand is located on Jamaica<br />
Street and houses two spaces (250 downstairs/550<br />
upstairs), which present live music in<br />
Glasgow and dancing.<br />
The site has been a nightclub for some<br />
years, but the building dates back to the early<br />
20th century, when it originally opened as a picture<br />
house in about 1915 — the upstairs space<br />
is built into the original circle. The interior has<br />
been kept true to the history of the building,<br />
showing off its art deco features with a modern<br />
twist.<br />
In this latest incarnation, the intention is for<br />
it to be active as both a serious live music and<br />
performance venue as well as for the club nights,<br />
and this dual functionality also had to be catered<br />
for in the lighting design and installation.<br />
Flashlight has been supplying lighting,<br />
sound and AV to Pagliocca’s various entertainment<br />
ventures for the past 15 years.<br />
“I wanted to put a bit of wow back into the<br />
clubbing environment,” says O’Neill, “while also<br />
ensuring that fixtures were positioned in sensible<br />
places so they could access the stage”.<br />
Over the dancefloor he’s rigged four ColorSpot<br />
575 ATs. “The 575 is a beautiful luminaire,<br />
and I intend to specify it into any future appropriate<br />
projects,” O’Neill states.<br />
Apart from these, there are four Scan 575<br />
XTs in each corner of the room, used to shoot<br />
beams and effects across the space and for<br />
throwing gobos onto the dancefloor and walls.<br />
Six ClubScan 250 CTs and four ClubRoller 250<br />
CTs are rigged down each of the two long sides<br />
of the room. Everything is controlled through a<br />
Robe DMX Control 1024 desk.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 15
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
»<br />
Hy-Safe Uni-8<br />
Hy-Safe’s Uni-8 is a stainless steel cable-based fall-protection<br />
system that offers customers a second option where factors<br />
such as system layouts adversely affect costs, or where stainless<br />
steel is a preferred choice. Features include: aesthetically pleasing<br />
316 stainless steel <strong>com</strong>ponents; load re-orientating intermediate<br />
brackets; in-line energy absorbers protect buildings and structures;<br />
spans up to 12m between support anchors; electro-polished<br />
<strong>com</strong>ponents that give long term corrosion resistance.<br />
Hy-Safe • 800.642.0775 • www.hysafe.<strong>com</strong><br />
NEW PRODUCTS<br />
RC4 Wireless’ RC4-Magic Wireless<br />
DMX Toolkit<br />
RC4 Wireless’ RC4-Magic Wireless DMX Toolkit is a bundle of<br />
products from the new RC4-Magic product line-up, including a<br />
DMX transmitter, a DMX receiver, two 2-channel wireless dimmers,<br />
and – as part of a limited-time introductory offer – a Metageek Wi-<br />
Spy RF Spectrum Analyzer. The DMX transmitters and receivers are<br />
2.25” x 3.25” x 1.5” and have no external antennas. The 2-channel<br />
wireless dimmers are only 2.25” x 1.25” x 0.75” to fit into tiny props,<br />
hats, costumes, and so on. The MSRP is $899 and the first 25 kits<br />
sold will include the Wi-Spy RF Spectrum Analyzer, a $199 value.<br />
The DMX output rate is a full 44 frames-per-second with 512 channels,<br />
and works up to 200 feet non-line-of-sight in typical indoor<br />
theatre and entertainment facilities.<br />
RC4 Wireless • 866.258.4577 • www.theatrewireless.<strong>com</strong><br />
»<br />
»<br />
American DJ Accu Fog 1000<br />
Designed for clubs, concerts and productions, the American<br />
DJ Accu Fog 1000 is a new high-output fogger, the latest addition<br />
to American DJ’s Accu Series of professional intelligent fixtures.<br />
The 1,000-watt unit uses its moving-head mechanism to rotate a<br />
full 360°, providing any venue with total atmospheric coverage at<br />
a rate of 10,000 cubic feet per minute. The Accu Fog 1000 can be<br />
used in a variety of positions — one can stand it upright, hang it,<br />
or even mount it upside-down to create different types of effects.<br />
For upside-down use, there’s a removable metal bin on the back of<br />
the Accu Fog 1000, which houses the 1-liter fog juice container. The<br />
bin can be flipped for upside-down use. Other professional features<br />
include full 360° pan and 265° tilt. Designed and styled to resemble other premium fixtures in<br />
American DJ’s Accu Series, the unit measures 17.5” x 13.75” x 11.75” and weighs 29 lbs.<br />
American DJ • 800.322.6337 • www.americandj.<strong>com</strong><br />
»<br />
Chauvet Lighting’s Q-Wash LED<br />
Chauvet’s Q-Wash LED is a DMX-512 programmable moving<br />
yoke fitted with 18 1-watt LEDs to deliver a rich wash with full RGB<br />
mixing capability. Besides longevity, low power consumption and<br />
low heat emission afforded by the use of LEDs, the Q-Wash LED<br />
also offers the convenience of remote reset, vector speed control<br />
and the functionality of full dimming and automatic pan and tilt<br />
correction. Users can program and store up to 100 steps for later<br />
recall without the need for a controller. The Q-Wash LED <strong>com</strong>es<br />
equipped with standard lenses that create a 30-degree beam<br />
angle. Optional lenses are also available to create a wider, 45-degree<br />
beam angle. Movement is smooth and fast, within a range of<br />
540° of pan by 270° of tilt, both reversible. Users can access built<br />
in automated and sound-activated programs via master/slave or<br />
DMX mode. Q-Wash LED can be switched internally to draw from either a 120V or 230 V power<br />
source. Weight is less than 20 lbs (8.9 kilograms).<br />
Chauvet Lighting • 800.762.1084 • www.chauvetlighting.<strong>com</strong><br />
»<br />
Sigma Services’ Prism2 Colored Flame<br />
Projector<br />
The Prism2 Colored Flame Projector is the sequel to the original<br />
Prism system, the Prism2 is smaller and lighter than the original, while<br />
offering similar performance. Using Magic Corona fluid and <strong>com</strong>pressed<br />
air, the Prism2 has the ability to shoot colored flame 15 feet<br />
high. Up to four fluid bottles can be housed inside the unit allowing<br />
the user access to any color or <strong>com</strong>bination on demand via DMX.<br />
Available colors include green, red, blue, yellow, purple and orange.<br />
Sigma Services • 813.737.1904 • www.sigmaservices.<strong>com</strong><br />
16 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
»<br />
»<br />
Leviton 3000 Series DMX Lighting Consoles<br />
Leviton’s 3000 Series DMX lighting control consoles are<br />
available in two ergonomic models: four or eight control<br />
channels. The 3000 Series present an economical choice in<br />
instances where only basic features such as channel control<br />
and scene memory are required. The four and eight<br />
control channel consoles also include multiple chaser<br />
functions, bump buttons for each channel and scene and<br />
master output faders. Both models are designed to be<br />
easy to operate with many of the most often used features<br />
documented on the bottom of the console for streamlined<br />
use. The consoles’ connector pin outs are also permanently<br />
screened next to the connector. Both models are designed for use in elementary schools, small<br />
bands and church lighting control applications.<br />
Leviton Manufacturing • 800.832.9538 • www.leviton.<strong>com</strong><br />
»<br />
ALC Truss USA<br />
National Events, LLC has partnered with ALC Truss<br />
Engineering in Belgium to distribute ALC Truss products<br />
for the United States event industry. ALC is 23-<br />
inch triangular truss with 8-foot, 5-foot and 4-foot sections<br />
with variable angle joints that provide geometric<br />
shapes like circles and triangles. ALC is constructed<br />
using one of the world’s strongest aluminum alloys<br />
available, 7108-T6, and has a 50% greater load bearing<br />
capacity than 20”x20” general purpose truss on<br />
the market today. ALC truss is stackable and rolls with<br />
a removable dolly system that includes all the pins and hammers for easy construction. ALC’s<br />
design saves truck space which can result in reduced transportation costs.<br />
ALC Truss USA • 800.723.7793 • www.alctruss.<strong>com</strong><br />
»<br />
O c e a n O p t i c s S e a C h a n g e r Wa s h<br />
C o l o r E n g i n e<br />
Ocean Optics SeaChanger Wash Color Engine is a CYMG<br />
hexachromic color changer that turns ETC Source Four Ellipsoidals<br />
into dichroic wash lights for theatrical, worship<br />
and architectural installations. The SeaChanger Wash consists<br />
of the four-filter CYMG color engine and a Fresnel lens<br />
barrel that attaches to the reflector housing of any Source<br />
Four Ellipsoidal. Its manual zoom allows users to adjust<br />
the field of view from 20° to 70°. Color transitions from 0-<br />
100% saturation in less than one second are possible. Each<br />
SeaChanger is a self-contained unit with an internal power<br />
supply and is controlled via four-channel DMX, RDM device or its front-panel membrane keypad<br />
with three-digital LED display.<br />
Ocean Optics • 727.545.0741 • www.seachangeronline.<strong>com</strong><br />
»<br />
American DJ’s Wave<br />
American DJ’s 800-watt wave is a mood-effect lighting<br />
instrument that sends out 60 unique “S-shaped” beams in<br />
vibrant blue and aqua tones. It <strong>com</strong>es with built-in programs<br />
at both slow and fast speeds. The programs can run the<br />
Wave in plug-and-play Sound Active mode. The Wave also<br />
has two DMX-512 channels for use with a programmable<br />
DMX controller. For larger venues, a series of Waves can be<br />
daisy-chained by XLR cables in Master-Slave mode. A hanging<br />
bracket and 800-watt LL-JS800 lamp are included.<br />
American DJ • 800.322.6337 • www.americandj.<strong>com</strong><br />
Martin Maxxyz / Maxxyz PC Version 2.0<br />
Software<br />
Martin Professional has released application software Version 2.0 for both the Maxxyz and Maxxyz<br />
PC controllers. Martin has also released Maxxyz OS (Operating System) 2.0. Version 2.0 software adds a<br />
host of useful features and feature updates to the Maxxyz controller range and is available for download<br />
at www.maxxyz.<strong>com</strong>/support. Key features of Maxxyz Version 2.0 include: new graphical user<br />
interface, fixture cloning, an auto update feature, online help support, a new menu system, hot keys,<br />
global desk timings, improved fixture patch, channel expansion, preset export, networking, playback<br />
options and MIDI show control. In addition to the new functionality, the Maxxyz development team<br />
has improved the overall operation of the console for accurate playback and fast programming.<br />
Martin Professional • 719.686.0793 • www.martin.<strong>com</strong><br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 17<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info Ad info:http:// www.plsn.<strong>com</strong>/instant-info Ad info:http:// www.plsn.<strong>com</strong>/instant-info
SHOWTIME<br />
OneFest 2006 - Stage 2 - Haste the Day, Red & Others<br />
ST<br />
Venue<br />
University of Northern Iowa, Cedar Falls, IA<br />
Crew<br />
Promoter/Producer: OneFest<br />
Lighting Company: Reach Communications<br />
Production Manager: Dan Brown<br />
Lighting Designer/Lighting Director: Jeff Johnson<br />
Lighting Technicians: Mark Brown, Tim Brown<br />
Rigger: Jeff Johnson, Dan Brown<br />
Staging Company: Eternal Systems<br />
Staging Products: Custom<br />
Gear<br />
1 Martin Light Jockey<br />
1 NSI MC7532<br />
4 Martin MAC 250 Krypton<br />
8 Martin MAC 300<br />
24 UltraPAR 575<br />
6 ETC PARnel<br />
6 ETC S4 15-30 zoom<br />
3 NSI DS8-24 dimmers<br />
1 NSI DS12-12 dimmer<br />
1 TechniLux DMX opto splitter<br />
1 Dura Flex Socapex cables<br />
1 Dura Flex DMX cables<br />
1 Motion Labs and Custom<br />
power distributions<br />
4 Mobil Tech Alp Tek 5 lifts<br />
1 Tomcat 12”x12” Trussing<br />
ST<br />
Alice Cooper’s Christmas Pudding<br />
Venue<br />
Dodge Theatre, Phoenix, Ariz.<br />
Crew<br />
Promoter/Producer: Solid Rock Foundation<br />
Lighting Company: Precise Corporate Staging LLC<br />
Production Manager: Mick Treadwell “TCOB”<br />
Lighting Designer/Light Op: Scott Dell<br />
Lighting Director: Bobby Reichling<br />
Lighting Technician: Mike Kowalski<br />
Rigger: Rhino Staging<br />
Video Director: Doug Parker<br />
Video Company: Precise Corporate Staging LLC<br />
Staging Company: Precise Corporate Staging LLC<br />
Staging Products: Stage Right Platforms<br />
Gear<br />
1 Flying Pig Systems Wholehog II<br />
1 Wing<br />
1 Flying Pig Systems Wholehog III<br />
4 Panels Mainlight Hi-Res SoftLED Drape<br />
28 Vari*Lite VL3000<br />
14 Vari*Lite VL2500 Spot<br />
10 Vari*Lite VL2500 Wash<br />
8 Martin MAC 550<br />
4 Martin Studio Spot CMY<br />
120 PAR 64 Double Hung Truss<br />
1 High End Systems Catalyst<br />
2 ETC 48 Channel Dimmer Rack<br />
4 ACL Bars<br />
210 feet Tomcat 12 X 12 Truss<br />
38 CM 1/2-ton motors<br />
18 CM 1-ton motors<br />
1 Grass Valley 110CV Switcher<br />
1 Folsom 1604 Screen Pro Plus<br />
1 Sierra Vista 16 X 16 Router<br />
4 Sony D50 Triax Cameras<br />
2 Canon 33X 1 Long Lens<br />
1 Cartoni Tripods<br />
2 Sony DVCAM 45 Record decks<br />
2 Sony 2800 Beta record Decks<br />
2 Christie Digital S+12K Projectors<br />
8 Sony 8044Q Monitors<br />
Christmas Spectacular 2006<br />
Venue<br />
Essex Alliance Church, Essex Junction/Vermont<br />
Crew<br />
Promoter/Producer: Greg Walsh<br />
Lighting Company: Dark Star Lighting<br />
and Production<br />
Production Manager: Ron Myers<br />
Lighting Designer/Director: Chris Tall<br />
Lighting Technicians: Jeff Iasilli, John Andersen<br />
Set Design: Joe Town<br />
Set Construction: Ron Whitney, Dennis Racine<br />
Rigger: Bob Lalancette<br />
Staging Company: Thomas Engineering<br />
ST<br />
Staging Carpenter: Joe Maietta<br />
Pyrotechnics: Scott Slocum<br />
Video Director: Tim Chamberlin<br />
Video Company: Chamberlin Video Co.<br />
Gear<br />
1 Flying Pig Systems Hog iPC on<br />
Wholehog III v2 with Wing<br />
1 Fleenor 5-way Opto-splitter<br />
7 High End Systems Cyberlight<br />
8 Martin MAC 700 Profile<br />
6 Martin MAC 250 Wash<br />
4 Coemar Mini Cyc<br />
5 High End Systems Color Command<br />
6 Martin Mania SCX 700<br />
2 Wildfire 402F<br />
8 Coemar PARLite LED<br />
10 Source Four 19/26 degree<br />
ellipsoidal<br />
8 Source Four Parnel<br />
1 Motion Labs Distro<br />
1 Bubble Machine<br />
1 Le Maitre Radiance Hazer<br />
4 CM 1/2-ton Chain Motor<br />
1 8-way Motion Labs motor distro<br />
5 12”x12”x10’ Box truss<br />
2 12”x12” 6-way corner<br />
3 AG-DVX100AE Cameras<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
18 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
ST<br />
Bump<br />
Venue<br />
Majestic Theatre, Detroit, MI<br />
Crew<br />
PromoterProducer: Bump<br />
Lighting Company: RGB Lights<br />
Production Manager/Lighting Designer/<br />
Director: Patrick Spain<br />
Gear<br />
1 Martin Lightjockey<br />
2 Martin MAC 250 Kryptons<br />
2 High End Systems Technobeams<br />
8 Martin Mini MAC Profiles<br />
12 Color Kinetics Color Blast 12<br />
4 Color Kinetics PDS150s<br />
1 Omnisistem 20mW Green Laser<br />
1 Le Maitre Hazer<br />
1 Dell Inspiron 9300 Computer<br />
120 PARs House<br />
Venue<br />
Greenwich Studios, North Miami, FL<br />
Crew<br />
Promoter/Producer: Emilio Estefan<br />
Lighting Company: Zenith Lighting<br />
Production Manager: Ray Steinman<br />
Lighting Designer: Carlos Colina<br />
Lighting Director: John Daniels/Christian Choi<br />
Automated Lighting Operator: Christian Choi<br />
Nuestra Navidad<br />
ST<br />
Lighting Technicians: Philip “Alf” Zammit, Ben Fisher,<br />
Luis Portela, Ale Carnizares<br />
Set Design: Pepe Gomez<br />
Set Construction: Jupiter Scenic<br />
Rigger: Walter Dominicis<br />
Staging Company: Roc-Off<br />
Staging Carpenter: Walter Dominicis<br />
Staging Products: Roc-Off<br />
Video Director: Jason Rudolph<br />
Video Company: Zenith Lighting<br />
Gear<br />
1 Flying Pig Systems Wholehog III<br />
2 Mini Wings<br />
1 MA Lighting grandMA console<br />
24 Vari*Lite VL3000 Spots<br />
19 Martin MAC 2000 Washes<br />
22 Martin MAC 2000 Profiles<br />
16 Martin MAC 2000 Performances<br />
7 Martin MAC 250 Entours<br />
15 Martin Atomic 3000 Strobes<br />
15 Atomic Color Changers<br />
21 High End Systems Studio Beam PC<br />
18 Coemar iWash Halo<br />
2 Zap Technologies 4.5K Big Lite<br />
4 Zap Technologies 7K Big Lite<br />
46 LED Coemar Parlite<br />
18 Duccio One cell cycs w/500-watt lamps<br />
18 ETC 36-Degree Source Four Lekos<br />
4 ETC 26-Degree Source Four Lekos<br />
4 ETC 19-Degree Source Four Lekos<br />
2 2K Mole Zips w/ Egg Crates<br />
1 Lycian M2 Short Throws<br />
2 Lycian M2 Medium Throws<br />
2 Robert Juliat Heloise<br />
2 Reel EFX DF-50 Haze machines<br />
2 Real EFX Fans Turbo<br />
1 High End Systems F-100 Smoke machines<br />
6 Snow Master Snow machines<br />
25 1-ton motors with 40-foot chains<br />
5 20’ x 40’ Main Light Industries fiber optic curtain<br />
66 1/2-meter Element Labs Versa Tubes<br />
24 1-meter Element Lab Versa Tubes<br />
ST<br />
Brandon Youth Theatre Presents: Cinderella<br />
Venue<br />
The Don Thompson Theatre, Tampa, FL<br />
Crew<br />
Promoter/Producer: Brandon Youth Theatre<br />
Lighting Company: Mike Wood Lighting<br />
& Production Services<br />
Production Manager/Lighting Designer, Director:<br />
Mike Wood<br />
Lighting Techs: James Bote, Steven Heid, Steven<br />
Infield, Max Roberts<br />
Set Design & Construction/Staging: MWLPS<br />
Rigger: Jason Johnson<br />
Gear<br />
1 Martin Maxxyz console<br />
1 Martin Maxxyz PC<br />
1 Flying Pig Systems Hog 1000<br />
6 High End Systems Studio Color 250<br />
1 High End Systems Studio Spot 250<br />
6 Wybron CRII Scrollers<br />
40 Altman Lekos<br />
24 ETC Source Four Lekos<br />
50+ Assorted Altman PARs and Fresnels<br />
1 Strand Century Dimming system<br />
1 Counterweight system.<br />
WewantYOU!<br />
<strong>PLSN</strong> wants your gig shots,<br />
horror stories and resume<br />
highlights! Go to<br />
www.plsn.<strong>com</strong>/submissions<br />
to send us your Showtime pics,<br />
Nightmare stories<br />
and In The Trenches stats.<br />
Or e-mail<br />
jcoakley@plsn.<strong>com</strong><br />
for more info.<br />
We cover the industry<br />
— and that means you!<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong> FEBRUARY 2007 <strong>PLSN</strong> 19
INSIDE THEATRE<br />
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<br />
The Magic<br />
of Mary Poppins<br />
By BryanReesman<br />
GEAR LIST<br />
Ashley Brown as Mary Poppins<br />
LIGHTING:<br />
1 Strand 520 console, running<br />
automated and conventional lights.<br />
2 Strand 550, remote programming<br />
and backup<br />
8 Strand SN110 Nodes.<br />
7 DHA 8-lamp Digital Light Cur<br />
tains 6’4” 12V 240W Par56 VNSP<br />
1cir (1920w)<br />
24 Vari*Lite VL2000 Washes (700w)<br />
45 Martin MAC 700 Profiles (700w)<br />
62 Vari*Lite VL1000 TS Spots (1Kw)<br />
9 Vari*Lite VL3000Q Spots (1200w)<br />
4 Vari*Lite VL3500Q Spots (1200w)<br />
38 Clay Paky CP Color 400 SH/HSR<br />
Lamps (400w)<br />
1 High End Systems TechnoBeam i<br />
(1500w)<br />
12 Martin Atomic 3000 Strobes<br />
4 Lycian 1293 X3K-Xenon Follow<br />
spots (3Kw)<br />
21 10° ETC Source Fours (750w)<br />
38 14° ETC Source Fours (750w)<br />
35 19° ETC Source Fours (750w)<br />
138 26° ETC Source Fours (750w)<br />
13 36° ETC Source Fours (750w)<br />
7 15°-30° ETC Source Four Zooms<br />
(750w)<br />
8 PAR 64 NSPs (1Kw)<br />
1 Strand Quartet Fresnel (650w)<br />
@<br />
4 Toccata EP at 2Kw w/White Light<br />
VSFX cloud wheels<br />
40 MR16 Birdies 12V<br />
25 L&E 6’ 30LT 3-cir MR16/EYJ 75W<br />
750W (mini-strips)<br />
84 Pulsar ChromaBatten 200/10°<br />
LED Striplights<br />
7 6” Fresnels<br />
2 Source Four PAR VNSPs (750W)<br />
17 10” Wybron Coloram II CC for 10°<br />
(10w)<br />
19 7.5” Wybron Coloram II CC for 14°<br />
(10w)<br />
7 7.5” Wybron Coloram II CC for<br />
Source Four Zoom (10w)<br />
107 4” Wybron Coloram II CC for 19°<br />
MDG Hazers<br />
Tiny Foggers<br />
DMX-it Tiny Fogger interfaces<br />
Look VIPER foggers<br />
LeMaitre Foggers and Chillers.<br />
VIDEO<br />
2 Barco RLM 6+ Performers, con<br />
trolled by “Watchout,” triggered<br />
via DMX by Rosco Keystroke.<br />
1 Extron IPL TS RS232 Interface<br />
2 Wybron Eclipse II Dowsers<br />
Mary Poppins lighting<br />
designer, Howard Harrison<br />
Mary Poppins is the latest, greatest<br />
spectacle to hit Broadway. It ambitiously<br />
attempts to recapture the<br />
magic of the film, including its myriad locations,<br />
its animated park sequence and all of<br />
the songs that people have <strong>com</strong>e to know<br />
and love, along with some new material. And<br />
Gavin Lee, who plays artist/chimney sweep<br />
Bert, very much performs in the style of Dick<br />
Van Dyke.<br />
The most impressive aspect of the show<br />
is the three-story house set, which actually<br />
breaks apart so that when it recedes back into<br />
the stage, the attic can descend to stage level<br />
and open up to reveal the characters inside.<br />
The outside façade can also remain intact for<br />
the rooftop sequences. When the audience<br />
first saw this trick unveiled at one preview<br />
show, they spontaneously applauded. “I think<br />
it’s very, very cleverly designed,” says lighting<br />
designer Howard Harrison of the house. “It’s<br />
not just the size of it, but the unit is a whole.<br />
It flows and takes you to a lot of different<br />
places.”<br />
Veteran designer Harrison, who has<br />
worked for 25 years on shows in the West End<br />
of London and on Broadway, had the challenge<br />
of lighting a production that is among<br />
the most ambitious that the Great White Way<br />
has ever seen. He originally worked on the<br />
show when it opened in the West End of London<br />
in December 2004. After being involved<br />
with other productions, he later joined Mary<br />
Poppins’ Broadway incarnation, which began<br />
running in November 2006. “I was in New York<br />
for three months while we were doing it, and<br />
it took that long because of the size of it,” he<br />
says. “We needed that much time to get it<br />
right.” He adds that he had slightly less time<br />
to prepare the original British production.<br />
In transitioning from the U.K. to the United<br />
States, the show went through numerous<br />
changes. “In every aspect: in terms of scenic<br />
design, in terms of what I did, in terms of choreography<br />
and direction,” explains Harrison.<br />
“Fundamentally, the basis of the show is the<br />
same, but everyone thought we could improve<br />
on things. It was fantastic to be able to<br />
get that second chance to do that.”<br />
Mary Poppins on Broadway is loaded with<br />
lights. “There are in the region of about 130<br />
moving lights,” says Harrison. “It’s a large moving<br />
light rig, but it’s got a small conventional<br />
rig. Onstage there are very few conventional<br />
lights at all, largely because there’s little real<br />
estate” — indeed, little room above the stage<br />
— “so that the only way to light it is to put<br />
moving lights there. The scenery moves, so<br />
the moving lights are not just a luxury for<br />
lighting. The overhead electric onstage is 20<br />
feet upstage, which is quite tricky.”<br />
Despite all of the moving lights, the<br />
sound designer did not have a problem on<br />
his hands. “A big issue on the show was the<br />
idea of noise,” stresses Harrison. “A lot of the<br />
lights that we used were chosen for the lack<br />
of noise they make as much as for what light<br />
they produce, and largely we used this new<br />
Martin instrument, the MAC 700, which is certainly<br />
the quietest moving light that I’ve <strong>com</strong>e<br />
across. It is virtually silent. I think people are<br />
quite surprised how quiet it is for the amount<br />
of moving lights in the building.”<br />
In designing lighting for Mary Poppins,<br />
Harrison says his key goals were “to unify everything<br />
with a style that was in keeping with<br />
what the scenic design does, tying everything<br />
together and also give the ability to create<br />
some of the magic of Mary Poppins. Virtually<br />
every scene is touched by her magic, and<br />
therefore, being able to distort and change<br />
the look of something as she applies magic<br />
to it was crucial.”<br />
An important element in the lighting<br />
design was color, and most of the colors for<br />
the moving lights were custom ones created<br />
for the show. In terms of conventional color,<br />
20 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
Left to Right: Ashley Brown as Mary Poppins, Katherin Leigh Doherty as Jane Banks, Alexander Scheitinger<br />
as Michael Banks, Gavin Lee as Bert and the original Broadway <strong>com</strong>pany of Mary Poppins<br />
“There is no color or Lee 201 or Lee 161<br />
and those kinds of colors,” says Harrison.<br />
“But the majority of the lights, even at<br />
the front of house, are VL-1000s, which<br />
are color mix. We were able to make our<br />
own colors. There are a lot of blues, a lot<br />
of pinks, a lot of roses, some greens.”<br />
Despite all of the technology used for<br />
Mary Poppins (there are approximately<br />
600 electric cues for the production), Harrison<br />
and his collaborators wanted to disguise<br />
its presence. “The aim of the show<br />
is to make it look quite old-fashioned,”<br />
he remarks. “We wanted the show not to<br />
look high-tech in any way. It is a period<br />
show that takes place at the turn of the<br />
last century. We didn’t want any manner<br />
of modern technology to be evident, and<br />
I think we succeeded with that. The show<br />
has quite a period look to it.”<br />
Following the film’s journey that includes<br />
a large bank, a large house, a sweet<br />
shop and the rooftops of London, Mary<br />
Poppins created quite a daunting challenge<br />
for all involved. Indeed, the park<br />
sequence that transforms from black and<br />
white to color for the “Jolly Holiday” number<br />
was the toughest piece for Harrison.<br />
“That was the one that took the longest<br />
time to get right,” he admits. “It had<br />
to be very, very precise and had to very<br />
much match what happened scenically.<br />
To crack it took a hell of a long time. If<br />
you’re dealing with the concept of kids<br />
in a wintry, cold park that turns into summer<br />
life, you’d think that sounds easy,<br />
but in fact it isn’t, and the things you<br />
thought would work didn’t work with<br />
the costumes and with the set. So that<br />
took quite a while.” He adds, “The other<br />
big thing was the house itself. You’ve got<br />
very few positions to light it from, apart<br />
from lighting from the front. To give the<br />
house some texture and not make it look<br />
very, very flat was quite tough.”<br />
Interestingly enough, the upsidedown<br />
tap dance sequence — no joke, the<br />
character of Bert dances up the side of<br />
the stage and across the top of the stage<br />
— was not difficult for Harrison. “That<br />
number always came pretty easily, and<br />
that’s probably the number in the show<br />
that I’m most pleased with,” he reveals.<br />
“The number was one of the few times<br />
we have a big, empty stage, so actually it<br />
was a blessed relief that you were able to<br />
do what you wanted to do without being<br />
aware of it.”<br />
Ultimately, Mary Poppins delivers audiences<br />
an eye-popping spectacle, and<br />
it came about because of a strong team<br />
effort. “I think this show is a fine example<br />
of being a collaboration,” observes Harrison.<br />
“You can’t work in isolation, but here<br />
you’re working very much with the scenic<br />
design, with the costume design and<br />
the choreography and the direction. We<br />
all got along very well and all respected<br />
what everyone else did. With this show<br />
you never could go off on your own tangent<br />
and do your own thing. You had to<br />
be reading from the same book.”<br />
Another shot of Ashley as Mary Poppins<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 21
VITAL STATS<br />
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<br />
American Audio Visual Center, Inc.<br />
AAVC corporate HQ.<br />
Who:<br />
American Audio Visual Center, Inc. (AAVC). Within AAVC is Team Staging.<br />
Left to right: Duane Tornquist, corporate VP, sales & marketing; Jeff Winkler, senior VP & COO; Jim Carlson, president and CEO; Sherry<br />
Bower, controller; John Radonovich, senior VP and & CFO<br />
What:<br />
Audio-visual and multimedia staging <strong>com</strong>pany providing turn-key presentation,<br />
multimedia and staging support for corporations, producers, meeting planners, associations,<br />
product launches, corporate meetings and events.<br />
Where:<br />
Scottsdale, Ariz., with operations in Los Angeles, San Jose, Sacramento, San Diego,<br />
Dallas and Atlanta.<br />
When:<br />
Founded in 1993 by Jim Carlson.<br />
Front of house at an AAVC show.<br />
An American Audio Visual Center show for Abbott Vascular<br />
Full time employees:<br />
200<br />
Recent clients include:<br />
Washington Mutual, Abbot Vascular, Sun<br />
Micro Systems, Ritz-Carlton, Marriott, Hyatt<br />
and Starwood.<br />
Recent <strong>com</strong>pany highlights include:<br />
A show for Commonwealth Financial<br />
Network at the J.W. Marriot Desert Ridge<br />
Resort and Spa featuring two 12’x16’ RP<br />
screens, two Barco R12+ projectors, Folsom<br />
Screen Pro, Grass Valley Turbo, two<br />
cameras and 25 moving lights.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Degrees of separation:<br />
COO Jeff Winkler was general manager of<br />
Audio Visual America/Stage Sound; Doug<br />
Hunt, vice president of Team Staging,<br />
staged the Academy Awards for 19 years;<br />
Duane Tornquist, senior vice president<br />
of sales and marketing was previously at<br />
A&M and Capitol Records; John Radonovich,<br />
senior vice president and CFO, was the<br />
former CFO of Bobbie McGee’s Restaurant<br />
chain before joining AAVC in 1997.<br />
Motto:<br />
“Extreme Customer Service.”
Ad info: www.plsn.<strong>com</strong>/instant-info
INTERVIEW<br />
The<br />
Where did your career take you next?<br />
I toured with Cheap Trick for five years.<br />
In the very beginning there were the bars,<br />
then the arena circuit and then outdoor staof<br />
King<br />
Congo Blue<br />
Matthew Perrin talks<br />
about achieving amazement<br />
Matthew Perrin<br />
By RobLudwig<br />
Plenty of people in our industry<br />
wanted to be an actor, yet ended up<br />
studying technical theatre. But not<br />
many have toured as an LD for one of the<br />
biggest bands of the ‘70s, then quit to play<br />
in a rock ‘n’ roll band. And what if someone<br />
were to do both, then ended up working for<br />
a mouse? That’s the story of the multi-talented<br />
King of Congo Blue, Matthew Perrin.<br />
<strong>PLSN</strong>: How did you get started in the<br />
lighting industry?<br />
Matthew Perrin: I went to Bradley University,<br />
in Peoria, Ill., right after graduating<br />
from high school and elected to take theatre<br />
as a major. I started out as a carpenter<br />
building really nice sets. We built a special<br />
set for The Night Thoreau Spent in Jail that I<br />
will always remember because it had 22 different<br />
levels.<br />
That got me started in the tech side,<br />
because I figured I wasn’t a very good actor,<br />
and we started playing with lighting<br />
as well. The next thing I know, I’m working<br />
for a rock band. They asked me to do their<br />
lighting, so I took it and ran with it. That was<br />
in 1971. By the end of 1972, I started using<br />
Was your approach to concert lighting<br />
more theatrical because of your training?<br />
Absolutely. I learned a lot about color.<br />
I studied the psychology of color when I<br />
was with Gilbert, and he was very good at<br />
teaching the fundamentals. The thing I still<br />
try to tell LDs that are learning is to pay attention<br />
to the basics. General illumination is<br />
your first job, the first element. The second<br />
element is specific lighting — areas, specials.<br />
The third element is color and special<br />
effects. I try to keep them prioritized, and<br />
that’s what I did with Cheap Trick. I applied<br />
a lot of what I learned theatrically to what I<br />
did with them.<br />
At the University of Wisconsin, we had<br />
“We had over 120K on the floor alone and a<br />
million-watt button.” –Matthew Perrin<br />
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PAR Cans, 1000-watters, and I had to figure<br />
how to wrangle power. I ended up getting<br />
my own dimmer rack. And for a distro, I was<br />
using alligator clamps to hot panels to grab<br />
power and run all the PAR 64s. [Do not try<br />
this at home! – ed.] I probably had one of<br />
the largest systems anyone had seen in the<br />
bar scene. I had that maximum approach<br />
— I always put as many things together as<br />
I could.<br />
That’s when Cheap Trick discovered me.<br />
I was working for a ‘50s revival act that was<br />
incredibly theatrical and really successful.<br />
We had shows where Bob Seger and Cheap<br />
Trick opened up for us. Our booking agent,<br />
Ken Adamany, ended up being the manager<br />
of Cheap Trick. For contractual reasons,<br />
and in order to work for Cheap Trick,<br />
I stopped touring with the revival group<br />
and went back to school in Madison, Wis., at<br />
the University of Wisconsin. There, I got to<br />
study under the late, great Gilbert Hemsley.<br />
Gilbert was the guru of Broadway lighting.<br />
It was a fantastic opportunity, and I learned<br />
a lot.<br />
Finally, Cheap Trick got a recording contract<br />
and asked me to go on tour with them. I<br />
went to Gilbert and asked him if I should pass<br />
on the opportunity to stay and study under<br />
him. He told me that Cheap Trick was a great<br />
opportunity and I’d probably not get one like<br />
it again. He said, “You go and report to me,<br />
and I’ll give you all ‘A’s in your classes.”<br />
a color lab where you could just play for<br />
hours. I would go in and try different colors<br />
at different angles and intensities with<br />
different instruments. We’d study the elements<br />
of the light down to transmissivity,<br />
or what we called translucence — the “wow<br />
factor,” or chroma, to be exact. We’d break<br />
that down to chroma elements, or the relationship<br />
of intensity, color and saturation.<br />
I don’t think there are a lot of LDs around<br />
anymore that are aware of that relationship<br />
and try to use it. Those are the tools that I<br />
brought with me from my studies.<br />
You are the self-proclaimed Congo blue<br />
King.<br />
[Laughs]. That was what I got to be<br />
known for — it was my signature. When I<br />
started using Congo blue in the concert<br />
scene, other LDs told me I was crazy because<br />
they felt it took too much power to<br />
push enough Congo to make it useful. I<br />
found that Congo blue was that incredible<br />
link between colors that shouldn’t work<br />
side-by-side. It’s a double spectrum color;<br />
it has got red and blue in it. It’s warm and<br />
cool, and it can be<strong>com</strong>e a link. For me, it was<br />
the key to my palette.<br />
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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<br />
diums. Of course, there was Japan and “Live<br />
at Boudokan!” We were doing outdoor concerts<br />
for 45,000 people. We played a show<br />
with the Who, in Nuremberg, Germany, for<br />
85,000 people. I was production manager<br />
as well as LD. At one point, we had the<br />
world’s loudest P.A. and the largest indoor<br />
lighting rig ever. We had over 120K on the<br />
floor alone and a million-watt button.<br />
Unfortunately, Cheap Trick got into<br />
some legal issues that forced them to stop<br />
touring, so we went our separate ways.<br />
Then I toured with Grand Funk Railroad for<br />
a <strong>com</strong>eback tour in ’81 and ’82, which was<br />
a fun experience. And after that, I got into<br />
production management. That took me into<br />
being a <strong>com</strong>pany manager for a ballet tour,<br />
for an organization called Columbia Artists<br />
Management, in New York. Our office was<br />
across the street from Carnegie Hall. I took<br />
out the Royal Ballet of Flanders, and we<br />
toured the nation, coast-to-coast, on a truck<br />
and bus tour. I ended up marrying a ballerina<br />
and moving to Belgium for 11 years.<br />
that we all do in the corporate world, and<br />
seems to be endless, but there’s also the<br />
entertainment and creative element. We<br />
just had Seinfeld, and we’ve done Aretha<br />
Franklin, Eddie Money and a lot of very<br />
special motivational speakers. It’s been a<br />
great experience.<br />
Is it your job to coordinate the design<br />
team and act as the production/project<br />
manager for people that are <strong>com</strong>ing into<br />
the hotels, ballrooms and convention<br />
spaces?<br />
That’s accurate. We do a variety of productions.<br />
There are two sides: retail and internal<br />
Disney shows. The varying degree of<br />
creative depends on the event, of course.<br />
Sometimes, it’s simple — we have Mickey<br />
Mouse on the stage introducing the CEO of<br />
a corporation, to full blown theatrical production<br />
with scenic elements, orchestras,<br />
coordinated video, dancers and singers.<br />
And then you’ve got choreographers involved,<br />
directors, producers, music directors<br />
and pyro, all under one roof.<br />
What best prepared you for this role?<br />
The sum total of what I’ve learned<br />
over my entire career. This job taps our<br />
resources to the max. From my past experiences,<br />
I’ve learned how to plan, troubleshoot<br />
and run a crew. When you see the<br />
potential for failure, it makes you plan<br />
much harder to avoid it. Knowing lighting,<br />
rigging and a good deal about audio and<br />
video doesn’t hurt, either. It’s about bringing<br />
something with you to the party.<br />
Now that you’ve lit the band, you’ve<br />
been in the band, you managed the<br />
production-side of the band, where do<br />
you see yourself in 10 years?<br />
That’s a tough question to answer.<br />
I’d like to end up moving from project<br />
manager into a producer position of<br />
some sort. And it’s still hard not to do<br />
lighting — it’s hard to go to a concert<br />
and not say, “I want to do that” or “it can<br />
still be better.”<br />
Any last pearls of wisdom?<br />
Alice Cooper used to love to ask,<br />
“What can you do that’s amazing?” It<br />
makes you think.<br />
Did you work in Europe?<br />
I ended up being a musician over there.<br />
I was lead singer in my own band called<br />
Smoking Beaucoup. We really had a good<br />
run. We were the house band at the Hard<br />
Rock Café in Antwerp, Belgium and made<br />
a CD. We played all over Holland, Germany<br />
and France.<br />
What brought you back to this side of the<br />
pond?<br />
Divorce. It was time to <strong>com</strong>e back. I had<br />
a kid, and the plan was to bring my son back<br />
to get an American education. I came back<br />
to Florida and figured I’d end up back in the<br />
industry. I thought Orlando would be an<br />
easy place to get back into the industry by<br />
working for someone like Disney. I was totally<br />
wrong about that, because when I first<br />
came back into town, it was tough to get<br />
any doors to open here.<br />
How did you finally end up working for<br />
Disney?<br />
I went to go see an Eddie Money concert<br />
in Orlando, and I was visiting with Eddie<br />
because we had a personal relationship. Eddie’s<br />
people urged me to get back into the<br />
business and to go work for this <strong>com</strong>pany<br />
in Orlando. So I went out and started doing<br />
a little rock ‘n’ roll and got up to speed on<br />
moving lights and Hog programming. Since<br />
we have the biggest convention market in<br />
the world, I started doing corporate lighting<br />
and tours. Then, this opportunity with<br />
PSAV (Presentation Services Audio Visual)<br />
came along last February. The Disney Event<br />
Group turned over the lighting and audio<br />
visual to PSAV. They approached me to be<br />
one of their lighting designers, but during<br />
the interview process, they found out my<br />
background in production and asked me to<br />
be a project manager.<br />
And that is what you do today.<br />
I am a project manger for PSAV at Disney<br />
Event Group. I work all the Walt Disney<br />
World owned and operated hotels. We’re<br />
doing shows for a lot of Fortune 500 <strong>com</strong>panies,<br />
and we get involved with Disney’s<br />
creative process. It’s a wonderful opportunity.<br />
They’re probably the largest production<br />
house in the world. It’s non-stop, and I<br />
think I’ve done 40-plus shows since February<br />
of 2006.<br />
What do they involve?<br />
Not only the audio-visual presentation<br />
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PRODUCTION PROFILE<br />
How Do You<br />
Like ‘Em Now?<br />
Seth Jackson (left), and Eddie “Bones” Connell.<br />
By DaveMcGinnis<br />
Photos by JessicaHird<br />
Over the last couple<br />
decades, country music<br />
has inched its way out<br />
of the realm of the folk Americana<br />
sound and into the arena<br />
of, well…arena. Where country<br />
stars once played enclosed theatres and<br />
large clubs, they have now taken over the<br />
stadiums that once played host exclusively<br />
to rock. High on the mountain of arena country<br />
stands Toby Keith, and, just like the arena<br />
rockers before him, his current “Hookin’ Up<br />
and Hangin’ Out” tour en<strong>com</strong>passes largescale<br />
lighting, a big sound, pyro and video.<br />
The stage even supports half of a Ford pickup<br />
— used for an opening video sequence. The<br />
show consists of at least 21 songs per night,<br />
with four more on reserve should Keith see<br />
fit to perform them. Such a show can put immense<br />
demands on the shoulders of its techs,<br />
but lighting director Eddie “Bones” Connell<br />
and lighting designer Seth Jackson have<br />
stuck with Keith for years (four for Jackson<br />
and a decade for Bones), and seem to be right<br />
at home, even though they <strong>com</strong>e from polar<br />
opposites in the entertainment industry.<br />
Bones’ list of<br />
past clients includes the now-closed<br />
Cowboys bar in Dallas, Texas; the Cowboys in<br />
Atlanta, Ga.; an ‘80s glam band called Lillian<br />
Axe; and Pantera. “I started in clubs, using<br />
just PAR cans like pretty much everyone else<br />
did,” Bones remembers. Bones got offered<br />
the gig with Keith while working lighting in<br />
a bar where tour personnel, Keith included,<br />
happened to visit on the same day that they<br />
“He was nice and theatre, and I was flash<br />
and trash.” —Eddie “Bones” Connell<br />
had lost their previous designer.<br />
Jackson, by stark contrast, rose through<br />
the ranks of theatre. After studying theatre<br />
at Webster University, Jackson went to work<br />
for Vari-Lite in 1994, which soon led to his<br />
first country tour, Lorrie Morgan. Jackson’s<br />
appearance on the Toby Keith tour also<br />
seems to have been brought about by a certain<br />
degree of providence for all involved. In<br />
the midst of the addition of the Ford truck<br />
to the tour, and after Ford had hired another<br />
designer to light that portion of the show,<br />
26 <strong>PLSN</strong> FEBRUARY 2007<br />
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the Toby Keith tour<br />
found itself searching for a lighting designer<br />
to tackle the entire project.<br />
“It was <strong>com</strong>pletely last-minute,” Seth<br />
confesses. “They were taking a big step with<br />
the size of their show, and the Ford sponsorship<br />
was starting out, and there was an<br />
actual, full-size, real, working, with-an-engine<br />
truck onstage. Ford had hired Jim Lenahan<br />
to design their truck portion of the<br />
show, and Toby’s people approached him<br />
about just doing the whole thing, but he<br />
was swamped and busy, and he and I had<br />
worked together for years, so he said, ‘Why<br />
don’t you call this guy?’ So, that’s kinda how<br />
it all happened. I got the call three and a<br />
half weeks before we went into rehearsals<br />
or something. It was fast.”<br />
Bones characterizes his meeting with his<br />
partner thus: “He was nice and theatre, and I<br />
was flash and trash.”<br />
Given the different backgrounds of the<br />
two key figures in this lighting rig, one would<br />
expect some clashes, but both Jackson and<br />
Bones say that, so far, everything has been<br />
fine. While each admits to some hesitation<br />
in the early days, they quickly realized that<br />
they may well have been the perfect pairing<br />
to create a solid light show. With Bones’<br />
history of functioning as a human MIDI, and<br />
with Jackson’s background in theatre, interpreting<br />
pre-existing material to illuminate a<br />
cohesive whole (like, say, music), the formula<br />
for a driven show drew itself.<br />
“First year was a little ‘how are we going<br />
to do this?’” Jackson told <strong>PLSN</strong>. “But then<br />
we kinda clicked.”<br />
Bones is quick to respond with, “We can<br />
read each other’s minds.”<br />
The preparation for the “Hookin’ Up”<br />
tour <strong>com</strong>menced in February of last year.<br />
Bones, Jackson, production manager Sean<br />
Sergeant and production coordinator Mark<br />
Sissle opened discussions regarding what<br />
the show would look like and how it would<br />
move. “You <strong>com</strong>e up with two or three ideas,<br />
and they’d go to Toby,” Jackson reports, “And<br />
he kinda speaks to what he wants and what<br />
he likes — and then that’s done.”<br />
Jackson did the modeling in 3D StudioViz,<br />
and then went right into programming<br />
in a Bandit Lites warehouse. Of course,<br />
the trim, about 18 feet, was about half of<br />
what it should have been. The actual touring<br />
rig trimmed out to a minimum of 35 feet<br />
under ideal conditions, though it can — and<br />
has — been trimmed down to ac<strong>com</strong>modate<br />
certain venues. With such constraints, much<br />
of the result had to be imagined, as many elements<br />
had to be excluded from the rig until<br />
hang time, but it ended up taking only a few<br />
days in what Bones called “scorching” heat.<br />
Bones sat down ahead of time to draft out<br />
everything from cue sheets to focus charts.<br />
The abbreviated preparation necessitated<br />
quick decision making.<br />
“We kept going back and forth on three<br />
or four different rows as to what it was all going<br />
to be and what was going to be a part<br />
of it and would video be in?” Seth told <strong>PLSN</strong>.<br />
“So when we got it locked in as ‘This is what<br />
Different paths have lead<br />
Seth Jackson and Eddie “Bones” Connell<br />
to lighting one of the biggest tours in country music.
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<br />
“As soon as everyone saw them — management, Toby, everybody — they loved those<br />
things, and so we kept them in, and kept adding them.” —Seth Jackson<br />
we’re doing,’ there wasn’t time to get to the<br />
studio and get the model built. It was just<br />
‘Let’s hang it, and let’s go.’”<br />
The instrument list includes Syncrolites,<br />
Vari*Lites, Martin MAC 2000 Washes, Coemar<br />
iWash Halos, American DJ P64 LED RGB<br />
Blinders and a Barco MiPix LED wall 22 feet<br />
tall by 14 feet wide upstage center. Everything<br />
is controlled via a Flying Pig Systems<br />
Wholehog II. Jackson has worked every tour<br />
for the past four years on this console, ever<br />
since he first came on board with the Keith<br />
camp. And if it’s any indication of the scope<br />
of the show they are still running out of DMX<br />
channels, despite using a Fleenor Designs<br />
Pork Chopper. “We’ve really maxed this thing<br />
to its limits,” says Jackson.<br />
The LED wall departs from routes taken<br />
by the Keith camp in the past. “We changed<br />
it to a vertical one this year instead of a horizontal,”<br />
says Jackson. “For years, we’d done<br />
the big 30-foot-wide thing, so we turned it<br />
on its end this year. Gives it a whole new look<br />
to the show, which is great.”<br />
A Green Hippo Hippotizer is currently<br />
being used to serve content to the video<br />
wall during the show. “Hippotizer came into<br />
rehearsals right at the end,” Jackson recalls.<br />
“And it got all hooked into the lines, and<br />
then Bones and I basically sat there after our<br />
show was programmed and went through<br />
and added video into every sequence. The<br />
Hog is actually firing the loading and operating<br />
<strong>com</strong>mands for the Hippotizer.”<br />
Though the Wholehog fires off the video<br />
cues, the video team operates independently<br />
of lighting<br />
itself.<br />
When asked about whether or not they<br />
had much of a hand in the actual creation<br />
of video content, Jackson’s responded with,<br />
“B-rolls, video pieces, that’s all Toby. But the<br />
stuff that’s <strong>com</strong>ing to the MiPix, we just did<br />
all of that out of the library that <strong>com</strong>es with<br />
the desk.”<br />
Anyone who’s spent more than 12 minutes<br />
loading a show in and prepping the gear<br />
knows that when more than one crew work<br />
at height and in proximity, issues are likely to<br />
arise. Who claims which rigging point? Who<br />
gets priority selection of power? This has not<br />
been an issue for the Toby Keith tour. When<br />
asked whether any issues had <strong>com</strong>e up loading<br />
video or with projections, Bones assured<br />
<strong>PLSN</strong> that “We all work in concert.”<br />
Since Jackson’s start with the Keith camp<br />
the truck has been reduced to half a truck for<br />
the Ford portion of the program. Considering<br />
that the original truck (and engine) weighed<br />
in at around 10,000 lbs., you can rest assured<br />
that the staging crew appreciated the move.<br />
Show Effects, which built the set, also built<br />
the truck. It’s a full-size cab of an F-150, with<br />
a hole in its bottom so that Toby can climb<br />
up through the stage-deck into the truck to<br />
make his entrance.<br />
“It’s an honest-to-God size, scale and<br />
everything truck. All the trim pieces <strong>com</strong>e<br />
from Ford, so they’re exactly what you’d see<br />
on a production truck.” Aside from downsizing<br />
the truck, however, the show has<br />
grown over time.<br />
Some of the new additions to this year’s rig<br />
include more Syncrolites and more pyro. “There<br />
are two things that Toby’s very specific about<br />
that we were going to increase this year,” Jackson<br />
told <strong>PLSN</strong>. “And that was more Syncrolites<br />
and more pyro. We got both.” Accord-<br />
Crew<br />
Company: Bandit Lites<br />
Lighting Director: Eddie “Bones” Connell<br />
Lighting Designer: Seth Jackson<br />
Crew Chief: Chuck Hastings<br />
Lighting Technicians: Sam Harden, Joshua Fenn,<br />
Kyle Russelburg<br />
Production Manager: Sean Sergeant<br />
Production Coordinator: Mark Sissle<br />
Gear<br />
8 American DJ LED Blinder 8-Lite<br />
32 Martin MAC 2000 Wash<br />
20 Vari*Lite VL 3000 Spot<br />
3 Cyberspot<br />
26 Coemar I Wash Halo<br />
11 Coemar LED Par<br />
9 Martin Atomic 3000 Strobe<br />
ETC 72-Way 2.4K Digital Sensor Dimmers<br />
1 Flying Pig Systems Wholehog II with Wing<br />
High End Systems F-100 Smoke Machines
Production Profile<br />
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<br />
ing to Bones and Jackson, Keith is a big fan of the Syncrolites. We<br />
had to ask why.<br />
“Just the big, fat, bright, gigantic beams,” Jackson reports.<br />
“When we first brought them out here, everybody wasn’t sure<br />
about them. But as soon as everyone saw them — management,<br />
Toby, everybody — they loved those things, and so we<br />
kept them in, and kept adding them.”<br />
Jackson also likes his American DJ blinders. “They’re eye<br />
candy,” he says. “They’re all over the rig and under the deck of<br />
the stage. They’re under each step, they strobe, they do all the<br />
color changes.”<br />
Like many contemporary touring artists, and most artists<br />
in general, Toby Keith offers <strong>com</strong>ments during the development<br />
of his stage show, but he balances his own input with a<br />
“hands-off” approach. When asked about the specific nature<br />
of Keith’s input, Jackson answered, “He keeps in the broad<br />
strokes. He’ll <strong>com</strong>e in and look at the beginning stages. He’ll<br />
look at the overall look of things. He usually focuses on how<br />
the show starts, and that’s the rest of it.”<br />
With two veterans on lighting who have put the years into<br />
the tour that Jackson and Bones have, it’s easy for talent and<br />
management to trust the team. They’ve learned the music, they<br />
know the show, and after four years of working side-by-side,<br />
the duo have reached that point where they read each other’s<br />
minds and work in perfect sync.<br />
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28 <strong>PLSN</strong> FEBRUARY 2007<br />
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PRODUCTION PROFILE<br />
Panic!<br />
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<br />
At the Disco<br />
Finds Inspiration in Circus Atmosphere<br />
Photos&Text by SteveJennings<br />
They weren’t just clowning around<br />
when the band Panic! At the Disco<br />
said they wanted a circus atmosphere<br />
for their then-up<strong>com</strong>ing tour.<br />
“When I was first contacted by the band,<br />
we discussed the vaudeville/burlesque<br />
theme,” said Robb Jibson, lighting designer/<br />
director. “Carrying that into a ‘Moulin Rouge’<br />
look for the summer, we decided to apply<br />
those themes and colors to a really exaggerated<br />
carnival environment for the fall.”<br />
The band was aware of a set built by<br />
Tait Towers and Atomic Design, and they<br />
thought it would be appropriate for their<br />
tour. But when they inquired about renting<br />
it, they found that, besides having the wrong<br />
colors, it had “a few large burn holes.”<br />
In came production manager David<br />
“51” Norman, and the two started to look<br />
for a scenic vendor to help design and<br />
build a new set. Jibson had previously<br />
worked with Soren West of Atomic Design<br />
on another project, and he “remembered<br />
the great experience I had with him.” So<br />
the two got together and started tossing<br />
ideas back and forth. West, in turn, brought<br />
in Atomic Design colleague Mike Rhoads,<br />
and they started producing renderings<br />
and designing “the more intricate details”<br />
of the set pieces.<br />
“Robb came to us looking to present<br />
the band with a concept sketch of the circus<br />
canopy/tent idea,” said Rhoads. “Since the<br />
band had admired Justin Collie’s design of<br />
Mötley Crüe’s circus tent set and was looking<br />
for a similar treatment, Robb initially<br />
turned to Tait Towers, as they had built the<br />
Crüe tour. Then Tait referred him to us, as we<br />
had patterned, built and painted the canopy<br />
and tent goods.”<br />
Rhoads, who has a background in theatre,<br />
was a scenic artist with Atomic Design<br />
for five years before moving into the “design<br />
dungeon.” His background and experience<br />
paid off handsomely on this project.<br />
“Researching for the set was fun,” he said. “I<br />
came across a book of old circus and fairground<br />
images and of course the Internet is<br />
a great source for design inspiration. For example,<br />
I found great images of antique carousel<br />
horses to use for the drum riser/carousel<br />
piece. Because the set is fairly minimalist<br />
(a cello riser, a drum riser and a keyboard<br />
riser), each piece had to concisely convey<br />
the spirit of the show so the florid ornamentation<br />
on the cello riser ‘elephant stand,’ the<br />
gilded tracery on the keyboard ‘lion cage’<br />
and the extreme aging and distressing of<br />
the striped canopy all allude to the idea of a<br />
once-extravagant circus gone to seed. Even<br />
the close-down curtain became a cross between<br />
an old burlesque theatre curtain and<br />
a sideshow tent, hinting that something titillating<br />
was going to happen behind it.”<br />
Conway Allison, whom Rhoads calls<br />
“Atomic designer and Vectorworks master<br />
bar none,” engineered and patterned<br />
the canopy. Atomic’s softgoods department<br />
built a one-inch scale model “to<br />
fine-tune the patterns before producing<br />
the real thing.”<br />
“Adam Davis, Mike Long and Avery<br />
White of Tait Towers were extremely helpful<br />
in the design, engineering and building of<br />
the three instrument risers and integrating<br />
them to their decks,” said Rhoads. The rest of<br />
the softgoods were produced by I. Weiss.<br />
But the biggest challenge of the scenic<br />
design and fabrication was the creation of a<br />
Victorian audience backdrop. A week before<br />
they were to ship the final product, Rhoads<br />
found out that the artist who was originally<br />
supposed to create the backdrop couldn’t<br />
meet the deadline.<br />
“The band understandably did not want<br />
to start their tour without such a major<br />
piece,” said Rhoads. “We decided to go the<br />
digital printing route, but our print house<br />
needed the artwork in 48 hours to guarantee<br />
a timely delivery. With only hours before<br />
I had to board a plane for a trade show in<br />
Atlanta, I scanned every bit of Victorian clip<br />
art of male and female figures I could get<br />
my hands on. At the airport I cut, pasted<br />
and Photoshopped the scans, building a<br />
<strong>com</strong>position based on the band’s requests.<br />
That night I sent out a black and white proof<br />
for the band’s approval and then handed<br />
the artwork off to Joanna Seedorf. She took<br />
the black and white file and in Photoshop<br />
hand colored each figure. We sent that to<br />
the band, made some adjustments, tweaked<br />
the image with filters to give it a more painterly<br />
feel and sent it off to a large-format<br />
print house.”<br />
In the meantime, Atomic, artist Tim Nies,<br />
Tom McPhillips and Rhoads put the finishing<br />
touches on the band risers. When the<br />
backdrop came back, they hemmed it before<br />
turning it around for pre-production.<br />
“In real time,” said Rhoads, “the artwork was<br />
done in about 12 hours. The drop came to<br />
Atomic for finishing and was overnighted to<br />
Florida for the first day of load-in.” It turned<br />
out to be one of the scenic elements Rhoads<br />
was most proud of.<br />
For the lighting, Jibson’s design started<br />
with a muted color palette from which he<br />
rarely strayed. “When we did stray,” he said,<br />
“it provided for a great contrast.” He also<br />
identified and emphasized the direction of<br />
the key light.<br />
“On this project, it’s really about keeping<br />
the performers and action lit,” said Jibson.<br />
“Having the key light systems covering<br />
the action, I was able to really dedicate the<br />
effects systems to different looks in each<br />
song. I think that really made the show<br />
look different.”<br />
What was not so different about this<br />
show was Jibson’s choice of lighting. He<br />
stuck by his favorites, the Vari*Lite VL3000<br />
Spot and VL2500 Wash. “The VL2500 Wash<br />
is a no-brainer: extensive optics, that series<br />
300 color wheel and color mixing. I also<br />
love the glass dimmer wheel. In my mind<br />
the VL3000 Spot has the best feature set,<br />
and the stock gobos are very workable,”<br />
Jibson said.<br />
But he also tried out a new favorite, the<br />
Martin MAC 700 Spot. “We chose the MAC<br />
700s over VL2500 Profiles and MAC 2000<br />
with custom gobos because of budgetary<br />
issues. Upstaging Senior Account Executive<br />
30 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
“In real time, the artwork was done<br />
in about 12 hours.” –Mike Rhoads<br />
John Bahnick asked me if I was open to it,<br />
and I said that I won’t take lights that I’ve<br />
never used before, so we set up a shootout<br />
at Upstaging. Looking at it side-by-side<br />
with the 2K, it’s got all the punch, has a few<br />
more features and is priced right.”<br />
He also used two other fixtures for the<br />
first time: the High End Systems Studio<br />
Command 1200 and the Zap Technologies<br />
BigLite. “I had used tungsten so much over<br />
the summer that I wanted to get the punch<br />
from an arc source and expand that color<br />
range,” Jibson said. “The Studio Command<br />
1200 emits light with all three dichroics<br />
dialed in. The lamp strobe is a useful<br />
feature that I used in a song to make the<br />
entire song look like it was on film. It has a<br />
nice and punchy tight beam, and though<br />
it could stand to zoom a bit larger to be a<br />
really good all around light, I was able to<br />
place it correctly to let the beam develop<br />
for coverage.<br />
“Originally I had spec’d Syncrolite<br />
SX3Ks. Upstaging has made a large investment<br />
in BigLites, and it really helps<br />
your budget. With Syncro*Lites you need<br />
an extra guy out to tech them, but since<br />
the Big Lites <strong>com</strong>e from Upstaging, their<br />
techs are able to work on them. I liked the<br />
three-gel string system in them and was<br />
able to change my default values so you<br />
could get pretty quick color bumps for a<br />
fixture that size. With that said, it’s a really,<br />
well, big light.”<br />
One of the greatest challenges for any<br />
production is getting time for pre-production.<br />
For Jibson, it was no different. Or<br />
was it?<br />
“I actually had quite a bit of time on<br />
pre-production,” he said. “Production manager<br />
51 had been telling me about Upstaging’s<br />
programming facility because of the<br />
awesome space they have. Basically, when<br />
they prep their systems, they fly them <strong>com</strong>plete,<br />
every cable, every detail, to trim. It’s<br />
not that much more difficult for them to<br />
schedule programming time with the system<br />
right there in their prep space.”<br />
At first, Jibson was skeptical. “I have<br />
been using ESP Vision since its inception,<br />
and I am a big backer of that tool. It gives<br />
you such an advantage to have all your<br />
rough cueing done before production rehearsals.<br />
I thought that the chaotic shop<br />
environment would not be very productive<br />
with all the day-to-day distractions, but<br />
I was able to get the entire show roughed<br />
in after two days and was able to go back<br />
and clean up transitions and timing for the<br />
last two days. So it worked out great.<br />
“For the past couple of years I have<br />
been using VLPS/Fourth Phase/PRG because<br />
of their large stock of Vari*Lite fixtures,<br />
excellent service and the ability to<br />
provie for my clients across the globe. I had<br />
never used Upstaging, even though I am<br />
a Chicago guy, but on this project it just<br />
made sense. John Bahnick, Chris Johnson<br />
and the rest of the ‘family’ took great care<br />
to make sure the transition was smooth.<br />
They gave me an outstanding crew in Ron<br />
Shilling, Kendra Sandoval, Chris Barclay<br />
and Brian Kasten, and they bought some<br />
Vari*lites I wanted, as well as others.<br />
“One of the things I really feared was<br />
losing access to the PRG color and gobo<br />
palettes from the Series 300 stuff. Having<br />
access to those saves your client lots of expendable<br />
money! Who knew that Apollo<br />
could make those little wedges? And for<br />
not much cost! Apollo is amazing!”<br />
If Jibson is happy with the tour, then<br />
Rhoads is over the moon. “I can’t stress<br />
enough how agreeable both Robb and<br />
Dave Norman were to work with,” said<br />
Rhoads. “There was flexibility on all sides,<br />
and I think there was a real and clear respect<br />
among us for how each part fit into<br />
the whole, particularly on site during a perilously<br />
short two-day load-in and rehearsal.<br />
Unfortunately, I did not get to interact<br />
much with show director Andrew Logan.<br />
Most of his collaboration took place with<br />
Robb in the conceptual stages. On site, during<br />
load-in, the crew was fantastic. Brian<br />
Woodrell (rigging), Ray Amico (SM), and<br />
Courteny Whitehead (head carpenter) all<br />
made the install go without incident.”<br />
You could say there was no panic on<br />
Panic! At the Disco.<br />
CREW<br />
Lighting Company: Upstaging Inc., John Bahnick, account rep<br />
Lighting Designer/Director/Programmer: Robb Jibson<br />
Tour Director: David Norman<br />
Show Director: Andrew Logan<br />
Scenic Design: Atomic Design (Mike Rhoads, Robb Jibson)<br />
Production Manager: David “51” Norman<br />
Tour Manager: Katie Friesema<br />
Lighting Crew Chief: Ron Schilling<br />
Lighting Techs: Kendra Sandoval, Chris Barclay, Brian Kasten<br />
Video Company: Nocturne<br />
Video Techs: David Neugebauer, Gene McAuliffe, Leon Roll<br />
Carpenters: Courtney Whitehead, James McKinney, Hector Mimoso, Gmac<br />
Staging: Tait Towers<br />
GEAR<br />
40 Martin MAC 700 Spots<br />
30 Vari*Lite VL2500 Wash fixtures<br />
24 High End Systems Studio Command 1200<br />
19 Vari*Lite VL3000 Spots<br />
8 Zap Technologies BigLites<br />
26 Atlman FC-1 Single Cell Cyc<br />
7 ETC Source Four 19-degree 750W ERS<br />
12 Thomas 4-lites with Wybron Color Ram color scrollers<br />
1 Flying Pig Systems Wholehog III console w/expansion wing<br />
6 FPS DP2000<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 31
INSTALLATIONS<br />
High School<br />
Auditorium Gets<br />
High-Tech<br />
Facelift<br />
By ErinBlakemore<br />
Front and side lighting positions were added, requiring close coordination<br />
between acoustical clouds, fixtures, loudspeakers and catwalks.<br />
Tim Hamilton, lead tech on the renovation<br />
One-hundred and ninety-two circuits were distributed over the catwalks and the stage.<br />
32 <strong>PLSN</strong> february 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
Complete refurbishment, acoustic<br />
overhaul and state-of-the-art lighting<br />
and video installations: it sounds<br />
like improvements made for a theatrical<br />
<strong>com</strong>pany of national significance, not a<br />
high school auditorium in Kentwood, Mich.<br />
But sometimes star treatment is found in<br />
strange places — and East Kentwood High<br />
School’s refurbished high school now contains<br />
technology and planning that puts it<br />
on par with many of the country’s top performance<br />
venues.<br />
Multifaceted — and Outdated<br />
Originally built in the late 1960s, the<br />
Fine Arts Auditorium at East Kentwood<br />
High School primarily serves a high school<br />
population of more than 2,500, providing a<br />
home for the school’s choral concerts, theatrical<br />
productions, band concerts and even<br />
a “Battle of the Bands.” However, the space<br />
has taken on larger significance for the <strong>com</strong>munity<br />
of Kentwood, which watches a busy<br />
slate of national and regional performances,<br />
from orchestral music to jazz to touring<br />
productions of operas, such as Carmen, and<br />
musicals. “We even had a circus in here one<br />
time, <strong>com</strong>plete with elephants,” notes Rick<br />
Westers, who has taught production at East<br />
In order to reverse the toll of decades of<br />
decay, the facilit y was stripped down to<br />
four walls and <strong>com</strong>pletely overhauled.<br />
Kentwood High for more than 20 years in addition<br />
to serving as a freelance sound engineer<br />
in the Kentwood area.<br />
But time was not kind to the Fine Arts Auditorium,<br />
which had be<strong>com</strong>e tired, outdated<br />
and more than a little worn down. Given its<br />
diverse functions and the opportunity for<br />
hands-on learning in a bona fide production<br />
environment at the high school, taxpayers<br />
and the school district approved funding for<br />
a <strong>com</strong>plete renovation and refurbishment of<br />
the Fine Arts Auditorium, unlike the “bandaid”<br />
approach adopted — and unfortunately<br />
afforded — by other school districts. In order<br />
to reverse the toll of decades of decay, the<br />
facility was stripped down to four walls and<br />
<strong>com</strong>pletely overhauled.<br />
Designed by GMB Architects & Engineers<br />
of Holland, Mich., the new facility was<br />
designed with acoustics in mind — Michigan-based<br />
acoustics and technical systems<br />
design firm Acoustics By Design was<br />
on board, and lead tech Tim Hamilton, CTS<br />
worked with Westers, the architects and a<br />
team of specialists to help design the facility’s<br />
innovative <strong>com</strong>ponents, from sound to<br />
video to lighting.<br />
Lighting Helps New Complex Shine<br />
After the innovative acoustics were <strong>com</strong>plete,<br />
it was time to address the stage magic<br />
— lighting. The lighting system was in dire<br />
need of expansion; in fact, the old system<br />
consisted of only one lighting position and<br />
several stage electrics. Light fixtures were<br />
old and run-down, while the dimming system<br />
was outdated from the perspectives of<br />
both performance and control protocol. But<br />
the biggest lighting obstacle for the East<br />
Kentwood Fine Arts Center was to be found<br />
above the stage — the house catwalk was<br />
positioned too close to the stage. This presented<br />
a lighting quandary:<br />
the existing fixtures<br />
were located at too steep<br />
of an angle to the front of<br />
the stage, and it was virtually<br />
impossible to light<br />
anything on the floor upstage<br />
with the current catwalks<br />
in place.<br />
Undaunted by the challenges of the existing<br />
catwalk system, Acoustics By Design,<br />
GMB Architects & Engineers and high school<br />
representatives began to brainstorm. Their<br />
first decision: abandon the existing catwalks<br />
and remove the room’s ceiling in order to<br />
address crucial questions of lighting design.<br />
The renovated space would call for an<br />
entirely new catwalk system that allowed<br />
access from both sides of the room. Front<br />
and side lighting positions and followspot<br />
locations were added in order to expand the
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<br />
The existing fixtures were located at too steep of an angle to the<br />
front of the stage, and it was virtually impossible to light anything<br />
on the floor upstage with the current catwalks in place.<br />
lighting possibilities in the space. These architectural<br />
additions required close coordination<br />
between different <strong>com</strong>ponents, such<br />
as acoustical clouds, fixtures, loudspeakers<br />
and the catwalks themselves. The result: perfect<br />
positioning with no conflicts between<br />
<strong>com</strong>peting elements.<br />
Next came crucial decisions about the<br />
dimming system. In this case, all parties<br />
decided on a system purchased from Electronic<br />
Theatre Controls (ETC). One-hundred<br />
and ninety-two circuits were distributed<br />
over the catwalks and the stage, and<br />
two 96-circuit Sensor dimming racks were<br />
specified to control the entire dimming system.<br />
The dimmers were networked through<br />
ETC’s proprietary Net2 wiring protocol,<br />
which distributes control signals through<br />
inexpensive Cat5 cables. The space is fully<br />
DMX-able, with DMX nodes located on<br />
racks, catwalks, electrical fixtures and in the<br />
booth and providing DMX capability that<br />
integrates and controls the entire system.<br />
Moving light fixtures were added to<br />
the mix, in this case, ETC Revolutions. The<br />
choice of moving lights was influenced by<br />
the choice of control: the ETC Emphasis system<br />
integrates moving fixtures with their<br />
conventional counterparts and also incorporates<br />
house lights for global <strong>com</strong>mand of all<br />
lighting <strong>com</strong>ponents. The stage manager’s<br />
panel backstage was improved with the<br />
help of a rack-mounted LCD panel, which<br />
allows for the recall of several preset looks,<br />
including the moving lights, and ETC’s Radio<br />
Remote Focus Unit allows control of lighting<br />
elements from anywhere onstage or in the<br />
catwalks. For the less technically inclined,<br />
ETC entry station panels were installed near<br />
entrances and exits, allowing basic light<br />
looks to fall under non-crew control. Finally, a<br />
broad collection of new fixtures were added<br />
to the system, creating a flexible and up-todate<br />
system that represents both a massive<br />
makeover for the Fine Arts Auditorium and<br />
can <strong>com</strong>pete with the capabilities of a more<br />
<strong>com</strong>mercial venue.<br />
eted a <strong>com</strong>plete camera system and hoped<br />
for one as part of the renovation, budgeting<br />
got in the way. Instead of a full array, the infrastructure<br />
for three pan-tilt-zoom (PTZ) cameras<br />
was put in place — power and conduits<br />
were installed for future mounting in locations<br />
around the auditorium. This will enable<br />
future recordings and broadcasts from the<br />
Fine Arts Auditorium, while additional camera<br />
inputs and video monitor outputs will be<br />
available on wall plates throughout the facility.<br />
These connections terminate at the main<br />
equipment racks on their own patch panel<br />
and continue the venue’s theme of flexibility<br />
and control.<br />
Final Result? A Facelift with Flair<br />
They may not be staging a circus anytime<br />
soon, but the East Kentwood High Fine Arts<br />
Auditorium is ready for the spotlight. “There’s<br />
exactly what is needed for every production<br />
that appears on this stage,” says Westers,<br />
noting the space’s flexibility. It’s a great example<br />
of a makeover with multiple applications<br />
— and that will benefit both students<br />
and residents of the Kentwood/Grand Rapids<br />
<strong>com</strong>munity for years to <strong>com</strong>e.<br />
Flexible Video Options<br />
When it came to video, consultants and<br />
high school officials had to assess existing<br />
resources and needs. Since video is a secondary<br />
system as <strong>com</strong>pared to audio and<br />
lighting, a decision was made to integrate<br />
existing equipment, such as the school’s projector<br />
and screen, with new <strong>com</strong>ponents.<br />
An Extron System 7 switcher, scaler and<br />
controller were chosen as the backbone of<br />
the Fine Arts Auditorium’s video capabilities.<br />
The booth contains a DVD/VCR player and<br />
a <strong>com</strong>puter, creating the opportunity for<br />
presentations to occur from either onstage<br />
or from the booth. Onstage presenters can<br />
plug their <strong>com</strong>puters into the Extron WM input<br />
distribution amp, while on-floor operators<br />
can mix and control the system via an<br />
Extron SCP200 remote control mounted on<br />
the house mix console.<br />
While East Kentwood High School cov-<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 33
FEATURE<br />
Who You Gonna Call?<br />
Programmers Reveal Why They Stay Busy<br />
By Kevin M.Mitchell<br />
“<br />
“ Keep your mouth shut and pay attention,”<br />
or variations on that theme, was<br />
how three top-shelf programmers answered<br />
the question, “What’s the best advice<br />
you’ve gotten about this profession?”<br />
All three laughed it off and tried to take<br />
it back, but it’s certainly telling. Of course, it’s<br />
not the only thing Nick Militello, <strong>PLSN</strong> columnist<br />
Nook Schoenfeld and J.J. Wulf have in<br />
<strong>com</strong>mon. A passion for what they do, a near<br />
death-defying ability to keep up with the<br />
technology, despite their demanding schedules,<br />
and a <strong>com</strong>bination of talent and speed<br />
keep them on top of their game.<br />
Nick Militello<br />
Since getting into the<br />
business, the biggest change<br />
Nick Militello has experienced<br />
is the push into video<br />
and media server programming.<br />
“It has forced me to<br />
learn about what it’s best to<br />
play back on, what formats<br />
are best… I still do lighting<br />
design, but this type of programming<br />
has opened me up to a whole new<br />
side of things.”<br />
What hasn’t changed? “Deadlines!” he<br />
laughs. “From day one, there is never enough<br />
time to do everything that you want, get everything<br />
you want into a show.”<br />
Militello, president and CEO of Los Angeles-based<br />
It Factor, has been in the music business<br />
almost a decade. He graduated from the<br />
University of Illinois at Urbana-Champaign<br />
with a BFA in lighting design and has recently<br />
worked with the Dixie Chicks, Korn, John Mayer<br />
and several corporate events. His console of<br />
choice is the Flying Pig Systems Wholehog III. “I<br />
used to work for High End, and I got deep into<br />
the console when I was there,” he says. “I feel<br />
<strong>com</strong>fortable with it, and it’s usually the console<br />
that I’ll spec on a job.”<br />
He likes to ask a lot of questions when he<br />
gets a programming call. He wants to know<br />
what is going on with the video programming,<br />
if the content is already prepared or if stock clips<br />
are going to be used, and he wants to make sure<br />
they have the right <strong>com</strong>pression. He also learns<br />
what kind of atmosphere they are trying to create,<br />
and then it’s a matter of how much he can<br />
prepare before showing up.<br />
Keeping up with technology includes a lot<br />
of research for Militello. “I keep up with all consoles’<br />
updates and with what consoles and media<br />
servers are offering new features. It’s figuring<br />
out how I can make my life easier when I get on<br />
a site, and a lot of the top manufacturers have<br />
listened to us and have made consoles increasingly<br />
more friendly.” It’s daunting, he admits, but<br />
diligently reading the trade magazines and the<br />
ads helps. Otherwise,<br />
Nick Militello it’s also the proverbial<br />
“word on the street”<br />
that counts for him.<br />
As to why he’s one of the guys at the top of a<br />
short list, Militello says modestly, “In all honesty, I<br />
simply try to have a good attitude. I’ve been on<br />
a number of productions when above or below<br />
me on the food chain key people have bad attitudes,<br />
and they aren’t fun to work with.<br />
“I feel that I’ve been lucky to work on any<br />
given job, and I’m excited when I <strong>com</strong>e to the<br />
gig.” Helping considerably, though, is his ability<br />
to keep up with the machines, so when a<br />
designer asks for something, he can produce it<br />
quickly. “By no means do I say I know it all!” he<br />
laughs. “But I try to learn all I can about every<br />
program and piece of gear, and if you know<br />
any piece of gear really well, your speed will<br />
reflect that. I love what I do; I have a good attitude,<br />
and I know the equipment.”<br />
Nook Schoenfeld<br />
“I’ll light anything!” an exuberant Nook<br />
Schoenfeld declares. When we spoke he had<br />
just finished programming Bob Seger’s new<br />
tour. Other recent clients include Kid Rock,<br />
Jack Johnson, Counting Crows and Paul Simon.<br />
Heap on top of that some corporate work, and<br />
you have a pretty busy telephone.<br />
Schoenfeld started working for See Factor<br />
in New York. In 1985 he was working for<br />
Morpheus, where he became a programmer.<br />
In those days, manufacturers sent programmers<br />
out with the gear, so he was among a<br />
select few who have done it from the very<br />
beginning. Based in Chicago, he recently cofounded<br />
the design <strong>com</strong>pany Visual Ventures<br />
with LD Mike Ledesma. [See www.plsn.<strong>com</strong> for<br />
their new blog. –ed.]<br />
A John Mayer show programmed by Nick Militello<br />
Today, his tool of choice is the Martin<br />
Maxxyz, which he declares “the easiest console<br />
in the world — it’s the only one you don’t need<br />
a book to explain how to use it.”<br />
Schoenfeld says he first tries to get a feel<br />
for what the artist is doing and then asks if<br />
there are set ideas on the table, yet. And of<br />
course, he asks about the video element. “It’s<br />
very important that lighting and video work<br />
together,” he says. “If there’s a big video center,<br />
I don’t <strong>com</strong>pete with that, and we’ll just<br />
use front floor lights and light from the side.”<br />
Also important is respecting the budget. He<br />
sees others draw up extravagant plans in the<br />
hope that when the client sees it, he or she<br />
will magically be inspired to <strong>com</strong>e up with the<br />
funds. Schoenfeld says he tries not to waste his<br />
client’s time on such adventures. “Know your<br />
limitations,” he cautions.<br />
“In the old days you had designers, and<br />
you had programmers. Now the designers<br />
are the programmers on 50% of the show.”<br />
Interestingly, what hasn’t changed is the<br />
way he programs. “The consoles are better, and<br />
the tricks got better, but my lighting theory<br />
hasn’t changed in 20 years,” he says. “It’s just<br />
gotten easier. Instead of taking 20 minutes to<br />
write a cue, it can take 20 seconds.” Also, the<br />
business is still word-of-mouth, and how you<br />
behave effects the amount and type of work<br />
you get. “I call it ‘playing well with children.’ If<br />
you’re nice to people and<br />
play by the rules, people<br />
want you back. Two-thirds<br />
is based on personality, and<br />
a third is talent. I know nice<br />
guys with no talent who get<br />
great gigs.”<br />
Keeping up with the<br />
technology is tough, he says,<br />
but he’s fortunate. “Companies that develop<br />
new products send them to me. Robe sent me<br />
some lights two years ago, and I’ve been sold<br />
on them since. Same with Coemar. I don’t like<br />
everything, but I liked those.<br />
“Otherwise, it’s word-of-mouth. I’ll be having<br />
dinner with LD John Featherstone, and he’ll<br />
tell me something I have to try.”<br />
Being in touch with other programmers is<br />
key for him, he says. “I still see others do a trick,<br />
and I’ll go, ‘Wow, that’s cool! How did you do<br />
that so fast?’ And I’m quick to show things to<br />
others. Programmers really benefit from trading<br />
tips.”<br />
Schoenfeld also learns what not to do from<br />
others. “I saw a show a few years ago, and saw<br />
the same darn color peel over 50 times. And<br />
I’ve seen shows with a hundred moving lights<br />
but all in the same focus.<br />
“Last year, a designer was doing this band,<br />
and every song I would see the same light<br />
sweep with gobos going into the audience at<br />
the same place in a song. I could almost guess<br />
exactly when it was going to happen for the<br />
next song!”<br />
J.J. Wulf<br />
For J.J. Wulf, it’s all about console management.<br />
“If someone doesn’t have good console<br />
management, you can usually tell,” Wulf says.<br />
“If I walk in to use someone else’s board and<br />
see they have five different reds, that they<br />
haven’t merged them… When you’re working<br />
with 3,000 or 4,000 lights, there is no way you<br />
can work with something like that.”<br />
Wulf, who is owner of Las Vegas-based<br />
Wulf Designs, says his ability to manage the<br />
console, to arrange elements as opposed to<br />
Nook Schoenfeld<br />
34 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
letting them fall in a random order, allows him<br />
to be fast, and by extension, it’s his number on<br />
the speed dial of many a cell phone.<br />
He started doing high school theatre tech<br />
and from there got involved with Cinema Services,<br />
then the only High End Systems dealer in<br />
town, subsequently bought by PRG. He’s been<br />
programming more than 10 years. Recent projects<br />
include the Black Eyed Peas and lighting<br />
up the Hoover Dam, plus his specialty, lots of<br />
large corporate and industrial shows. “We just<br />
did a City Center presentation, which is the<br />
largest construction project in Las Vegas going<br />
on right now.”<br />
Wulf is be<strong>com</strong>ing more immersed in<br />
digital lighting, including a production for<br />
the Bellagio New Year’s Eve bash [see Video<br />
Digerati, page 43-ed.]<br />
Since getting in the business, he’s seen it<br />
go increasingly digital, especially in the last<br />
three years. And that’s fine by him. “You have so<br />
much more control over mood and character<br />
of sets and scenery with digital lighting. Everyone<br />
has seen moving lights, and no one is impressed<br />
anymore, and with the clients I’m dealing<br />
with, you can’t go in and put in the same<br />
show every time.” He notes that the tools have<br />
gotten more <strong>com</strong>plex and the responsibilities<br />
have increased as the programmer is controlling<br />
video walls, fiber curtains and other visuals,<br />
all for the better. “We can change it on the<br />
fly, modify things — we don’t need seven or<br />
eight people sitting in the back somewhere.”<br />
To keep up with the technology, Wulf attends<br />
a lot of trade shows, though “you’re not<br />
going to learn it unless you use it.” He re<strong>com</strong>mends<br />
trying out new equipment on gigs at<br />
a small level — with the protection of proven<br />
backup. Often, he’ll bring two sets of equipment,<br />
something proven and something new,<br />
in case the client gets concerned. But usually<br />
the client is won over, which creates a new<br />
“problem” — “then the next time the technology<br />
has already changed again, and we’re wanting<br />
to use something else for their show!” he<br />
laughs. “A lot of clients have to trust us.”<br />
Wulf says he believes his ability to manage a<br />
console, know what it can and can’t do, plus his<br />
speed and creativity are what make him successful.<br />
“You have to physically understand how the<br />
lights work inside. When someone asks you to do<br />
something, you have to be able to say, ‘Yes, I can,’<br />
or, ‘No, I can’t, and here’s why.’”<br />
Wise Counsel<br />
To the wayward youth looking toward programming<br />
as a career, these three have some<br />
explicit thoughts:<br />
Militello urges you to learn one console<br />
really in-depth first, rather than learning all<br />
of them partially. “While all consoles are different,<br />
knowing one well can help you program<br />
others, because it is often just a matter<br />
of translating the language.”<br />
Schoenfeld says, “There is no better way<br />
than on-the-job training.”<br />
“If you like what you do, you’ll be good at<br />
it,” Wulf adds. “If you’re good at it, you’ll be successful.<br />
If you’re successful, you’ll make money,<br />
and that’s why we’re all in this business to begin<br />
with. But you have to have a passion for it.”<br />
Their love of their jobs is evident, yet would<br />
they encourage their kids, real or imagined, to<br />
get into this line of work?<br />
“Yeah, I’d love for them to be part of the<br />
business,” Militello says. “Some days I can’t<br />
believe we get paid for this! What other job<br />
can you do when you’re creating this level of<br />
entertainment?”<br />
“It’s a fantastic profession,” Schoenfeld<br />
JUNIOR FULL PAGE AD<br />
says. “But it’s really hard, and you have to<br />
pay your dues. Just because you got out of<br />
Carnegie Mellon and you might know how<br />
to program a board doesn’t mean you have<br />
the eye, yet. I can program a whole show<br />
without a visualizer because I can see it all<br />
in my head.”<br />
For Wulf, his daughter will be encouraged<br />
to do things other than programming. “Don’t<br />
get me wrong; she loves going to the show,”<br />
he says. “But working the hours we do, the<br />
stress… There’s too many other things in life. I<br />
don’t need her doing that!”<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Bob Seger in concert, programmed by Nook Schoenfeld
FEATURE<br />
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<br />
Tony Caporale<br />
By BrentDiggins<br />
Tony Caporale is never without his notebooks.<br />
Doodlings of lighting schemes<br />
and setups from the past, present and<br />
future fill the large stack of the tattered multicolored<br />
notebooks in which Caporale is always<br />
writing and reading over. EastonAshe<br />
band members and hangers-on tease him<br />
about his torrid affair with his notebooks,<br />
calling him obsessed. However, the one thing<br />
that can’t be denied is that Caporale has a<br />
passion for lights. And with a tiny budget, a<br />
band with a similar dream of success and his<br />
notebooks, he is forging his way and giving it<br />
everything he has to transform himself from a<br />
lighting Padawan to a lighting Jedi.<br />
When he was enrolled at Duquesne University,<br />
Caporale met with family friend and<br />
WWE video director Tim Walberg, who gave<br />
him inspiration to study video production<br />
and pointed him in the direction of Towson<br />
University. Tony quickly enrolled and eventually<br />
graduated with a degree in electronic media<br />
and film. However, while concentrating on<br />
his course studies, Caporale found inspiration<br />
and a new professional interest upon seeing<br />
several Phish concerts and Chris Kuroda’s legendary<br />
light shows.<br />
That led him to Towson’s Recher Theatre,<br />
a renowned music hall in Towson, Md., where<br />
he inquired and received a job as a staff member.<br />
He quickly moved up to house lighting<br />
director. From there, he worked with a host<br />
of musical acts and developed his chops by<br />
working with established touring LDs who<br />
gave him pointers and advice. During a regular<br />
night at the Recher, a young, energetic and<br />
talented band, EastonAshe, came through.<br />
That is where Caporale’s career and life took a<br />
direction that has led him across the country<br />
many times and is helping his lighting dreams<br />
take off.<br />
“Because I Believe” <strong>PLSN</strong><br />
EastonAshe was touring the Eastern seaboard<br />
when they had a stop at the Recher.<br />
After the show, EastonAshe was so impressed<br />
with Caporale’s work that they inquired into<br />
his availability. After graduation, Caporale<br />
signed on as the exclusive lighting and video<br />
director for EastonAshe. Some people question<br />
why Caporale abandoned his regular<br />
lighting gig to tour with an up-and-<strong>com</strong>ing<br />
rock band, and, to him, the answer is simple.<br />
“I wanted to be part of something, part<br />
of a legacy and part of people’s memories,”<br />
says Caporale. “I could have gone to a lighting<br />
<strong>com</strong>pany or hooked on with various<br />
gigs here and there, but that wouldn’t satisfy<br />
me. Plus it’s not like being an employee. We<br />
are all great friends, and we treat each other<br />
like family. It’s a very unique thing that EastonAshe<br />
has going.”<br />
He said his goodbyes, picked up and<br />
moved from Cumberland, Md. to EastonAshe’s<br />
home base of Phoenix, Ariz. to start his career<br />
and build the lights that he writes in his notebooks<br />
and sees in his head.<br />
The $50K Rig on a $5K Budget <strong>PLSN</strong><br />
Today Caporale, who is 24, and EastonAshe,<br />
also in their early twenties, are growing<br />
as a unit, sharpening their skills and waiting<br />
for their big break. Until then, they are<br />
enjoying enough success to live on, but not<br />
enough to warrant anything but a modest<br />
lighting budget. This is where the creativity of<br />
Caporale <strong>com</strong>es in.<br />
Caporale’s current rig is very efficient for<br />
venues with a capacity of up to 1,500, and he<br />
can make it feel like more than the $5,000 rig<br />
that it is. The rig includes:<br />
1 Elation Stage Desk 16<br />
console for conventional<br />
lighting<br />
1 Elation DXM Pro Operator<br />
console for automated<br />
ighting<br />
1 Elation Co-Pilot2 console<br />
with wireless trans<br />
mitter for effects lighting<br />
4 250-watt moving head<br />
fixtures<br />
2 500-watt moving mirror<br />
fixtures<br />
10 PAR 56 300-watt fixtures<br />
4 PAR 46 150-watt fixtures<br />
3 PAR 38 150-watt fixtures<br />
1 MBT haze machine<br />
1 Chauvet 1000-watt fog<br />
machine w/wireless remote<br />
6 ACLs<br />
You’ll Know Him <strong>PLSN</strong><br />
During the show, you’ll know Caporale as<br />
the wooly bearded, dancing, bandana-and-<br />
Italian-soccer-shirt-wearing guy at the front<br />
of house console. He’ll jump up and down,<br />
do a spin, bob his head and sing along while<br />
working on his three Elation consoles, which<br />
he finds cost efficient and reliable.<br />
Caporale prefers working with three consoles<br />
because of the manual chase triggering<br />
he can get from the effects and conventional<br />
board, and he uses the automated console for<br />
the moving lights. Conventional lighting is<br />
run separately from automated lighting because<br />
he feels that he has more freedom to<br />
do what he wants with conventional fixtures,<br />
which means that he can play with manual<br />
fades to a particular band member.<br />
“If our guitar player uses a talk box, wahpedal<br />
or whammy pedal, I like to move the fader<br />
from my conventional board or my speed<br />
knob from my effects console with the sound.<br />
Another key factor in keeping conventional<br />
lights separate is our drummer, who I have to<br />
pay the most attention to. I hook up PAR cans<br />
on four separate channels on my console to<br />
bump as he is hitting symbols or a ride bell.<br />
The cool part is that I have the lights set up on<br />
left and right channels so it looks dynamic. It’s<br />
a great thing if you know the drummer and<br />
where he’ll play on his drum kit.”<br />
He still gets questions about using the<br />
three boards instead of the all-in-one option,<br />
but he’ll say that is part of his style and<br />
it works for him.<br />
“A lot of guys tell me I need to get an allin-one<br />
board, and I’ve used them a lot, but I<br />
love the three consoles; it’s just my style,”<br />
says Caporale. “It makes me feel like I’m doing<br />
something unique and really gets me into the<br />
show because I always have to be concentrating<br />
and moving my hands. Plus, I don’t have<br />
the luxury of working with a high-end board<br />
that neither the band nor I can afford to keep<br />
on a permanent basis.”<br />
A lot of his friends and peers, especially<br />
guys from Phoenix-based Clear Wing Lighting,<br />
let him <strong>com</strong>e to their warehouses and<br />
36 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
“<br />
A lot of guys tell me I need<br />
to get an all-in-one board,<br />
and I’ve used them a lot,<br />
but I love the three consoles;<br />
it’s just my style.<br />
— Tony Caporale<br />
“<br />
At work on<br />
one of his<br />
consoles.<br />
play with the “professional toys.” He drools<br />
over them and promises that one day he’ll get<br />
them. Until then, he is content with the gear<br />
that he can afford, and he finds they work for<br />
his project.<br />
Easton Ashe in concert.<br />
“I’ll be Dead Before We Use Moving Lights”<br />
During their early stages, a former EastonAshe<br />
manager once quipped, “I’ll be dead<br />
the day we have a moving light show.” Having<br />
saved up his money from the prior summer<br />
by working with his brother, a freelance<br />
videographer for major sporting events, Caporale<br />
set out to prove that manager wrong.<br />
He purchased his first set of moving heads a<br />
week later. Today, he uses four moving heads<br />
and two moving mirrors, which give him<br />
more options. The moving heads are one of<br />
Caporale’s passions and his favorite part of<br />
running lights. They are his “do-it-all” lights.<br />
“Moving heads are great because they<br />
can do everything,” says Caporale. “You can<br />
move with the music, spotlight certain band<br />
members or use them to convey messages.<br />
For example, in EastonAshe’s ‘Venture to the<br />
Sun,’ the lyrics talk about the sun setting, so<br />
I use them to project a bright amber sun and<br />
bring them down to fade away, obviously just<br />
like the sun, and that has a great effect on the<br />
crowd. It makes them associate with the song<br />
not only aurally, but visually.”<br />
<strong>PLSN</strong><br />
Stupid Lighting Tricks <strong>PLSN</strong><br />
Caporale, who once used 5000 watts of<br />
PARS in a room that could hold no more than<br />
100 people, received the nickname “Squints”<br />
after he proceeded to blind both the performers<br />
and the audience. Having a limited<br />
budget, he has had to <strong>com</strong>e up with some<br />
unconventional ideas using unconventional<br />
lighting — like track lighting.<br />
“I originally used the track lighting for<br />
a CD release party we had to do some tree<br />
lighting for,” Caporale explains. “I noticed<br />
some of the PAR 56 cans I was using weren’t<br />
vibrant enough, so I zip-tied the track lighting<br />
to mic stands and put some strobes on them.<br />
It really added a cool effect that was dynamic<br />
and right on par with the onstage performers<br />
without getting in their way.”<br />
Also an important part of his show is the<br />
use of fog and haze. He uses both, but in different<br />
ways.<br />
“Anyone in the business knows the resourcefulness<br />
of the hazer and fogger,” says<br />
Caporale. “The hazer dissipates and makes<br />
the lights thinner and more vibrant, whereas<br />
the fogger does well for more dramatic songs<br />
as it makes the lights thicker, mysterious and<br />
more intense.”<br />
Here We Grow <strong>PLSN</strong><br />
EastonAshe recently released their debut<br />
album Can I Drive It?, and the band and<br />
crew, including Caporale, are excited about<br />
the release, what it may bring and where it<br />
may take them. Starting in January, you can<br />
follow along this journey in Caporale’s new<br />
blog on the <strong>PLSN</strong> Web site, www.plsn.<strong>com</strong>.<br />
The blog is quickly filling up with thoughts<br />
from those notebooks and the things that<br />
dreams are made of.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Brent Diggins is a freelance writer based in Phoenix.<br />
You can reach him at brentd@diggspr.<strong>com</strong>.
FEATURE<br />
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<br />
Coming Soon to a Theatre (or Arena) Near You<br />
NEW TECHNOLOGY TO ARRIVE IN 2007<br />
By RichardCadena<br />
More than 40 years ago, a really<br />
smart guy named Gordon Moore<br />
predicted that <strong>com</strong>puters would<br />
halve in size and double in speed every 24<br />
months. Moore’s Law, as it has since <strong>com</strong>e to<br />
be known, has held true since then. But some<br />
other really smart people believe that when<br />
transistors reach the size of an atom — which<br />
could be as soon as 2020 — then the party’s<br />
over for Moore’s Law.<br />
If you remember synthpop kings of the<br />
‘80s and their digital keyboards, you might<br />
be familiar with the name Ray Kurzweil. No,<br />
he’s not the guy in Flock of Seagulls with the<br />
funny haircut; he’s the guy who, at the urging<br />
of Stevie Wonder, invented the digital grand<br />
piano. But Kurzweil is more than just a name<br />
on a synthesizer. He’s also one of the world’s<br />
foremost futurists and the guy who Bill Gates<br />
called the smartest guy he knows. And according<br />
to Kurzweil, Moore’s Law, or something<br />
like it, will continue to hold true for the<br />
foreseeable future.<br />
That’s because historically, says Kurzweil,<br />
when one technology reaches a limit, another<br />
technology takes over. To wit, in the<br />
last 100 years, <strong>com</strong>puters went from using<br />
electromechanical relays to vacuum tubes<br />
to transistors to integrated circuits, doubling<br />
processing power every 36 months from<br />
1900 to 1920, every 24 months from 1940<br />
to 1960, and every 12 months from 1990 to<br />
2000 along the way. The next advances will<br />
<strong>com</strong>e from nanotechnology, and soon, new<br />
technologies will create something he calls<br />
“singularity,” or “technological change so…<br />
profound it represents a rupture in the fabric<br />
of human history.”<br />
Not that any of this new technology will<br />
affect the production industry — at least not<br />
in the near future. But the fact that processing<br />
power doubled every year for the last 16<br />
years does have an effect on the industry today.<br />
Without massive <strong>com</strong>puting power, such<br />
staples as media servers, pixel mapping and<br />
automated consoles controlling multiple universes<br />
of fixtures with multiple parameters<br />
and all networked together, would not be<br />
possible.<br />
Given today’s rate of technological advancements,<br />
it’s not unrealistic to expect that<br />
emerging technology in our industry — even<br />
if it is years behind state-of-the-art <strong>com</strong>puter<br />
technology — will make incredible advances<br />
every year. So what can we expect in the<br />
<strong>com</strong>ing year?<br />
High End Systems’ DL.2s with Collage Generator light up a screen.<br />
Digital Lighting<br />
With a relatively simple software solution<br />
that High End Systems dubbed Collage Generator,<br />
the DL.2 went from a 5K ANSI lumen<br />
digital luminaire to a tool that could project<br />
images far beyond the capability of the largest<br />
projectors by edge-blending a matrix of<br />
DL.2s. Where will the digital luminaire take us<br />
in 2007?<br />
“We will be stunned and amazed if 2007<br />
doesn’t see a proliferation of digital lighting<br />
fixtures,” says Bob Bonniol, partner and creative<br />
director of Mode Studios. “There have<br />
been some background legal wranglings, but<br />
the air seems to be clearing. My prediction:<br />
Watch for one or more of the major projection<br />
and/or lighting manufacturers to enter<br />
the market with digital lighting models.”<br />
Robe has already shown their hand at last<br />
year’s PLASA exhibition with their DigitalSpot<br />
5000 DT. If Bonniol is right, we could see them<br />
launched in the Americas this year. Look for<br />
more entries in this arena, if not in 2007, then<br />
in the very near term.<br />
Media Servers<br />
The media server market is the new automated<br />
lighting market — it’s getting more<br />
crowded with each passing trade show. Some<br />
industry observers believe that the market is<br />
over served. “Our prediction,” says Bonniol, “is<br />
that we will see the product ranges narrow<br />
as the market starts to sway heavily towards<br />
three or maybe four (media servers) that programmers<br />
and designers tend to use most.<br />
The idea that all the lighting console manufacturers<br />
have regarding the need to build in<br />
media server functionality will reveal itself to<br />
be the boondoggle that it is. You guys make<br />
the great consoles. Stop trying to be a spotted<br />
zebra!”<br />
Be that as it may, chances are that vast improvements<br />
in media servers will fuel growth<br />
in this market. P.J. Turpin, national sales director<br />
at Martin Professional, is betting on it. “The<br />
big story for 2007 will be the continued penetration<br />
of LEDs and the <strong>com</strong>bination of LEDs<br />
and media servers at all levels,” he said. “We<br />
will see this spread rapidly in all levels and all<br />
budget brackets.”<br />
Visualizers<br />
The recent release of modeling plugins<br />
allowing Autodesk 3D Studio Max to be used<br />
with ESP Vision is a clear indicator of things<br />
to <strong>com</strong>e. The power of Hollywood-style animation<br />
<strong>com</strong>bined with lighting visualization<br />
that can take advantage of the new generation<br />
of dual-core and the soon-to-be-arriving<br />
quad-core processing is a prime example<br />
of the state of entertainment technology.<br />
Other software and visualization developers<br />
are hinting at good things to <strong>com</strong>e in 2007;<br />
though, in an industry where loose lips can<br />
sink ships, no one is willing to talk in anything<br />
more than vague terms. Just know that it’s<br />
going to be good.<br />
“Wireless<br />
technology in<br />
entertainment<br />
is about to<br />
explode on the<br />
market.”<br />
- James Smith<br />
Consoles<br />
If the past is prologue, then the immediate<br />
past indicates an expansion of networking,<br />
real-world values, increased <strong>com</strong>puting<br />
power and better features in up<strong>com</strong>ing consoles.<br />
If console manufacturers never uttered<br />
the words “floppy disk” again, it would be too<br />
soon. Fortunately, most manufacturers are<br />
way beyond that technology and what they<br />
have in store for our future, besides new software<br />
upgrades, is still, for the most part, under<br />
wraps. But to be sure, more than a couple of<br />
console manufacturers have acknowledged<br />
that they are working on new consoles to be<br />
launched this year.<br />
RDM and ACN<br />
The new control protocol called Remote<br />
Device Management, or RDM, was officially<br />
released midway through 2006, unleashing a<br />
fury of activity from manufacturers working<br />
An oft-run screen cap of ESP Vision 2<br />
to integrate it into new and existing products.<br />
“By the end of 2007, I think we’ll see a large<br />
offering of products supporting RDM,” says<br />
coninued on page 55<br />
38 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
P R O J E C T I O N C O N N E C T I O N<br />
XL Video has XL Slate of Shows<br />
HERTFORDSHIRE, UK — XL Video UK<br />
has had a very busy time of it recently, supplying<br />
video gear to a multitude of touring<br />
shows, including Snow Patrol, Basement<br />
Jaxx, Kylie, Placebo and DJ Shadow.<br />
For Snow Patrol XL supplied a digital<br />
PPU, camera system, two Catalyst digital<br />
media servers and crew for a UK arena tour.<br />
It’s the first time the band has used video<br />
on tour. The live mix is being directed and<br />
cut by Blue Leach.<br />
Blue worked on developing integrated<br />
show visuals with lighting designer Davy<br />
Sherwin and Catalyst programmer Robin<br />
Haddow. The show is an integrated threeway<br />
mixed-media montage of live video,<br />
lighting and LED visuals.<br />
XL is also supplying 32 panels of Lighthouse<br />
R16 high resolution LED screen split<br />
into five surfaces of different shapes and<br />
sizes. These glide in and out and are formed<br />
Placebo on tour<br />
NEW YORK — BML-Blackbird Theatrical Services partners Elliot<br />
Krowe, Eric Todd and Shelly Diamond, in conjunction with<br />
Peter Daniel of Pete’s Big TVs, have announced the formation of<br />
Performance BML Video LLC. Dan Dubofsky will be the general<br />
manager of the new <strong>com</strong>pany.<br />
Performance BML Video is a full service video reinforcement<br />
and production services <strong>com</strong>pany with a <strong>com</strong>plement of equipment<br />
that includes projectors, camera packages, plasma screens,<br />
LED walls and full HD capabilities. The <strong>com</strong>pany will occupy space<br />
into different configurations<br />
with a<br />
Kinesys motion control<br />
system supplied<br />
by lighting contractors<br />
HSL. Each song<br />
therefore has a different<br />
screen look,<br />
and the show also<br />
has a “signature”<br />
screen formation.<br />
XL renewed their<br />
relationship with<br />
Basement Jaxx and<br />
supplied all the video<br />
kit for their U.K. arena<br />
tour. Basement Jaxx’s<br />
largest tour to date amalgamated the talents<br />
of their LD Leggy (Jonathan Armstrong)<br />
and video director Nick Fry into a dynamic<br />
creative team.<br />
Kylie’s “Showgirl Home<strong>com</strong>ing” tour<br />
continued XL’s long standing relationship<br />
with the artist, as they supplied full video<br />
production and crew to Blink TV for the<br />
tour. The live IMAG mix was cut by Ruary<br />
MacPhie and the tour’s video elements<br />
were co-ordinated by crew chief Stuart Heaney.<br />
Added for the final section of the tour<br />
were four extra Barco ILite 10 high resolution<br />
screens, all flown on a Kinesys automation<br />
system supplied by Neg earth, <strong>com</strong>ing<br />
Snow Patrol<br />
in and out at various points throughout<br />
the show. The new screens were each constructed<br />
from 6 by 6 panels of ILite, measuring<br />
approximately 2.7 meters square, They<br />
joined a center portrait format hi-res screen<br />
that was on the previous tour, made from 6<br />
x 10 modules of I-10.<br />
XL also supplied an upstage SoftLED<br />
LED curtain measuring 100 ft wide by 33<br />
high (it was the first U.K. tour for this product<br />
back in 2005 when “Showgirl” <strong>com</strong>menced),<br />
specified by lighting designer Vince Foster<br />
as a “scene-changing backdrop”<br />
An essential part of “Showgirl’s” visuality<br />
was achieved with an innovative fusion<br />
continued on page 40<br />
Performance BML Video LLC to Open in New York Area<br />
within the BML-Blackbird Theatrical Services facility in Secaucus,<br />
N.J. and is operational.<br />
“I am thrilled to be a part of a new enterprise that is backed<br />
by well over 120 years of <strong>com</strong>bined management expertise and<br />
to be supported by such a team,” said Dubofsky.<br />
This joint venture will <strong>com</strong>bine the lighting, staging, audio<br />
and production services of BML-Blackbird and Pete’s Big TVs<br />
range of video services under one roof in the New York metropolitan<br />
area market.<br />
LED Unveiled at<br />
Auto Unveiling<br />
DETROIT — Creative Technology used<br />
Barco’s new MiTRIX as the centerpiece of the<br />
General Motor’s booth at the 2007 North<br />
American International Auto Show (NAIAS)<br />
in Detroit. On a raised stage that served<br />
as the booth’s focal point, a circular wall<br />
of MiTRIX modules, more than 15 feet in<br />
40<br />
40<br />
43<br />
continued on page 41<br />
Inside...<br />
Sleepwalkers On the Roof<br />
And the wall, and the window. . . NY’s<br />
MOMA projects video installation on the<br />
side of buildings.<br />
Asian Games Extreme LED<br />
Element Labs creates a 45,000 square<br />
foot LED screen in Qatar.<br />
Video Digerati<br />
How to give high rollers a perfect party glow.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 39
PC<br />
NEWS<br />
Projectors Enliven “Sleepwalkers”<br />
NEW YORK — The Museum of Modern<br />
Art in New York has premiered “Doug Aitken:<br />
Scenes from “Doug Aitken: Sleepwalkers”<br />
Sleepwalkers,” a large-scale public art project<br />
by contemporary artist Doug Aitken. The<br />
film is scheduled to be<br />
projected upon seven<br />
exterior facades on and<br />
around The Museum of<br />
Modern Art (MoMA) and<br />
surrounding buildings in<br />
New York City, through<br />
February 12, 2007. Scharff<br />
Weisberg designed and<br />
implemented the AV<br />
technology, and the installation<br />
was presented<br />
by Creative Time (a nonprofit<br />
public art organization),<br />
using Christie digital projectors.<br />
Scharff Weisberg president and partner<br />
Josh Weisberg <strong>com</strong>mented, “The scope is monumental:<br />
it’s outdoors, it’s in the middle of the<br />
winter and the technology will be state-of-theart.<br />
The planning, which has been going on for<br />
more than year, has been equal parts technology<br />
and logistics as we work within the requirements<br />
of the museum and the artist to specify a<br />
system that will work reliably every day.”<br />
The projection of Aitken’s narrative video<br />
tale of New York and New Yorkers on seven facades<br />
of MoMA on West 53rd and 54th Streets<br />
features characters from a variety of walks of<br />
life — a worker who maintains signs in Times<br />
Square, a street drummer, a businessman, a<br />
postal worker — the video magnifies poignant<br />
moments of their everyday lives into a dialogue<br />
between real pedestrians and the <strong>com</strong>plex architectural<br />
landscape they traverse. The simultaneous<br />
projections — some as large as 100<br />
feet wide — will have synched, choreographed<br />
movements, but the individual energy and personality<br />
of each character will be evident.<br />
“We encouraged Doug to shoot HD so the detail<br />
would be crystal clear in the very large image<br />
sizes we are working with,” notes Weisberg. “The<br />
content is being replayed in HD video as well.”<br />
To ac<strong>com</strong>plish the playback Scharff Weisberg<br />
provided synchronized, networked, customized<br />
media servers separated by great<br />
distances. “The real challenge is distributing<br />
this network over the seven different screen<br />
locations in such a way as to maintain frame<br />
accuracy among the image streams,” Weisberg<br />
explains. “We are using GPS-enabled time code<br />
generators as our master timing source and<br />
wireless networking to link the sites.”<br />
Scharff Weisberg deployed state-of-the-art<br />
Christie Digital Systems projectors, including<br />
five Roadie 25K 3-Chip DLP projectors (a 25,000-<br />
lumen model) and three S+20 DLP projectors.<br />
“Typically, projectors such as these can be found<br />
in cinemas or at large-scale corporate events, not<br />
outdoors in January supporting an art installation,”<br />
Weisberg points out.<br />
Giant LED Shines on Games<br />
DOHA, QATAR—Element Labs, Inc, was<br />
contracted by Doha Asian Games Organizing<br />
Committee (DAGOC) to create a large<br />
custom LED screen. Especially designed for<br />
the opening and closing ceremonies of the<br />
15th Asian Games in Doha, Qatar, the exterior<br />
Versa® RAY screen made its debut during the<br />
Opening Ceremony at Khalifa Stadium.<br />
DAGOC main contractor David Atkins<br />
Enterprises was the producer of both the<br />
Opening and Closing Ceremonies. DAGOC<br />
& DAE challenged Element Labs to create<br />
a massive LED screen for the ceremonies<br />
having the highest possible resolution<br />
and video performance. The display covered<br />
over 4,500 square meters, or 45,000<br />
square feet.<br />
Chris Varrin of Element Labs designed<br />
the screen. “We built a prototype system that<br />
was 100 square meters, and brought it out to<br />
Doha,” explained Varrin. After winning the bid,<br />
the EL team refined the design to meet the<br />
stringent requirements necessary for wind<br />
loading and weatherproofing, as Doha’s desert<br />
climate is subject to frequent windstorms<br />
and sandstorms.<br />
In keeping with the circular structure<br />
of the stadium, the screen was designed to<br />
be curved. The entire screen is 165 meters<br />
wide along the curve, reaching 39 meters at<br />
its highest point. The screen is <strong>com</strong>prised of<br />
20,000 individual Versa RAYs, which laid end<br />
to end would span 58 kilometers (over 36<br />
miles). 762,000 individual LEDs were used,<br />
with a pixel pitch of 77 millimeters.<br />
The Versa RAYs themselves were mounted<br />
onto large trusses with integral catwalks<br />
called “spines”. These spines are approximately<br />
11 meters long and hold 148 Versa<br />
RAYs in varying lengths, from 750 millimeters<br />
to 3 meters. “It’s a pretty massive piece of kit<br />
when it’s all put together,” Varrin said. “The<br />
spines were assembled and tested in the stadium’s<br />
parking lot over a period of a couple<br />
of months.” Once <strong>com</strong>pleted, the spines were<br />
hoisted into place on the enormous steel<br />
support structure via crane, and assembled<br />
into the final screen.<br />
Element Labs built redundancy into every<br />
aspect of the screen, including redundant<br />
video feeds, processing, data distribution and<br />
power supplies.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
XL Video has XL Slate of Shows<br />
continued from page 39<br />
of different LED technologies — including<br />
low res Barco MiPix panels that clad the<br />
front of the set fascia and the SoftLED drape.<br />
The MiPix effectively giving a second low res<br />
surface downstage of — and contrasting to<br />
— the SoftLED.<br />
Kylie’s IMAG mix was beamed onto two 21<br />
by 11 foot side screens, going to 16:9 format<br />
for the “Home<strong>com</strong>ing” leg of the tour. Each<br />
screen was fed by one of XL’s new Christie<br />
S20 projectors, described by Heaney as “Absolutely<br />
fantastic pieces of kit”.<br />
The DJ Shadow tour utilized a massive projected<br />
set as the show’s visual centrepiece.<br />
XL supplied 9 Barco RLM G5i projectors,<br />
<strong>com</strong>plete with Barco 0.8:1 wide angle<br />
lenses to rear project onto the 24 foot wide<br />
set/projection area, which consisted of a top<br />
and a bottom screen - the top measuring 6ft<br />
high and the bottom 12 foot. The set and<br />
the screen surfaces were custom built and<br />
sourced via Litestructures.<br />
Basement Jaxx<br />
Finally, lighting designer Ivan Morandi<br />
produced a highly inventive, fully integrated<br />
lighting and visual show for Placebo’s recent<br />
UK and European arena tour, with video equipment<br />
and crew supplied by XL Video UK.<br />
Morandi produced all the pre-recorded<br />
video content himself which was stored on<br />
two Catalyst v 4 digital media servers. He also<br />
wove feeds from 16 cameras into the mix – an<br />
amalgam of Toshiba mini cams and Panasonic<br />
DV cam units with remote pan and tilt heads.<br />
40 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
Projecting Birthday Candelas<br />
DUBAI, U.A.E. — Munich-based Neumann<br />
& Mueller worked closely with Dubai show producers<br />
HQ Creative to deliver a hi def AV/projection<br />
show for “DIFC 2” — a large event celebrating<br />
the achievements of the Dubai International<br />
Financial Centre (DIFC) over the last year.<br />
The 2673 square meter surface area of<br />
DIFC’s 74-meter-high marbled arch building —<br />
a popular Dubai landmark — including an additional<br />
central diamond shaped screen measuring<br />
196 square meters was covered in the HD<br />
images. This gave an impressive total resolution<br />
of 4628 x 3990 pixels — moving, still and animated<br />
— creating a high impact 3D effect.<br />
The 25 minute DIFC corporate presentation<br />
included vertical cat-walkers zipping<br />
down the front of the building before going<br />
in to a concert starring Jose Carreras and Arab<br />
singer, Hiba Al Kawas. This included further<br />
projections and an IMAG camera mix, also<br />
supplied by Neumann & Mueller, who also<br />
co-ordinated supply of lighting and sound<br />
equipment, and crew.<br />
N&M’s project manager and technical director<br />
Bill Pugh and HQ’s Director Of production Jo<br />
Marshall worked closely on the logistics and<br />
practicalities of staging the event. N&M’s Klaus<br />
Ostermayer again supervised the AV programming.<br />
He specified a Dataton Watchout system<br />
for control and design of the show, chosen for<br />
its flexibility, reliability and dynamic operation.<br />
The hi-res animations were produced by<br />
a <strong>com</strong>bination of HQ Creative and Atomic<br />
Arts in London as un<strong>com</strong>pressed Quicktime<br />
movies in 4620 x 3990 format. They were then<br />
split into 15 Windows Media files. Rendering<br />
the full resolution files took approximately 20<br />
minutes per frame.<br />
The show content (pictures, real video and<br />
animation) was <strong>com</strong>posited in the Watchout<br />
system consisting of 15 hi performance show<br />
<strong>com</strong>puters and one control <strong>com</strong>puter. The 15<br />
separate feeds were vertically and horizontally<br />
soft-edged together to create one seamless image.<br />
Watchout was also used to mask images to<br />
the shape of the diamond screen in the center.<br />
Thirty Digital Projection Highlight 1200<br />
DSX projectors with black chip DLP technology<br />
(11,000 ANSI lumens each) were rigged onto<br />
three 30 metre high FOH towers to beam the<br />
images onto the arch. Ten covered each of the<br />
sides, six dealt with the centre section and four<br />
Barco FLM-R20s were used to cover the diamond<br />
screen.<br />
Digital projections on the DIFC building<br />
LED Unveiled at<br />
Auto Unveiling<br />
continued from page 39<br />
height, was used to display graphics, video<br />
content and corporate logos during the<br />
<strong>com</strong>pany’s opening press conference. During<br />
the event, the MiTRIX wall rotated to<br />
reveal GM’s new E-Flex concept car within.<br />
This rotation also revealed that the MiTRIX<br />
modules adorned both the inside and outside<br />
fascia of the structure.<br />
What distinguishes the MiTRIX module<br />
from other Barco creative LED products is<br />
that each module is semi-transparent, with<br />
a self-supporting central backbone — and<br />
no special rental structure is required.<br />
Based on Barco’s OLite platform, each high<br />
resolution module sports a 24mm pixel<br />
pitch, a small size (384 by 192mm), and a<br />
light weight (1kg). In addition to their use<br />
as traditional stage backdrops, the MiTRIX<br />
“transparent” concept will enable the modules<br />
to be used as scenic elements which<br />
can be placed anywhere on stage — without<br />
restriction.<br />
Dana Corey, director of marketing for<br />
Barco’s Media & Entertainment division,<br />
North America, <strong>com</strong>mented on the MiTRIX<br />
debut. “We’re honored that rental partner<br />
Creative Technology selected our new Mi-<br />
TRIX modules to showcase GM’s groundbreaking<br />
introduction,” said Corey. “Traditionally,<br />
the partners and designers in<br />
the industry have used our products with<br />
remarkable imagination, and now with<br />
MiTRIX and its transparent design, we’re<br />
looking forward to an entire new realm of<br />
creativity.”<br />
In addition to unveiling new product, Barco<br />
continues to move its current gear, and has<br />
sold its 1000th 2K Digital Cinema projector.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 41
PC<br />
NEW PRODUCTS<br />
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<br />
16x9 Inc. 1.5X TELE CONVERTER<br />
The EX 1.5X is a Tele Converter designed to enhance the performance of popular<br />
<strong>com</strong>pact HD camcorders, including the Sony HVR-V1U and HDR-FX7. The latest in the<br />
16x9 Inc. EX Collection of HD-quality lens accessories, the 1.5X simply threads onto the<br />
front of the camera lens, adding 1.5X magnification, moving the focal range in the telephoto<br />
direction. When teamed with the HVR-V1U’s internal 1.5X digital extender, the<br />
EX 1.5X <strong>com</strong>bines to produce<br />
a full 2.25X telephoto effect.<br />
This lightweight (21 oz.), and<br />
<strong>com</strong>pact (68mm long) production<br />
tool mounts to the<br />
front of the HVR-V1U and<br />
HDR-FX7 lens via an easy<br />
to use 72-62mm step-down<br />
ring (included at no charge).<br />
The Tele Converters 72mm<br />
screw-in rear threads allow<br />
it to work equally well with<br />
Sony HVR-Z1U and HDR-FX1,<br />
Canon XH A1, XH G1, XL H1<br />
and XL2, as well as Panasonic<br />
DVX100B camcorders.<br />
BARCO PRESENTATION SWITCHER WITH<br />
EXPANDED FEATURES<br />
Barco’s ScreenPRO-II presentation switcher now has an optional Extended Output<br />
Card (EOC) which enables operators to utilize a new second output channel at<br />
a separate resolution from the current main/program output. In addition, users can<br />
now select the ScreenPRO-II with EOC to output either the signals from the main/<br />
program output channel<br />
or from the preview output<br />
channel. The Screen-<br />
PRO-II with the EOC option<br />
will allow for simultaneous<br />
output of analog and SDI<br />
signals at NTSC/PAL and<br />
HD resolutions such as<br />
480p, 720p and 1080i. This<br />
would also include analog<br />
output for RGB signal<br />
types such as VGA, SVGA,<br />
XGA and SXGA. In addition,<br />
the EOC increases Screen-<br />
PRO-II total available memory<br />
for image still store.<br />
16x9 Inc. • 661.295.3313 • www.16x9inc.<strong>com</strong><br />
Barco • 916.290.5904 • www.barco.<strong>com</strong><br />
DA-LITE BLACK FRAME FAST-FOLD DELUXE<br />
Da-Lite Screen Company has<br />
added a black frame option to the<br />
Fast-Fold® Deluxe and Heavy Duty<br />
Fast-Fold Deluxe screen product<br />
lines. The frames are now available<br />
with a black anodized finish for a<br />
more matte, non-reflective appearance.<br />
Matching Drapery Presentation<br />
Kits with black hardware are<br />
available for all sizes. Both models<br />
of Fast-Fold screens are available<br />
with Da-Mat, Da-Tex, High Contrast<br />
Da-Tex, Cinema Vision, Pearlescent<br />
and Dual Vision screen surfaces. All<br />
screens up to 16’ high are seamless.<br />
SHARP 65-INCH HIGH-DEF LCD WITH<br />
PORTRAIT MODE<br />
The Sharp PN-655RU is a 65-inch LCD display designed to operate in portrait<br />
mode. To ensure reliable operation and back light life for use in por trait<br />
mode, Sharp optimized the internal cooling, air flow and back light system.<br />
The 65-inch monitor has a full 1920 x 1080 two-megapixel high-definition<br />
(HD) resolution for accurate and precise image reproduc tion. With <strong>com</strong>mercial<br />
design and <strong>com</strong>ponents, the PN-655RU offers reliability for ex tended use<br />
applications. The PN-655RU has a four-wavelength spec trum, cold-cathode<br />
fluorescent back light that provides an enhanced color spec trum. Sharp’s<br />
proprietar y Advanced Super V iew (ASV ) panel provides pic ture quality for<br />
fast-moving video through its fast pixel response time of less than 6 ms.<br />
Sharp Electronics Corporation • 866.484.7825 • www.sharplcd.<strong>com</strong><br />
Da-Lite Screen Company, Inc. • 800.622.3737 • www.da-lite.<strong>com</strong><br />
To get listed in<br />
PROJECTION CONNECTION<br />
NEW PRODUCTS send your<br />
info to PR@<strong>PLSN</strong>.COM<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
42 <strong>PLSN</strong> FEBRuary 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
PC<br />
VIDEO DIGERATI<br />
FEAST Your EYES<br />
High rollers ring in the New Year with a visual feast at Bellagio Las Vegas.<br />
How do<br />
you imp<br />
r e s s<br />
some of the<br />
world’s wealthiest<br />
VIPs in Las<br />
Vegas on New<br />
Year’s Eve? You<br />
throw one major<br />
party, and<br />
By VickieClaiborne<br />
you spare no<br />
expense. The Bellagio knows how to throw<br />
just such a party and in a big way.<br />
Designer J.J. Wulf, who has designed lighting<br />
systems for these parties at the Bellagio<br />
for the last six years, assembled a dream list of<br />
equipment for this once-a-year extravaganza<br />
thrown just for the Bellagio Resort’s favorite<br />
guests. J.J., fellow lighting programmer Tim<br />
Grivas and myself worked together to create<br />
an environment that would entice the<br />
eye and please the senses. Everywhere you<br />
looked, your eye was bombarded with lush<br />
images and rich colors, and even the backs of<br />
the chairs were illuminated with LEDs to capture<br />
this year’s theme, “Glo.”<br />
2 Flying Pig Systems<br />
Wholehog III consoles<br />
1 Pixel Mad system<br />
2 High End Systems Catalyst<br />
media servers<br />
1 High End Systems Axon<br />
media server<br />
34 Martin MAC 2000 Profiles<br />
8 Martin MAC 2000 Performances<br />
6 High End Systems Studio Beams<br />
20 High End Systems DL2 digital<br />
luminaires<br />
12 High End Systems DL1 digital<br />
luminaires<br />
1 Dmix Pro DMX-controlled<br />
video switcher<br />
Color Kinetics Color Blast LEDs<br />
Element Labs Versa Tubes<br />
Video Walls<br />
PC<br />
The DL.2 fixtures were the primary source<br />
of video imagery in the room. There were four<br />
main video walls around the room, and the<br />
DL.2s were arranged in two groups of nine and<br />
two groups of four to create grids of 3 x 3 and<br />
2 x 2. The collage generator in the DL.2 fixture<br />
A table setting with the lighting in the background<br />
played a very important role for the overall<br />
look of the show, and it was used throughout<br />
the evening, alternating images of<br />
abstract graphics, realistic images like fire<br />
and water, and sensual images of shadow<br />
dancers. As the evening progressed<br />
toward midnight, the imagery became<br />
more adult and highlighted the dance<br />
performances that were choreographed<br />
to themes titled “The Glo of Love,” “The<br />
Glo of Lust” and “The Glo of Life.”<br />
In addition to the DL.2 video walls,<br />
HD LED screens mounted on each end<br />
of eight video “chandeliers” provided additional<br />
video sources and served as the evening’s<br />
countdown to midnight. Each “chandelier”<br />
consisted of dozens of Color Blast<br />
LED fixtures running the length of two sides,<br />
with multiple Versa Tubes along the bottom.<br />
A High End Systems Axon media server provided<br />
the video signal for these LED fixtures,<br />
and the signal was mapped to match pixel<br />
resolution across the two different sources<br />
via the Pixel Mad system. A single image was<br />
mapped to all three sides of the rectangular<br />
cubed chandeliers through the careful alignment<br />
of each pixel and the appropriate scaling<br />
of each layer, which was not an easy task<br />
considering the difference in the resolution<br />
between Color Blast LEDs and Versa Tubes.<br />
The Bellagio setup<br />
The room from another view<br />
Room Elements<br />
PC<br />
J.J. Wulf’s vision also included a way to<br />
light the entire room from indirect sources,<br />
and it involved mounting 170 Color Blast<br />
LEDS inside of semi-opaque square cubes<br />
and stacking them in asymmetrical heights<br />
around the perimeter of the room. When<br />
these scenic elements were illuminated, the<br />
entire roomed glowed, and the mood was<br />
altered according to the action in the room<br />
at the time. J.J.’s goal was to capture the attention<br />
of the audience every time the cubes<br />
changed color, so we programmed a series of<br />
warm-cool-warm-cool alternating cues, purposefully<br />
matching the colors to the video<br />
images being projected by the DL.2s on the<br />
video walls. To add additional energy to the<br />
dance party and high-powered production<br />
numbers of the evening, we also created<br />
pulsing chases and intensity effects with the<br />
Color Blasts and used them to create a room<br />
full of dynamic energy in every possible cubic<br />
inch of the space.<br />
If you read the gear list, you will notice<br />
there were not many “conventional” automated<br />
lighting fixtures in the rig. In fact, the<br />
ones that were in the rig were mainly utility<br />
fixtures used to add movement and energy<br />
in the audience and on the stage, while the<br />
Color Blast cubes and DL.2 video walls carried<br />
the majority of responsibility for the look<br />
of the show. However, the room did present<br />
many opportunities to paint the walls with<br />
color and gobos; in fact, the primary function<br />
of the MAC 2000 Performances was just for<br />
lighting large pieces of fabric and steel that<br />
were used to decorate the room. The framing<br />
shutters and the animation effects wheel of<br />
the 2000 Performances worked well on the<br />
abstract scenic pieces, adding dimension and<br />
contrast to the abundance of video imagery<br />
in the room.<br />
This show presented a unique opportunity<br />
to work with many of the latest types of<br />
digital lighting and lighting/video equipment<br />
available in our industry at the same time. The<br />
task was not without many obstacles, such as<br />
managing the sheer amount of DMX channels<br />
and data required to make it all work. However,<br />
in spite of the <strong>com</strong>plicated networking<br />
involved, the long hours spent programming<br />
the collages and keystrokes involved in building<br />
the dozens of LED chases, the event was<br />
a success, and everyone in the room partied<br />
like it was 1999…or 2007.<br />
Vickie Claiborne (www.vickieclaiborne.<strong>com</strong>) is a<br />
freelance programmer and training consultant.<br />
She can be contacted at vclaiborne@plsn.<strong>com</strong>.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 43
ROADTEST<br />
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<br />
ROBE<br />
ColorSpot 2500E AT<br />
By NookSchoenfeld<br />
The Robe ColorSpot 2500E AT<br />
The Robe ColorSpot 2500E AT<br />
Robe Lighting has recently introduced<br />
their latest and most powerful fixture<br />
to date. The ColorSpot 2500<br />
spot is a hard edge automated fixture that<br />
has all the bells and whistles you would<br />
expect from a premium product, but its<br />
brightness makes this fixture stand out.<br />
With the advent of all the 1200-watt wash<br />
lights that have <strong>com</strong>e out, the fixture has<br />
be<strong>com</strong>e a necessary addition to their product<br />
line. This new fixture <strong>com</strong>petes in this<br />
class, and it will be a major player on the<br />
stadium rock circuit or as a searchlight or<br />
special effect for many trade shows.<br />
Robe has used a lot of the same features<br />
from their 1200 spot fixture, including CMY<br />
color mixing, an extra color wheel, two gobo<br />
wheels, effects wheel, zoom, dimming and<br />
more. But they have beefed up the fixture.<br />
There is an extended snout on the front,<br />
which is part of the optics system designed<br />
to give this unit a maximum light output.<br />
The fixture uses the Philips MSR Gold Fast<br />
Fit 1200-watt lamp, but the ballast is a 1400-<br />
watt switch-mode power supply. The parabolic<br />
reflector is designed to maximize efficiency.<br />
I lined this fixture up against a few<br />
opponents’ models, and the hot spot appeared<br />
to be significantly brighter than the<br />
others, especially from a 60-foot throw.<br />
If you have used the Robe ColorSpot<br />
1200 fixture before, you are probably a fan<br />
of its fast, precise movement and its ability<br />
to return to a pinpoint focus. After test driving<br />
the 2500 fixture last week at the Nobel<br />
Peace Prize Awards Ceremony, I am glad to<br />
see that it moves equally as well. The 2500<br />
has a strong yoke and fast tilt motors that<br />
allow for good response time when a movement<br />
cue is executed. I was able to run them<br />
in a flawless circle pattern at a reasonably<br />
fast speed and have them stop on a dime.<br />
The color system is a true CMY system.<br />
By this I mean that when you mix the cyan<br />
and magenta flags to full, you get a Congo<br />
blue. They are fast and can seamlessly bump<br />
colors. The color fades transition smoothly.<br />
I did notice that the colors are not<br />
flatly mixed to perfection; if, for example,<br />
I mix an amber, the outside<br />
of the beam is dark orange, but<br />
the center is yellow. But that’s not<br />
bothersome to me. There is also a<br />
CTO color flag for color correction to<br />
3200° for camera work.<br />
The color wheel includes four dichroic<br />
filters, a UV and a 6000K filter. These colors<br />
are easily replaceable. The wheel can rotate at<br />
variable speeds or run in random color chasing<br />
mode. There is also an option for random<br />
color selection via an audio input.<br />
The two gobo wheels each have six stock<br />
gobos with lots of multi-colored dichroic<br />
gobos. They’re indexable and can shake or<br />
continuously spin at variable speeds. You can<br />
use two gobos at once to create cool water<br />
and fire effects, or morph from one gobo to<br />
the other quite fluidly. The focus is smooth<br />
and fast. If you are not a fan of multi-colored<br />
gobos, don’t despair. The fixture <strong>com</strong>es with<br />
six additional gobos that are more suited for<br />
aerial breakups. This definitely takes Robe to<br />
the next level in my book.<br />
The zoom ranges between 10 and 30<br />
degrees smoothly, without stepped lenses<br />
popping into place. A strong point here is<br />
that there is little light loss when the fixture<br />
zooms out. The iris mechanism is quite fast<br />
and smooth, especially when you use the<br />
iris macros to create a sine wave effect.<br />
The effects wheel has a 3- and 5-facet<br />
prism, a rectangular beam shaping prism<br />
and something I can only call a “blob” effect.<br />
It softens the outside edge of the gobos<br />
through some really tight multiple prism<br />
layers. They all spin like the gobos. There is<br />
also a variable frost filter.<br />
I rarely ever utilize the built-in macros in<br />
any lighting fixture. But that’s about to change<br />
for me. Robe has the coolest built-in macros<br />
that I have ever seen. They include multiple<br />
gobos and prisms overlaying each other<br />
and spinning at variable speeds. They are<br />
simply breathtaking and will make any pro-<br />
gram-<br />
mer look<br />
like a genius.<br />
The dimming is smooth and<br />
perfectly linear to my eye. The strobe rate<br />
can hit up to 15 frames per second and can<br />
be set in a random mode as well. The lamp<br />
can be remotely struck or strike on application<br />
of AC. The power supply is not autovoltage<br />
sensing, but it can be tapped for 90<br />
to 240 volts.<br />
The fixture is large — 25 inches high<br />
by 21 inches wide — but I can still fit it in<br />
a section of swing wing truss. It weighs 92<br />
pounds. It has some specially designed<br />
handles that make it handle easily. The road<br />
cases designed for this fixture are quite<br />
clever as well. The durability of other Robe<br />
products has be<strong>com</strong>e well known in the<br />
lighting business.<br />
The fact that this fixture uses the same<br />
proven gobo, color and movement mechanisms<br />
as its predecessor means that this<br />
fixture should stand up well to the rigors of<br />
the road as well as to bad weather conditions.<br />
I believe this could be the best hard<br />
edge fixture available for live music lighting<br />
today.<br />
What it is: Automated profile spot luminaire<br />
What it’s for: Aerial and graphic beam projections in<br />
large venues<br />
Pros: Very bright, smooth movement, seems to<br />
be built well, reasonably priced for fixture of this<br />
caliber<br />
Cons: Lacks auto-voltage sensing power supply, color<br />
mixing exhibits some non-uniformity<br />
Retail Price: $17,738<br />
Lighting<br />
Staging<br />
Sound<br />
BOOKSHELF<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Your<br />
#1 resource<br />
for continued<br />
education.<br />
Set Lighting Technician’s<br />
Handbook<br />
Film Lighting Equipment, Practice,<br />
and Electrical Distribution<br />
Third Edition<br />
Author: Harry Box<br />
Control Systems for Live<br />
Entertainment<br />
Second Edition<br />
Author: John Huntington<br />
Stage Manager<br />
The Professional<br />
Experience<br />
Author: Larry Fazio<br />
w w w . p l s n b o o k s h e l f . c o m<br />
44<br />
<strong>PLSN</strong> FEBRUARY 2007
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<br />
PRODUCT GALLERY<br />
By RichardCadena<br />
Genlyte Marquee ILC<br />
Strand Light Palette VL<br />
Leviton Innovator<br />
In the early days of automated lighting,<br />
controllers were chiseled from stone and<br />
the latest features included fire and the<br />
wheel. Well, that may be a bit of a stretch,<br />
but <strong>com</strong>pared to today’s automated lighting<br />
consoles, the early automated lighting<br />
controllers were paleotronic.<br />
In the history of lighting control, three<br />
events were responsible for changing the<br />
way we use lighting. The first was the introduction<br />
of the memory console. Until that<br />
time, each scene had to be manually set and<br />
executed. By marrying <strong>com</strong>puter technology<br />
with lighting control, we were able to<br />
introduce much more sophistication, <strong>com</strong>plexity<br />
and precision into lighting cues.<br />
The second was the standardization of<br />
lighting protocol. Until USITT came up with<br />
DMX512, it was every manufacturer for themselves<br />
and every digital protocol was proprietary.<br />
Therefore, there was no crosspollination<br />
between <strong>com</strong>peting manufacturers.<br />
The third thing that has impacted lighting<br />
control was less of an event than it is a movement.<br />
The movement towards real-world values<br />
is changing the way automated lighting<br />
consoles are dealing with luminaires and the<br />
way programmers are dealing with consoles.<br />
In the real-world model, abstract, unitless<br />
values such as 0 to 100% or 0 to 256 bits are<br />
changed to their real-world counterparts in<br />
relation to the parameter in question such<br />
as 0° to +/-270° for pan or gobo 1 for pattern<br />
selection. Real-world values have meaning to<br />
the programmer and alleviate the need for<br />
mental calculations or memorization. They<br />
make it faster and easier for a programmer to<br />
ETC Congo jr<br />
do their job and they allow them to concentrate<br />
on the task at hand rather than thinking<br />
about interpreting data.<br />
In 2005, Horizon Control, Inc. published a<br />
white paper called “The Abstract Control Model”<br />
that describes in detail the evolution of the<br />
lighting console and how they moved from<br />
meaningless values that relate to <strong>com</strong>puting to<br />
real-world values that relate to human beings.<br />
The paper, written by Robert Bell, discusses the<br />
abstract layer, whose job it is to port the data between<br />
the <strong>com</strong>puter world and the real world. It<br />
is an excellent blueprint for automated lighting<br />
console architecture, even if it does, at times, get<br />
a little self-promotional. To read the white paper,<br />
visit www.plsn.<strong>com</strong>/abstract.<br />
In the meanwhile, check out the Product<br />
Gallery and sample the newest features<br />
from a host of automated lighting<br />
console manufacturers.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 45
PRODUCT GALLERY<br />
Manufacturer/web address<br />
Avolites<br />
www.avolites.us<br />
Distributor (if<br />
different than<br />
manufacturer)<br />
Westbury<br />
National Show<br />
Systems/www.<br />
westbury.<strong>com</strong><br />
(Canada)<br />
Model Playback Faders Display(s) Encoders, Trackballs, Programming Interface Visualization<br />
Diamond 4 Vision<br />
Sapphire 2004<br />
28 Cue Playback Masters with more than<br />
200 pages; 128 preset faders, configurable<br />
as Fixture Masters or Cue Masters<br />
100 pages of 20 playbacks; 100 preset<br />
faders<br />
24 graphic LCD screens, dual<br />
"hi-res" color monitors<br />
VGA display<br />
8 encoders, keypad, attribute buttons, keyboard,<br />
trackball<br />
2 encoders, menu softkeys, numeric keypad, <strong>com</strong>mand<br />
buttons, attribute select buttons<br />
Built-in Diamond 4<br />
Simulator w/ free offline<br />
editor<br />
Avo Visualizer<br />
Electronic Theatre Controls<br />
www.etcconnect.<strong>com</strong><br />
Eos<br />
Congo<br />
1 Master Playback Fader pair, 10 configurable<br />
motorized faders, 30 pages<br />
1 Main Playback Fader pair, 40 Master<br />
Playback Faders<br />
Three external DVI/SVGA<br />
1280x1024 monitors, two integrated<br />
full color touchscreens<br />
Three, minimum 1024x768<br />
VGA monitors<br />
6 rotary encoders with associated touchscreen,<br />
level wheel, <strong>com</strong>mand keypad, configurable<br />
touchscreens<br />
1 trackball, 4 linear encoders with keys, <strong>com</strong>mand<br />
keypad<br />
Compatible with external<br />
visualizers via<br />
DMX or Ethernet<br />
Compatible with<br />
external visualizers<br />
via DMX or Ethernet;<br />
built-in visualization<br />
for use in training<br />
Entertainment Technology<br />
www.etdimming.<strong>com</strong><br />
Marquee® ILC<br />
Lighting Control<br />
Console<br />
Marquee® Lighting<br />
Control Console<br />
2 pair split playback faders, 12 auxiliary<br />
playback faders, and unlimited virtual<br />
playback faders<br />
2 pair split playback faders and unlimited<br />
virtual playback faders<br />
17" LCD Flat Panel Display,<br />
optional second 17" LCD Flat<br />
Panel Display, and optional 17"<br />
LCD Touchscreen Display<br />
4 attribute encoders, level wheel, and integrated<br />
track pad<br />
Level wheel and integrated track pad<br />
WYSIWYG <strong>com</strong>patable<br />
interface<br />
High End Systems<br />
www.highend.<strong>com</strong><br />
Wholehog 3<br />
Hog iPC<br />
10 playback faders; optional Expansion<br />
Wing offers 40 additional playbacks<br />
2 color touchscreens w/ adjustable<br />
viewing angle; supports<br />
2 external monitors, can be<br />
touchscreens<br />
Two 12-inch color touchscreens<br />
w/ adjustable viewing<br />
angle; supports a third external<br />
monitor or touch screen<br />
Illuminated trackball, six encoders, custom buttons;<br />
optional keyboard with shortcut icons on<br />
the keys<br />
Illuminated trackball, four encoders, custom<br />
buttons; optional keyboard with shortcut icons<br />
on the keys<br />
Direct connection to<br />
several standard visualization<br />
packages.<br />
WYSIWYG CE dongle<br />
included.<br />
Direct connection to<br />
several standard visualization<br />
packages<br />
Jands Pty Ltd<br />
www.jandsvista.<strong>com</strong><br />
A.C. Lighting Inc.<br />
www.aclighting.<br />
<strong>com</strong><br />
(U.S., Canada)<br />
Vista T4<br />
Vista T2<br />
20 fadered playback, splittable into 60. Plus<br />
10 faderless playbacks, splittable to 20 and<br />
2 Superplaybacks 1 intergrated 15" Pen-tablet<br />
10 fadered playback, splittable into 30. Plus<br />
5 faderless playbacks, splittable to 10 and 1<br />
Superplaybacks<br />
TFT LCD; 2 optional external<br />
LCD monitor outputs<br />
3 encoders, trackpad and pen tablet offering<br />
direct access to graphical interface for all<br />
parameters. Timeline offers intuitive control for<br />
all timing.<br />
Real-time virtual<br />
fixture icons included.<br />
Supports ESP Vision,<br />
Capture, Martin Show<br />
Designer amd WYSI-<br />
WYG via Ethernet.<br />
Leprecon, LLC<br />
www.leprecon.<strong>com</strong><br />
LP-X48 w/Touchscreen<br />
LP-X24 w/Touchscreen<br />
20 pages w/12 Playbacks with proportional<br />
control, 1 Independent Programmer Fader<br />
20 pages w/6 Playbacks w/proportional<br />
control, 1 Independent Programmer Fader<br />
One on-board 64x240 Backlit<br />
LCD<br />
4 encoders, on-board trackball, alpha-numeric<br />
keypad, 15" touchscreen, external keyboard &<br />
mouse interface<br />
Optional WYSIWYG<br />
Perform Console Edition<br />
(CE) software<br />
Leviton Mfg. Co., Inc.<br />
www.leviton.<strong>com</strong><br />
8700 Series<br />
Consoles<br />
Innovator Series<br />
24 or 48 sub-masters for playback, effects,<br />
sub, cue, etc; 1 effects master; 1 grand master;<br />
1 sub-master master<br />
Up to 144 channel faders; 1 grand master<br />
4 local monitors supported;<br />
1 touch screen or LCD display<br />
Video and LCD display (video<br />
monitor sold separately); dual<br />
monitor option<br />
Multi-color trackball; 5 encoders; 10 soft keys;<br />
integrated alpha-numeric keyboard<br />
Trackball; 7 encoders; 8 display select keys; 8 soft<br />
keys; 8 programmable macro keys<br />
Included Capture<br />
3D visualization and<br />
design package<br />
Compatible with Capture<br />
and WYSIWYG<br />
LSC Lighting<br />
www.lsclighting.<strong>com</strong>.au<br />
Applied<br />
Electronics<br />
www.appliednn.<br />
<strong>com</strong> (U.S.)<br />
maXim XXLP<br />
(60/120 fader,<br />
1024 DMX channel,<br />
patchable<br />
console)<br />
maXim XLP (48/96<br />
fader, 1024 DMX<br />
channel, patchable<br />
console)<br />
90 faders with 9 pages each (810 playbacks)<br />
for storage and playback of scenes, chases<br />
or cue stacks w/ 2 master faders & stack<br />
master fader<br />
66 faders with 9 pages each (594 playbacks)<br />
for storage and playback of scenes, chases<br />
or cue stacks w/ 2 master faders & stack<br />
master fader<br />
VGA output for external monitor<br />
for additional data such<br />
as text labeling, help screens<br />
& programming prompts<br />
(monitor not required for full<br />
functionality)<br />
PatPad touch screen controller for manipulation<br />
of up to 120 fixtures. Includes built-in effects<br />
engine, individual parameter timing, groups, pallets,<br />
filters, flags & presets<br />
PatPad touch screen controller for manipulation<br />
of up to 96 fixtures. Includes built-in effects<br />
engine, individual parameter timing, groups,<br />
pallets, filters, flags & presets<br />
Optional Capture<br />
add-on card (available<br />
soon)<br />
MA Lighting Technology GmbH<br />
www.malighting.<strong>com</strong><br />
A.C.T<br />
Lighting, Inc.<br />
www.actlighting.<br />
<strong>com</strong> (U.S., Mexico,<br />
Canada)<br />
grandMA /<br />
grandMA light<br />
grandMA ultralight<br />
20 motorized Executor faders x128 pages<br />
(10x128 on light), 40 Executor buttons x128<br />
pages (20x128 on light), 1 grandMAster<br />
10 Executor faders x128 pages, 20 Executor<br />
buttons x128 pages, 1 grandMAster<br />
3 internal, high-contrast, TFT,<br />
touch-screens on adjustable<br />
panel (1, fixed, on light) and<br />
connections for 2 external<br />
SVGA displays<br />
1 internal TFT, touch-screen<br />
and connections for external<br />
SVGA display<br />
4 dual-resolution attribute encoders, 3 display<br />
encoders (1 on light), level wheel, trackball,<br />
(QWERTY keyboard and mouse in drawers on<br />
grandMA)<br />
4 dual-resolution attribute encoders, 1 display<br />
encoder, trackball, optional QWERTY keyboard<br />
and mouse<br />
Built-in, interactive,<br />
wire-frame stage<br />
display and rendered<br />
grandMA 3D on<br />
external PC connected<br />
via MA-net. 3D tracks<br />
all console changes<br />
in real-time for added<br />
backup<br />
Martin Professional A/S<br />
www.martinpro.<strong>com</strong><br />
Maxxyz+<br />
10 motorized faders; 4 master faders,<br />
optional playback wing (10 fader each wing,<br />
max of 16)<br />
Two internal LCD color touchscreens;<br />
2 optional external<br />
LCD monitors<br />
8 digital belt encoders; trackball; numeric keypad,<br />
built-in keyboard, touchscreens<br />
Built-in visualizer -<br />
Martin Show Designer<br />
Production Resource Group<br />
www.prg.<strong>com</strong><br />
Virtuoso® DX2<br />
Console<br />
Grand Master/Blackout plus 30 submasters<br />
(in three pages)<br />
Seven displays integrated into<br />
front panel, one LCD display<br />
included and three additional<br />
displays supported<br />
Dedicated intensity/pan/tilt encoders, 6 additional<br />
parameter encoders, integrated touchpad<br />
and keyboard, support for external trackball for<br />
pan/tilt control<br />
Built-in 3D visualizer,<br />
graphical 2D plan<br />
view with integrated<br />
status feedback<br />
Strand Lighting Inc.<br />
www.strandlighting.<strong>com</strong><br />
Light Palette VL<br />
12 Playback Faders, 2 Split Faders, 24 look<br />
masters, century array for fixture select,<br />
palette selections and look playback<br />
2 touchscreen monitors<br />
4 attribute encoders, 1 dedicated level wheel and<br />
trackpad<br />
Supports WYSYIWYG<br />
SGM Lighting<br />
www.sgm.it<br />
Techni-Lux<br />
www.Techni-<br />
Lux.<strong>com</strong> (U.S.,<br />
Mexico, Canada)<br />
Regia 2048 Live<br />
12 Playback, 24 Preset, Master<br />
One 12" TFT monitor, one 12"<br />
color touchscreen<br />
Regia 2048 Opera 24 Playback, 48/96- 2 scene Preset, Master 2 SVGA video outputs<br />
5 encoders, 1 trackball, programming keys,<br />
keyboard<br />
WYSIWYG CE included<br />
Zero 88 Lighting Ltd.<br />
www.zero88.<strong>com</strong><br />
A.C.T<br />
Lighting, Inc.<br />
www.actlighting.<br />
<strong>com</strong> (U.S., Mexico,<br />
Canada)<br />
Leap Frog<br />
1 playback, 12 sub-masters x20 pages, 48<br />
preset faders, 2 crossfade masters, 1 grand<br />
master<br />
2 internal LCDs, 1 optional<br />
external display<br />
3 ergonomically-placed speed-sensitive dynamic-resolution<br />
parameter encoders, fixture groups<br />
and presets, movement effects engine, random<br />
chase generator<br />
None<br />
46 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
Networking Memory Storage External Synching Accessories Retail Price Comments<br />
Avotalk, ArtNet, eDMX<br />
Built-in hard drive, CD/DVD drive, USB,<br />
floppy drive<br />
MIDI in, out, thru<br />
Optional 2nd video monitor<br />
8 DMX lines built-in, additional lines<br />
using Ethernet<br />
N/A Floppy disk Graphics tablet included 2,048 channels<br />
Networked for multi-user enviroment, ETC-<br />
Net2, Net3/CAN, Avab IPX Protocols<br />
Built-in hard drive, 6 USB ports for portable<br />
memory stick or external drive, File<br />
Server over Ethernet<br />
Built-in hard drive, 4 USB ports for portable<br />
memory stick or external floppy<br />
drive, File Server over Ethernet<br />
Multi inputs of MIDI, MSC,<br />
MIDI and SMPTE time code<br />
MIDI, MSC, MIDI time code<br />
External Fader Wings, Radio Focus<br />
Remote, Remote Processor Unit, Remote<br />
Video Interface, Eos Offline Editor, Eos<br />
Client Software Kit, worklilghts, road case<br />
Congo Offline Editor, Congo Client PC,<br />
cRRFU (Congo Radio Remote Focus Unit),<br />
Radio Focus Remote, worklights, monitor<br />
arms, road case<br />
$37,000.00<br />
- $52,000.00,<br />
depending on<br />
configuration<br />
$27,000.00<br />
- $37,000.00,<br />
depending on<br />
configuration<br />
Up to 8000 outputs, 5000 channels,<br />
force-feedback encoders, tactile response<br />
touchscreen overlays for singletouch<br />
direct selects, tracking/move fade<br />
system<br />
Short <strong>com</strong>mand structure, direct access<br />
style, flexible playback options, 3072<br />
channels/devices, up to 6144 outputs (12<br />
universes of DMX512) field upgradable<br />
ACN-ready, Ethernet. Optional Remote Focus<br />
Unit. 5 Designer Remote connections included<br />
Embedded Microsoft® Windows® XP<br />
processor with gigabytes of hard drive<br />
space. 5 auxiliary USB connections for<br />
back-up<br />
Embedded Microsoft® Windows® XP<br />
processor with gigabytes of hard drive<br />
space. 5 auxiliary USB connections for<br />
back-up<br />
MIDI/SMPTE Interface Card,<br />
LYTEmode® Architectural<br />
Interface Card, Time Clock<br />
functions. RS232, Contact<br />
Closure.<br />
MIDI/SMPTE Interface Card,<br />
LYTEmode® Architectural<br />
Interface Card, Time Clock<br />
functions. RS232, Contact<br />
Closure.<br />
24-Slider Wing Panel, Button Array Wing<br />
Panel, MIDI/SMPTE Interface Option<br />
Card, LYTEmode® Architectural Interface<br />
Option Card, Wired Remote Focus Unit,<br />
Wireless Remote Focus Unit, LittLite®<br />
Worklights, 17" Flat Panel Touchscreen<br />
LCD Video Display, Marquee® ILC Console<br />
road case<br />
$15,500.00<br />
$6,250.00<br />
Last-action tracking console w/ integrated<br />
control for large quantities of<br />
automated fixtures using the Abstract<br />
Control Model<br />
Last-action tracking console that will run<br />
live performances, operate as a preset<br />
desk, and provide support for palettes<br />
and other automated lighting functions<br />
Wired and wireless networking ability with<br />
multiple Hog 3PC <strong>com</strong>puters, Hog iPC console<br />
and Wholehog 3 console systems<br />
Internal hard disk drive, ZIP drive and<br />
re-writeable CD-Rom drive<br />
Internal hard disk drive, and re-writeable<br />
CD-Rom drive. USB drive <strong>com</strong>patible<br />
MIDI, MSC, MIDI time code;<br />
SMPTE via USB SMPTE<br />
Widget or MIDI/Timecode<br />
Processor<br />
MIDI show control, MIDI time<br />
code, SMPTE input<br />
Dual color LED Desklights, feedback<br />
LEDs, LCD backlighting all dimmable;<br />
roadcase included; mini and full-sized<br />
playback wings allow up to 90 simultaneous<br />
playbacks<br />
$28,575.00 w/<br />
roadcase and 1<br />
DP2000 DMX Processor<br />
Package<br />
$21,714.00 USD<br />
w/ roadcase<br />
Unlimited DMX universe capabilities via<br />
DMX Processors<br />
Four on-board DMX universes, expandable<br />
to eight with USB DMX Widgets or<br />
Super Widget; Unlimited DMX universe<br />
capabilities via DMX Processors<br />
1 built-in 10/100 BaseT RJ45 Ethernet port,<br />
<strong>com</strong>patible with Art-Net & Pathport<br />
Built-in hard drive, 3 USB ports and CD-<br />
RW drive for backup<br />
Built-in hard drive, 3 USB ports and CD-<br />
RW drive for backup<br />
MIDI, SMTPE and RS232<br />
Optional add-on E2 module for additional<br />
programming/playbacks, optional<br />
flightcase, spare/replacement tablet pen<br />
$33,894.00<br />
MIDI, SMTPE and RS233 $26,338.00<br />
Graphic-based user interface controls<br />
all design parameters, programming via<br />
timeline and a generic fixture model<br />
N/A<br />
Floppy Disk<br />
MIDI<br />
$7,976.00<br />
2 Littlite task lights, vinyl dust cover<br />
Floppy Disk MIDI $6,069.00<br />
Available without touchscreen<br />
Ethernet for DMX data distribution, wireless<br />
RFU, remote video, etc. DMX nodes configurable<br />
from console. ACN, ColorNet, SandNet,<br />
ArtNet, Pathport, and more<br />
Internal solid state hard drive, USB,<br />
Ethernet, floppy<br />
MIDI, MIDI time code, SMTP,<br />
RS-232, Audio<br />
Dedicated wireless remote,<br />
pocket PC wireless remote, Ethernet DMX<br />
distribution, etc.<br />
Ethernet to support: Colornet, video, RFU,<br />
DMX distribution, wireless RFU, and more<br />
3.5" HD disk drive - 1.44 MB disk<br />
memory<br />
MIDI, MIDI time code<br />
Hand-held remote, dust cover, monitor,<br />
worklight<br />
Optional ArtNet & W-DMX add-on cards<br />
Internal auto backup RAM & built in 3.5"<br />
floppy drive for saving to disk<br />
Internal auto backup RAM & built in 3.5"<br />
floppy drive for saving to disk<br />
STL (Sound to light) interface<br />
2 desk light ports, video training CDs, 90-<br />
260V 47-63HZ built-in universal power<br />
supply w/ brownout protection. ATA road<br />
cases available<br />
$8,940.00<br />
STL (Sound to light) interface $7,925.00<br />
Free training & demo CDs available:<br />
e-mail sales@appliednn.<strong>com</strong><br />
Maximum 16 stations, (console and/or free<br />
PC emulator) multi-user programming<br />
and/or real-time, full-tracking backup. Free<br />
remote software (PocketPC and PC emulator).<br />
Multiple, simultaneous DMX-via-Ethernet<br />
protocols<br />
Built-in hard drive, internal flash drive,<br />
3.5” floppy, FTP client/server, 2 USB<br />
ports (future expansion)<br />
Built-in hard drive, 3.5” floppy, FTP<br />
client/server, 2 USB ports (future expansion)<br />
Switch-closures, DMX-in, MIDI<br />
notes, MIDI Show Control,<br />
MIDI timecode, SMPTE timecode,<br />
astronomical clock, GPS<br />
Switch-closures, DMX-in, MIDI<br />
notes, MIDI Show Control,<br />
MIDI timecode, SMPTE timecode,<br />
astronomical clock, GPS<br />
2 custom LED desk lights, dust cover,<br />
manual, training and software DVD.<br />
Available: NSP’s (for additional channels),<br />
2-port nodes (for network outputs)<br />
Custom LED desk light, dust cover,<br />
manual, training and software DVD.<br />
Available: NSP’s (for additional channels),<br />
2-port nodes (for network outputs)<br />
$35,000/$52, 000<br />
– light/grandMA<br />
$22,500.00<br />
The grandMA range including grandMA,<br />
light, ultra-light, micro, replay unit, and<br />
onPC (w/ optional 2-port mode) is built<br />
with user-configurability and networking<br />
capability and includes free emulation<br />
and visualization software and its<br />
own media server<br />
DMX distribution over Ethernet (Artnet),<br />
separate networking port for <strong>com</strong>munication<br />
between other Maxxyz consoles or Maxedia<br />
media server<br />
Dual built-in hard drives, 3 USB ports for<br />
backup, writeable CD drive<br />
MIDI, MSC, SMPTE<br />
Dust cover, LED desklights, flight case,<br />
Ether2DMX router (DMX expansion),<br />
Ethernet switch<br />
$55,440.00<br />
Copper and fiber network connections, multiuser<br />
control/backup, network nodes provide<br />
over 600 DMX universes<br />
Built-in hard drive, USB ports for external<br />
storage<br />
SMPTE time code, MIDI time<br />
code, MIDI show control,<br />
MIDI notes, external trigger<br />
(switch closure)<br />
Up to 3 add'l displays, channel select<br />
panel, external Ethernet nodes, auxiliary<br />
submaster panel, remote focus unit<br />
Rental only<br />
Graphical media window for customized<br />
control of any media server. Free Visionary<br />
off-line editor available<br />
Strand ShowNet, wired or wireless Remote<br />
Focus, tracking backup, 5 designers remotes<br />
Built in hard drive plus USB key for<br />
offline storage. File Server support<br />
included plus network printing<br />
MIDI Show Control, MIDI<br />
Notes, MIDI Timecode, SMPTE<br />
Timecode, Media player timecode,<br />
contact closures<br />
LED task lights, dust cover,wide range of<br />
<strong>com</strong>puter peripherals available<br />
Up to $45,000<br />
Moving light control aimed at theatrical<br />
applications as well as conventional<br />
moving light shows<br />
Dual Ethernet outputs, 4 Universes DMX<br />
Built-in hard drive, built-in flash, CD<br />
drive, floppy drive<br />
MIDI, MSD, MIDI time code,<br />
SMPTE<br />
Includes: built-in UPS, 2 task lights, roadcase<br />
w/ integral keyboard drawer<br />
$26,100.00 Editable fixture library, shape engine,<br />
2048 channels, user-friendly control<br />
surface for automated and conventional<br />
$19,979.09 lighting. WYSIWYG CE visualizer included,<br />
built-in UPS. 90 - 250 VAC- 50/60Hz<br />
Available CANbus upgrade<br />
3.5" floppy<br />
Switch-closures, time-of-day<br />
included. SMPTE/MIDI/CANbus<br />
upgrade available<br />
Dust cover and manual included. SMPTE/<br />
MIDI/CANbus upgrade, desk light and<br />
road-case available<br />
$4,575.00<br />
The Frog range includes the Frog, Fat<br />
Frog, Leap Frog, Bull Frog, Frog Box, and<br />
Frog 2<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 47
ALL PRODUCTION ALL THE TIME<br />
YOUR PASSION IS PRODUCTION.<br />
SO IS OURS.<br />
At Timeless Communications our staff includes<br />
production <strong>com</strong>pany owners, audio mixers,<br />
lighting programmers & designers.<br />
We understand your world because we are a part of it.<br />
Stay passionate. Read the industry’s #1 trade magazines.
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<br />
PRODUCTSPOTLIGHT<br />
Martin MAC 700 Profile<br />
By PhilGilbert<br />
The Martin MAC 2000 line of luminaires<br />
is arguably the most successful series of<br />
moving lights sold to date. It is almost<br />
impossible to accurately predict what <strong>com</strong>bination<br />
of features, reliability and cost makes<br />
up the perfect product. Chalk it up to a whole<br />
lot of skill and at least a little bit of luck.<br />
Possibly the only thing harder than building<br />
a revolutionary product is doing it again. With<br />
this in mind, the engineers in Denmark went<br />
back to the drafting table to create what would<br />
be<strong>com</strong>e the little brother to the MAC 2000.<br />
The Martin MAC 700 Profile<br />
700 Watts with a 1200-Watt Look PS<br />
The MAC 700 Profile is a moving-head<br />
spot luminaire weighing in at just over 76<br />
pounds. Its 16-bit stepper motor movement<br />
offers 246 degrees and 540 degrees,<br />
respectively, of auto-correcting tilt and pan<br />
positioning.<br />
Many of the details on the fixture can be<br />
found in its brethren. The MAC tilt locks, LED<br />
addressing display and clamp mounts are<br />
not noticeably different from the MAC 2000<br />
lights. In fact, from a distance, the fixtures appear<br />
almost identical, if you discount the difference<br />
in size.<br />
The fixture makes use of a double-ended<br />
700-watt short arc lamp, either the Osram HTI<br />
700/D4/75 or the Philips MSR 700 SA/2 DE.<br />
The factory-standard electronic ballast offers<br />
hot re-strike and reduced-power options,<br />
while temperature sensors in the head and<br />
base control fan speed to minimize noise. The<br />
unit can be powered on worldwide voltages<br />
with the change of a single fuse.<br />
An optical diffuser <strong>com</strong>es pre-installed<br />
that helps eliminate aberrations in the beam<br />
which can be caused by the dimming and<br />
color mixing flags at low intensity levels. With<br />
the diffuser installed, the fixture has a maximum<br />
output of 14,700 lumens. If low-intensity<br />
beam patterning is not an issue, the diffuser<br />
can be removed to yield a maximum<br />
output of 16,700 lumens, roughly a 10% gain.<br />
Full-range dimming is provided via a<br />
pair of dimming flags, which do double-duty<br />
as strobe flags as well. Because the travel<br />
distance for the flags is very short, they can<br />
move quickly, achieving strobe rates from 2<br />
Hz to 10 Hz.<br />
Motorized zoom and focus functions<br />
make fixture placement incredibly versatile.<br />
The optical zoom offers a range from 14 to 30<br />
degrees, while the focus mechanism allows<br />
for a sharp focus from two meters to infinity<br />
at any zoom angle. The fixture is also very<br />
modular; you can remove the cover on the<br />
head with four quarter-turn screws and the<br />
modular <strong>com</strong>ponents like the color and gobo<br />
modules can be removed without any tools.<br />
Textures, Effects and Animation PS<br />
Having be<strong>com</strong>e one of the most popular<br />
features of the MAC 2000 Performance fixture,<br />
a gobo animation wheel is the feature that<br />
will most likely set the MAC 700 Profile apart<br />
from the others in the field. The interchangeable<br />
effect can be indexed or set in constant<br />
motion, adding a layer of movement to the<br />
fixture’s graphics that breaks away from the<br />
rotating gobos that have be<strong>com</strong>e de rigueur.<br />
It can also orient the animation wheel between<br />
0 and 90° so that the effect moves vertically,<br />
horizontally, or anywhere in between.<br />
Two standard gobo wheels are included<br />
in the fixture. The first wheel allows continuous<br />
and indexed rotation of patterns with six<br />
glass, textured glass and metal gobos, plus<br />
an open position. The second wheel includes<br />
nine static metal patterns plus an open position.<br />
The optics are designed to allow morphing<br />
effects between the two gobo wheels.<br />
Other beam effects can be achieved via<br />
a rotating three-facet prism and a separate<br />
motorized iris. Both functions operate independently<br />
of other on-board parameters, allowing<br />
for layering with any other effects.<br />
A CMY color-mixing engine <strong>com</strong>es standard<br />
along with an eight-position (plus open)<br />
color wheel. The cyan, magenta and yellow<br />
color mixing system consists of a pair of shorttravel<br />
flags for each color, allowing quick and<br />
accurate color changes. The color wheel offers<br />
interchangeable color filters in each slot.<br />
Dual Personalities<br />
PS<br />
The fixture is controlled via a DMX-512<br />
lighting console or control device. It includes<br />
three-pin and five-pin locking XLR data ports<br />
for easy integration into any lighting system,<br />
with the internal receiver opto-isolated for<br />
added signal integrity.<br />
Two fixture personalities are currently<br />
available, using 23 and 31 DMX channels respectively.<br />
All of the base functionality is available<br />
in either fixture mode, with the second<br />
personality offering higher resolution 16-bit<br />
adjustment for eight of the parameters. These<br />
include dimming, cyan, magenta, yellow,<br />
color wheel, iris, focus and zoom functions.<br />
It’s worth noting that some fixtures sacrifice<br />
16-bit positioning in reduced channel-count<br />
modes; not so here.<br />
The MAC Attack<br />
PS<br />
With these fixtures already popping up<br />
around the world, it is likely that Martin has<br />
<strong>com</strong>e up with another winner. Offering many<br />
of the features that have made the MAC 2000<br />
series famous, the MAC 700 Profile should allow<br />
a wider cross-section of the market to get<br />
their hands on a MAC.<br />
Phil Gilbert is a freelance lighting designer and<br />
programmer. You can contact him by e-mail<br />
at pgilbert@ plsn.<strong>com</strong> or via his Web site at<br />
www.philgilbert.net.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 49
FEEDING THE MACHINES<br />
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<br />
Begin at the Beginning<br />
Proceed to the End<br />
By BradSchiller<br />
P r e p a r i n g f o r P r o g r a m m i n g a G i g<br />
The phone rings, and you are offered<br />
an automated lighting programming<br />
gig. After checking your calendar,<br />
you accept the opportunity and notate the<br />
dates in your calendar. You know that there<br />
will be plenty to do once the programming<br />
sessions begin. But until then, what should<br />
you do? How you prepare for a gig is often<br />
as important as the gig. Certain questions<br />
Find out all that you can regarding the<br />
type of production, whether it’s a concert,<br />
festival, corporate event, TV show . . .<br />
should be asked, special requests need to<br />
be made, and specific preparations should<br />
take place prior to the first day on site.<br />
Asking the Right Questions FTM<br />
Once you have <strong>com</strong>mitted to a production,<br />
it is important to learn as many details<br />
as you can. First off, you should check<br />
if you are the “lighting guy,” “programmer”<br />
or “LD.” In this industry you can easily be<br />
hired as any, or all, of the above. If you and<br />
your client do not have a clear understanding<br />
early on, this might cause trouble during<br />
the production. Some lighting <strong>com</strong>panies<br />
often will hire you to handle all aspects<br />
of lighting for a show. You will design the<br />
plot and run the crew, as well as program<br />
and operate the show. On the other hand,<br />
many productions will have a full crew and<br />
lighting designer and only expect you to<br />
program the console. Always be sure to define<br />
your role when you book the gig.<br />
In addition to your specific duties,<br />
you need to learn about the production.<br />
Find out all that you can regarding the<br />
type of production, whether it’s a concert,<br />
festival, corporate event, TV show, etc.<br />
Ask about the production schedule, rehearsal<br />
schedule and amount of time you<br />
will have behind the desk. No one likes<br />
to walk into a gig to find that they have<br />
been allotted 20 minutes to program 22<br />
songs for a concert. Production schedules<br />
seem to be getting shorter and shorter,<br />
but requesting more time to build a better<br />
show is not unreasonable.<br />
Once you know what you will be doing<br />
and how long you will have, it is vital<br />
to ask about the lighting equipment and<br />
the console. As a lighting programmer, you<br />
can usually request the console of your<br />
choice. If you always program on brand<br />
X and they provide you with brand Y, you<br />
will not be as efficient or knowledgeable.<br />
It is in the best interest of the client if they<br />
provide you with a console with which you<br />
are familiar and experienced. In the early<br />
stages of many productions, the exact gear<br />
list and light plot may not yet be available,<br />
but you should still learn all you can about<br />
the expected plans. Find out if digital fixtures<br />
or media servers are involved, and if<br />
you need to sync with timecode or show<br />
control. The general scope and the size of<br />
the rig are usually known and should be<br />
important to you as you prepare for this<br />
gig. Eventually, a plot will be provided to<br />
(or created by) you, but a cursory overview<br />
is helpful now, too.<br />
Research is Key<br />
FTM<br />
If possible, you should research the music,<br />
production history, scripts, corporate<br />
entity, etc., to gain further insight into the<br />
work you will be doing. If you were hired<br />
to light a corporate meeting for a flooring<br />
manufacturer, take a few minutes to read<br />
their Web site and understand more about<br />
the <strong>com</strong>pany. Look at the color schemes<br />
in their logos, Web site design, product labels<br />
and business photographs. Theatrical<br />
productions, of course, have a script, which<br />
will provide an understanding of the emotions,<br />
effects and settings the lighting can<br />
bring to the show.<br />
Many productions contain key musical<br />
elements or are entirely based on the music<br />
of a particular artist. As soon as possible,<br />
you should obtain the music and begin listening<br />
to it as often as possible. When I’m<br />
preparing for a show, I try to listen to the<br />
music nonstop for at least a week so that I<br />
am totally familiar with the lyrics, musical<br />
timing and changes, dynamics and sensations.<br />
In fact, as I write this article, I am<br />
listening to the music of a band that I will<br />
program for in about three days. When I arrive<br />
on site, I will already have concepts in<br />
mind, as well as a great feel for the timing<br />
of each song.<br />
Our Internet-based society provides us<br />
with great means of obtaining music, images,<br />
plots, etc., in a very timely manner.<br />
I am often sent MP3 files or media server<br />
content soon after accepting a booking for<br />
a show. In other cases I can easily jump to<br />
iTunes and download the songs or albums<br />
with which I need to familiarize myself.<br />
Visualization Within Yourself FTM<br />
Reading a script, watching videos, listening<br />
to music and talking with other<br />
production personnel will help you to visualize<br />
the production. A well-prepared<br />
mind will assist in creative looks and original<br />
ideas. However, you should also think<br />
about how you will prepare the lighting<br />
console and organize your work. You probably<br />
have a general style for each production<br />
type and enhance this format with<br />
every show. In the days or weeks prior to<br />
the gig, think about groupings of lights<br />
that will need to be created; determine the<br />
color choices that fit the needs of the production,<br />
and visualize how the lighting will<br />
look on stage in relation to your position<br />
palettes or presets.<br />
Sometimes you may want to utilize an<br />
offline editor version of your lighting console<br />
to prepare a show file. This is a great<br />
way to enter the preproduction well organized;<br />
however, you should also balance<br />
this with other work with which you are<br />
currently involved. If you stay up all night<br />
patching your next show, then you may not<br />
be rested enough to give 100% of yourself<br />
to your current situation. I have found that<br />
it is essential to balance my preparations<br />
and not <strong>com</strong>promise myself for my current<br />
production. Of course, there are times<br />
when this type of preparation must be<br />
done, and should be done.<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
Getting Ready to GO<br />
FTM<br />
After booking a gig, asking the right<br />
questions, researching and preparing, you<br />
should be ready to go to the gig. When<br />
you pack your suitcase, car, day bag, etc.,<br />
you must also plan ahead and bring the<br />
necessary items that will assist you to be<br />
a resourceful automated lighting programmer.<br />
Without the appropriate preparation<br />
work, your current show and client<br />
will suffer, and you will feel dis<strong>com</strong>fort<br />
throughout the production process. However,<br />
a small bit of planning goes a long<br />
way and always leads to efficient and reliable<br />
working conditions.<br />
Contact Brad at brads@plsn.<strong>com</strong>.<br />
50 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
THE BIZ<br />
Last August,<br />
British<br />
airport<br />
security agencies<br />
announced<br />
By DanDaley<br />
a ban on boarding<br />
with musical<br />
instruments on scheduled <strong>com</strong>mercial<br />
aircraft departing the U.K. for abroad, a<br />
restriction that applied as well to tours<br />
that stop or lay over in a U.K. airport<br />
and then move on to other ports of call.<br />
The move drew instant <strong>com</strong>plaints and,<br />
proving that musicians — even drummers<br />
— can organize themselves when<br />
properly motivated, a groundswell of<br />
protest that ultimately got the restrictions<br />
eased…somewhat.<br />
Get ready for the same thing, only<br />
on a much wider scale. The Arts & Entertainment<br />
Task Force, a study group<br />
be on top of the costs associated with<br />
getting every crew member to a consulate<br />
location and paying for flights, hotels<br />
and meals in addition to the visas.<br />
In the grand scheme of things, even<br />
this would not necessarily be a stratospheric<br />
figure. But to quote the late Senator<br />
Everett Dirksen of Illinois, “A million<br />
here, a million there — soon we’re talking<br />
real money!” The problem is that these increased<br />
costs are less of a burden to large<br />
corporations than they would be to the<br />
scores of smaller and mid-sized shows<br />
and tours that increasingly make up the<br />
bulk of the touring population for music<br />
and theatrical performances. How often<br />
does Madonna tour backed by Bank of<br />
America? Notice how many Broadway<br />
road versions keep their Visa and American<br />
Express sponsorships when they go<br />
to the West End? One possible out<strong>com</strong>e<br />
The costs could make touring the U.K.<br />
and Europe prohibitive for promoters<br />
and touring shows alike.<br />
1/4 JR. HORIZONTAL AD<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
within the U.K. Home Office (a kind of<br />
State Department and Department of<br />
the Interior rolled into one), has re<strong>com</strong>mended<br />
sweeping changes to the current<br />
work visa regulations that not only<br />
cover artists and performers visiting<br />
the U.K., but the technical crews that<br />
ac<strong>com</strong>pany them as well.<br />
According to preliminary reports,<br />
the major changes are that the work<br />
visa application and approval process<br />
will shift from being processed in the<br />
U.K. to one of the six U.K. consulates in<br />
the U.S. Applicants will have to apply<br />
in person because the new rules will<br />
require that consulate personnel take<br />
biometric data from the applicant directly.<br />
(Digital fingerprinting is all that’s<br />
been specified so far.) Application and<br />
processing costs are also scheduled to<br />
increase significantly: costs are now<br />
£153 (just under $300 at current rates)<br />
for a work permit that covers as many<br />
people as are in the tour party, from divas<br />
to grips; the new rules would likely<br />
increase that amount and apply it individually<br />
to each member of the crew.<br />
Furthermore, tour promoters, who historically<br />
bear the costs of work visas<br />
for tours they bring over, will likely face<br />
certification and registration fees that<br />
may apply on an annual basis, or even<br />
on a per-tour basis.<br />
The costs could make touring the<br />
U.K. and Europe prohibitive for promoters<br />
and touring shows alike. As one of<br />
the few Internet references that has addressed<br />
the issue so far (recordoftheday.<br />
<strong>com</strong>) estimates, a 20-person crew would<br />
cost the promoter or show £3,060 —<br />
nearly $6,000 — even if the current work<br />
visa rates are left as they are. This would<br />
of these kinds of changes in U.K. work<br />
visa requirements is that, at a time when<br />
independent productions have gained<br />
significant leverage, thanks to the Internet,<br />
the advantage is handed back to corporately<br />
sponsored tour programs. And<br />
that has the same effect that has drawn<br />
<strong>com</strong>plaints to the FCC about allowing expanded<br />
media ownerships by large corporations:<br />
fewer and bigger entities, ever<br />
mindful of their public image, determine<br />
what gets seen by audiences.<br />
The effects of exponentially increased<br />
visa costs are not hard to imagine. Fewer<br />
artists could afford the new fees, reducing<br />
the talent pool and making those who<br />
can even less <strong>com</strong>petitive; fewer shows<br />
for venues means lower ticket and consumables<br />
revenues; fewer shows means<br />
less revenue to ancillary providers, such<br />
as lighting equipment and transportation;<br />
and ultimately, less tax revenue collected<br />
by Her Majesty’s government.<br />
The specifics of the work visa policy<br />
changes have not yet been announced;<br />
the Home Office had planned to make<br />
some details available for inspection —<br />
but not necessarily debate — in January<br />
2007. While no firm date for implementation<br />
has been set, estimates are that the<br />
agency may hold off until January 2008.<br />
In any event, the disparate domains from<br />
LDs to sound mixers can find a <strong>com</strong>mon<br />
cause here. Get the word out on blogs;<br />
send an e-mail to chargingconsultation@<br />
homeoffice.gsi.gov.uk, which may be a<br />
bureaucratic black hole or not. But proactivity<br />
is a key strategy. If they can back<br />
off on oboes, they’ll likely listen to a lot of<br />
people with millions of LEDs.<br />
Contact Dan at ddaley@plsn.<strong>com</strong>.<br />
1/2 JR. VERTICAL AD<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
FEBRUARY 2007 <strong>PLSN</strong> 51
FOCUS ON DESIGN<br />
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<br />
By SwamiCandela<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
I, Swami Candela of the third millennium,<br />
know all, see all and tell all, except that<br />
which I do not know, see or tell. I know the<br />
words to “Louie, Louie,” and I know how many<br />
LEDs fit on the head of a pin. I hold all the answers<br />
to your lighting questions.<br />
To illustrate, I ask you to pick up a pencil<br />
and paper at this very moment. Seriously, pick<br />
it up. Write down one question, one burning<br />
question you have about anything related to<br />
lighting, and I will address it at the end of this<br />
article. But be forewarned; if you do not write<br />
down a question, or if you choose to skip to the<br />
end, you will not find the answer. The answer<br />
will <strong>com</strong>e only through your cooperation.<br />
During the last full moon, on the pages of<br />
this column there appeared an article by the<br />
regular author about the use of diffusion (“Focus<br />
on Design: The Illusion of Diffusion,” <strong>PLSN</strong><br />
December 2006). The article elicited much<br />
<strong>com</strong>ment from you, the illuminati. Many of<br />
you pointed out that softness of light has to<br />
do with the relationship between the size of<br />
the source and the subject. One such person<br />
was Joe Tawil, president of GAM.<br />
I spoke to Joe on the phone after he wrote<br />
and invited me to do so. Joe didn’t invent diffusion<br />
material, but he did work to bring order<br />
and consistency to diffusion material. In<br />
the early days, he said, people used “found”<br />
material, whatever they could get their hands<br />
on, to diffuse light — vinyl, shower curtain,<br />
drafting velum… But he was “disgusted” with<br />
it because it was inconsistent, hard to get, and<br />
it caused little problems like melting over the<br />
audience from the hot lights.<br />
Yet he knew that it was an important lighting<br />
tool for two reasons: it helped soften the<br />
light and improve the quality of shadows, and<br />
it was used to mechanically dim the lights. So<br />
Joe set out to develop a series of stepped diffusion<br />
material that was sequentially ordered.<br />
He knew it had to be made of polyester so it<br />
wouldn’t melt, and he wanted them to be in<br />
increments that correspond to f-stops, but he<br />
found that different sources produced different<br />
results.<br />
He went on to explain how diffusion<br />
“There is but one basic rule to diffusing light; the softness<br />
of the light is directly proportional to relationship<br />
between the size of the source relative to the object<br />
being illuminated.” –Lighting designer Lee Rose<br />
works, and the underlying principle that<br />
emerged was that the quality of the shadows<br />
is related to the size of the source <strong>com</strong>pared<br />
to the subject. The throw distance, he said,<br />
was also an important determining factor. He<br />
wasn’t the only one who pointed these factors<br />
out.<br />
Lighting designer Lee Rose of Design<br />
Partners wrote to say, “Your article brought<br />
into stark relief a <strong>com</strong>mon misunderstanding<br />
that I see in the video/film lighting field all the<br />
“A larger source will wrap around a subject giving the<br />
shadow a softer gradation.”<br />
- Don Bachmeier, lighting applications specialist at Lowel-Light<br />
Manufacturing, Inc.<br />
time. I always hear people talking about ‘how<br />
much softer the shadows are’ when they put<br />
some diffusion over what is basically a point<br />
source light. In truth, there is but one basic<br />
rule to diffusing light; the softness of the light<br />
is directly proportional to relationship between<br />
the size of the source relative to the<br />
object being illuminated.<br />
“If you ‘diaper’ a Fresnel (hang diffusion<br />
over the ends of the barn-doors), you increase<br />
the source size from the 10-inch lens to about<br />
20 inches across the doors. While this is a doubling<br />
of the source size, it will have very little<br />
effect on the apparent softness of the light if<br />
it is 20 or 30 feet from the subject.<br />
“If you ever walk onto the set of a car<br />
<strong>com</strong>mercial, you will most often see huge top<br />
sources. Products like the ‘Fisher Box’ <strong>com</strong>e in<br />
various sizes including 17 feet by 57 feet. In<br />
relation to a car on a stage at 15 or 20 feet<br />
trim, you can see that the source is much larger<br />
than the subject.<br />
“Even using a Chimera Lightbank on a<br />
Fresnel changes the 10-inch source with an<br />
area of about half of a square foot to a 36-<br />
inch-by-48-inch source with an area of 12<br />
square feet. The relationship of the source to<br />
the subject is the final determination of how<br />
‘soft’ the light is. That Chimera, four feet from a<br />
person, is soft, while 24 feet away it is not.<br />
Thank you for reminding us that we tend<br />
to work from our perceptions and that in fact,<br />
they may not be correct. Actual hands-on experience,<br />
I have found, is the best teacher.”<br />
Don Bachmeier, lighting applications<br />
specialist at Lowel-Light Manufacturing, Inc.,<br />
had this to say: “The softness of a light is determined<br />
by the relative size of the source to<br />
the subject. A larger source will wrap around<br />
a subject, giving the shadow a softer gradation.<br />
The relative size of a Source Four 20 feet<br />
from the stage <strong>com</strong>pared to a person is small<br />
no matter how many sheets of diffusion you<br />
pile on.<br />
“Diffusion is often used to make the light<br />
a larger source. Stacking diffusion doesn’t<br />
make the light any softer unless each one<br />
makes the source progressively larger like<br />
softboxes.<br />
“Close stacking diffusion can stand in for<br />
neutral density if you don’t mind the widened<br />
beam. I’m primarily a video guy, so having half<br />
a dozen grades of diffusion and a pocket full of<br />
clothes pins to make quick changes is the norm.”<br />
Josh Alemany from Rosco also wrote<br />
to say, “Your article does a really nice job of<br />
breaking down diffusion effects and helping<br />
to shape a designer’s expectations when using<br />
these filters. Some years ago, a cinematographer<br />
named Tom Denove looked at a<br />
similar problem — how diffusion works in<br />
film/TV lighting. Here, the filter is placed away<br />
from the source at some point between the<br />
light source and the subject. His findings are<br />
documented in a Technote for Rosco called<br />
Diffusion Confusion, an abridged version of<br />
which can be found on our Web site: http://<br />
www.rosco.<strong>com</strong>/us/technotes/filters/diff_<br />
conf.asp.”<br />
You may have wondered from time to<br />
time, who Swami Candela really is. The Swami<br />
is but a small medium of large proportions.<br />
He has 1000 eyes, 1000 ears and 1000 years<br />
of industry experience. Swami Candela is the<br />
embodiment of the industry, the sum total of<br />
the intellectual capital that is the production<br />
industry, the illuminati plenary. Swami Candela<br />
is you, you are I, and we are all together.<br />
Koo-koo-kachoo.<br />
And now, Swami Candela will answer the<br />
question that you wrote down a few minutes<br />
ago. Fold the piece of paper in half, hold<br />
it close to your third eye, close your eyes, and<br />
concentrate on the question. Now go to the<br />
www.plsn.<strong>com</strong>/forums and you will find your answer.<br />
Or it could be at the Stage Directions forum<br />
(www.stage-directions.<strong>com</strong>). Or http://groups.<br />
yahoo.<strong>com</strong>/group/EntertainmentElectricity/.<br />
The answer to your question is in the air and in<br />
the minds of the people around. You have only to<br />
ask and the answer will appear.<br />
Reach the Swami through the medium of<br />
e-mail at rcadena@plsn.<strong>com</strong>.<br />
52 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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<br />
TECHNOPOLIS<br />
Why They Call It a User’s Manual<br />
By PhilGilbert<br />
It’s now 2007, and I have to<br />
say that it’s the first year that<br />
I’m no longer enamored by<br />
the new millennium. For the<br />
first time since Windows 95 came out, I<br />
feel like no one is concerned that the end<br />
of the world is nigh. Heck…no one really<br />
seems to care that Windows Vista is out.<br />
What does this pontification mean for<br />
you? Not much. Except that the words you<br />
are reading have been penned by <strong>PLSN</strong>’s<br />
newest contributing columnist…me.<br />
What does this mean for me? Well, it’s<br />
kind of like having a new paper route…<br />
without the sweet BMX bike or the lame<br />
basket on the front. Oh, and I get to speak<br />
in the first- or third-person whenever I feel<br />
like it. As I <strong>com</strong>pete for a share of your time<br />
with Vickie, Brad, Nook and the other great<br />
voices on these pages, I will attempt to be<strong>com</strong>e<br />
your very own technology evangelist<br />
and guardian angel.<br />
If you’re interested in what I’m planning<br />
for the space, how you can participate<br />
or whether or not penguins make good insulators,<br />
you have only to look towards the<br />
sidebar for more information on the newly<br />
re-vamped Technopolis.<br />
On With the Show<br />
TECH<br />
Historically, men are known for at least<br />
two very telling characteristics…<br />
The first is a <strong>com</strong>plete lack of understanding<br />
towards anything pertaining to<br />
the opposite sex. Simply put…guys don’t<br />
get girls. This is, in many households, a<br />
simple reality and a fact of life. If you are<br />
among the 99.9% who suffer from this issue,<br />
you will not find redemption in these<br />
pages. Sorry.<br />
The second shared trait is a <strong>com</strong>plete<br />
refusal to read anything that bears any<br />
resemblance to a user’s manual. It is this<br />
trait that I would urge you, as of today,<br />
to purge.<br />
It No Longer Makes Sense TECH<br />
Up until a few years ago, our instincts<br />
to ignore user guides, instruction manuals<br />
and quick start sheets was often a reasonable<br />
idea. Many manuals seemed to be<br />
either written by foreign engineering students<br />
or translated by local first graders.<br />
And with the state of technology, it often<br />
worked out for the best. Microwaves<br />
only had a timer and a defrost setting.<br />
Lighting consoles had two modes: Run and<br />
Record. Media servers were called slide<br />
projectors. And most moving lights used<br />
fewer than 20 channels of DMX.<br />
In those days, “winging it” was considered<br />
an acceptable method of running a<br />
show. But nowadays a media server has<br />
more power than the WOPR from War<br />
Games. A lighting console is considered<br />
obsolete if it can’t be connected to the<br />
Internet. A light fixture can use more than<br />
150 channels of DMX. And I think my microwave<br />
can talk to my toilet.<br />
With the sheer quantity of new products<br />
released into our industry each year, it<br />
is simply not possible to get your hands on<br />
each and every one.<br />
Fortunately, user manuals have grown<br />
up a bit with the technology. Many are<br />
well-illustrated and easy to read, while a<br />
few are even humorous.<br />
Everything You Need<br />
TECH<br />
These days, any manufacturer worth<br />
their salt has an entire section of their Web<br />
site dedicated to you, the end user. Depending<br />
on the site, you might find online<br />
discussion forums or download areas for<br />
the latest software updates.<br />
One thing you will almost always find<br />
is a listing of the <strong>com</strong>pany’s products and<br />
their downloadable user manuals. This<br />
is one of the greatest tools that we now<br />
have at our disposal, and yet most people<br />
are afraid of the mere idea of reading a<br />
user manual.<br />
We have all been in the position of<br />
approaching a piece of gear on a job, not<br />
knowing the first thing about what it’s really<br />
capable of doing, or how to go about<br />
plugging it in. This is what the user manual<br />
can tell you before you ever arrive on site.<br />
About 95% of you have the resources<br />
to try this on your next show…<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
• Pick one piece of equipment that<br />
you’re about to use, but may be a<br />
little rusty on or have never<br />
used before.<br />
• The night before using the gear,<br />
go to the manufacturer’s Web site<br />
and find the manual.<br />
• <strong>Download</strong> it, and read it.<br />
• BONUS! Give the file a meaningful<br />
name, and save it to a “User<br />
Manuals” folder.<br />
• DOUBLE BONUS! The next time you<br />
have a question about that item,<br />
the user manual is already on<br />
your <strong>com</strong>puter.<br />
As I write this, I have more than 500<br />
user manuals saved in a nicely organized<br />
folder on my laptop. I probably open that<br />
folder more than I open my CAD software.<br />
So go out and read those user manuals. You<br />
might be surprised at what you learn.<br />
Phil Gilbert previously became unknown for<br />
writing Installation features for <strong>PLSN</strong>. His<br />
fiancée hopes that you like this better. He<br />
can be reached at pgilbert@ plsn.<strong>com</strong>.<br />
the head honchos are always trying<br />
to keep our take on the industry<br />
fresh and vital while striving to<br />
bring you the perfect balance of<br />
fact-checking perfectionists and<br />
raving lunatics. It just so happens<br />
that I wear both of those hats.<br />
So, starting right now, you can<br />
join me and all of the other Technopolis<br />
addicts online in the <strong>PLSN</strong><br />
User Forums ( They just got a fresh<br />
coat of paint!) and at my brand<br />
new Technopolis blog.<br />
To see me expound on the<br />
latest industry technology every<br />
week, point your Web browser to<br />
http://www.plsn.<strong>com</strong>/technopolis.<br />
After that, join in the discussion<br />
at http://www.plsn.<strong>com</strong>/forums.<br />
See you on the Intertrons!<br />
–Phil<br />
Here at <strong>PLSN</strong>,<br />
Ad info:http:// www.plsn.<strong>com</strong>/instant-info<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
FEBRUARY 2007 <strong>PLSN</strong> 53
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54<br />
<strong>PLSN</strong> February 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
ADVERTISER’S INDEX<br />
COMPANY PG# PH URL<br />
A.C.T Lighting, Inc. 10 818.707.0884 http://plsn.hotims.<strong>com</strong>/12804-100<br />
AC Lighting 41 416.255.9494 http://plsn.hotims.<strong>com</strong>/12804-101<br />
All Access Staging & Prod. 51 310.784.2464 http://plsn.hotims.<strong>com</strong>/12804-102<br />
Angstrom Lighting 9 323.462.4246 http://plsn.hotims.<strong>com</strong>/12804-103<br />
Apollo Design Technology, Inc. 15 800.288.4626 http://plsn.hotims.<strong>com</strong>/12804-104<br />
Applied Electronics 39 800.883.0008 http://plsn.hotims.<strong>com</strong>/12804-105<br />
Arri 35 845.353.1400 http://plsn.hotims.<strong>com</strong>/12804-106<br />
Atlanta Rigging 14 404.355.4370 http://plsn.hotims.<strong>com</strong>/12804-107<br />
Avolites 22 865.938.2057 http://plsn.hotims.<strong>com</strong>/12804-160<br />
Barbizon 53 866.502.2724 http://plsn.hotims.<strong>com</strong>/12804-108<br />
Branam 3 661.295.3300 http://plsn.hotims.<strong>com</strong>/12804-109<br />
Bulbtronics 24 800.227.2852 http://plsn.hotims.<strong>com</strong>/12804-110<br />
Chauvet Lighting 6, 25 800.762.1084 http://plsn.hotims.<strong>com</strong>/12804-111<br />
Checkers Industrial Prod. 16 800.438.9336 http://plsn.hotims.<strong>com</strong>/12804-112<br />
City Theatrical Inc. 44 800.230.9497 http://plsn.hotims.<strong>com</strong>/12804-114<br />
Clay Paky 2 609.812.1564 http://plsn.hotims.<strong>com</strong>/12804-115<br />
CM Rigging Products 40 800.888.0985 http://plsn.hotims.<strong>com</strong>/12804-116<br />
Coast Wire & Plastic Tech., Inc. 49 800.514.9473 http://plsn.hotims.<strong>com</strong>/12804-117<br />
Creative Stage Lighting 14, 51 518.251.3302 http://plsn.hotims.<strong>com</strong>/12804-118<br />
Doug Fleenor Design 16 888.436.9512 http://plsn.hotims.<strong>com</strong>/12804-119<br />
Edirol 5 800.380.2580 http://plsn.hotims.<strong>com</strong>/12804-155<br />
Elation C4 866.245.6726 http://plsn.hotims.<strong>com</strong>/12804-121<br />
ETC 37 608.831.4116 http://plsn.hotims.<strong>com</strong>/12804-122<br />
ETCP 53 212.244.1505 http://plsn.hotims.<strong>com</strong>/12804-123<br />
Full Sail 12 800.226.7625 http://plsn.hotims.<strong>com</strong>/12804-124<br />
Gemini Stage Lighting 38 214.341.4822 http://plsn.hotims.<strong>com</strong>/12804-125<br />
High End Systems 17 512.836.2242 http://plsn.hotims.<strong>com</strong>/12804-126<br />
Intelevent Systems 16 800.348.2486 http://plsn.hotims.<strong>com</strong>/12804-127<br />
Le Maitre 11 519.659.7972 http://plsn.hotims.<strong>com</strong>/12804-156<br />
Legend Theatrical 28 888.485.2485 http://plsn.hotims.<strong>com</strong>/12804-129<br />
Leprecon/Cae Inc. 18 810.231.9373 http://plsn.hotims.<strong>com</strong>/12804-130<br />
Light Source 4 803.547.4765 http://plsn.hotims.<strong>com</strong>/12804-131<br />
Lightronics C3 757.486.3588 http://plsn.hotims.<strong>com</strong>/12804-132<br />
Look Solutions 28 800.426.4189 http://plsn.hotims.<strong>com</strong>/12804-133<br />
COMPANY PG# PH URL<br />
Main Light 42 302.998.8017 http://plsn.hotims.<strong>com</strong>/12804-134<br />
Martin C1, 13 954.858.1800 http://plsn.hotims.<strong>com</strong>/12804-135<br />
MDG Fog Generators Limited 21 800.663.3020 http://plsn.hotims.<strong>com</strong>/12804-136<br />
NAB 45 888.740.4622 http://plsn.hotims.<strong>com</strong>/12804-113<br />
Ocean Optics 7 727.545.0741 http://plsn.hotims.<strong>com</strong>/12804-137<br />
OSRAM 33 888.677.2627 http://plsn.hotims.<strong>com</strong>/12804-139<br />
PR Lighting LTD 29 253.395.9494 http://plsn.hotims.<strong>com</strong>/12804-138<br />
R&M Materials Handling 43 800.955.9967 http://plsn.hotims.<strong>com</strong>/12804-140<br />
Robe America 1 954.615.9100 http://plsn.hotims.<strong>com</strong>/12804-141<br />
Roc-Off 17 877.978.2437 http://plsn.hotims.<strong>com</strong>/12804-142<br />
Rosco Laboratories 49 800.767.8652 http://plsn.hotims.<strong>com</strong>/12804-143<br />
Sew What 8 866.444.2062 http://plsn.hotims.<strong>com</strong>/12804-144<br />
Special FX Lighting 5 435.635.0239 http://plsn.hotims.<strong>com</strong>/12804-145<br />
Staging Dimensions 19 866.591.3471 http://plsn.hotims.<strong>com</strong>/12804-145<br />
Strong Entertainment Lighting 50 800.262.5016 http://plsn.hotims.<strong>com</strong>/12804-146<br />
Techni-Lux C2 407.857.8770 http://plsn.hotims.<strong>com</strong>/12804-147<br />
TMB 17 818.899.8818 http://plsn.hotims.<strong>com</strong>/12804-120<br />
Tyler Truss Systems 50 903.877.0300 http://plsn.hotims.<strong>com</strong>/12804-148<br />
Wireless Solutions 23 800.421.3562 http://plsn.hotims.<strong>com</strong>/12804-149<br />
Wybron 52 800.624.0146 http://plsn.hotims.<strong>com</strong>/12804-150<br />
Xtreme Structures 12 903.473.1100 http://plsn.hotims.<strong>com</strong>/12804-159<br />
MARKET PLACE<br />
City Theatrical Inc. 54 800.230.9497 http://plsn.hotims.<strong>com</strong>/12804-114<br />
DK Capital 54 517.347.7844 http://plsn.hotims.<strong>com</strong>/12804-151<br />
ELS 54 800.357.5444 http://plsn.hotims.<strong>com</strong>/12804-152<br />
Hybrid Case 54 800.346.4638 http://plsn.hotims.<strong>com</strong>/12804-128<br />
Light Source Inc. 54 248.685.0102 http://plsn.hotims.<strong>com</strong>/12804-131<br />
Lightronics 54 757.486.3588 http://plsn.hotims.<strong>com</strong>/12804-132<br />
RC4 54 866.258.4577 http://plsn.hotims.<strong>com</strong>/12804-153<br />
Roadshow 54 800.861.3111 http://plsn.hotims.<strong>com</strong>/12804-154<br />
TLS 54 866.254.7803 http://plsn.hotims.<strong>com</strong>/12804-157<br />
Upstaging 54 815.899.9888 http://plsn.hotims.<strong>com</strong>/12804-158<br />
Coming Soon to a Theatre (or Arena) Near You<br />
coninued from page 38<br />
Scott Blair, the ESTA RDM Task Group chair<br />
and High End Systems developer. “It will appear<br />
first in the moving lights, dimmer racks,<br />
fog machines and other DMX Accessories.<br />
“Wybon’s InfoTrace is the most tangible<br />
example of how RDM has the capability to<br />
change our industry. Products like InfoTrace,<br />
JumpStart and Enttec OpenUSB will be at the<br />
forefront of connecting to RDM devices for<br />
configuration and monitoring/troubleshooting.<br />
Later we’ll see full RDM integration into<br />
the lighting consoles, although we probably<br />
won’t see many consoles fully supporting<br />
RDM until well into 2008.”<br />
ACN, or Architecture for Control Networks,<br />
was also recently released. At this point, its<br />
impact on the industry in the short term is<br />
anybody’s guess. It’s a fairly <strong>com</strong>plex protocol<br />
with lots of power and potential, but it also<br />
requires manufacturers to provide a lot of the<br />
innovation and implementation.<br />
Wireless Technology<br />
“Wireless technology in entertainment<br />
is about to explode on the market,” so says<br />
James Smith of RC4. Unless you’ve been hiding<br />
in a cave for the past year and haven’t seen<br />
the products like the SGM Synthesis automated<br />
luminaire with built-in wireless DMX from<br />
Wireless Solutions or the E-DMX from Avolites,<br />
our guess is that you’d be hard pressed<br />
to argue. In addition to the existing wireless<br />
dimmers from RC4 and City Theatrical, more<br />
wireless products will be arriving soon.<br />
“We’re putting the finishing touches on<br />
something that’s been asked for by customers<br />
for over a decade,” Smith says, “very, very,<br />
very small but powerful wireless dimming.<br />
The new RC4-Magic system will be offered in<br />
several configurations, including a small beltpack<br />
style receiver with AA battery <strong>com</strong>partment<br />
for adding LEDs and other low-power<br />
effects to costumes and small props and an<br />
A City Theatrical wireless transmitter and receiver<br />
un-mounted circuit board receiver that is only<br />
1.25 inches x 2.25 inches that’s a fast, smart,<br />
bi-directional radio and two dimmers.<br />
Gary Fails, president of City Theatrical,<br />
whose PDS-375 TRW and PDS-750 TRW<br />
<strong>com</strong>bine wireless control with LEDs and,<br />
optionally, batteries, isn’t one to watch the<br />
technology parade go by. “One of the biggest<br />
trends we are seeing is the growth of LEDs in<br />
shows and events,” he says, “and <strong>com</strong>bining<br />
them with WDS Wireless Data System wireless<br />
DMX, and even battery power for totally<br />
wireless control, allows lighting to be done<br />
in ways never before possible.” The PDS-375<br />
TRW and PDS-750 TRW control six or 12 Color<br />
Kinetics ColorBlast 12® LED fixtures, respectively.<br />
They provide DMX addressing and have<br />
a built-in mini-Zapi, built-in stand alone routines<br />
and DMX outputs in ruggedized cases<br />
designed for the touring tech. They are available<br />
in a battery-operated version, allowing<br />
totally wireless operation.<br />
Automated Luminaires<br />
Over the past several years, while pricing<br />
and reliability have improved considerably<br />
in moving lights, innovative new features<br />
have been slow to <strong>com</strong>e. But that’s changed<br />
more recently with the introduction of the<br />
700-watt fixtures like the Martin MAC 700 series<br />
and the Robe ColorSpot 700 AT, both of<br />
which use a highly efficient 700-watt short<br />
arc lamp. But some of the new automated<br />
light offerings might surprise you.<br />
Syncrolite’s new Xenon MX3000 is their<br />
smallest Xenon fixture weighing less than<br />
100 pounds. It uses a three-scroll device<br />
and new thin-film technology, including<br />
the worldwide patent-pending OmniColor<br />
1, OmniColor 2, VFL (variable field scrolling<br />
lenses), Dichro Film and FP (flat plane) gobos.<br />
The lamp is a custom-built “Super Arc” xenon,<br />
and the VFL lenses <strong>com</strong>e stock with 10°, 20°<br />
and 30° field angles, though others, including<br />
anamorphic, are available. The MX3000 is<br />
approximately 30–40 percent less than the<br />
B52, so it will be more affordable and usable<br />
for a wider range of applications in small or<br />
large venues, car shows, trade shows and TV<br />
studio shows.<br />
“The MX3000 is hi-res enough to replace<br />
some of the onstage follow spots using various<br />
tracking software such as Auto Pilot,” says<br />
president Jack Calmes, “and they can do so<br />
many jobs — wide angle washes for scenery,<br />
cyc washes, back fill, audience wash, beam<br />
looks, laser simulation, mattes, flames, waves,<br />
onstage fans that project to the back of an<br />
arena or stadium, and they have a number of<br />
different, cool looking in-air breakups plus all<br />
the usual Syncrolite beam effects.”<br />
As digital lighting starts to take root in<br />
the marketplace, look for automated lighting<br />
to continue to get smaller, brighter, lighter,<br />
cheaper and overall more powerful with more<br />
effects per cubic inch than ever before.<br />
By all indications, 2007 will be a busy year<br />
for R&D and manufacturing. These products<br />
and more will be filling the pages of this<br />
publication over the next several months. If<br />
you’re geeky like us, then it’s going to be a<br />
fun year.<br />
www.<strong>PLSN</strong>.<strong>com</strong><br />
2007 FEBRUARY <strong>PLSN</strong> 55
LD-AT-LARGE<br />
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<br />
By NookSchoenfeld<br />
Hey, it’s New Year’s in Rio. No worries.<br />
Last month I got a call from my friend,<br />
Alex Skowron, the LD for the Black Eyed<br />
Peas. The band had booked themselves<br />
on a beach in Rio for New Year’s Eve, but they<br />
had another gig on the 29th in Las Vegas.<br />
He couldn’t make it to Brazil until the show,<br />
so I covered for him. Dave Hill had designed<br />
a replica stage and lighting rig for Rio and<br />
five other cities around the globe. I was to<br />
clone Alex’s show to Dave’s rig for a show that<br />
would be broadcast worldwide. I kept a running<br />
diary of observations, and you’re in luck<br />
because I’d like to share them with you.<br />
When I arrived on the 28th, things were<br />
going typically for a show in Brazil — backwards!<br />
There was a giant ribbon-like set piece<br />
running everywhere on the stage. No matter<br />
what needed to be done, this ribbon was in<br />
the way. I’m sure it will look fabulous. I even<br />
got to meet the lighting consultant sent by<br />
the Nokia clients to insure that their ribbon<br />
was lit correctly.<br />
Once the truss was up in the air, they<br />
hoisted the fixtures up to it individually and<br />
attached them. I refused to ask why. This didn’t<br />
seem to bother the crew, despite the fact that<br />
the gig was on the beach and we were near<br />
the equator.<br />
They proceeded to place the ribbon<br />
squarely in front of the truss spots, which<br />
made them nicely decorative but of little<br />
use for lighting. So we had to move them. Of<br />
course, this ribbon was rigid, and it was lashed<br />
to the roof with rope and gaff tape, preventing<br />
the crew from lowering the truss to move<br />
them. I wondered if the truss could support<br />
three guys and a spotlight standing within a<br />
five-foot section.<br />
The upstage video wall was 15 feet off<br />
the ground, sitting on scaffolding. This would<br />
not have been an issue if the upstage truss<br />
wasn’t cutting the top half of the LED wall out<br />
of the picture. They brought in the cavalry, reattached<br />
all of the manually-operated chain<br />
hoists and lowered the video wall to two meters<br />
off the deck. I was disappointed because I<br />
kind of wanted to watch a video wall that only<br />
shows the performers from the waist down.<br />
The downstage LED wall that flies directly<br />
COMING NEXT<br />
MONTH...<br />
The Pixel Invasion<br />
Projection invades Broadway<br />
and theatres across<br />
the country.<br />
Taylored Words<br />
Theatre design consultant<br />
David Taylor fills the pages<br />
of the <strong>PLSN</strong> Interview.<br />
Tenacious Design<br />
Production Profile visits<br />
the set of Tenacious D.<br />
above the front truss was getting rigged to fly<br />
now. Unfortunately, they had already flown<br />
the front truss, which was in the way of it all.<br />
Out came the ropes and donkeys.<br />
I had placed a few of the LED strips that<br />
light the lovely ribbon on pipes jutting out<br />
from the edge of the downstage floor. Otherwise<br />
half of the big set ribbon would not have<br />
been lit. That may well be the case in the end,<br />
I thought, but I was trying to ac<strong>com</strong>modate<br />
Nokia the best I could. It’s funny how none of<br />
the renderings showed this fabulous ribbon<br />
jutting out past the downstage truss.<br />
The grandMA console arrived as expected.<br />
Unfortunately, nobody could find the proper<br />
fixture profiles and modes to patch them in. I<br />
could have found them on the Internet, but<br />
there is no wireless. How can a console not<br />
have a profile for a Martin MAC 600? I was not<br />
concerned. A grandMA expert was flying in<br />
from Argentina, and he knew my friend Demfis<br />
Fyssicopulos. They just didn’t know when<br />
during the week he would arrive, as he didn’t<br />
answer his phone. Being an optimist, I reasoned<br />
that it was because he was on a plane<br />
heading for the job site. The grandMA guy in<br />
Brazil had only ever worked on the grandMA<br />
PC program, not the actual console. He was<br />
okay. I think everyone should do their first<br />
show on a new console in front of half a million<br />
people.<br />
The Hog consoles we requested were<br />
in Brazil; we just weren’t sure where. We expected<br />
to see them tomorrow, I was told.<br />
But I couldn’t set up FOH for two more days<br />
because they were expecting rain and they<br />
didn’t have a tent set up to protect the console.<br />
Plus the snake was run the previous<br />
night, and it was buried somewhere under<br />
the sand. They needed to dig to find the connectors<br />
at the end.<br />
When they put the floor down, I saw that<br />
it was a bright yellow Marley-type material.<br />
It was so bright that I guaranteed the band<br />
would hurl if I spun any gobos. It was stapled<br />
to the deck, and it would make a great skating<br />
floor when the rain came at night.<br />
A guy came and introduced himself to<br />
me. He was in charge of personally helping<br />
In 30 years in the business, I have never<br />
felt frightened in a crowd — until now.<br />
me and guiding me through the backstage<br />
WYSIWYG setup. He asked me to <strong>com</strong>e back<br />
to his trailer and he would get me all ready to<br />
program. I never did locate this guy. But it was<br />
alright, because the whole show was already<br />
programmed on an ESP setup rented from<br />
Upstaging in Chicago.<br />
The front of house towers for the audience<br />
lighting had not yet been built. It<br />
seems high tide conflicts with their positioning,<br />
so we had to wait for the tide to fall<br />
so they could place some sticks in the sand<br />
for markers. But what was really cool was<br />
that when the tide went out, it left a giant<br />
pool of water on the beach for all the punters.<br />
I’m talking about a 25-foot wide trench.<br />
This could be the first gig where somebody<br />
could pass out in the crowd and drown.<br />
Day Two<br />
LD<br />
The conventional fixtures are all working.<br />
The Internet is up. High End and MA lighting<br />
came through with some fixture profiles for<br />
lights I’d never heard of. The Hogs arrived,<br />
and as soon as I’m patched, we start focusing.<br />
I do my best to use the PARs for TV lighting,<br />
filling dark holes everywhere and focusing<br />
around the lovely gaffed and roped ribbon. I<br />
have about 40 LED strip lights to illuminate it.<br />
I fail miserably. In <strong>com</strong>es the ribbon lighting<br />
consultant. He deftly has the crew move LEDs<br />
to different locations and they are all over it.<br />
In an hour it looks amazing, and the ribbon<br />
lighting consultant disappears forever.<br />
Day Three<br />
LD<br />
I’ve got about 80% of the 200 moving<br />
lights working — a fabulous ratio by Brazil<br />
standards — and I am thrilled. I move lights<br />
with broken color flags to the floor. They are<br />
eye candy for the camera shots, and correct<br />
color is not important — is it? They are all<br />
soaked now. They painted over the yellow<br />
floor, so I am downstage center, stuck like a<br />
fly on fly paper to the tacky stage, trying to<br />
focus the broken and not-broken lights. The<br />
towers are up, and I may have control of the<br />
200 audience PARs and 40 Giotto Spots by<br />
midnight. They are hoisting the spotlights up<br />
to the towers with rope, slamming into the<br />
scaffolding as they go. I’m confident the bulbs<br />
are already in them.<br />
The lighting <strong>com</strong>pany owner <strong>com</strong>es up<br />
and hands me a joint, all the while apologizing<br />
profusely in Portuguese. A translator tells<br />
me that these are the best spots he could find<br />
in Rio. I go over to take a look. Oh…my…God.<br />
They are Ultra Arc long throws, <strong>com</strong>plete with<br />
a 400-watt HTI bulb. I am doomed. These were<br />
not good truss spots in the ‘80s. Now I have<br />
six of them for four roaming singers. It will be<br />
a fun night with the TV crew.<br />
I hook up the Hogs at FOH and MIDI them<br />
together. They don’t talk to each other. Great!<br />
The MIDI chips in the console from London<br />
are blown. That’s okay. Alex and I will each<br />
take a console. I turn on the house fixtures.<br />
They are all hung any which way. I will have<br />
a great time focusing lights in the rain…on<br />
towers…300 feet away. I ask for a walkietalkie<br />
and a helicopter camera shot. Nobody<br />
is laughing with me. It’s 6 a.m., and the crew is<br />
focusing PARs for a mile.<br />
Showtime<br />
LD<br />
Thirty minutes to go, 100 yards to the<br />
front of house... In 30 years in the business, I<br />
have never felt frightened in a crowd — until<br />
now. The grandMA dudes do a fabulous job<br />
with the opening acts. We swap the DMX over<br />
to the other consoles at midnight, and we are<br />
off and running. The four rappers are working<br />
the downstage edge of the stage. They<br />
are getting blasted by the LEDs we placed in<br />
front of the stage to light the ribbons. Ouch!<br />
I never saw that <strong>com</strong>ing, probably because I<br />
never had a live feed to my TV monitor until<br />
show time. But then, the spots are throwing<br />
about 35 footcandles on the stage so any<br />
light helps us — even if it’s red.<br />
All in all, it was a great gig. The lasers, pyro<br />
and confetti all worked. And as usual, I never<br />
worried one bit. They have a way of getting it all<br />
together in the long run down here, as they did<br />
tonight. Here’s to a Happy New Year.<br />
The calm, cool, collected author can be reached<br />
at nschoenfeld@plsn.<strong>com</strong>.<br />
56 <strong>PLSN</strong> FEBRUARY 2007<br />
www.<strong>PLSN</strong>.<strong>com</strong>
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