Pro Systems May/June 2017 by Pro-Systems Africa News

May / June 2017

R38.00

AV System Integration | Installations | Live Events | Studio PRO Audio

Cover MUSEUMS Feature & GALLERIES Mediatech 2017 Preview

Ultra South Africa

Prolight + Sound Report

Robe Update

In This Issue EDITOR Hello everyone, and welcome to the latest edition of ProSystems Africa News. That time is upon us again, when we preview the biennial local trade show phenomenon that is Mediatech. The 2017 edition of sub Saharan Africa’s biggest AV and Broadcast trade show is once again packed with new product launches, innovations, demos and more. Despite the economic turmoil and especially the currency volatility we have to cope with here in South Africa, many local distributors, integrators and rental companies are growing and expanding their reach. As the worlds of AV and IT continue to converge, more opportunities in the commercial, corporate and residential markets will become apparent. Mediatech 2017 reflects all of this, and promises to have much of interest for exhibitors and visitors alike. This preview edition of the show contains a comprehensive product highlights section which dominates the magazine, where companies with a presence at the show put forward the product highlights on their stands, for easy reader reference. Still on the trade show front, we also feature our customary reportback on the recent Prolight + Sound show in Frankfurt. Elsewhere in this issue we have a profile interview with newly launched local staging, design and production house Collective Works, comprising three well-known industry personalities in Josh Cutts, Bradley Hilton and Chris Bolton. There is also an intriguing business update with CEO of Czech lighting manufacturer powerhouse Robe, Josef Valchar, as we find out what the company’s strategic business outlook consists of. Our special feature this issue is an intriguing one, and deals with the often overlooked but important museum and gallery sector. This highly specialised field is becoming more and more an important one for AV manufacturers and integration and installation companies, as demands for flexible and responsive – and most importantly, immersive- exhibition spaces become more prevalent. As part of this feature we focus on one gallery installation, an innovative partnership between Chrsitie and the Barbican in London, and a significant museum project partnership locally, between design and production consultancy Digital Fabric, architectural practice Office 24/7, and museum fit out contractors Image K Digital, for a new attraction at the Maropeng Visitor Centre at the world-famous Cradle of Humankind site. Lastly, our live section this issue has a wide and varied range of productions and live events, including a piece on the often overlooked importance of sound design for TV productions, in the second season of The Voice. Our forthcoming special feature in July/August will be focused on Houses of Worship. If you have any story ideas in this sector you wish us to consider, please get in touch. Don’t forget that we’re here for you – as your resource for key industry news, information, trends and product news. If you want to talk about any of that, have suggestions, or comments on anything you read here and in our regularly updated website, newsletter, and social media feeds, don’t hesitate to let me know. I’m on james@sun-circle.co.za. Enjoy the read! James Sey

CONTENTS NEWS

Integration & INSTALLATION

TID SA announces new ownership..................3

Museums focus on AV advantage...............34

Sound Corporation invests in the

Crafting the hands-on Experience Lab.......36

full range of EAW Redline series......................3

Christie and the Barbican Centre in

SARA hosts successful LETPC 2017..................4

award-winning partnership............................40

DWR hosts Patrick Woodroffe and

Specialz are EPIC in Dublin............................42

Roland Greil Lighting Workshop......................6

Robe boxes clever for global growth..........44

DiGiCo SD7 gives its all for Blue Man Group.....................................8

PROLIGHT + SOUND 2017 SHOW REPORT Prolight + Sound 2017

MEDIATECH 2017 SHOW PREVIEW

stays positive in outlook..................................46

Mediatech product showcase.......................9

Live Events AV

Multi-Media sounds out The Voice................48

Questek [Stand C1 | B1 | B2]..........................10

Mother of the nation festival.........................52

ApexPro [Stand F47].........................................13

South Africa gears up for Ultra......................54

Crestron [Stand C35]........................................14

Collective Works is launched........................58

Electrosonic AV Products

Rigging and such:

[Stand A30 | A33]................................................ 15

cantilever conversations................................60

Alpha Technologies [Stand E41].....................18 Peripheral Vision [Stand D41]..........................19

Social

wePresent [Stand E41].....................................21

Patrick Woodroffe Theatre Lighting

Wild & Marr [Stand H37 | H43 | J33 | J37].....22

Workshop – UJ Arts Centre.............................62 Kramer Training 5 May....................................64

LIVE

Green Hippo South African Roadshow .......64

Claypaky .........................................................24 Electrosonic SA [Stand A33 | A30].................25 The Production Warehouse [Stand G47].......26 ApexPro [Stand F47].........................................28 Robe ................................................................29 TV Audio [Stand B43 | B51 | B52]....................30 Audiosure [Stand G63 | G71]..........................32 DWR .................................................................33

Contributors Elaine Strauss | A journalist and photographer, with experience in writing articles featuring a broad range of subjects, Elaine also has a honours degree in Visual Studies, and is making her mark in the audio and AV industries. With a keen interest in lighting design and film studies, she is a peoples-person with a fascination for all things new and shiny. With experience in journalism, videography and marketing, she brings to her writing a passion for and understanding of various fields.

Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Pro-Systems Africa News or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.

www. pro-systems.co.za

news

TID SA announces new ownership TID recently announced that after seven years of building the company brand and the brands that the company distributes, they will be under new ownership from 1 June 2017. TID recently announced that after seven years of building the company brand and the brands that the company distributes, they will be under new ownership from 1 June 2017. This arrangement will see Tiaan Hoogstad and Michael van Rensburg join forces with Joseph Milan and Spencer Thomas to form TID SA Pty (Ltd). They will continue to represent Bose Professional,

Biamp Systems, Beyerdynamic, AMC, Cloud Electronics, Bittner, Barix and other exciting brands in Southern Africa. TID SA Pty (Ltd) and Alpha Technologies will combine resources, service departments and “back of office” that will ensure superior service to both sets of customers. This

collaboration will enable the Alphatec and TID SA sales forces to cross sell products, offering a synergistic solution set. The TID SA and Alphatec brands will exist as separate entities for the foreseeable future. According to Hoogstad both companies will be selling and promoting each other’s products. “Sales people from Alphatec will also be selling TID products and vice versa,” he says. “I will be the marketing director for both companies.” TID looks forward to exponential growth over the next few years. For any further information contact (011) 462 5495 / (010) 5000 115, Tiaan Hoogstad at tiaan@tid-sa.com or Joseph Milan at jm@ alpha-tec.co.za.

Sound Corporation invests in the full range of EAW Redline series With over 300 EAW boxes now in their inventory, Sound Corporation is one of the largest EAW users on the continent. Sound Corporation has a long history in the South African audio industry. A full production company established in 1986, they have acquired a substantial amount of leading brand tour equipment over the years. With over 300 EAW boxes in their inventory, they are one of the largest EAW users on the continent. Sound Corporation recently added to their inventory, by purchasing the full range of EAW Redline series, including RL12, RL15, and the RL18s sub units. Redline was designed for the live audio professional. From corporate events to festivals, every aspect of the design has been targeted at making life easier. From enclosure handling and fitments to acoustical and electronic components, Redline is built to live as the professional does: with demanding clients, tight schedules and even tighter budgets. In a results-driven world, professionals rely on rock solid, high performance tools that deliver – show after show.

The Redline info: • Superb sound quality at any output level due to custom-designed transducers and porting, signature EAW Focusing™ and DynO™ dynamic optimization processing and 1,250 watts of bi-amplified Class-D Power Factor Corrected amplification • Road-ready EAW Roadcoat™ wooden enclosure with integral glove-ready handles, pole cup and M8 suspension points

• Symmetrical monitor angles with swappable rear panels to form mirrorimage monitor pairs Recessed input panel with three pre-tuned gig-ready voicings, rear-panel LED mute function, robust PowerCon inlet and loop connectors and LED mute function for visually-sensitive environments

news

SARA hosts successful LETPC 2017 The South African Roadies Association (SARA) recently successfully hosted its third annual Live Event Technical and Production Conference (LETPC 2017), from 18th to 20th May 2017.

Sara Whybrew, Creative and Cultural Skills UK

South Africa’s leading live event technical and production training organization, the South African Roadies Association (SARA) turns 23 years old this year, and celebrated by hosting its third successful Live Event Technical and Production Conference (LETPC 2017) from 18th to 20th May 2017 at the Sunnyside Park Hotel in Parktown, Johannesburg, South Africa. As in previous years, this first of its kind and ground-breaking conference gathered relevant local and international stakeholders, professionals and practitioners in the events, technical and production sector, which is estimated to contribute approximately 5% to South Africa’s GDP. In broad terms, LEPTC 2017 hosted these stakeholders and representatives from the technical education sectors, along with local industry leaders and international market leaders to discuss amongst other pertinent sector issues, the need for the yet to be achieved critical upgrade of skills qualifications and training (increase entry level from matric to NQF 5), skills development to match international standards, skills interventions, industry transformation and establishment of a training academy. “Coincidentally this conference takes place at a time when there are loud and poignant calls for radical transformation in our economy and the continent generally.

There remains in South Africa great resistance to transformation notwithstanding the clear outcomes, industry support and evidence that transformation must happen especially to create the requisite skills, jobs and entrepreneurship outcomes sought. SARA greatly appreciates the support from Department of Arts and Culture, industry leaders and others stakeholders. SARA’s call to achieve these goals remains steady and robust.” said Freddie Nyathela, SARA President. The conference has been supported since inception by the Department of Arts and Culture, the event’s anchor sponsor, and the Department returns this year along with industry heavyweight Gearhouse, well known for supporting local industry skills development themselves. LETPC officials aimed at making progress on achieving the following focused outcomes, set in the last two years of conference proceedings: • Sign-off the increase of skills qualifications to NQF 5 (entry level management) • Mobilising robust public-private partnerships to establish the training academy • Foreign equipment manufacturer training and investments in SA • Sector development and transformation

MC for this year’s conference and LETPC spokesperson, Sharif Baker, comments, “This conference has played a vital role towards social cohesion and racial integration in the industry. So far; our voices are finally being heard and change is gradually happening; global positioning of the industry has been achieved. This is evident from the support LETPC is receiving from our international counterparts and industry experts.” Some of those international Industry experts included Sara Whybrew, from Creative and Cultural Skills in the UK, who addressed the collaboration between private and public sectors in fostering employment in the creative industries sector; the well-known Andy Lenthall from Production Services Association, also in the UK, who spoke on the state of industry apprenticeship programmes, and Myke Rabar, CEO of the Homeboyz Group in Kenya, who provided some insight into building a turnkey technical event and staging business, creating employment and opportunities with little infrastructural support in his home country. Other speakers included Brenda Ntombela from theHRDC Secretariat in SA, Roderick Van Gelder from Stage Safety in Australia, who provided much valuable insight into event safety and risk management, and Xolile Xuma from Ingomso Resource Centre in SA. The LETPC continues in efforts to upgrade the NQF level of the industry technical qualification, and to establish a reputable accredited training institution on the model of the UK’s successful Backstage Academy.

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news

DWR hosts Patrick Woodroffe and Roland Greil Lighting Workshop

James Sey, Roland Greil, Patrick Woodroffe, Ofer Lapid and Duncan Riley

An international lighting design legend, Patrick Woodroffe, recently hosted a lighting workshop in Johannesburg with his colleague and friend, Roland Greil. The event, which took place at the University of Johannesburg Art Centre, was presented by DWR Distribution and media partner Pro Systems News. While the storied Woodroffe and his partner Greil have worked on phenomenal projects together, they joined forces for the very first time in Joburg to present this lighting design workshop. All were delighted with the good attendance and positive feedback.

“From my perspective, I think Patrick and I are likeminded in certain things as well as having some shared experiences as we have worked together on multiple projects over the past few years,” said Greil, who is a freelancing lighting programmer, lighting designer and lighting director, as well as an associated partner of Woodroffe’s company Woodroffe Bassett Design. “That experience and us knowing each other translated in this joint workshop. I think it is very important to give something back to our great industry and to motivate others who share the same passion and drive that we have. Knowledge is pretty much the only thing that grows

when being shared, and therefore in my eyes, it is very important.” The training session was attended by some 300 delegates from young varsity students to top lighting designers, from technicians to company owners. The event was opened by MC James Sey, editor of ProSystems Africa News, before Woodroffe and Greil took over respectively, with wisdom and tales of their time in the industry.Woodroffe focussed his first session on the general history of lighting in Rock and Roll staging and events, explaining why lighting design is basically interpreting music with light, how trussing was developed from

using a radio tower as example, how members of the rock band Genesis were influential in the development of moving head fixtures, and why Queen, the first band he ever went on tour with, was the first real theatrical band. “Everyone was trying to outdo each other and people were using their imaginations with very limited technology,” he says. “Queen only used three colours on their rigs, red, green and white and I learned a lot from them. I learned that if you make a big statement, if you do one thing and you do it very strongly, with real conviction, you can make a big impact.” Woodroffe also talked about his own personal history, working with artists including The Heavy Metal Kids – the first rig he ever worked on – Rod Stewart, Elton John and The Rolling Stones, who he’s been working with for over 40 years. According to him, the Vari-Lite VL1 transformed the industry. “There are only seven of them left in the world and one of them is in my studio,” he

news says “I kind of look at it every day and think that transformed our lives.” Another big change for the industry, he says, was the LED, which not only uses less electricity but is also longer-lasting than lightbulbs. Woodroffe went on to discuss the use of lighting design in other genres, including theatre, television, the film industry and even architecture. “Work in as many environments as possible,” he says, “I sometimes take the ideas and techniques that I’ve learned from the last architecture and incorporate it in theatre and rock concerts.” Woodroffe was followed by Greil, whose focus was on the technical design aspects of lighting and how to focus the design on the person, artists, new concept or stage, “painting a picture frame” for them to be the focus on, as he explained. He also emphasised the importance of knowing the client, creating a good presentation for a professional look, and the importance of taking into account the environment of the concert and the placing of loudspeakers in relation to the lighting to avoid unnecessary dark spots. Woodroffe then returned, discussing

several fascinating case studies he had personally worked on in the last few years. These included the amazing feat of the huge logistics and very tight budgets of the opening and closing ceremonies of the London Olympics in 2012, and the very poignant tale of designing Michael Jackson’s last concert series at the O2 Arena. With all the design and staging and setups in place, the singer’s tragic death meant that the show was never staged. Also with a mention was the recent hugely successful Adele world tour, which Woodroffe designed. The event concluded with a panel discussion chaired by James Sey, where Woodroffe, Greil, Ofer Lapid of Gearhouse South Africa – who is a friend of Patrick and who was instrumental in bringing the workshop to South Africa, and Duncan Riley of DWR, answered questions from the audience. “We both immensely enjoyed our experience in South Africa,” said Woodroffe. “Not just the way that the workshop was received but the whole experience of being in South Africa and understanding the positive and united spirit in your extraordinary country. This optimism was also something

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that we felt very much in the theatre as we met and talked with students, designers, suppliers and technicians. The lighting community in South Africa is alive and well and on its way to greater things!” “It was a privilege for us to welcome such remarkable industry icons to South Africa,” said Riley. “We were overwhelmed by the turnout and it was quite emotional for everyone, especially having all the young people attending.” Concluded Greil, “The response was great, as everyone was really interested. It was fantastic to speak in front of so many enthusiastic and interested fellows from our industry. There is a great vibe in this beautiful country and it has been good to see the changes and development over the years. A big thank you to Duncan and the whole DWR gang for being such generous hosts, as well as giving their local industry such possibilities.”

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news

DiGiCo SD7 gives its all for Blue Man Group

Christo Davis, Head of Audio for the Blue Man Group World Tour, his deputy sound engineer, Isobel Rush.

The wildly entertaining Blue Man Group visited South Africa for the very first time in February and March this year and, whilst performing at The Teatro at Montecasino in Johannesburg, they celebrated the 200th performance of their World Tour. South African sound engineer, Christo Davis, has worked with Blue Man Group for the past year, mixing an average of four shows or more a week on a DiGiCo SD7, with his deputy sound engineer covering the rest.

The Blue Man Group, established in New York by three friends in 1991, are known for their award-winning shows that captivate audiences with music, comedy, fresh stories, custom instruments and technology. “I did a show with them in Australia about four years ago and I just hit it off with the sound designer,” says Davis. “We have similar philosophies and approaches on how we like to do things and he’d been trying to get me back on the road ever since. Last year it all lined up and here I am.” The audio inventory for the show, including Davis’s SD7, is supplied by Dutch rental company Ampco Flashlight Group.

“I’ve been using the SD7 for the past three years and I love it,” Davis continues. “It’s very intuitive and even if you are new to the console, it doesn’t take long to find your way around it. It’s such a powerful package. Back in the day, we used to tour with racks and racks of outboard gear. Now you show up with your console and that’s pretty much all you need – and it sounds good too. In the early stages of digital consoles, they all sounded quite harsh and unpleasant. Then DiGiCo came along and nailed it. Now we have something that actually sounds good as well as being user-friendly.” The SD7’s other big plus for Davis is its dual

engines, giving him the redundancy he needs. “I was telling a story to one of my colleagues the other day,” Davis recalls. “Some time ago I was doing a corporate show when the power supply started burning. What do you do then? The show was over. Now we have flexibility as I’ve got a backup sitting right there – it’s great. “The other nice thing about DiGiCo is that the guys there are fantastic, with great support all over the world. We had an issue with the console while we were in Singapore and had been talking with the support guys back in the UK. While I was trying to fix it, James Gordon [DiGiCo MD] walked in. He happened to be in Singapore, had heard about our issues and came to see us. How’s that for service? I’m a big fan and it would be hard to change to another console now.”

PREVIEW

Mediatech product showcase Mediatech Africa, the biennial advanced media and entertainment technology trade show, runs from 19-21 July 2017 at the Ticketpro Dome in Johannesburg, South Africa. Owned by Reed Exhibitions and Sun Circle Exhibitions, it is the largest show of its kind on the African continent, and attracts regional and international visitors and exhibitors from all over the world.

The show brings creative thought to life within six verticals: Broadcast – TV and Radio; Film and Video Production; Digital Media; Pro Audio – Lighting and Staging; Audio Visual Integration; and Studio – Recording – DJ. An unmatched platform for networking, education and entertainment, this high energy, high impact event is all about the seamless integration of technology and creativity. It’s about making the impossible possible. It’s about innovation and bringing ideas to life using the latest tech. The three day event attracts global and local brands who are at the forefront of their industries. Thought leaders, decision makers and the highest calibre influencers who are shaping tech trends and the very industry itself – attend the showcase. By design, Mediatech Africa is an experience which visitors immerse themselves in, leaving invigorated and inspired by the possibility of opportunity and a fast forward glimpse into the future. Says Exhibition Director Simon Robinson, “We have a real feast of state-of-the-art technology for our visitors this year, in both components of the MediaTech Africa extravaganza. Presentation Zone 1 focuses on the broadcast, film and production sector; and Zone 2 is dedicated to the AV system integration and live event technology markets.” Show highlights include the ever-popular outdoor sound demo; a drone cage demo area, which is a first for Mediatech this year; and

highlights this rapidly growing specialist technology product sector; and finally the very popular Electrosonic and Martin Lighting Design Competition returns on Thursday 20th July. In addition the show will feature a range of professional development conferences and talks. Many of the local and global brands who are loyal to the show have again signed up for the 2017 event; the vast majority have supported the show since its inception. Showcasing close on 800 brands from around 150 global and local exhibitor companies, Robinson believes the return of these companies to the expo is a good indicator of the show’s reputation and a great endorsement of the merits it has to offer. A big highlight of the 2015 edition was the inaugural edition of the Electrosonic/ Martin Professional / Mediatech Lighting Designer Contest. Electrosonic is proud to announce that this hugely popular event is to be held again at Mediatech 2017 This edition of ProSystems News features in the pages that follow, as usual, a comprehensive rundown of what visitors to the Mediatech 2017 event can expect to see on the various AV and Live Tecnology stands at the show this year. For ease of reference, we have grouped the following product highlights package into two different product groups: AV integration products; and Live event and staging products. There is always some overlap between the two, but distributors and exhibitors’ stand numbers are clearly indicated. What follows is not a comprehensive list, but a highlights reel of some of the best new products on show this year at Mediatech.

news

PREVIEW

Questek [Stand C1 | B1 | B2] CreateLED in Southern Africa.

Avitel HuddleScreen

For most organisations, staff and real estate are the most expensive resources. Now you can unlock the power of your people and the spaces they collaborate in. From large boardrooms to informal huddle spaces and offices, meeting venues are spaces for getting things done. Add a HuddleScreen to these venues and you will transform the way your people collaborate, innovate and create. The HuddleScreen is an all-in-one Interactive touch screen for white boarding and annotating, presenting, video conferencing, web browsing and wirelessly connecting to a variety of devices. By improving collaboration within and across functional teams you will enable your organisation to be more responsive, speed decision making, align stakeholders and allow your best people to brainstorm across any distance so ideas and decisions are actioned immediately.

Whiteboard

As a leading professional LED display manufacturer, CreateLED designs, develops, manufactures and markets high-quality LED video solutions for multiple indoor and outdoor applications, including command and control centres, media, advertising and retail displays; House of Worship, airport information displays, convention centres, sports arenas, architectural displays, events and staging, corporate boardrooms, and conferencing venues around the world. Our proprietary products include AirMAG, AirULTRA, AirWAVE, AirMAGICBOX, AirFLOOR, AirSPORT, AirMEDIA as well as other Air series in a wide range of resolutions. Recent international clients include Flushing Meadows, the home of the US Tennis Open, Schipol Airport in Holland, and local projects include a 10,5m x 6m LED wall at the new Discovery Life building, a project by Dimension Data , and a 24 x 2m roof mounted LED screen by Questek, on top of the Mvunonala building 72 Grayston, Sandton. For more information on the wide range of CreateLED LED products, please contact Avitel. 011 066 1337; 076 579 9175; alan@avitel.co.za; www.avitel.co.za

The whiteboard function has automatic handwriting recognition that turns handwriting into typed text. Annotation allows users to make notes on the screen and email screen views to participants.

Video Conferencing The HuddleScreen is suitable for any software-based video conferencing client such as Skype for Business, Cisco Webex and other collaboration and conferencing tools. Coupled with a fixed focus or PTZ USB camera your venue is ready for video communication.

Wireless BYOD Collaboration The HuddleScreen enables Bring Your Own Device collaboration. The connection is made wirelessly between the smart device, and the screen. The HuddleScreen supports PC, MAC, Android and iOS Devices. The HuddleScreen is ideal for use in the education, and healthcare sectors, and improves collaboration, performance, innovation and employee retention. The product is available in screen sizes from 55 to 98 inches with flexible mounting options ensuring that there is a solution for every venue. For more information on the HuddleScreen please contact Alan at 011 066 1337; 076 579 9175; alan@avitel.co.za; www.avitel.co.za

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PREVIEW

Vivitek NovoEnterprise

Reserva The Reserva range of meeting room signage offers a compact and attractive door side display with interactive functionality. Reserva is an intuitive meeting room signage solution with support for market leading calendar and timetabling systems used in corporate, education and hospitality industries. Reserva meeting room signage has the same low cost of entry whether you have 1, 2 or 200 meeting rooms. No central server or high cost maintenance and licensing agreements, you just need the door-side display and a connection to your network and you are up and running. All displays are integrated with your calendaring system with real-time updates on both systems. Reserva Room Summary displays a list of meetings occurring in a range of meeting rooms on your digital signage displays, ideal for reception areas or outside lifts in larger buildings. With Reserva

With high-performance connectivity and innovative software,

wayfinding and a digital display you can clearly show all employees and guests which meetings are about to start and where they are being held.

Vivitek’s NovoEnterprise wireless presentation solution offers 4K Ultra

Reserva Room Signage offers a solution for every environment, available in 7”, 10”, 15.6” and 21.5" displays.

HD streaming, giving you the chance to truly engage your audience with multimedia content in dazzling detail. NovoEnterprise offers WiFi and Ethernet connectivity options for integration with your existing network, as well as wireless hotspot mode for direct guest connections. High-performance is assured thanks to NovoEnterprise’s dual-mode 802.11ac and 2T2R WiFi connectivity. Two independent transmitters and receivers ensure optimal wireless performance and responsiveness, whether you choose to connect using the corporate network or a direct ad-hoc connection. The principle of BYOD means anyone can connect and wirelessly share content on the big screen, using the Windows, Mac, Android, iOS, or Chrome device of their choice. Enhance your meeting by sharing up to 4 screens simultaneously, with up to 64 participants connected and ready to switch, share and annotate instantly. The plug-and-play LauncherPlus ensures meetings can start promptly, greatly reducing the time it takes to connect laptops and mobile devices to the NovoEnterprise or NovoPro main unit. The LauncherPlus is a USB device with embedded WiFi which streams laptop content effortlessly to the big screen.

ApexPro [Stand F47] ApexPro held a launch event for the new ATUC-50 Digital Discussion System earlier in 2017, but Mediatech will function as the African trade show debut for the ATUC-50.

Audio-Technica ATUC-50

• Call anyone, anytime, anywhere • Point-to-point – unlimited calling • Multiparty – ideal for all meetings Featuring easy-to-use, plug-and-play functionality, the ATUC-50 Digital Discussion System offers reliable, clear and intelligible communication to significantly increase meeting efficiency and effectiveness. The system provides 24-bit/48kHz uncompressed digital audio for natural-sounding voice reproduction, along with a 12-band feedback suppressor that enables higher volume levels. The ATUC-50CU rack-mountable control unit can power and control a total of 50 ATUC-50DU discussion units and ATUC-50INT interpretation units (max of six INTs per CU). Up to three control units may be cascade-connected via Cat5e (or better) cable. This cascadeconnection thus enables the use of up to 150 discussion/ interpretation units in one system. The ATUC-50CU features four balanced outputs and one unbalanced output, plus left/right AUX RCA inputs, two mic/line inputs, and two interpretation return inputs to provide simultaneous interpretation feeds in addition to the floor language feed. The ATUC-50INT interpretation unit has the same body as the ATUC-50DU, but is programmed with firmware that makes it a powerful yet easy-to-use tool for interpreters in bi- or trilingual discussion applications. The unit¡¯s selection buttons allow interpreters to monitor either the floor language or an alternate language and to output their interpretation to one of up to three different language channels that can be monitored on the ATUC-50DU units. Two ATUC-50INT units may be linked to provide hardware redundancy for a particular language feed. Come to the ApexPro stand to experience the superior audio quality of the ATUC-50.

• Interoperable – works with Cisco, Lifesize, Microsoft Skype for Busi-ness/Lync, Polycom, H.323/SIP • Secure – end-to-end encryption

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PREVIEW

Crestron [Stand C35] Crestron will be demonstrating truly unified communication services, new collaboration and distribution solutions, the latest presentation and audio tools as well as highlighting the power of Crestron Studio software, Sonos integration and Pyng home automation.

Key product highlights include: • Mercury

• DMPS3-4K-300-C

The DMPS3-4K-300-C from Crestron® offers an all-in-one 4K AV presentation system for classrooms, boardrooms, lecture halls, and videoconference rooms. Delivering a complete, Crestron’s Mercury™ Tabletop Conference System completely transforms meeting custom-programmable room solution with rooms into highly effective collaboration spaces. Combining all the must-have fully-configurable signal routing and processing is conferencing features in one easy to use device, Mercury enables people to work easy and cost-effective using the DMPS3-4Ktogether and share content irrespective of location. Integrated room scheduling 300-C. In one three-space rack mount package, it and corporate directory access help to maximise efficiency. Mercury is secure, easy integrates the control system, matrix switcher, to deploy, easy to manage, and protects your investment by providing room usage video scalers, mic mixer, audio DSP, and amplifier. data as part of a complete managed enterprise. Mercury enables users to instantly Built-in DigitalMedia 8G+® and HDBaseT® and securely present content wirelessly on the room display from a laptop, connectivity affords a streamlined, long-distance smartphone, or tablet using built-in Crestron AirMedia®. With Mercury, it’s easy to wiring solution for remote sources and display devices, and for facility-wide integration as part of make exceptional sounding phone calls from mobile devices or standard SIP phone a larger media distribution system. Best of all systems using the built-in, precision-engineered speaker and microphones. Workers installing the DMP-S3-4K-300-C is fast, easy and can easily collaborate with colleagues via Crestron Mercury from a laptop or affordable. Built-in .AV Framework technology dedicated in-room PC using any soft phone, web conferencing or UC application, delivers a fully functional presentation system with such as Skype® for Business, Cisco WebEx®, GotoMeeting®, or Slack®. The built-in simplified configuration and a choice of control occupancy sensor on Crestron Mercury allows facility managers to collect usage options and other additions. Crestron’s DMPS3-4Kdata to drive efficient room utilisation. IT managers can rest easy knowing Crestron 300-C handles 4K/60 Video with HDCP 2.2 Mercury meets the latest enterprise security standards. encryption, ensuring support for all the latest 4K and Ultra HD displays and media sources. The • DM NVX DMPS3-4K-300-C provides high-performance routing of HDMI and other .AV sources up to four separate displays, projectors, codecs, and other displays. It’s DM 8G+ inputs and outputs endow the DMPS3-4K-300-C with incredible potential for connecting remote sources and display devices, and integrating with larger systems.

DigitalMedia™ NVX technology transports ultra-high-definition 4K video with 60 Hz frame rates and 4:4:4 colour sampling over standard Gigabit Ethernet. Support for HDR video (HDR10) and HDCP 2.2 ensures the picture quality and compatibility with all of today’s varied media sources. Using standards-based Ethernet wiring and switches, DM® NVX delivers a vastly scalable, high-performance solution for enterprise-wide 4K content distribution. The Crestron® DM-NVX-350 is a compact video encoder/decoder

designed to function as either a transmitter or receiver with the ability to switch between the two modes programmatically via commands from a Crestron control system. Featuring simple web-based control and management, USB and KVM integration, and support for copper and fiber LAN connectivity, the DM-NVX-350 offers a one-stop solution for any-sized network AV installation. The DM-NVX-350 has unique functional features that set this product apart from others in this category. This product is an encoder and decoder all in one that is configurable to operate as either a network AV decoder or encoder. It also has Real-Time 4K60 Video Distribution engineered for demanding conference room and classroom applications, DM NVX ensures real-time, full motion 4K60 video performance for the presentation of multimedia, video conferencing, and live camera images.

PREVIEW • Fusion Crestron Fusion monitoring and scheduling software adds a layer of intelligence to turn an organisation into a high performance enterprise. It integrates systems and technologies that typically operate in silos, so they with together as a single system. Crestron Fusion software offers network room scheduling, remote help desk, global device monitoring, and data collection and reporting. Crestron’s room scheduling panels enable you to clearly see room availability and book rooms from outside the room for ad hoc meeting. In-room touch screens display the room calendar and rooms are automatically returned to inventory in event of a ‘no-show’. Crestron Fusion enables AV and IT staff to get alerts, even on a global scale, to remotely resolve events quickly to maximise uptime whilst meeting attendees can contact support staff directly from the touch screen in the room itself. Data collection and reporting helps organisations optimise their investment in people, space and technology highlighting room occupancy rates, room and device usage all of which can enable the company to improve efficiencies.

Electrosonic AV Products [Stand A30 | A33] Key product highlights include:

• KRAMER KDS-EN6/ KDS-DEC6: 4K60 4:2:0 HDCP 2.2 Video Encoder/Streamer & Decoder The KDS-EN6 encoder and KDS-DEC6 decoder units provide streaming over a 1G IP network that carries 4K@60Hz (4:2:0) video, audio, IR, RS-232, USB over IP with HDCP 2.2 in unicast (one-to-one) or multicast (many-to-many) configurations. Kramer’s audio/video over IP solution enables any video source (up to 4K60 4:2:0) to be captured, managed and distributed to any number of displays from any single point on the network. Video sources are captured with Kramer KDS-EN6 encoders, managed by Kramer Network and distributed by Kramer KDS-DEC6 decoders. Kramer Network is a software-based AV over IP enterprise management solution that gives IT system administrators complete centralized or distributed control of IP streams, room environments and any AV device from any single point on the network. The solution is installed on standard or virtual IT servers.

KDS FEATURES • Video Support – HDMI 4K@60Hz (4:2:0) input, HDMI 4K@30Hz (4:2:0) output. • Audio Support – HDMI/line in, 7.1 PCM, Dolby True-HD, and DTS-HD Master audio. • Virtualization – IR, USB, RS-232 over IP. • Network – Switch 1G multicast IGMP snooping unmanaged layer 2.

• Power – PoE or external power supply. • Control – Kramer Network, Web UI, API. • HDCP – 2.2 compliance. • Video Effects – PIP, video wall. • MegaTOOLS® – Mount 2 units side-by-side in a 1U rack space with the optional RK-T2B rack adapter.

PREVIEW

• ELITE SCREENS Saker Tension Series

The Saker Tab-Tension Series includes a tab-tension system with MaxWhite FG material to maintain flatness all across the projection surface. Standard features include a wireless 5-12 volt trigger, IR/RF remotes control package, and a detachable manual keypad switch.

Screen Material: • MaxWhite Fiberglass 1.1 Gain • 180° wide viewing angle • Active 3D and 4K Ultra HD Ready • Standard black masking borders and black backing • Available in AcousticPro UHD Sound Transparent Material, Gain, Moiré-free

Design and Installation: • Curved aluminium enamel white case with parallel grooves • Mounting hardware kit included for wall or ceiling installation • Extra top black masking border for high ceiling installations • Tab-tension design helps maintain a flat projection surface • Flush hidden wall mounts allow screen to slide horizontally for proper centring • Plug & Play ready, no hardwire installation required

Control System: • Internal Radio Frequency/Infrared receivers with IR, RF remotes included • Detachable 3-way wall switch keypad for UP/STOP/DOWN manual operation • Wireless 5-12 volt trigger included • RJ45 port allows 3rd party control system integration

Quality and Reliability:

• LUMENS VS-LC102: CaptureVision Station A true, all-in-one digital video switcher that offers high-quality, Full HD synchronized recording, storage management, video broadcasting and remote access. Easy to install and operate.

KEY FEATURES • Supports up to four input sources concurrently, with full HD The Lumens CaptureVision Station is equipped with HDMI / VGA/ RJ-45 ports and supports Full HD 1080p video and audio recording – so there’s no need to purchase extra matrix equipment. In addition, it supports synchronized, multi-source inputs such as IP PTZ cameras, document cameras, and laptops.

• GUI allows ease of use The CaptureVision Station is designed with a friendly graphical user interface that is easy-to-use. It has an embedded playback function that allows users to review recorded video immediately. For optimal convenience in operation, the signal input is managed with the included remote control, and the parameter is recorded from the administration webpage.

• Easy installation

• Silent operation synchronous motor and low power consumption • 2-year warranty from defects in workmanship • 3-year warranty offered through ENR-G program (Education, Non-profit, Religious, and Government/Military)

The CaptureVision Station is an embedded system, which makes it more stable than competing products on the market. It exhibits a compact design and supports Ethernet, allowing for integration with IP cameras. This makes for cost-effective and simple installation and setup.

• Ability to produce microfilm instantly, without post-production The CaptureVision Station utilizes customized functions to produce professional microfilm easily and quickly. Users can insert watermarks, titles and trailers so that film can be produced instantly without a lengthy post-production process.

• Distance learning The CaptureVision Station supports live streaming to deliver live video, audio and instruction to another location simultaneously. Also, it supports HTML 5 for viewing the course content on any device via web browser.

• Supports backup recorded videos scheduled recordings The device’s recorded videos can be saved to a built-in hard disk (1TB) or external hard disk using a flash drive. Afterwards, the files can be uploaded to an FTP/SFTP site or to a cloud platform such as YouTube, UStream and Twitch. Additionally, it supports scheduled recordings at a specific time.

PREVIEW

• GALAXY Video Wall Processor The Galaxy Pro and Express systems are able to drive multiple monitors or projectors in order to build one large coherent screen dominated videowall. The Galaxy Wall Control Software creates a single canvas across multiple displays. Multiple operators can control information across this canvas and create multiple display windows across the entire video wall. The Galaxy Pro and Express systems can be connected with the local network (Ethernet). The default protocol is TCP/ IP, but other supported protocols are IPX/SPX, DCL32. With the Galaxy Pro system you can visualise several Video Inputs such as PAL, NTSC, and SECAM formats. The Galaxy Pro and Express controllers are customised computer configurations using the latest high-technology Intel Pentium processors and standard Operating Systems (Windows 7) and can be completely integrated with Windows 9X/NT/2000/XP, UNIX/LINUX platforms and host systems. The Galaxy Pro and Express systems offer additional software tools for the remote control of the wall area. Multiple operators can control information across the wall and can interact with each other. There are additional tools to control the video information or visualise the operators’ screen remotely. The customised Galaxy Pro and Express controller are able to process up to 64 Full HD outputs and 108 live video inputs. The Galaxy Wall Control Software can manage all the functions requested by the

system and assures superlative graphic performances. The Galaxy Pro and Express range of controllers are modular systems that can be enlarged with additional modules, according to customer’s needs. When required to visualise a great number of video and graphics inputs, a Master controller will manage the wall and other Slave controllers with extra input and output cards will accommodate additional requirements.

See us at Stands C1, B1 and B2

Some of our suppliers that will be exhibiting at Mediatech 2017

Character Generators and Studio Automation

Room Booking Signage

Wireless Collaboration Solutions

Vision Mixers and Multi-viewers

Video Walls and LCD Screens

Digital Signage and Wayﬁnding

High Quality Terminal Equipment

Virtual Sets and Augmented Reality

Tel: +27 11 706 0405 Email: sales@questek.co.za Website: www.questekav.co.za

PREVIEW

Alpha Technologies [Stand E41] As Mediatech approaches once again, Alpha Technologies, in conjunction with Orion is excited to present new products that significantly benefit the education and home automation markets.

As the only distributor of SA trademarked ALFAtron, Alpha offers the leading warranty and support structures in the market. ALFAtron is an innovative South African inspired product range, designed specifically to meet the unique needs of the African AV market. Robust, simple, common-sense Grandview Remarkable solutions with a seven year screens are an warranty for peace of mind. excellent addition to high-end boardrooms and classrooms, offering interactivity when coupled with Smartbus is the top choice for Alphaâ&#x20AC;&#x2122;s range of complete control of the home ultra-short throw environment, including: projectors. This is a lighting, air conditioning, valuable investment, motorised shades and gates, facilitating better appliances, and irrigation. communication and collaboration.

Alpha Technologies is also proud to be associated with Acer South Africa, and will have a few of their bright and versatile professional and gaming projectors on display. Coupled with Grandview screens, the Acer projectors provide the perfect solution for almost any AV installation. Acer is also showcasing their 24/7, super-narrow bezel commercial displays, which offer a reliable, premium brand solution for all digital signage needs. The residential and business automation sector has grown exponentially since the last exhibition, seeing the market move towards more complete solution and integration.

Alpha is also showcasing the new Evoko Liso, debuting in July. Once again Alpha is proud to revolutionise the way business people meet. Since 2010, Evoko Room Manager has taken the hassle out of room bookings. This was the original touch-screen solution for all meeting rooms. No more double bookings, confusion and interrupted meetings. Evoko Liso is the next generation room manager. With the same mission as ever â&#x20AC;&#x201C; making sure all meeting rooms are being used in a truly effective way, saving time and money, and giving the business a measurable ROI.

Peripheral Vision [Stand D41] Peripheral Vision will be exhibiting a range of cutting edge AV technology from its roster of highly respected and successful international brands.

Collaboration without cables â&#x20AC;&#x201C; ClickShare This will be a demonstration space which will show the ease of use that ClickShare offers.

Conferencing with confidence â&#x20AC;&#x201C; Bosch / Arthur Holm A Bosch delegate microphone system combined with motorized Arthur Holm screens and motorized Arthur Holm microphones provides a unique, high-end solution suitable for government chambers and executive boardroom spaces. This will be on display.

PREVIEW

Projection and Image Processing technology – Barco For the live events industry, Barco projection technology has taken a huge leap forwards, embracing laser light source technology and 4k. If you are planning to upgrade your fleet, don’t miss this technology showcase display at Mediatech! Barco is well-known for its image processing reference status. Come and see Barco e2 and S3-4k in operation. You will not be sorry!

Cloud based video conferencing and calling – Starleaf

AV over IP – SVSi Long before AMX acquired SVSi, SVSi was winning business away from legacy HDBaseT home-run based switching solutions. For the best performing and most reliable solution available in the market, come and see a live demonstration of this technology. AMX leads in this trend, while others follow! It will replace home-run based switching systems, because AV over IP is the way technology is going!

Peripheral Vision is now an authorized distributor of Starleaf videoconferencing technology! Starleaf is a service provider and manufacturer with both video conferencing services and a comprehensive range of video endpoints for meeting rooms, desktops and mobility. Starleaf operates a robust global network, with multiple points of presence that are strategically located worldwide. Their network is fully redundant, secure and high performing. From this solid foundation, Peripheral Vision in partnership with Starleaf, aim to provide their customers with the most affordable, easy and reliable video and voice communication systems on the market. But, most importantly, Peripheral Vision is focused on delivering services and products that allow customers to easily connect with anyone, anywhere and at any time.

The Peripheral Vision Whisper Suite at Mediatech Peripheral Vision will be occupying an upstairs room at Mediatech which will be available for technology demonstrations behind closed doors! The team cannot tell you beforehand what it is about, but please WHISPER to them for ACCESS – they promise it will be well worth it!

PREVIEW

wePresent [Stand E41] wePresent is a professional, simple-to-use wireless presentation system that allows up to 64 users to collaborate and give a wireless interactive presentation from their Windows/Mac computer, smartphone and/or tablet. The company offers three models to choose from: the WiPG-1000, the WiPG-1600, and the WiPG-2000, plus The entry-level WiPG-1000 is affordable and packed full of the above features, including WebSlides to view the projecting screen from the web browser on any device.

the all new SharePod for adding any HDMI content into the wePresent environment. wePresent connects to any display by HDMI or VGA and creates a wireless projection in full 1080p HD resolution. It works with ANY device (PC, Mac, iOS, Android), conference control gives the mediator full control, and the system adheres to strict security standards. It also allows quadrant display, doubles as a wireless access point; and completely eliminates the need for additional equipment.

The WiPG-1600 also supports IOS mirroring (AirPlay Support), touchscreen control, customisable standby screen and many more.

The flagship wePresent model, WiPG-2000, includes all the above features as well as dual-band WiFi, onboard video streamer, on screen annotation, interactive white/blackboard as well as power over ethernet.

wePresent recently launched the Collaborative Management Suite (CMGS), which is specifically designed for enterprise clients who need a robust solution for managing wePresent models in a large deployment environment.It provides IT professionals and network administrators with web control to monitor, diagnose and update wePresent units within their enterprise environments. Not only is wePresent installer friendly, but more importantly user friendly. wePresent can be used without software installation, it offers any one-time guest presenter an easy way to give an interactive wireless presentation. wePresent offers all the tools and solutions to present, interact and collaborate. www.wePresentWiFi.com

PREVIEW

Wild & Marr [Stand H37 | H43 | J33 | J37] Studer

Shure IntelliMix® P300 audio conferencing processor Shure has introduced the IntelliMix® P300 audio conferencing processor, a new digital signal processor created specifically for conferencing applications. The P300 offers Shure IntelliMix DSP algorithms that significantly enhance the audio quality in video meetings, a variety of connectivity options, plus seamless operation with Shure Microflex® Advance™ and Microflex® Wireless microphone solutions for AV conferencing. The new processor connects up to eight Dante microphone channels to a room video system, USB soft codec, or mobile device. Each channel supports multiple IntelliMix DSP features, including Acoustic Echo Cancellation (AEC), Noise Reduction, and Automatic Gain Control, plus best-in-class automatic mixing. These features provide full duplex communication for echo and noise free meetings. The fixed architecture provides simple and intuitive setup, resulting in less DSP programming and commissioning time onsite. The USB connectivity enables the P300 to be used with common soft codec programs such as Skype and BlueJeans, while the 3.5 mm connector means anyone on a mobile phone or tablet can easily bring any remote participant into the conversation. Its compact half-rack footprint enables discreet installation behind a display, under a table, or in a credenza.

Studer by HARMAN has introduced two new products to their digital audio mixing and production systems product range. The Studer Micro Series is a compact and flexible broadcast solution that is ideal for a variety of applications, from radio and TV broadcast to production studios and ENG/DSNG. Comprised of the core unit, graphical user interface and optional fader control surface, the Studer Micro Series combines renowned Studer quality with intuitive features, such as AoIP, Lexicon effects processing and proprietary VoiceMix automatic mixing for unprecedented value and versatility. The new Studer Micro Series makes the powerful functionality of high-end Studer consoles available in a flexible and cost-effective solution. The core unit is a rugged 3RU, fan-less, rack-mountable chassis that houses the control system, DSP and integrated I/O, including AoIP via eight channels of DANTE I/O. The LAN port and internal Wi-Fi router enable easy connection with computers and tablets. Every function of the core unit can be controlled via the intuitive graphical user interface (GUI). Users simply connect using an HTML5capable web browser on computer or tablet, no additional software required. For broadcasters who want tactile control, the optional fader module is a highly simplified 6-fader surface that provides streamlined controls for quick level adjustments and multitasking during live operation. Two controllers can be attached for a maximum of 12 faders. The new Glacier Series of customizable audio control surfaces, enables broadcast and production facilities to adapt to a variety of applications and enhance overall efficiency. Two streamlined modules and an intuitive multi-touch graphical user interface make it easy to address different use cases and deploy the console in various configurations throughout a facility. The Glacier Series offers forwards and backwards compatibility with Studer DSP platforms, and brings new levels of control and versatility to any broadcast environment. The Studer Glacier Series eliminates the constraints of physical consoles by enabling facilities to deploy customized control surfaces that only include the necessary controls. Studer Glacier Series provides the flexibility that facilities need to address continually evolving workflows and requirements.

KanexPro

PREVIEW

The KanexPro HDSC31D-4K is a three input Collaboration Auto-Switcher Scaler designed for sending DisplayPort, HDMI, or VGA signals with control up to 230 feet (70 meters) over a shielded CATx cable to an HDBaseT™ receiver supporting resolutions up to 4K/30Hz. The sender or receiver can be powered from either sides requiring only one power supply supporting POE (Power over Ethernet) and allowing you to switch between the sources and up-scale or downscale to desired video resolutions. DisplayPort, HDMI, and VGA inputs are built on the transmitter (sender) with one HDBaseT output and serial control. This collaboration switcher supports video signals at resolutions up to 4K, including WUXGA and 1080p/60 deep colour. The HDSC31D-4K offers reliable switching and transmission of DisplayPort, HDMI, and analog video signals with HDCP compliancy. RS-232 and IR remote control facilitate integration in professional environments. Integrator-friendly features include EDID management and bidirectional RS-232 and IR pass-through for remote AV device control. The low profile design and remote power (POE) capability enable discreet placement in lecterns, beneath tables in conference rooms, boardrooms or smart classrooms wherever needed to meet application requirements.

AVID The revolutionary Pro Tools S6 modular control surface leverages the best of the industry-leading ICON and System 5 product families, providing superior ergonomics and intelligent studio control. Design the perfect mixing surface for your workflow. Choose a preconfigured system or build your own with an accompaniment of Fader, Knob, Process, and Display Modules. In addition the Pro Tools HD Ecosystem in partnership with Dolby Atmos will now be delivering the deepest Dolby Atmos integration experience. The workflows will include: • Work with a variety of Dolby Atmos speaker configurations, with support for 7.1.2 & 7.0.2 stem formats, as well as built-in fold-down logic • Make mixing decisions on the fly from your Pro Tools mixer with 3D object routing and panning • Dial-in mixes using synchronsed audio and automation punches while re-recording • Dolby Atmos workflow integration in Pro Tools | S6 delivers the most affordable console for mixing the most immersive audio format.

LIVE

PREVIEW

Claypaky With the Axcor Profile 900, Claypaky has launched a new course in its design research: it is the first Claypaky spotlight to use a LED light source, instead of a traditional discharge lamp. Claypaky has chosen to use a white LED engine with high luminous efficiency, total power of 900 watts and luminous flux of 24,000 lumen output, and couple it with a system of dichroic filters to create the colours. Thanks to its considerable light output, the Claypaky Axcor Profile 900 goes straight in at the top of its category and features the best in modern technology in every parameter: the characteristics of the white and coloured light it produces, its ability to form perfectly sharp projections, and the precision micro-mechanics of its exclusive beam shaping system.

After the B-EYE, which revolutionized the world of LED wash lights with its extraordinary effects, Claypaky has now launched the K-EYE HCR, a LED wash light which provides total control over the quality of all forms of white or coloured light. The new HCR technology used in the K-EYE is an exclusive electronic platform developed by Claypaky in conjunction with Osram to meet the needs of lighting designers all over the world who were not fully satisfied with the performance of LED devices in comparison with traditional lamps, in particular because of their incomplete colour range, poor colour rendering index and lack of consistency. All these limitations have been overcome in the K-EYE HCR, and it is finally possible to produce every color, every nuance and every shade with satisfactory quality. The heart of the K-EYE HCR wash light is a LED light source consisting of a module with six chips, each for a different colour: besides the three “classic” red, green and blue colours, Claypaky has added amber, cyan and lime. This exclusive Claypaky device provides a very wide colour range with excellent colour spectrum coverage.

The Scenius Unico is the latest addition to the Scenius family, therefore its first highly appealing feature is the quality of its light (1400W Osram lamp, 6500K, high CRI). It is a magnificent spot light for projecting effects, with six rotating gobos, a rotating prism, a beautiful animation wheel, and it is equipped with the most sophisticated and most precise framing system on the market today. The Scenius Unico is also an excellent wash light, since it features a system with different diffusion filters, which may be inserted gradually. However the most amazing feature is that the Scenius Unico can also generate a powerful narrow beam of super concentrated light, with a minimum beam angle of only 5 degrees.

The SharBar is an advanced moving LED bar with features that transform it into a brand new multi-beam effect light. It fits six brand new powerful OSRAM Ostar RGBW LEDs with a power rating of 30W, but taking up the same amount of space as an old 10W LED. It is equipped with a motorised optical zoom capable of a minimum beam angle of only 2°. Thanks to its extraordinary lenses, the Shar-Bar is able to produce six very narrow, dense light beams, shooting parallel rays of light into the air. But there is an even more surprising feature! The optical unit coupled to each LED consists of a motorized system with double mirror. This means each beam of light may be directed independently of the others, thus adding a further degree of freedom to the bar besides the tilt. Each of the six light beams can move or be locked within a 60° (+/-30°) cone. Thanks to this ingenious, original optical unit, the LED bar produces an effect similar to six separate lights, which can work synchronously or asynchronously with respect to each other.

PREVIEW

Electrosonic SA [Stand A33 | A30] Martin Professional – Martin Rush MH7 The Martin RUSH MH 7 Hybrid is an all-in-one beam, spot and wash moving head with class-leading optics and a zoom system that allows designers maximum flexibility from the highenergy dance floor to performing arts spaces, all within an affordable price bracket. The RUSH MH 7 Hybrid’s features include sharp, crisp optics with a powerful zoom that ranges from a smooth 45° wash to a punchy 2.2° beam. The Philips Platinum 11R 250W 7800 K lamp contributes to the RUSH MH 7 Hybrid’s impressive output. The fixture features eight rotating/indexing and 12 static gobos, 10 selectable colours, and exciting beam effects from its eight-facet circular and four-facet linear prisms.

CM Lodestar – new improved Lodestar

The new improved CM Lodestar series is Legendary in performance. Professional riggers around the world have come to rely on the CM Lodestar® for the most demanding and challenging applications. Now, this iconic hoist is available as an economical two-ton single-reeved unit that’s ideal for a variety of lifting applications. And, because it’s a single-reeved unit, overall weight is decreased making it easier to transport and rig compared to a traditional double-reeved unit. All new models now feature IP66 weather sealing for further protection of your investment.

Key features:

Milos RTL Series M290x390 – medium duty truss range This rectangular truss combines the strength of 390 Quatro truss but saves 25% more space and has better possibilities for rigging. Diagonal webbing in the top allows high lateral loading. Multicube corner blocks allow all 290 Quatro truss to be connected vertically.

• Capacities: 1/8 to 2 tons • Standard Lift: 60 feet (other lifts available) • Speeds: 5 to 100 feet/min. • Voltages: 1-phase and 3-phase • 5 Pocket Lift Wheel improves chain wear & smooth lifting • Clutch Outside Gear Train meets international standards • Precision Helical Gearing for quieter operation • Redesigned Control Panel for easier access & fuse installation

Key features: • Trio truss can be run through as truss has parallel webbing • Horizontal bracing at node points to take horizontal force caused by slinging 4 • 48mm bottom brace for ease of lighting fixture installation due to compatibility with lighting fixture clamps • 25% saving of transport volume compared to QTP • Easy pin assembly due to 90 degree position of pin holes to the ground • Main tube 48x3 mm • Braces 48x3 mm and 20x2 mm • Available length 0.5 – 4 m

Luminex Gigacore 16xt The GigaCore 16Xt is a Gigabit Ethernet switch designed to cope with the most demanding lighting and AV installations. Managed through an intuitive web interface, the unit can also be configured from the front end display, making this switch a hassle-free solution for your everyday job. Four SFP cages also offer users to create complex network topologies over fibre link, such as mesh or ring. Additional available options make the GigaCore 16Xt one of the most secured systems in the industry.

Key features: • Most suitable applications: Touring and live events • RLinkX (Link redundancy): Yes • Groups (VLAN segmentation): Yes • MultiLinkX (Link aggregation): Yes • Profile manager: Yes • Memory: 4Mb • MAC adress table: 8192 Entries

• Address learning / Aging: Self learning, Auto aging • Switching throughput: 32Gbps • IGMP support: Yes (V1/V2/V3) • IGMP snooping: Yes, enabled by default • Port sensing: Auto negotiation • Auto crossover: MDI / MDIX • Auto sensing: Full or Half Duplex (Gigabit is Full Duplex)

PREVIEW

The Production Warehouse [Stand G47] The Production Warehouse will once again be exhibiting the latest world class products at this year’s Mediatech expo. Elation Professional will be showcasing the latest products as seen on the Eurovision 2017 stage. Mr. Frederik Afif will be representing the company on the stand.

Elation: • Rayzor 360Z™ is a compact beam moving luminaire with 3 x 60W Osram™ RGBW LEDs, 8° to 77° motorised zoom, continuous 360° pan and tilt rotation and pixel control. • Proteus Beam™ is an IP65 rated moving head beam luminaire with the Philips™ MSD14R lamp producing over 12 000 lumens.

Capture: Mr. Vangelis Manolis will be demonstrating the latest groundbreaking version of the software, Capture Nexum featuring easy to use CAD, Visualizer and paperwork capabilities.

• Platinum 1200 Wash™ is an extremely bright LED colour wash moving head luminaire with 19 x 60W Osram™ multi-chip RGBW LEDs, 8° to 77° motorised zoom and full pixel control.

GIS: The new LP series hoists from the Swiss manufacturer will be on display. The LP series pushes the boundaries of hoists with the LPM-250’s capacity increased to 320KGs SWL while the LP- 500’s capacity has increased to 800KGs in a lightweight compact IP-65 rated housing.

• PALADIN™ is an IP65 rated strobe wash blinder luminaire with motoriSed zoom. Featuring 24 x high power 40W RGBW LEDs, 9° to 25° motoriSed zoom & pixel control.

ChamSys: The award winning 200 universe MQ500 Stadium console will be on display. Up and coming lighting designer Shaniel Laloo will utilise the console for a stunning timecoded light-show.

Lectrix: The Lectrix Roadie series offers intelligent power distribution featuring electronic contactors, over/ under voltage protection, and remote monitoring to protect your valuable equipment from volatile electricity supplies. The 250A Powerlock distro will be showcased alongside the entire Lectrix range. Other brands on display include a wide range of products from Eurotruss, ADJ, Hazebase and Luminite.

THE ONLY SECURE

4K60 4:4:4 SOLUTION HDR New DigitalMedia NVX Series

Take Network AV to the next level, on the platform you know and trust • Network security at product level • Best image quality • Infinitely scalable • No latency • Standard 1 Gigabit Ethernet • Web-based control and management

DM® NVX Series is the only secure network AV solution that delivers 4K60 4:4:4 HDR video over standard 1Gb Ethernet. It leverages industry standard 802.1x encryption, Active Directory credential management, and the SSH network protocol, ensuring network security at the product level. From a simple point-to-point setup to thousands of endpoints, DM NVX Series delivers. All you need are DM NVX Encoders/Decoders. Patent pending Crestron technology simultaneously decodes and scales, eliminating any latency incurred in transmitting video over the network. Built-in intelligent software makes it simple to deploy and manage. Putting AV on the network? Be sure it’s secure. Learn more at crestron.com/NVX Visit us at Mediatech Africa, 19-21 July 2017 Johannesburg, Stand C35

All brand names, product names, and trademarks are the property of their respective owners. Certain trademarks, registered trademarks, and trade names may be used in this document to refer to either the entities claiming the marks and names or their products. Crestron disclaims any proprietary interest in the marks and names of others. Crestron is not responsible for errors in typography or photography. ©2017 Crestron EMEA

PROLIGHT + SOUND Show REPORT

ApexPro [Stand F47]

Electro-Voice X2 High-Performance Compact Line Array System

ApexPro will be celebrating the 90th Anniversary of legendary loudspeaker manufacturer Electro-Voice at this year’s Mediatech Expo. As part of EV90 the new Electro-Voice X2 High-Performance Compact Line Array System will make its Africa trade show debut. Winner of a Prolight+Sound MIPA Award for the Concert Sound category in 2016 at its launch, this new compact high performance line array system sets a new standard in its class. As a member of the X-Line Advance family, the Electro-Voice X2 System provides high SPL capability, extended HF response, and linear LF output for more Electro-Voice ND Series Microphones performance than previously thought possible in an Electro-Voice’s other major new release ahead of their 90th Anniversary is the extremely compact new ND Series of microphones. The new Electro-Voice ND Series microphones cabinet. The X2-212/90 offer superior sound quality and smart new features. The successor to the and X2-212/120 are renowned N/DYM Series, the new ND Series expands the previous product 12” two-way vertical line-array loudspeaker elements offering with four vocal and four instrument models for live performance and providing 90-degree and 120-degree horizontal studio applications. Each ND Series model is equipped with features that are coverage respectively. The X-Line Advance X12-128 unique to both its price point and its particular application – all designed to subwoofer produces the greatest low-frequency offer superior sound quality, acoustic control and robustness. At the heart of impact and performance EV has ever developed. It is the new dynamic models is a new large-diaphragm capsule design which truly a state-of-the-art compact cabinet that delivers takes the technology of the original N/DYM capsule to new levels of sonic more LF output in a smaller footprint than other performance. Vocalists can select a specific ND Series model to provide subwoofers available today. The X-Line Advance optimal results according to singing style and stage volume. Sound engineers family is designed for a wide variety of applications and musicians will benefit from an easy set-up due to innovative mechanical where wide bandwidth, vertical and horizontal solutions that solve typical instrument mic placement challenges. The series directivity control, and high efficiency are required in features dent-resistant Memraflex grilles, humbucking coils to guard against a compact, cost-effective package. While the system EMF noise and shock-mounted capsules to minimize handling noise. The ND won’t be available for demo at Mediatech, ApexPro Series will be on the stand, but expo attendees will also have the opportunity will be holding a separate product launch event to experience the microphone range and the entire Portable PA range in the showcasing the capabilities of the X2 in a premium ApexPro Demo Room with demos scheduled to occur hourly. venue. Details to follow.

ETC Colorsource 20 AV and Colorsource 40 AV Global leader in lighting and rigging technologies Electronic Theatre Controls (ETC) will be showing off the new Colorsource AV consoles on the ApexPro stand. If your booth clutter is getting out of control, the ETC Colorsource AV series consoles are the solution. Simplify your setup with a ColorSource AV console. These handy desks come equipped with HDMI and audio output, so you can run sound cues, images, interactive Video Toy effects, sound-to-light effects and lighting cues from the same, compact device. Available in two sizes, ColorSource® consoles provide hands-on control designed for the latest technology. These affordable, portable desks specialize in streamlined, plug-andplay setup; the onboard fixture library makes traditional patching easy, and the console has the ability to recognize RDM-capable devices in the rig and auto-populate them in patch. Simply use the on-board touchscreen to drag each fixture into place on a customizable stage map, and you’ll be programming in minutes. Whether you’re recording cues or working on the fly, these consoles have you covered, with faders that can be used to play back looks and effects or to mix the perfect colour in your LED lights. ETC fixtures will of course be on hand to test out the capabilities of the Colorsource AV on the stand as well as in the ApexPro Demo Room.

PREVIEW

Robe

VIVA CMY

Robe’s VIVA CMY combines brightness and an exceptionally clean and clear Spiider (zero-fringing) white beam, together with Spiider is a brand new LED wash luminaire that the smooth builds on the success of Robe’s best-selling ‘industry continuous colour standard’ LEDWash series, with a completely new transitions of CMY concept and incredible optics. mixing. Its LED It has one super bright 60W RGBW LED multichip lightsource is extremely energy-efficient. in the centre which is surrounded by 18 x 30W RGBW The 350W white LED light engine gives the extra LED multichips, and it is this optical design that punchy beam with an even flat-field and 20 000 resembles the spider’s web that gave rise to the name. hours of operation! In fact, no re-lamping should It can be used as a beam and – a first for LED wash light stage luminaires – it be needed for the entire life of the fixture! has an eye-popping flower effect! Smooth colour transition and vivid fixed colours The zoom goes from 4 – 48 degrees, while the light output is outstanding, can be applied from the refined CMY mixing offering more than 50, 000 lumens at 5 metres. system and the colour wheel, and rotating or static Spiider has all the great features that made Robe’s LEDWash series such a gobos added for projections or mid-air effects. The well-respected industry-wide product for all applications, including a virtual zoom can go out to 40 degrees at its widest and colour wheel, tungsten lamp emulation, individual pixel control, in-built wireless be softened up with variable frost to create a DMX on request and loads more. gentle wash-like output or dynamic background projections. The minimum 9° zoom produces a super-tight, piercingly bright beam that can be trimmed with an ultra-fast LEDBeam 150 stepless iris to optimise the output further. VIVA has extremely fast pan/tilt movement utilising Robe's proprietary EMS™ (Electronic Robe's ROBIN® LEDBeam 150 – Motion Stabiliser) technology. complete with spectacular zoom range of 4° to 62° – offers fast sweeping beams and a ParFect 150 wide excellent quality wash light in a compact housing. This highly affordable LED ACL-style Attractive colourful chases beam unit now also has a zoom and smooth transitions are feature included. powered by a cluster of high ParFect 150 is a static, zoom-able power 30W RGBW multichip LEDs. The zoom uses a customversion of the LEDBeam 150 and retains designed optical system and an optimised motorised control all the key features including both CMY produces speedy pan and tilt movement. & RGBW colour control, 18-bit The fixture has intense strobing capabilities, smooth 18-bit dimming, tungsten emulation, dimming, including tungsten lamp effects, straightforward selectable and variable colour control via pre-programmed colours on a virtual colour wheel temperatures and a punchy beam and the various strobing and pulsing effects enable quick and ranging from 4° to 62°. easy programming. Accessories like barn-doors and the gel frames give ParFect 150 a range of features required for TV and theatre environments.

pixelPATT Continuing in the retro style aesthetic, the pixelPATT is another new addition to Robe’s PATT family which is based on modern LED pixel controlled technology. The pixelPATT is composed of 7 x 30W RGBW LED multichips, one in the centre surrounded by a ring of six, all housed in a super-slim and lightweight brushed metal frame. Aesthetically it keeps the dimensions and attractive curvature of the ‘classic’ PATT 2013 and the picklePATT which make its physical appearance desirable as well as the light source. To ensure an elegant and a lightweight design, a remote Power and Data box – the PATT Driver – is connected to the pixelPATT using an industry-standard 4-pin XLR. The pixelPATT is an ideal fixture for lighting television broadcasts, concerts, fashion shows or any type of event from awards shows and gala dinners to brand activations.

PREVIEW

TV Audio [Stand B43 | B51 | B52] TV Audio, one of Southern Africaâ&#x20AC;&#x2122;s leading distributors of lighting, staging, trussing, stage effects, PA and professional sound equipment, will be exhibiting at Africaâ&#x20AC;&#x2122;s largest media and entertainment technology trade show, Mediatech Africa 2017. Mediatech Africa presents us with a great platform to exhibit our leading brands. Our stands will be manned with various product specialists from South Africa and abroad.

TV Audio will be hosting three stands this year.

Stand one will showcase Alustage professional staging and trussing from Poland. This TUV certified product is manufactured under strict quality conditions. We will be joined by representatives from Alustage to assist with any technical questions you might have. Stand three will be utilised to introduce our brand-new range of stage effects from MagicFX. It is a world-renowned product that is requested on many technical riders across the world. MagicFX is a Dutch brand that has taken the world by storm. The range includes confetti/streamer cannons, CO2 jets, flame effects and much more. If you are serious about entertaining your audience, MagicFX is the brand for you. TV Audio looks forward to expanding your horizons.

Stand two will showcase high quality BeamZ lighting and effects from Holland. Introduced at Mediatech 2015, the brand has now been in South Africa for more than three years. The product has grown from strength to strength. Come and join us for amazing lightshows as well as the opportunity to try out some of our lights yourself. Experts from BeamZ will be ready to answer any questions.

PREVIEW

Audiosure [Stand G63 | G71] Audiosure will be attending Mediatech 2017, showcasing a selection of new, flagship, and noteworthy products that will be of interest to any and all in the Pro Audio, Lighting, Music Production and Audio Visual fields. Brands on show include Allen & Heath, AKG, Akai Professional, Avolites (including AI), Chauvet DJ, Chauvet Professional, Martin Audio, MC2 Audio, Samson, TrussT, Vivitek and XTA.

Of specific interest, and on show publicly for the first time at Mediatech 2017 will be:

• VIVITEK DU8190Z: Laser Source Projector Technology

• MC2 Audio DELTA Series: New Generation Power Amplification

The Delta Series includes DSP enabled power amplifiers all featuring four additional independently processed auxiliary outputs, with Dante networking (inputs and outputs), and Non-DSP amplifiers at a variety of additional power levels, also available with Dante network inputs. Remote control is via direct Ethernet, USB or RS485, using XTA’s AudioCore platform in conjunction with the bespoke DeltaDirect iPad app.

The DU8190Z features a WUXGA resolution, an amazing 10 000 ANSI Lumens brightness and 10 000:1 contrast ratio for a clear and bright projection. The projector is equipped with a laser light source which offers up to 20 000 hours of operation which makes it the perfect solution for large venues that need power, flexibility and a durable solution.

• Allen & Heath dLive C Class: Digital Mixing Ecosystem

• Chauvet Professional Maverick MK3 Wash

Firmly established at the leading edge of the new wave of digital consoles, dLive has rapidly earned its reputation for superior audio quality, next generation workflows, stunning FX and faithful processing emulations. dLive C Class presents dLive’s phenomenally powerful XCVI Core, DEEP processing suite and Harmony UI in a compact, portable format, making it the smart choice for corporate AV, multi-purpose venues, houses of worship, theatres and regional rental companies. dLive C Class remains true to the core dLive design mission to create a digital mixing system that makes the most sophisticated mixing challenges feel elegantly simple. From seasoned audio professional to new recruits, dLive has been crafted to allow the operator to keep their focus on the live mixing experience, not on the mixer.

Maverick MK3 Wash raises the bar on output, colour consistency, and pixel effects. Powered by 27 (40 W) Osram RGBW LEDs, it has the muscle to handle any application, including long throw situations, with ease. Pixel mapping effects, built in colour macros and gobos, along with a CTO colour mixing option make this fixture the complete wash light package. Control options including DMX, sACN, Art-Net, Kling-Net or W DMX round out this fixture, which can also receive Art-Net or sACN in, and send DMX out, simplifying cable runs. Contact: Greg Payne on sales@audiosure.co.za, TEL: 011 790 4600 Audiosure: www.audiosure.co.za / https://fb.com/Audiosure

DWR Robe BMFL LightMaster BMFL LightMaster is an accessory of externally mounted programmable followspot handles with a control panel and two individual faders that allow you to create quality followspot from any of the Robin BMFL fixtures you already have on site. Available in either sideways or back mounted option, the handles feature two programmable faders (for example for dimmer and iris) and a control panel with touch screen display and four custom programmable jog-wheels and ten assignable buttons for a fully-customizable user experience. The programmable buttons, jog-wheels and faders allow the operator to comfortably trigger and control dimmer, iris, focus, zoom, frost, colours or other features of the unit. While in use by followspot operator, remote desk can still take control of all the internal features of the unit (like dimmer, colours etc.). Internal fixture’s settings allow you to fully tailor pan/tilt movement behaviour by adjusting tension smoothness and resistance. Quick mounting in back or side position is assured by using quarter turn lock screws. Control panel connects to the unit via USB connection.

Philips Vari-Lite VLZ Wash The Philips Vari-Lite VLZ Wash is a dedicated wash luminaire utilizing the latest high output LED light engine and a familiar CMY-CTO colour system to produce stunning colours. The dual fixed colour wheel with linear control gives access to Vari-Lite colours and split colour combinations. Colour shake and colour wheel spin control have also been added to the mix. In addition to the wide zoom range, Beam-Shaping control can be achieved via three different systems used independently of each other; a lenticular lens can change the beam from round to oblong; four different beam softness grades are achievable using the beam softening control; a set of internal barn doors shape the beam even further.

Key features and benefits • 25,000 lumen output. • Wide zoom range. • Colour mixing system CMY + CTO colour control. • 4 selectable beam edge softness. • High output white light LED light source engine to maintain constant high output light levels. • Masking barn door system with 4 blades frame rotation +/- 50 degree either side of centre. • 155mm large aperture wash lens. • 16-bit dimmer control with 4 selectable curves.

PREVIEW Robe ROBIN® LEDBeam 150™ ROBIN® LEDBeam 150 features fast sweeping beams and a wide farreaching quality wash in compact housing. Attractive colourful chases and smooth transitions are powered by a cluster of high power multichip 30W RGBW LEDs. The spectacular zoom range of 4° to 62° uses an eminent custom-designed optical system. A highly optimized motorised control produces speedy pan and tilt movement. Besides intense strobing capabilities, the LEDBeam 150 also offers gentle 18-bit dimming, including Tungsten lamp effects. Simplified control via preprogrammed colours on a virtual colour wheel and various strobing and pulsing effects allows quick and easy programming.

ClayPaky Axcor Profile 900 This is the first ClayPaky’s spotlight that uses the LED light source instead of traditional discharge lamp. ClayPaky has decided to use a white LED engine with high efficiency, a total power of 900 watts and luminous flux of 24 000-lumen output, and a system of dichroic filters to create the colours. The Axcor Profile 900 has a CMY colour mixing system with gradual-insertion filters, supported by a linear CTO correction device. The transition from one colour to another is perfectly smooth. Six carefully selected colour filters are available on a separate wheel: dark red, bright blue, green, light green, golden amber and navy blue. The Axcor Profile 900 provides all the effects found on the latest profile spotlights: six interchangeable high-definition rotating gobos, an interchangeable animation wheel, a four-facet rotating prism, a 16-bit electronic dimmer, two levels of variable frost filters – one with “soft edge” and the other with “flood” – to simulate a wash effect, and an iris with multiple built-in macros, which can be used as an effect in its own right.

Specification: • High wattage moving head LED spotlight • 880W while LED engine with custom LED solutions • Total lumen output: 24.000 lumen • 7 – 40 degrees linear zoom • Focus tracking system • Colour system: 16-bit CMY + linear CTO + 6-color wheel • 6 HD interchangeable gobos • Animation wheel • 4-facet rotating prism • Weight: 45 kg • LxWxH: 425 x 501 x 826 mm

• Indexing and rotatable beam shaping system. • Two year limited warranty. • 12 fixed colours – 2 colour wheels 6+ open with colour shake and wheel spin functions. • Fast, accurate and repeatable movement on all functions.

Photo by Trevor Ou Tim

Integration & Installation REPORT

Museums focus on AV advantage By James Sey

Museum spaces increasingly provide a unique environment for events as well as for the standing installations and exhibition they host. These spaces lend an air of authenticity and gravitas that is often conveyed through cutting edge AV.

AV technology in most contemporary museums and exhibition spaces tries to create an immersive and engaged experience with the theme and content of the exhibit that enables the museum to compete with other attractions. The technology can play a meaningful role in personalising the experience for visitors, including the one-off or occasional events hosted in museums and galleries. Museum AV design today is about immersion – engaging visitors on tactile, emotional and intellectual levels simultaneously. Such an effect has been achievable with interactive platforms, such as touchscreens and beam speakers that produce highly focused audio. The advent of VR headsets and Internet of Things technology also means that museums have the technological flexibility to adapt to changes in the field about which they’re exhibiting, and to quickly mount new exhibits and design new experiences. The ability to change the content of the video, audio and interactive systems in the museums is a key aspect to retaining visitor interest, so the more interfaces the AV system can introduce, the better – whether that’s VGA, HDMI, iPads, VR headsets, etc. The presence of such technology in the museum also means there is flexibility for the staging of one-off or occasional events— an increasingly popular trend in the sector as museums look to maximise revenue streams. In our feature in this issue of ProSystems

News, we take an in-depth look at the museum and gallery sector. While there are numerous differences in the two types of institution, the role of AV in enabling both is crucial, and is evolving all the time. We feature both local and international case studies. Among these is a stunning educational design and build installation at South Africa’s world famous Maropeng complex in the Cradle of Humankind. Realised by fèted local agency Digital Fabric, architectural practice Office 24/7 and contractors Image K Digital, the new Experience Lab is a 100% local initiative. Further afield, the partnership between Christie and the Barbican Arts Centre in London is proof positive that AV is seen to be a key enabler of artistic vision and creative expression in our technology-driven age. The first substantial outcome of the partnership has resulted in a major international award for the photography and film project mounted in the Barbican Curve gallery space, Richard Mosse’s Incoming. These are showcased alongside smaller projects and installations all demonstrating the relevance and importance of AV technology in the energising and re-imagining of these important institutional spaces.

International Exhibition of Professional Technologies and Services for the Entertainment and Creation Industry

17 – 19 October, 2017 Dubai International Convention and Exhibition Centre www.prolightsoundME.com

Let’s master it.

Putting on more than just a show Beyond sourcing some of the most advanced and purpose-ready products and systems for your audio-visual needs, Prolight + Sound Middle East opens up a whole world of industry connections, education, insights, and live, practical demonstrations to show you exactly how your business can benefit. It’s where the AV industry is heading. Are you?

For more information visit www.prolightsoundME.com For visitor registration visit www.prolightsoundME.com/Prosystems

Integration & Installation REPORT

Crafting the hands-on Experience Lab

REPORT Integration & Installation

Maropeng, the Official Visitor Center for the Cradle of Humankind World Heritage Site, is one of the top tourist attractions in the country, with many thousands of visitors experiencing its status as a World Heritage site. As befits that status, the Cradle’s exhibition complex demonstrates in its immersive visitor experiences, its position as the most significant paleo-anthropological site in the world. With the recent discovery of Homo naledi, in 2015, in the Rising Star cave system in the Cradle of Humankind, there has been a huge upsurge of interest, and some 3 500 visitors per day were attracted to the Maropeng Visitor Centre to see the sensational new fossil discovery. The recent announcement of the discovery of new Homo naledi fossils in the same cave system and a significant new announcement that the verified age of the Homo naledi fossils suggest that this primitive, small-brained hominin lived at the same time as Homo sapiens has created unprecedented interest. The recently opened ‘Almost Human’ exhibition of the largest display of original fossil hominin material in history, will undoubtedly again be inundated with visitors. In the exhibition, the visitor will be greeted by the most comprehensive display of its type in the country, telling the story of the discovery and showcasing the fossils. A new addition to the many displays and visitor attractions available will be the, newly designed Experience Lab. This will offer visitors a truly immersive educational experience redolent of the famous caves around the Cradle site, and which features actual fossils being excavated from the breccia as part of the visitor experience. Well-known local design and production consultancy Digital Fabric teamed up with architectural practice Office 24/7 and museum fit out contractor Image K Digital to produce this wonderful new interactive space. James Sey caught up with Digital Fabric’s Gavin Olivier and Office 24/7’s Nabeel Essa for more insight.

Integration & Installation REPORT

of the workings of palaeontology. Bats, owls and a sabre tooth cats are the almost invisible characters that inhabit the space! The space features magnifying domes over real micro fauna, and high resolution cameras over a real owl pellet with an intact bat skeleton, which hints at the characters to be explored here.

James Sey (JS): How does the Experience Lab fit with the Maropeng concept generally? Nabeel Essa (NE): The Cradle of Humankind World Heritage Site is a significant tourism site as it places the African continent as the birthplace of humankind. Maropeng is the Visitor Centre for the Cradle of Humankind and facilitates the unpacking of this ancient narrative. The Experience Lab is a new exhibition and event space offering for Maropeng. It provides a unique experience for visitors to engage with the birthplace of humankind. The Lab is a playful and abstract reconstruction of a generic cave formation of the kind found below ground at the Cradle. The main thematic experience is that of being in a cave. The abstraction allows this creative artifice to become an edutainment experience where the laboratory of science meets and conflates with the sites of paleo-science discoveries. The Experience Lab has a series of interactive and hands-on exploration devices engaging with the nature and structure of bones, the processes of fossilisation, cave formation, what explorers find in caves and how scientist analyze and measure what they know. So we designed it with breccia, the raw ‘natural cement’ in which fossils are found, casts of well-known fossils, objects from a cave wash, all embedded in the landscape with discreet prompts and labels inset into the floor panels, allowing for an explorative experience where the visitor finds, collates and forms a narrative understanding

Gavin Olivier (GO): The design team responsible for the Experience Lab is also employed on the redesign project for the main exhibition at Maropeng, so the thinking employed here, not only in terms of visual language, but in terms of value to the visitors and the strong educational message is completely aligned to where Maropeng is headed. The Experience Lab messaging is specifically aimed at a younger audience, but to be enjoyed by all age groups. It sits at the end of the current main exhibition, a space which was previously a gallery. We had previously completed a project within this space called Virtual Lab, which was literally a cube of high tech steel and glass in which preparation work is carried out on real fossils in full view of visitors. During this development phase, the Experience Lab project was already designed in concept by the team in order to provide a highly coordinated space. JS: What are the key design elements and why were they chosen conceptually? GO: The key design cue is that of a cave. Visitors enter a contoured landscape that represents one in which fossils and related Palaeolithic content might be found. These were of course chosen to fit the key themes at Maropeng – who we are as a species, how we got here and how we know what we know. NE: The cave floor is like a giant architectural contour model. A sampling of geological contours from the area was used and molded and manipulated to fit into an existing oval room and designed to hold the space as a subtle amphitheatre. The process of design for the cave walls started with interior photographs of the Sterkfontein cave. These photos were stitched and traced to mark and measure the rock-face. Horizontal lines at even intervals read and abstract the

REPORT Integration & Installation

drawn data using an extensively designed toolkit in forming the artifice timber rock-face cutting files.

JS: What guided material selection? NE: Plywood has structural strength and its edges are strong. The timber grain evokes the palettes and patterns of the natural. Plywood as it is used in this project is a dialogue between technology, construct and nature. On a practical level Plywood is well suited to structural strength, finish and workability. The project was therefore conceived and constructed as a complex puzzle, made from: • 2 500 unique designed cutting file shapes • 956 22mm plywood sheets • 98km of CNC cutting • 250 litres of Intumescent fire retardant • 250 litres of Epoxy sealer • 4 600 Custom steel parts • 14 Tons of structural steel • 35 000 wood screws

JS: Were there any unusual or noteworthy installation issues and challenges, especially related to the production and build aspects of the project? GO: The entire project, by nature of its complexity, was always going to have its challenges. Key to this is a strong working relationship between the different entities – Office 24/7 as lead designers, Digital Fabric as project and production managers and Image K as main contractor – that allowed us to function effectively, taking the challenges and learning curves as a team and working through them regardless – without this, a project that is pushing the boundaries would be way harder to achieve. A design of this nature has zero repetition, it is in effect a giant jigsaw puzzle, requiring each and every piece to be thought about, drawn within the context of

the overall scheme, separated as a production file and then executed. In this instance that translated into the vast number of individual parts that required CNC, laser cutting and 3D printing alongside the traditional hammer and saw methods of manufacture. The plywood floor is supported by a deck of bespoke structural steel frames, in excess of 14 tons in total, and each coated with fire retardant paint. Fire prevention for the timber was also not a standard exercise; the sheer weight of this layered timber floor, up to 40 sheets thick in places, meant that each and every section required two applications of intumescent paint that had to also be compliant with a suitable top coat, providing a durable surface for visitors without compromising the overall rating. As mentioned, a build of this complexity could only be achieved with the utmost teamwork and commitment. It really helped that the team had a lot of prior experience working together on various exhibitions, including at the Maropeng complex – the new gallery there for temporary exhibitions, the Homo naledi exhibitions, which of course are attracting much local and international interest, the Virtual Lab, all of which informed this project and its content. I guess the main advantage that this involvement brings is an understanding of the overall goals of Maropeng as a globally significant knowledge resource and a heritage site for all of humanity.

Integration & Installation REPORT

Christie and the Barbican Centre in award-winning partnership Christie ® recently signed a wide-ranging, long-term partnership agreement with the Barbican Centre in London to provide leading visual technology solutions to the world-class arts and learning centre.

The partnership transforms the public spaces of the Barbican by providing new platforms for its rolling programme of artistic commissions and new focal points to communicate with the public. Christie has supplied the latest laser phosphor projection, LED video walls, as well as Christie® MicroTiles® and Christie Pandora’s Box media servers. The displays are seen at entrances, across the foyers and at key points throughout the building. As part of the partnership, Christie has access to meeting rooms and conference facilities to host partners and clients. The partnership extends to the provision of cutting edge AV technology to current and future exhibitions and installations. An extraordinary and award-winning new exhibition at the Barbican uses a military camera capable of detecting an individual from 30.3km day or night, to make a visceral three-channel video installation about the journeys of refugees fleeing conflict. Christie M-Series 3DLP projectors were designed with features able to show the luminous footage, with remarkable detail and clarity, at a greatly enlarged size. The immersive quality of the projection not only

underlines how technology is putting new tools in the hands of artists, but how those tools combine to create new art forms, content possibilities and – ultimately – new experiences to keep audiences engaged. “We had a record 20,000 visitors in three weeks with over 2 400 on the opening weekend,” said Alona Pardo, curator at the Barbican. For Incoming, conceptual documentary photographer and Deutsche Börse Photography Prize winner Richard Mosse worked in collaboration with composer Ben Frost and cinematographer Trevor Tweeten. They followed refugees trying to flee on foot, by boat or on vehicle. The camera’s extraordinary telephoto capability can pick up staggering details of the human form from a great distance. In turn, the 3DLP Christie M Series can translate that level of detail because it is designed to maximise every facet of the video pathway. Projecting along the wall are 3 x Christie HD10K-M (3-DLP, 1080P, 11, 000 Lumen) projectors, with dual lamp Lens. When enlarged in a three-channel display over the curved wall of The Barbican, even a human hair filmed from hundreds of metres appears crisply articulated.

REPORT Integration & Installation

Richard Mosse

Mosse followed refugees on two perilous migrant routes through the Sahara Desert, north to Libya and the Mediterranean Sea, and across the Middle East to the Aegean Sea, and overland across the Balkans towards northern Europe. The piece was made across three continents, intercepting refugees at various points along their path. “War artists used to send pen and ink drawings to newspapers,” commented James Belso, senior sales manager at Christie. “With technology, the 21st t century equivalent gives audiences an immersive, shared experience of a topical subject and in a surprisingly intimate way.” “It was breath-taking to see the initial test footage on the Christie projector within The Curve at the Barbican — the high-end projection technology married to this very unusual military surveillance technology created an experience that felt entirely new, shockingly unfamiliar, and beautifully articulated,” said Mosse. There are specific aspects of the M-Series processing that allows the projector to produce the quality of these images. “The processing in the Christie M-Series was designed to maintain the best possible quality video through all aspects of the video path. Some of the key items that make the M-Series work so well with avant-garde cinematography are its true 10-bit processing and enhanced Gamma curve for improved detail definition. Explains Belso, “When this is partnered with proprietary image processing algorithms that are designed to optimise the quality of image resizing, the Christie M-Series is an ideal projector for leading edge imagery and artistry.” “Richard Mosse’s immersive multi-channel installation focuses on the humanitarian crisis of displaced people that is beyond human articulation and the scope of documentary realism,” commented Alona Pardo, curator of the show at the Barbican. “Advocating a new way of looking, the success of the installation lies in no small part in the scale of the projections which seem to literally envelop the viewer, forcing them to confront this new reality in high definition, and with a clarity and precision that heightens the otherworldly and cinematic nature of the film”. “This project has been very unusual in that we have taken a very utilitarian military tool and approached it in an entirely aesthetic way to communicate these narratives”, Mosse explains. “We were very surprised to discover that the camera creates imagery with a beautiful tonality, and describes a dreamlike world in which the human body glows, and

thermal radiation creates reflections, heat haloes and dazzling distortion. This aesthetic quality was a happy accident of course, as the camera was never intended for consumer use, and is simply a military tool.” Mosse slowed down the footage from its original frame rates to achieve a cinematic quality. The famous ‘curve’ of the Barbican’s 1960s architecture provided the perfect immersive projection wall for this ambitious artwork, using three Christie M-Series projectors to show a single expansive three-channel video installation.

Technology creates new audience experiences The unusual nature of the camera creates distinctive images in terms of resolution and colour – almost black and white – and tiny details made visible with the projection. “The MWIR (medium wave infrared) wavelength is focused through rare-earth Germanium optics (crystals which must be grown in lab conditions) onto a thermal sensor that has been cooled to minus 50 degrees Kelvin. The sensor doesn’t need to perceive colour, of course, so it lacks the Bayer colour filter array that modern digital cameras require to register visible light (red, green, blue),” explains Mosse. “As a result the image, although quite low-resolution, is extremely crisp and enlarges fantastically. With the help of Christie projectors, we are scaling this imagery up to 8 x 5.5 metres per screen. That’s an enormous level of enlargement, and the resulting imagery is totally immersive as well as very alien in feel. I’ve never seen cinema look like this.” Simon Smith, Vice President of Christie EMEA, said: “Richard Mosse has created a cinematic tour de force that is stunning, compelling and topical. The curve in the Barbican is the perfect space for people to enjoy such a major work. The technical innovation used, and how it works with the projection, underlines the strength of Christie’s partnership with the Barbican as a force to bring new and exciting audience experiences.” Mosse’s installation has just won the prestigious Prix Pictet photography award for 2017.

Integration & Installation REPORT

Specialz are EPIC in Dublin EPIC, The Irish Emigration Museum is Dublin’s newest museum, dedicated to one of the pivotal facets of Irish history: that of Irish emigration. In the perfectly appropriate location, the museum is situated in Dublin’s Docklands on the Custom House Quay, the departure point for many of Ireland’s emigrants in the 19th Century.

Within the museum are twenty themed interactive galleries that take was instigated to attempt to simulate the effect and offer various visitors on a journey through Irish history and, through interactive and colour options and design possibilities. It became clear early on, that immersive technology, connects all those who claim Irish connections this could not be pre-built and simply installed. The basic and heritage with a unique and powerful experience. components would have to be shipped to Dublin and built in-situ in its Amongst the myriad of rooms dedicated to the global influence of entirety because of the complexity of the design. One element of the the Irish culture through migration is a space entitled Science & brief was that the system had to be robust and as maintenance free Innovation. Within this gallery, visitors are familiarised with those of as possible bearing in mind the exhibition was planned to last Irish descent who have been key in the development of scientific and six years.” technology progress. As an introduction to the mysteries of the Irish ‘To simulate the synapses, we suggested falling back to an old psyche, the Synapse provides a spectacular visual interpretation of technology of fibre optics as light engines were now available with the brain’s inner workings. This artistic impression that also provides LED bulbs which had 25 000 hours of available lifespan. To give the light and visual movement to the gallery was designed by impression of the synapses, over 1500m of side emitting transparent Adam Grater. fibre optics together with 1500m of cracked fibre with 24 x 10m strings “There was indeed a dual purpose to this installation,” opens of micro-LED to simulate the neurons firing were powered off a Grater. “Its title, The Synapse, explains what it represents but it also Specialz LED controller mounted in the truss.” creates atmosphere and provides ambience in the way it physically Working with Scena, six light engines were floor mounted in the illuminates the space. Once I had an idea of what I wanted I went to synapse support structure with three engines and the Specialz LED Dave Smith at Specialz to turn my thoughts into a workable reality.” Controller were mounted on an existing services truss above the Creating bespoke visual structures is what Specialz is all about as synapse support structure. It took 14 days to craft the effect onsite Grater himself comments, “I went to Dave and his team for this as I’ve and weave an intricate web of fibre optic and micro-Led cables used their expertise in the past for other ‘one-off’ pieces and you within the three synapse supports ensuring that the look was pretty always get what you pay for with no messing.” awe-inspiring from every way it was approached and viewed.” The metal frame that supports the lighting was assembled by When completed, the whole installation was programmed by Mark Scena and then the Specialz team hand knitted or weaved the fibres Gallione of High Res Lighting in Dublin. and LED strings through the framework to create the image of the brain’s neurones and synapses at work. Dave Smith explains in more detail, “The “The results are really stunning and the museum is very happy with initial brief was pretty abstract, with plenty of the way the installation complements the objectives of the gallery,” mood pictures and style sheets, but there was a little uncertainty as to quite what they were reports Grater. “This is a permanent installation so it needs to be looking for until they saw actually saw fail-safe in terms of reliability and performance. The museum is well the effect.” into its second year and I have yet to hear of any issues.” ‘To this end prior to shipping, a trial build

INTERVIEW

Robe boxes clever for global growth By James Sey

Czech-headquartered professional lighting manufacturer Robe has seen remarkable global growth in recent years, through a combination of brilliant high-end engineering and manufacturing and savvy marketing. Its expansion continues across all live entertainment and installation sectors, and the company is moving strongly into major markets like the US. James Sey caught up with CEO Josef Valchar for a business update.

(JS): The company has seen consistent growth and expansion in recent years. What is the growth strategy, and what does the short- to medium-term future hold? Josef Valchar (JV): We are continuing to expand the factory and the operation in Valašské Mezirící, adding production lines to keep pace with a really healthy demand right now, and we expect this trend to continue. You can expect more innovation and more development utilising LED technologies. Fundamental to Robe’s commercial and competitive health is to retain the brand’s independence and ability to make decisions and react quickly and with agility to market trends.

(JS): What influence do your business and growth strategies have on R&D decisions – do you target particular sectors of the market for the development of new products, or is this organic? (JV): Our business and product development is driven by what we are hearing and anticipating that the market wants. As a company, we spend a huge amount of time and energy worldwide communicating with industry professionals on all levels and spending time on the ground at shows, events, installations and a variety of productions.

The Robe factory in Valašské Mezirící

We understand that to grow market share we need to have a product range covering multiple levels – from basic entry to the highest profile and most demanding individuals and environments, so to an extent our R&D will follow the need across the board for signature ‘everyday’ products; multifunctional products and more niche items as well. It is also based on our underlying philosophy of quality and good value – offering a true ‘investment’ to those purchasing a piece of Robe technology.

(JS): What changes do you see in the professional lighting market that are influencing how Robe does business? (JV): A couple of things I would mention here: firstly, productions on all levels are using more technology and the public is expecting it. Whether you’re going to see a massive band in a stadium, or a small obscure performance art piece in a wacky site-specific venue – and everything in between – the use of technology is getting ever more creative as people are thinking of new and fresh ways of how to establish that emotional bond / response between artist and audience. Secondly, while people have been talking about ‘convergence’ between video and lighting for a decade now, the potential of these disciplines merging, with all the potential of LED and ‘pixel-fixtures’ is really starting to become a reality.

(JS): Which of your new products is meeting with success globally, and why do you think that is? (JV): The Spiider has seen phenomenal sales since its launch in September 2016, and the Spikie as well, launched in March last year. Meanwhile our signature products like the BMFL series and Pointe continue to make a massive impact in the worlds of rental / staging and television, and our DL series is getting specified for a lot of high profile arts / theatre / performance productions. The new Viva CMY is a solid ‘value’ product, and is already attracting great interest with SME sized installations and companies. Why the success of these products? We really believe it’s because of our basic business principles – great quality, value, support and back-up and a stable and very passionate and dedicated international distribution network who work hard to ensure the Robe message gets out there.

PROLIGHT + SOUND Show REPORT

Prolight + Sound 2017 stays positive in outlook

Following the record set last year, this year’s Prolight + Sound trade show in Frankfurt’s Messe once again registered a slight increase in the number of participants.

This year the fair welcomed 45 100 visitors from 139 countries. 950 exhibitors from 39 countries presented their latest products for the fields of lighting, sound and stage engineering, broadcasting and production technology, systems integration and AV media technology. “In many important international markets, demand for live entertainment has increased significantly, as has the number of elaborate corporate and customer events being held. Investments in modern event technology are being made all around the world and, as the international platform for the industry’s innovations, Prolight + Sound benefited from this positive business climate. Once again, the fair demonstrated how important it is for the individual segments of the event and media-technology sector to exhibit, network and exchange information together at the same time and place”, explains Michael Biwer, Group Show Director of the ‘Entertainment, Media & Creative Industries’ Business Unit of Messe Frankfurt Exhibition GmbH. With 54 percent of visitors coming from outside Germany, Prolight + Sound was the global meeting place for the sector. After Germany, the leading visitor nations included the Netherlands, Italy, France, Belgium, China, the United Kingdom, Switzerland, Russia, Austria and Poland. 93 percent of visitors professed to having achieved their business goals at the fair. Leading trade associations were also pleased with their results: “Following the comprehensive restructuring in 2016 and several subsequent improvements, the fair continues on its successful course. Some of our members have reported an increase in the number of international visitors to their exhibition stands this year. The fair has become an established networking venue for many

associations from all over the world and is rightly known as the leading event for our sector”, said Randell Greenlee, Head of the Political and International Division of the German Entertainment Technology Association (VPLT). Joachim König, President of the European Association of Event Centres (EVVC) opined that, “Once again, Prolight + Sound has shown that it is the foremost meeting place for the lighting and sound sector. The synergistic effects are extremely valuable for the annual general meeting of the EVVC, which is held every two years during the fair in Frankfurt. In addition to the innovations to be seen at the fair itself, the ‘International Event Safety Conference’, which takes place within the framework of the fair, has developed over recent years into a very important professional development platform for members of the technical staff of our member companies.”

Broad product spectrum and high levels of exhibitor satisfaction The exhibitors on Prolight + Sound 2017 demonstrated the innovation of the sector with numerous new product lines – including impressive lighting, water and pyro effects, 4K laser projectors, ultra HD displays, high-performance media servers and programmable show drones. As in the past, LED modules were an important growth segment at Prolight + Sound 2017. Manufacturers are banking not only on smaller pixel pitches and brilliant colour reproduction but also, to an increasing extent, on user friendliness, robustness and energy efficiency. Digital network protocols continue to gain in significance in

Show REPORT PROLIGHT + SOUND

the audio and broadcasting segments. Numerous Ethernetcompatible product lines that support the Dante industry standard or similar audio-over-IP formats, from mixing desks and stage boxes, via loudspeakers and microphone systems, to conference solutions, were on show. Additionally, Prolight + Sound visitors could see an increasing number of innovations for creating immersive experiences that, in the case of visitors to theme parks, exhibitions and museums, for example, blur the boundaries between reality and virtual perception, e.g., hardware and software for spatial-audio projects, full-dome attractions and hologram projection. With an extensive range of products as well as numerous world premières and a high degree of internationality, Prolight + Sound was equally popular among both exhibitors and visitors. Key players from the sector confirm the significance of the fair: “Prolight + Sound is undoubtedly the most important fair for event technology and was a big success for us this year. And there are good reasons: here in Frankfurt, we meet all rental customers, from hobby users to leading production companies. Jochen Frohn, Director of Business Development, L-Acoustics, was also pleased with the internationality of the event: “I would say that around 30 percent of our customers come from the German-speaking countries and 70 percent from countries around the globe. For us, the primary regions are West Europe, East Europe and Asia followed by the USA, Africa, Australia and South America. We regard Prolight + Sound as being indispensable in terms of both existing customers and making new contacts.” Michael Herweg, CEO of SGM Germany, emphasised the significance of Prolight + Sound as a launching pad: “We develop our products with the dates of the fair in mind and begin production shortly thereafter. In our case specifically and for the lighting segment

in general, business at Prolight + Sound has developed very well. It is also very good to see how the visitor level has reached an even higher standard of professionalism.”

Conference programme and new formats strike the sector’s nerve Against the background of technical progress, increasing expectations on productions and new legal requirements, on-going professional development is of great importance for everyone in the event sector. With the ‘Prolight + Sound Conference’ and the ‘Eventplaza Conference’, the fair was characterised by an extensive programme with more than 70 lectures, seminars and panel discussions. Many of them were held in English and over 2 600 visitors took advantage of this opportunity, an increase of around 40 percent compared to last year. Additionally, Prolight + Sound was supplemented by several new event areas. For example, the ‘Silent Stage’ gave visitors the chance to learn about this new concept. Thus, event engineers and musicians could see how this innovative stage setup, which is designed to minimise noise levels on the stage, can contribute to improvements not only in the mix but also in the performance of musical acts. Numerous brands, including renowned manufacturers of in-ear monitoring, presented their solutions at this area: “The visitor response was very good and, for us as exhibitors, the plan was a complete success”, said Markus Ganzmann, KLANG:technologies GmbH. The next Prolight + Sound will be held from 10 to 13 April 2018.

47 47

LIVE EVENTs REPORT

Multi-Media sounds out The Voice Local event staging specialists Multi-Media are back designing and staging the second season of M-Net’s hugely popular reality talent show The Voice, with the set moving to a brand new venue. James Sey caught up with Multi-Media’s sound designer Adriaan van der Walt to find out more about the show’s sound design and staging.

REPORT LIVE EVENTs James Sey (JS): Firstly, why the move to the Teatro Mosaiek from Sasani Studios for season 2? Adriaan van der Walt (AvdW): I believe the client felt the show needed to grow in terms of look and feel and moving to a larger venue means they get different shots for the televised audience. It also means the set and stage elements are bigger with larger performance space, which in turn requires more equipment; more lighting fixtures to fill a larger audience as well as stage area, a bigger sound system to cover a wider and deeper auditorium, and more LED panels to create a larger backdrop. Moving from a controlled environment in a television studio which seats 450 people to an auditorium with a maximum capacity of around 3,000 people, which is being used a couple of hours before the broadcast for another event, changes not only the technical aspect of things, it also poses a different set of logistical and design challenges which this production has never dealt with in the past.

JS: How are you finding the new venue? AvdW: A lot of thought went into how to approach the design of the sound system and the venue lends itself to many options in terms of rigging a flown PA. The roof trusses are big and allow for rigging points to be placed nearly anywhere, which gives one the freedom to consider different scenarios when auditioning the various designs in the mind’s eye. Two major considerations are the catwalk which enfolds the stage as well as the side walls, flanking the audience left and right. Although a catwalk only has a mesh walk-way and hand rails it does affect HF performance when you aim the PA through it. A delay PA behind the catwalk was necessary to get over this hurdle. A compromise had to be struck while deciding where to place the PA,

since the focus has to be drawn to the downstage edge of the stage, immediately in front of the four coaches. This meant I did not want to opt for a traditional L-R design for the sound, but rather a centralised cluster design – no matter where you sit in the audience the sound would come from where the talent is singing on the main performance area. The downside of this is that the sidewalls are getting more energy than I would have liked.

JS: How else did you approach the technical sound design on the set? AvdW: Alcons Audio uses EASE Focus as its prediction software, which takes a lot of the guesswork out of the equation. Venue plans are imported into the software and calibrated to known dimensions and from there it is a matter of painstakingly working through different versions of the design till you find something which resonates with initial ideas of what needs to be achieved. All along the process one has to keep track of the various parameters at play in the acoustic environment and how best to design a system which firstly is efficient in application but also fairly simple to deploy. Greater results are directly related to how much time and effort is spent in putting a good design together. The main consideration is to make the talent sound as good as possible, the second is to ensure the coaches consistently experience pop-star quality performances, one after the other and then lastly to give the studio audience a live concert feeling as if they are attending a performance of their favourite artist. A lot of focus is placed on the talent’s experience and this is where it is important to know how the audio team can contribute in making them feel comfortable to give their best performance.

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LIVE EVENTs REPORT

JS: How is the audience included in the sound design of the show? JS: How did you balance the full live sound setup with the broadcast-type sound requirements? AvdW: Although the band is totally live and the talent sings along with the band the approach is that of a live broadcast show. Broadcast audio takes precedence. Having said that, the audio team consists of four mix engineers: one backstage mixing monitors for the band as well as the talent, one taking care of the sound the studio audience hears, one in a control room mixing the band and talent for broadcast and lastly one in an OB van taking care of the final balance between presenter mics and stings and the talent’s performance. It is a very complex task when you look at it as a whole but when you have key experienced engineers in charge of the various aspects it works pretty well because each brings a special skill-set which complements the others.

JS: What sound equipment is used? AvdW: The FOH sound system comprises of 15 different elements, mostly Alcons Audio, ranging from the centralised cluster with flown bass bins to a distributed delay system and 2 pairs of JBL sub-woofer arrays. Time-alignment was done using Smaart Live 7 as well as walking through the venue for hours on end. The monitor rig consists of over 20 Shure IEM systems for the talent and LiveMix personal monitoring for the band, as well as flown JBL stereo monitor system for guest artists not on IEM. Soundcraft takes care of control at FOH with a Vi3000 and a Vi600 on monitor duties. The band is mixed on an Avid S6L while a Digico conducts the mix in the OB van. More than 60 channels of UHF are deployed and constantly managed during rehearsals as well as the actual broadcast.

AvdW: Naturally, the show needs a live audience, so their experience is also one of the main priorities of the audio team. The audience’s participation makes for very good television and is an important ingredient in the recipe for shows of this kind. It really is a closed feedback loop where the talent draws from the audience and the audience responds to how well the talent performs. It is amazing to witness how the energy shifts from talent to audience and back and forth till the magic happens and the end of the performance is met by a standing ovation. Goosebumps, right there.

JS: Are the sound and lighting setups designed together? AvdW: The initial sound design and lighting design happen in separate worlds till a point where we have to meet to discuss the physical space. Then we share our design concepts to see if we compete for the same space to suspend our equipment. Having good relations with the lighting designer – in our case, Joshua Cutts, one of the best in the business – certainly helps and understanding each other’s expectations and challenges make for a greater end product.

JS: With this kind of collaboration between sound and lighting, how is the show cued? AvdW: The show runs off timecode which means the lighting cues are always in time with the music. However the lighting operator always has the ability to go live if need be. There is a lot of work and pre-planning that happens before the rehearsals, so when we rehearse we also record it so we can play it back later which helps with programming – it is a very time consuming exercise. The broadcast is called by a technical director based in the OB van who communicates to almost all the technical staff at the same time. The co-ordination of tasks during a live broadcast is mind boggling!

LIVE EVENTs REPORT

Mother of the nation festival

Spread across ten days — and more than a kilometre of Abu Dhabi’s corniche — the Mother of the Nation Festival (MOTN) celebrates, commemorates and honours the inspirational values of Her Highness Sheikha Fatima bint Mubarak.

Via a number of diverse activity zones, the festival created an entertaining and highly interactive atmosphere, including educational activities, exhibitions and performance, inviting families and individuals from all walks of life to help preserve the Emirati heritage. Based on their success in the inaugural year, Dubai-based event technical and staging company Protec was again engaged to provide a comprehensive and fully integrated technology package under the project management of James Lakin. MOTN expanded to five different zoned areas this year. For the Happiness Zone Protec were engaged by production company HQ Worldwide Shows, and were tasked with providing an array of illumination — uplighting the trees and giant flower sculptures, as well as one of the domes, the arts and crafts area and the Jeep tour. They also provided complementary sound reinforcement. Main Stage lighting was specified by Flash International and was based largely around Clay Paky Prima Mythos, A.LEDA K20 B-EYE / A.LEDA K10 B-EYE and Prima Super Sharpy — all controlled by grandMA 2 Full Size and grandMA 2 Lite desks. The only changes from the original spec were that the Clay Paky Scenius Profiles, originally assigned for front fillers, were redeployed as the stage floor package, while five Martin Atomic strobes were added to provide extra punch. Protec provided a projection screen that filled the back of the stage, run in tandem with a pair of Christie Roadster HD 20K-J DLP projectors to deliver graphic content from logos, titles, sponsored video loops and information on what happening throughout the festival — as well as the Pokémon Orchestra, playing in sync to a video. Protec’s audio department also fielded an L-Acoustics KARA, a decision justified by James Lakin, who stated: “Although it was a small

audience area it still required very good audio quality.” Also backing the decision to use KARA was head of audio design, Ed Ross. “Although the weight loading capacity was fairly low we still potentially needed to throw the sound a fair way for the bigger acts if it got busy on the beach,” he explained. Protec provided a full monitor system and festival stage patch system going to a Digico SD5 for monitors and a Digico SD10 for FOH. “Because of the wide range of acts, we had a vast array of microphones on site and consequently lots of stage multicore cabling to allow flexible change overs,” he added. The weather provided another unexpected challenge. “There were so many wet days during the set-up and the night before the opening we had wind speeds of 33 metres a second which provided a number of challenges site-wide in the hours before the doors opened to the public,” explained Lakin. To overcome the conditions they needed to bag all equipment every night and then unbag prior to the show. “This meant the projectors had to be realigned up every day, giving us only 20 minutes of darkness to do so before the event opened.” Worst hit was the Happiness Zone as all equipment was exposed. Daniel Ivanovski, Protec’s lighting engineer, underlined the scale of the challenge in protecting the equipment from the driving rain — which penetrated far inside the roofed stage area — and buffeting winds. “Front of house and dimming/distro area had to be covered with tarps held down with stage weights and ropes and the lighting fixtures that weren’t under the roof were individually covered with plastic bags every night during the setup and first show days although the weather improved for the festival itself.” Summing up the event, James Lakin said, “All in all the team delivered a seamless show over some fairly difficult and unpredictable days. We managed to deliver on all fronts, which given the size of the site, and challenging weather conditions during the build-up, was no mean feat.”

LIVE EVENTs REPORT

Photo by Soundpix LMC Marc Berma

South Africa gears up for Ultra By Elaine Strauss

REPORT LIVE EVENTs

The international sensation made its way back to South Africa in February and while the weather offered some challenges, the festival was a raging success…

DS TA N RT AB D S EA LE TI VE NG NU TH ES EA TR E SY EQ ST UI EM PM S EN T

NT AL

“We supplied all roofed structures, LED Screens, lights, trussing, rigging, generators and power distribution, audio, DJ equipment, camera and AV control,” says Yehezkely. Something new for Ultra 2017, according to Jessica Green of LEDVision, LED provider for the Group, was the incorporation of the ROE Visual MC7 panels and ROE Visual RS1200 strips, which added new creative elements to the rig for the use of the lighting and video engineers. “The U’s at both venues were filled in with the ROE Visual strips,” Green says. “Bespoke rigging frames needed to be designed to fly screens at 45-degree angles in the ceilings of both venues. Because the artistes are mostly DJ’s that don’t really move around to fill the stage, the LED was used to create more lighting and video effects, and became an interactive element with the audience, adding to the overall entertainment experience.” According to Jonathan Green, senior audio engineer at Gearhouse SA, from an audio point of view, with the events being held back to back, the Audio team tried to maintain continuity between the Cape Town and Johannesburg events. The two events were supplied by the respective branches and Gearhouse supplied the same FOH and Monitor control gear at both events.

South Africa recently welcomed back one of the most popular music festivals in the world, when Ultra took place in Cape Town and Johannesburg in February. And with an insane line-up that included international artists Martin Garrix, David Guetta and DJ Snake, as well as countless South African artists, including Black Coffee, Dean Fuel, Crazy White Boy and DJ Milkshake, the festival promised to be bigger and better than ever. While Ultra only made its debut in South Africa in 2014, the music festival has grown significantly since its start in the United States in 1999 and is now an international sensation that has been featured in nine countries across the world. For Ultra South Africa, Showtime Management promoted the event, while Gearhouse Group took centre stage when it came to the technical production, with Jaco Saaiman at the Johannesburg festival and Eyal Yehezkely in Cape Town. According to Yehezkely, Gearhouse and Showtime Management have long relationships spreading over many years and many shows. This was emphasised by Saaiman, “Gearhouse has been doing Ultra since its start in South Africa.” “Not only did we supply the main stage of all the mentioned elements but we also supplied the B-stage in Johannesburg with all structures and technical this year,” says Saaiman.

LIVE EVENTs REPORT

Photo by Soundpix LMC Marc Berma

Photo by Al Nicoll Photography Viewography and Soundpix

“An Avid Profile 48ch was used at FOH with a Yamaha M7CL 48ch used for Monitors,” Jonathan Green says. “There were also specialised outboard effects units required. We supplied a Waves MaxxBCL and three Avalon VT737s that were flown overnight between the two cities. They supplied the same amount and models of DJ equipment required, which meant that, in total, they supplied 40 Pioneer CDJ2000NXS and 12 Pioneer DJM900NXS. “The onstage monitor setups were kept similar in order to maintain that continuity,” he says. “Our L’Acoustics K1 System was used in Johannesburg as the main PA hangs, supplemented by L’Acoustics VDOSC outhangs and L’Acoustics KUDO Delays.” With the recent addition of the L’Acoustics K2 system, which was used in Cape Town, Gearhouse had the added benefit of supplying L’Acoustics as main PA hangs in both cities and in addition to the L’Acoustics K2, Cape Town supplied a Meyer Milo System as outhangs for the system. Though the Cape Town festival had very few hiccups, the Johannesburg festival’s major challenge came in the form of bad weather. “The Johannesburg venue, Nasrec Expo Centre, is a huge space so getting equipment in and out was easy,” says Green. “We did however have a tough time with weather, as it rained during the entire setup (structures and technical) and only stopped raining on the day of the show.” “It was very tricky to get all the technical up and running with all the rain and moisture. Some gear could handle the wet weather, but most of the lighting on the ‘wings’ had to be kept closed up until the evening of the show to avoid damage. We did however plan for this and had two trucks on standby that were used as workshops where we could send equipment in order to get fixed, fired up and back onto the rig.” Even with the bad weather, however, according to Jessica Green there were no issues with the screen panels in Johannesburg at all. According to Yehezkely, Cape Town, too, wasn’t without some minor challenges. “Implementing international design to the available equipment in SA was a bit of a challenge, but this was done working together with Ultra production team,” he says. “We had less time to build in Cape Town and working in a stadium was, at times, restricting. But, at least we enjoyed fine weather.” At the end of the day though, everyone felt positive about the outcome of Ultra South Africa. “Although the two events took up the majority of our stock holding, all of our technical crew and the full attention of all our management team, it is team work that enabled the LED Team to put all the elements together in the very tight production schedule,” Jessica Green says. “We are very happy and very proud to have achieved this. The client and international team were complimentary of our delivery,” says Yehezkely. “We are very happy!” concludes Saaiman. “This was truly an amazing team effort and we were able to deliver on time and to the clients’ expectations.”

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INTERVIEW

Collective Works is launched

Collective Works is a brand new creative visual design practice launched by three highly talented and respected live event production industry professionals in the local market – Christopher Bolton (Keystone Productions), Joshua Cutts (Visual Frontier) and Bradley Hilton (Pixel Native).

Christopher, Bradley and Joshua had been working as separate entities on the same shows for ten years. As a result, they became good friends and a cohesive team over time. As authorities in their individual fields, and having high levels of proficiency in each other’s, which further promoted cohesion among them, the team began to recognise that as a COLLECTIVE they were able to forge a comprehensive offering that WORKS. No weak links; the complete package. And so, Collective Works was born. With 54 years of combined industry experience, you could consider them an authority in Production Design and Execution. They don’t just love the production process, they live it. All are well known for their work in South Africa and across the African continent. From the raw material of fresh ideas, to the complex modelling of 3D and virtual simulations, to the equipment specification and co-ordination, client liaison, lighting and video programming delivery and execution on site, Collective Works is set up to provide a complete creative service for those wanting great looking shows. “There is a great chemistry and fluidity of ideas and thoughts between all of us” says Chris, explaining that while Collective Works is a really natural synergy between the three of them, their totally different personality attributes and characters add yet more to the dynamics of the team. With three strong creative minds, projects requiring full technical design lighting, video and set – including automation – is the key target. All three members of the new entity are well known to the local market for their work, but their backgrounds are equally interesting.

Chris Bolton Chris was born and raised in Durban, KwaZulu Natal, with a father who was an international touring musician. His first contact with lighting was working as a follow spot operator at the famous Sneddon Theatre in Durban as a youngster. He studied Electronics Engineering at college, but left in his final year to take up his first professional engagement, which was as a sound engineer in Johannesburg! Generic lighting didn’t really appeal at the time to the technical in Chris, but the first time he saw moving lights – some big old SGM Galileo 4 mirror scanners – being programmed properly for a show, it fired his imagination! His company in Johannesburg had some Clay Paky Tiger Scans, so he started teaching himself moving lights after finishing work in the audio department. As soon as Chris started doing lights, his career developed quickly and his reputation as a lighting designer and programmer grew. He founded Keystone Productions in Johannesburg in 2003 with Warren Liss and Jonathan Le Roux. They have worked for a variety of elaborate corporate events and brand activations which have been challenging, stimulating and a great forum for Chris’s sense of drama and creative ideas. Keystone Productions is also a partner in Bradley Hilton’s company Pixel Native which specialises in video and projection systems design, direction and content production.

Joshua Cutts Joshua Cutts was born and grew up in Johannesburg. His father was an actor, so he spent a lot of time with him in theatres as a child and

INTERVIEW

fell in love with the performing arts early on. He also had an inquisitive mind and an aptitude for technology … which inspired him to pursue stage lighting as a career as soon as he left school. After eight years working hard as a lighting designer and technician in theatre, Josh left that sector on a mission to broaden his knowledge and experience of lighting in other sectors. Serendipitously in 2002 he landed the job of designing lighting for a large music talent TV show called Project Fame catapulting him into the world of television and broadcast, where he impressed with his unique application of certain theatrical techniques and style in a new context. His reputation in TV lighting grew rapidly and he went on to design some of the highest profile TV shows in South Africa including Idols, The Voice and the 2012 SAMA Awards. Visual frontier was founded in 2011 to create some space in a busy industry for independent lighting and visual designers and programmers wanting to operate without being tied to any of the major technical companies and organisations … a step he hoped would grow and develop the whole industry. He became an advanced programmer due to his knowledge and understanding of networking and large lighting rigs with complex elements like pixel mapping and server control.

Bradley Hilton Bradley embraced the entertainment industry from birth … his father is well-known South African stand-up comedian, actor and TV personality Barry Hilton, so lights, cameras and action have always been a part of his life. The production industry was a completely

Bradley Hilton, Christopher Bolton and Joshua Cutts

natural career choice for Bradley who cut his teeth as a video designer, editor, programmer and operator of large playback and mapping systems on one hand, coupled with his penchant for content creation and management on the other. This balance of knowledge in the different elements of ‘live video’ means he has a great understanding of ‘the bigger picture’ needed to create stunning digital show material and use it inventively. One of his first breaks was managing a multi-projector blend mapped over a 3D set for Johannesburg based company Keystone Productions, after which his profile as a trusted FOH video engineer and director grew. As Pixel Native, formed three years ago with Chris Bolton after they worked on a job together, Bradley has had the chance to work on some ambitious projects in SA and internationally. Bradley had immediately liked the vibe of Chris and Keystone Productions, so they started the company to develop and integrate more complex video projects into their work. Bolton speaks for the Collective when he says, “We officially launched Collective Works in March 2017. Ours is a progressive approach. Creativity, forward-thinking and innovation are at the heart of what we do. Our mission is to continue setting new trends, raising the bench-mark and reshaping the industry. We aim to build mutually beneficial long-term working relationships with all our clients and suppliers. On individual projects, we feel that three technical creative minds are better than one. We have had great success collaborating on previous projects so it was a natural progression to join forces. And good cohesion between video and lighting has always been critical for us. Our business focus is not limited to SA, but is designed to target the international market, with our particular focus being larger-style corporate events, TV shows and live productions.” Asked what he thinks differentiates the Collective Works vision and approach, he concludes, “We each have a unique style of design but follow the same thinking when planning our workflow. It takes one of us to come up with the initial concept then ideas flow between us. We are particularly good at communication between each other and the clients, which really aids the design process. It’s of course hard to tell what the future holds, but I do feel we can scale our business up – for example, taking on stadium-sized shows, whether they be opening ceremonies or stadium concert extravaganzas.”

LIVE EVENTs EXPERT OPINION

Rigging and such: cantilever conversations Cantilevers can be found in everyday life structures, such as bridges, stadium roofs, cranes, but also the wings on an airplane fuselage. Maybe not so every day for the common person, but don’t we all have this work orientated look on life? The thing is, we do find cantilevers in the truss structures in our industry, so it’s good to know how to deal with them. To keep things simple in the loading tables, most truss manufacturers assume that the user places the supports at the very end of a span. Thus, the length of the truss is equal to the span and forces and stresses inside the truss are relatively simple (see fig.1).

Daily practice, as we all know, is different. We don’t really mind if the truss span is a bit shorter, and part of the truss length sticks out at each end. This practice results in two cantilevers, with lengths of 0,5 up to 2 metres being very common (see fig.2). By doing so we can observe that the pattern of the forces does change in a more complex way. The centre of the span might have lower stresses in bending and shear, but stress increases over the support position. With this the number of parameters for various load types can sky rocket and the loading tables for just one truss type could run in many hundreds of variations.

Extending the length also increases the risk of failure of the cantilever, and thus manufacturers must provide the data to help the user to stay in safe working conditions. It is the responsibility of the user to understand the type or combination of types, and the position of the loads, and verify them

The BGR70 can handle big spans up to 45 meters.

The BGR70 can handle heavy loads up to 3300kg on a 20m span.

The BGR70 can handle zero deflection, due to its pre-cambering system.

By Rinus “Rhino” Bakker

to be okay in capacity (=strength). For example, a line-array of 1m wide could be suspended from a 3m long truss cantilever. But if the attachments are applied at 1m and at 2m away from the support point, the length of the cantilever can be checked for the full array load at 1,5m. Failure of a cantilever at the position of the support point could initiate the collapse of the complete truss (fig.4).

Obviously with a lot of weight on just one of the two cantilevers, the whole system can become unstable and behave like a seesaw (see fig.5). The stability always is the responsibility of the user, and unstable trusses can also lead to unsafe conditions.

Finally, to allow the user to check the loads per support we can fill in the data in the General Cantilever Formula (see below). This can help in choosing the adequate type or capacity of machinery or structure in the support position and even tell if there will be an uplifting effect, that must be adequately restrained or solved otherwise to make the structure safe.

All in all, it’s just important that you are aware of the cantilever effect and that you check your structures beforehand. I hope this simple formula might offer a tool to build safer structures.

m a e r D ig b

We don’t like to limit the creative minds of our industry. We believe in solutions. The BGR70 truss is our solution for those who like to dream big. The essence? A low volume truss with extreme load bearing capacity. Find out more on www.prolyte.com/bgr70 | www.prolyte.com

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