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MEDIA BIZ Sommer 2019 #241

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  • Veranstaltungstechnik
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Milica Thessink • Prolight+Sound & Musikmesse • Legitary • Stage|Set|Scenery • Lucas Englander • NAB Las Vegas • Werkmeisterkurs Veranstaltungstechnik • TB Valant • „Ray & Liz“ • Luc Bessons Produktionsfirma unter Gläubigerschutz • Konflikte in der Filmbranche • Gruppendynamikseminare und deren Relevanz für Akteure der Filmbranche • HF-Infrastruktur beim ESC • video&filmtage • cuttlefish erweckt „Mister Link“ zum Leben • AudioPro goes Education • IFA Berlin • Lighting for ESC 2019 • ... Die nächste Ausgabe von MEDIA BIZ erscheint am 30. August mit einer Vorschau auf die IBC in Amsterdam, Nachberichten von der Stage|Set|Scenery und der IFA in Berlin, aktuellen Entwicklungen im Bereich Kameratechnik, Archivierung, Virtual und Augmented Reality, Beleuchtungs- und Beschallungstechnik, Datensicherung und -speicherung, Aus- und Einblicken vor und hinter die Kulissen beeindruckender Events, auf Produktionen und Projekte Made in Austria, dazu Testberichte, Interviews und mehr ... Redaktionsschluss: 12. August 2019 MEDIA BIZ Newsletter: MEDIA BIZ Abo: Print: Euro 37 Österreich / Euro 48 Europa (EU) Print + Digital: Euro 44 Österreich / Euro 53 Europa (EU) Digital: Euro 37 (jeweils inkl. MWSt. und Versandkosten) MEDIA BIZ Branchenführer 2019: MEDIA BIZ Termine:

in a news nutshell

in a news nutshell zurück zum Inhalt Lighting for ESC 2019 The 64th edition of the Eurovision Song Contest (ESC) was followed by more than 182 million viewers in 40 territories across the three live shows, and saw The Netherlands win with “Arcade”, sung by Duncan Lawrence. Head of Production Ola Melzig selected the best technology for the performances with support from Danish rental company LiteCom. Lighting was entrusted to Ronen Najar and Dakar Azulay; two Israeli lighting designers who were able to combine their respective skills in the live, musical and television fields. The lighting design was once again based upon a concept created by Florian Wieder. Ronen Najar: “There were a total of around 1600 fixtures for the main stage, alongside a further 200 for the green room. These fixtures were largely LED, a decision which prompted an in-depth study in order to provide balance with a choice of color temperature from 5000K to 5600K. This provides an output that is not too warm, tending slightly towards pink.“ Inside Expo Tel Aviv a dedicated room was created for the pre-programming of the event, where lighting, video and broadcast crews spent a month simulating lighting and video, alongside camera movements to further optimise timing once inside the venue itself. Osram was once again the official lighting partner for the contest. The 406 Claypaky fixtures (66 Axcor 600, 152 Sharpy Wash, 116 Sharpy Plus and 72 Unico) performed the lion‘s share of the show’s lighting. © Ralph Larmann „As far as the choice of fixtures is concerned, the main objective was to make the most of the triangular shapes on the roof“ says Ronen Najar. „We worked closely with the Claypaky staff to find the best solution and, many months before the event, went to the company’s Seriate headquarters in Italy to see the various projectors up close. Scenius Unico, mainly used for the high and low backlight sections between screen and stage, was the product that impressed us the most. Its complete feature set leads to extreme flexibility. Among the most recent Claypaky innovations, we have chosen to use the Axcor Profile 600 and the Sharpy Plus. These were both positioned inside and around the luminous triangles on the roof. Axcor 600s were also dedicated to lighting the sets of the various artists and, if necessary, for lighting the walkway that ran around the stage. Finally, Sharpy Washes were entirely dedicated to lighting the audience.“ An extremely important aspect for any television production is maintaining a level of balanced light intensity across the whole location. „We were easily able to maintain the same level of intensity throughout the show, whilst maintaining a balance between keylight, backlight and the rest of the rig lights. This was, of course, achieved in unison with the video, effectively facilitating the work of the camera operators,“ added Ronen Najar. ESC also boasted more than 700 Ayrton fixtures in its massive lighting rig. Ola Melzig: “For the second year in a row, we’ve had a Lighting design by Ronen Najar and Dakar Azulay close cooperation with Ayrton. Their fixtures are extremely reliable and innovative, and add fantastic - and very important - layers to the production.” Wieder’s iconic stage design was based on triangles and the number 12 - important symbols for Israel. “Our main idea was to maintain the special stage design,” explains Ronen Najar. “We therefore chose to use a significant amount of Ayrton MagicBlades to create new geometric lines as a backdrop that enforced the triangular motif and allowed us to be innovative and create multi-dimensional art.” 330 MagicBlade-R and 206 MagicBlade-FX were rigged on ladders at regular intervals across the massive back wall and side walls, and interspersed with 100 Khamsin-TC profile fixtures. “The MagicBlades took a major role,” continues Najar. “We used them for the dominant moments, as well as a background to support the LED screen. When you have 500 pretty identical fixtures on the back wall, you definitely can create exciting looks and mixtures! One of the most significant moments was the opening number for the very first broadcast - the host nation’s song Toy by last year’s winner, Netta.” Najar and Azulay also chose 46 Ayrton Ghibli profile fixtures to outline the downstage edges of both the main stage and the catwalk, which looped out into the arena, from where they were used to create striking aerial effects. 44 Ayrton Bora-TC wash fixtures were chosen for the Green Room where they were used as the main key light fixtures for the delegations from each country. 48 MagicDot-R units completed the inventory from Ayrton and were used for the Israeli entry, Home by Kobi Marimi, to give it a unique look. Multiple Pixotope systems, The Future Group’s virtual studio and augmented reality platform, and Stype tracking solutions were used extensively throughout the semi-finals, and for the final where a virtual airliner was used to ‘deliver’ the contestants to the main stage. Pixotope AR graphics were used in the introduction of each song with virtual triangles forming each of the 41 country flags in the roof of the stage. AR graphics were also used as key elements of some of the songs, in one to replicate the singer and produce synchronised duplicates, and in another to add an animating earth globe. Riedel Communications provided a complete solution that included not only intercom and signal distribution, but also accreditation, access control, commentary systems, and a comprehensive IT infrastructure for staff, broadcasters and press members. Next year’s contest will be a joint venture between three Dutch EBU Members: NPO, AVROTROS and NOS. They are now inviting Dutch cities and regions to apply as Host City for the 2020 ESC. Solo Artemio Benki‘s feature-length directorial debut, an international co-production, had its world premiere at Cannes L`Acid Section. Martín is a young Argentinian piano virtuoso and composer, who, since his breakdown four years ago, has been a patient of El Borda, the largest psychiatric hospital in Latin America surrounded by controversy. The child prodigy and the most promising talent of his generation is now trying to find a way to overcome © Slingshot Films his mental disease and come back to life outside the walls of the asylum and on the concert stages, while working on his new composition “Enfermaria”. “Solo” tells a unique, yet universal story about obsession with perfection, exploring the evolution of a human being who draws his strength from his own fragility. Trailer: Production: Artcam Films, Petit a Petit Productions, Lomo Cine, Buen Destino, Golden Girls Film MEDIA BIZ

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