Set & Light Issue 134 by STLD_Magazine

Set & Light

www.stld.org.uk

Issue 134: Winter 2021

from the Society of Television Lighting and Design

INSIDE: MEET THE MARTINS | VINTAGE LIGHTING (PTII) | S4C CHRISTMAS | WHITE LIGHT AT 50

editorial

A better end to the year 2021 was a turbulent year! The work started to come through again for our regular contributors, which put our Winter issue back a month, however we hope you enjoy the breadth of stories we have in this issue. Please also note the details for our 48th AGM , to be held on Wednesday 2 March 2022 (please see page 25). Please remember that articles are always welcome from ALL our members, and can take the pressure off our regulars! Please email me with your stories – editor@stld.org.uk Our Spring 2022 issue deadline is 11 March for advertising and 18 March for editorial.

Emma Thorpe Editor Note for sponsors If you are interested in advertising, please contact editor@stld.org.uk for a full media pack

contents 4

Meet The Martins

Book review: Lighting For Televised Live Events

Christmas at the Cwrt Coleman

Obituary: Derek C. Lightbody

2021 AGM

Sponsor milestone: White Light at 50

Vintage TV Lighting Part II: Early monochrome cameras and line-up charts

Sponsor News

Committee contact details

Sponsors’ directory

Index of advertisers

Set & Light is the journal of the Society of Television Lighting and Design and is published three times a year. ISSN 2055-1185 Editor: Emma Thorpe Email: editor@stld.org.uk Web: www.stld.org.uk Production Editor: Jonathan Sever Sponsor news: Emma Thorpe Email: sponsornews@stld.org.uk Advertising: Emma Thorpe Email: adverts@stld.org.uk Cover photo: Martin Christidis

Printed by: Gemini Print Deadlines for the next issue: Editorial: 18 March 2022 Advertising: 11 March 2022 Advertising is accepted only from sponsor members of the Society

stld “live”

STLD chairman Bernie Davis speaks with Martins Kempton (left) and Hawkins on the set of Not Going Out at Pinewood Studios

Going ‘Out’ out Sick of staying in, the STLD stars aligned as two lighting legends let us into their trade secrets Words: Bernie Davis Photos: Martin Christidis There is no avoiding the fact that COVID-19 has seriously curtailed, if not completely stopped, STLD meetings from being held in the way they used to be. But sometimes the chance of a good meeting comes along anyway, and this one had so much promise we had to find a way to make it work. We had the germ of an idea of a meeting from a conversation with Martin Hawkins at an AGM, where we could talk to him about his work with sitcoms. Martin has lit Mrs Brown’s Boys and also worked extensively with Ricky Gervais amongst many other productions, and he had 4

Set & Light | Winter 2021

recently taken over Not Going Out from Martin Kempton on his retirement. Between the two Martins, their CV reads like a listing of the best of TV comedy, but of course their backgrounds were in a wider base of programmes. So last year we developed that idea into a meeting with both Martins where we could talk through their backgrounds, their work, and their differing styles. COVID-19 was still limiting what we were allowed to do let alone what members might be comfortable to attend, but in 2021 the stars aligned and in what proved to be a gap between waves we were invited to Pinewood Studios where Not Going Out was set ready to record yet another block. Avalon who produce Not Going Out were very supportive and gave us permission to visit the studio. Knowing that not everyone would want to meet up face to face yet we decided to stream the meeting as well, so enabling us to record the interview as well for the future. This time we employed STLD member Paul Middleton who has developed an economical video streaming facility, so

Meet the Martins

(Top) The infamous living room where Lee’s troubles often begin, (right) the coffee shop where he gets little sympathy from Hugh Dennis’ Toby and (above) the lighting plan Set & Light | Winter 2021

stld “live”

Set & Light | Winter 2021

Meet the Martins

allowing multi-camera coverage of the discussion. This sort of streaming of meetings will never replace face-to-face meetings, but they are no doubt a valuable addition to our activities and will prove to be so in the future. The meeting was streamed two ways simultaneously, offering two different experiences. Members could watch via Zoom and see it live. They could then send questions for the Q&A session using the chat function. But we also offered viewing via our YouTube channel. This is a private channel, not available through their search function. This way questions are not possible as the video becomes available from about 15 minutes after the start of the meeting, but it could be paused and rewound if wanted. It remained available for a few days until it was replaced by an edited, tidied-up version which is still available to view. The link is at the end of this article. And a detailed report of the conversation itself will be in the next issue of Set & Light. We opened up the meeting to students, who ended up being nearly half of the audience at Pinewood, including a large group from The London Metropolitan University and another from Rose Bruford. With the size of the studio audience seating we were able to maintain reasonable social distancing while still accommodating a good-sized audience. The STLD would like to thank Simon Roose, Jane Kemp, and Toby Dare of MBS Equipment very kindly provided the catering. But most of all we thank Martin Hawkins and Martin Kempton for generously giving us their time and for sharing their experiences with us. The video can be watched at the following address: youtu.be/PV_OofTtxvU. If you have trouble copying this address into your browser, please email bernie.davis @stld.org.uk and I will mail a link you can click on. Set & Light | Winter 2021

stld “live”

Set & Light | Winter 2021

Meet the Martins

A letter to the chairman... Dear sir, I thought the online presentation of the Pinewood meeting worked rather well. The two Martins looked very relaxed and spoke well under the able and informed lead from Bernie Davis acting as the anchor. It was bitter sweet experience for me as I miss the business so much. I had expected to be faced with lots of new gear and new methods and therefore to be reminded how out of date I would be if faced with a job, no chance. As it was, I was amazed how little things have changed, at least in sitcom. There was probably more change in my first 10 years when we went from tungsten to halogen, from valves to solid state, and into colour, and then the increased sensitivity of the cameras. At least 5,000 lux kept you warm and the manufacturers of bulbs in business (did I dream it, or did the French Secam cameras really need 5,000 lux!) Interesting that LED is pricing itself out of the market and therefore tungsten remains supreme, at least for now. I guess the element that does seem to have come to the fore is the grading, good that this is taken seriously, and I suppose another day’s money for the LD! Anyhow, the meeting was a good experiment and perhaps the answer to my criticism of the society not catering for those of us remote from the south. Yours, John Watt The Chairman replies... “The issue of LED lighting as discussed at the meeting is that like-for-like LED fixtures are more expensive to hire, and although productions express a wish to be more sustainable they are not usually willing to increase the lighting budget to cover the increased cost. Usually any saving in power as a result of using LED fixtures is not passed on to lighting, so particularly in studio situations such as this tungsten lighting is still widely used.” Set & Light | Winter 2021

book review

Lighting up the page The world in front and behind the camera revealed Words: Matt Maller Many informational books exist on lighting for live events, as they do on lighting for camera, but few attempt to cover the niche of lighting for both a live audience and camera. Lighting for Televised Live Events by James L. Moody and Jeff Ravitz focuses on making live entertainment look its best for both for the audience viewing it live and for those watching on their televisions or smart devices across the world. Professional partners Moody and Ravitz have a wealth of experience of lighting many genres from concerts and theatre to corporate events, music videos and television and not only do they draw on each other’s knowledge and experience but have contributions throughout from a range of industry professionals, the most articulate of which are eminent lighting designers and TV lighting directors, from the UK. I myself have a theatre background and am currently working in television. Lighting designer/historian James Laws and I sat down to discuss Lighting for Televised Events and this short review is a summary of that conversation. Firstly, I would suggest flicking to the back of the book and reading the conclusion. We found it sets out the aims of the book in a much more concise way than the real introduction and the reader would benefit from slightly more direction upon opening the book on such a rarely covered topic. Lighting for camera is an enormous subject, hard to summarise due to the number of variables in every situation lighting is required; we think this book proves exactly that. The contents show it is very much an introduction to putting your live event on camera. To cover all these subjects in sufficient depth would be a book of vast scale, but what it does do very well is give an overview of the subjects an aspiring lighting director should be researching. The first section of chapters, under the heading ‘The Science’, skirts over vital subjects from exposure and colour temperature to dynamic range; some subjects are covered in more detail, but there is enough information to stimulate further reading. If you are after a book that tells you exactly how to light a theatre show for camera, this isn’t it – there isn’t enough information to put it into practice. The book is written in a very approachable informal way, attractive to aspiring lighting practitioners not after a lecture but literature that can be dipped in and out of. On a language note, this book mostly reads well for those outside of America, apart from some measurement conversions and naming conventions, but it is noticeable that some of the science elements come across as rules not to be broken, rather than the science being the backbone of practice that could change according to the constraints, genre, location, etc of the production. This illustrates the more academic American approach, normally backed up in the book by professors and lecturers. Having said that, the chapters discussing LED screens, displays and projectors displaying media on stage are again brief but very useful, a subject hard to find literature on even more so 10

Set & Light | Winter 2021

Lighting for Televised Live Events

in relation to a performance both for audience and camera and the related problems of contrast ratios, viewing angles etc. There are a few images throughout attached to paragraphs to demonstrate contrast in lighting design for example, but they do not translate particularly well in print, particularly the Bruce Springsteen illustrations. I sought out the digital version of the book and they do come across moderately better, but it is a shame they are quite so dark in print, particularly when used to illustrate a point on lighting. We concluded our discussion by agreeing that Moody and Ravitz have started physical research into lighting for both camera and audience, and that this feels like the first version at getting this niche world onto paper. This book is a valuable resource and learning institutions should acquire it for their libraries. Albeit a brief overview with an American bias, it does show the vastness of a crossover world with a great deal of developing technical complexity to think about. It serves a purpose as an introduction illustrating what goes into lighting a live production on camera, a book to read and then research subjects onwards from it, and it serves this purpose very well. • This review was also published in the ABTT’s Sightline magazine Jeff Ravitz is a lighting designer, lecturer, and writer specialising in live entertainment and events being captured for television broadcast and streaming. He was awarded the Primetime Emmy® for his lighting of Bruce Springsteen & the E Street Band: Live in New York City on HBO, and was previously nominated for Cher’s Extravaganza: Live at the Mirage. He has also received ten regional Emmys® and four Telly Awards for television designs, and was named a Parnelli Lighting Designer of the Year. James L. Moody was Head of the Technical Theatre Program, Technical Director, and Lighting Designer for The Theatre Academy at Los Angeles City College (A Professional Conservatory Program). Considered a founder of concert lighting, he received the first Concert Lighting Designer of the Year award from Performance magazine in 1980. Matthew Maller graduated Rose Bruford College having studied Creative Lighting Control and worked across the country on operas, theatre productions and live events as a freelance lighting designer and programmer. His work started to include lighting for camera and in 2018, he joined BBC Studioworks full time. James Laws has been a member of the ALPD and its predecessors since 1974. Recently he has taught aspects of lighting at drama colleges, was DAC Lighting advisor for Suffolk’s churches and took part in both Save Tungsten campaigns. He has created vintage TV lighting displays for STLD anniversary occasions in Bradford and Bournemouth.

one last gig

Christmas at the Cwrt Coleman Mike Baker is tempted out of “deep retirement” for “one last gig” for Aled Jones a Sêr y Nadolig Words and photos: Mike Baker So, how did it all begin? What, I hear you ask? Well, having been fully retired for quite a few years now, it came as a surprise when, last November, I had a WhatsApp message from Andy Cottey asking if I could be available to help light a Christmas show for S4C on location. “When is this to happen?” I asked tentatively. “Well, it’s next Monday and Tuesday, November 29 and 30” he replied. The venue was to be Cwrt Coleman, a large and rather grand hotel just a few miles from my home. Andy went on to explain that the job had been commissioned at the very last minute and although he had been asked to do it, he was fully committed to working in a Cardiff Studio over that time. The ‘Gaffer’ on the team was Gafin, (Gav) with whom I had worked before on a live Christmas Day Eucharist from Tewkesbury back in 2010, so there was one point of contact from my lighting past. The scenario was that Gav and his team of two would rig all the lighting kit, and also take care of lighting the backgrounds. My task was to look after lighting the artists, whether they were singing, playing a piano or as part of a band. I had a little think, checked my diary (retired, so fairly empty!) and shortly afterwards messaged Andy to say “Yes, I’m on board!” Andy was clearly pleased, and I began to think through the implications for me coming out of ‘deep retirement’ into the hectic world of freelance TV lighting once more. 12

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Orchard Media and Events of Cardiff was the company putting it all together and scanning the planning documentation for familiar names I was disappointed, but not entirely surprised, to see that there were none. It has been a long time since I had done location work involving musical items with independent cameramen and no ‘scanner’. I was basically studio trained whilst at the BBC and on the occasions later in my career when I did location work, I would be connected to the director and team by twoway talkback from my lighting control and monitoring position inside the venue. Not so on this occasion, so how would I cope? I mapped out the dates for my diary and we arranged a recce at the site for the following day. Gav had sent me a running order and schedule by WhatsApp, so I had it printed out on crash-proof paper.

Adrian (the director) showing us the solo guitar position on the stairs… ish!

S4C at Christmas

I arrived at the venue on a very bright sunny morning and was immediately impressed with the building and its location looking out onto huge South facing gardens. Here, I met Adrian Jones, Director, Gav, and Katie, the Art Director. We walked around the venue checking out the various locations for the musical items varying between a soloist guitar sitting on the stairs in Reception to Aled Jones singing with a Deaf Choir behind him, on steps outside, at night! I made notes and took many photographs that I knew that would be helpful for my plans.

Somehow, we had to squeeze a three-piece band (Brigyn) in here.

On returning home, there was a lot of thinking and planning to do. With my sketchy notes spread around the table, I needed to know what kit was available. Gav provided me with a list of lamps (below) which although within the budget, did have some ‘holes’ in my wish list thanks to it being a busy time of year for making TV programmes generally.

With the list in front of me, I started looking at the individual ‘rooms’ and thought out best, and worst scenarios. The first location in the Ballroom had huge, tall windows to the rear of the band position; it had to look like night time, and was to be recorded in the morning… when the sun was potentially bright. That had me checking the weather app several times a day. In vain, as it happened; the weather had been predicted to be grey and sunless on the Monday morning when we would have cameras facing these big windows. Wrong! Now, in my mind, I had planned to do a ‘Day for Night’ lighting setup in which, by lighting the interior to a high intensity and stopping down the cameras by at least two stops, we would achieve a ‘Night’ look through the windows. I would also line up the cameras (white balance) to about half way between tungsten (3,000K) and daylight (5,700K). Let’s say 4,400K. Still with me? The windows would have a cool (moonlight?) look and the tungsten lighting would be ‘warm’ on camera (as per the brief) As I said earlier, the kit was limited, the windows were huge, so it was with some temerity that I asked Gav if we could put Neutral Density (ND) filters over those windows when our senior cameraman (Aled Jenkins D.O.P.) pointed out that the shot wouldn’t work without it. Gav checked out his stock of ND and informed me that it was either 0.3 ND (one stop) or 0.9 (three stops) There wasn’t any 0.6 (would have been my choice). Two big windows, one with a tree in sight, the other with open sky, and it was a bright morning. I felt like deleting the weather app right there. However, with guidance by Gav: Carl and Huw (electricians) were initially up ladders (followed by a tallascope) rigging the ND on the windows exterior. That was a job in itself, one that I wouldn’t (or couldn’t) attempt. Aled on camera was now happier that the background would be ‘under control’ so we then set up our lighting on the first band: NoGood Boyo.

• 6 x 2kW Arri Fresnel • 8 x 650w Arri Fresnel • 6 x CP61 Floor Cans (Black) • 1 x ETC Source 4 750w – 19 degree Lens • 8 x Version 2 AVL Retro Light • 6 x ProLights LumiPix 15 IP LED Batten

(Above) The ballroom with the big windows and (right) N.D. those windows, please! Set & Light | Winter 2021

one last gig

The BBC Website says: “There’s no other band in the world like NoGood Boyo. Combining traditional Welsh folk music with a range of other influences (including EDM!) this band will not fail to make you want to get out of your seat and get dancing!” There are five of them, four guys and a girl who was the vocalist, accordion player and a pretty mean clog dancer too! My plan was to up light each band member with a diffused 650w floor lamp, (I had wanted My basic lighting plan made using 1K lamps, but they weren’t retro software: Corel Draw 10 available) then providing soft fill from a 2K bouncing off the ceiling which was conveniently white. I also had another 2K Fresnel as a frontal key light, should it be needed. That was the theory, now how would it work in practice? This first setup of the two-day Shoot did seem to me full of difficulties that would need solving and with little time. Budgetary constraints all round meant that flexibility and fast teamwork were all important. The last time I had lit musical items on location was a very long time ago and it was also the first time I had attempted ‘Day for Night’ shooting. I knew all the theory, but this was a bit of a baptism of fire for me. On Sunday before our first recording day, Gav and team got the rig in, generator in place, and by the time I arrived in the afternoon the ballroom was beginning to look more like a lit location, thanks also to some nice ‘Retro’ lamps perched around the floor as well. Katie’s contribution in the form of Christmas trees, tree lights, decorations and baubles a plenty. Gav introduced me to his ‘secret’ weapon, ‘Core Colourpoint’ lights, which were completely new to me. Highly portable, powerful LED lamps with battery good for 16 hours operation and controlled by wireless dmx. And he had 24 of them to play with!

Monday 29 November On site at 8am for what was to be a long day. Over the two days, we had to record almost an hour of musical items of various kinds, as well as interviews in a number of locations around the hotel. And did I mention the Deaf Choir on the steps at night fronted by Aled Jones singing to a track? Or the conductor who led the choir and needed to be lit from some distance? And there was to be a drone shot zizzing over our heads for the intro to the show.

(Top) Just before the band arrived, lighting desk foreground and (above) soundcheck and filter change on Par cans

The Ballroom as rigged on Day minus One

Set & Light | Winter 2021

I had hoped that the two Christmas trees on the window wall would be tall enough to hide the stands of my two three quarter backlights (as had the Art Director) but that was not to be as can be seen here. I joked that I had a bigger tree in my loft! Later, Katie managed to elevate them on some wheeled stands, which helped somewhat.

S4C at Christmas

One of my big problems was getting used to this way of working. The three independent PSC cameramen were Aled, Johnny and Nathan who was the Steadycam operator. They were all recording independently, and therefore there was no easy way of monitoring them from ‘the scanner’ (there wasn’t one!) or my ‘lighting position’ (infinitely mobile). That’s the problem of my growing up in a Beeb environment, but Gav was also well aware of these limitations too. The HDR PSC cameras were, I believe, Sony FX9’s, and using Sony’s S-Cinetone colour profiles, which, according to Sony “provides a rich cinematic look for the video world”. Because of this profile, in combination with our chosen colour temperature of 4,400K, one really needed to look at the monitor for colour selection and saturation rather than relying on the eye.Yes, if we got a camera feed in time, we could check it out and compare exposure, colour rendering, etc and occasionally we could switch our preview between two cameras, but not often. When we did that, it clearly showed differences that, in a BBC location multi-camera shoot would have been quickly corrected. On this show it would all be done in Post Production. (To be fair, at a later date Adrian let us see the preview of the early edit to which we were able to make observations prior to grading) The Production brief was to have lots of interest, including foreground ‘dangly’ pracs to give out of focus highlights for the tracking camera to use. That was Gav’s department, too. Lamps focused and checked, sound checks all done, it was time for action. The windows were happily within camera limits at last so off we went from ‘Take one’ to ‘Take several’ with Nathan on Steadicam. Between takes, Nathan told me about the latest Steadicam harness that he was wearing and that it was capable of supporting up to 70kg. That’s like carrying a human being. That took us to lunch time, which was in the form of a selection of curried dishes. (apparently Cwrt Coleman is one of Wales’s best Indian restaurants as well as being a popular wedding venue) After lunch, we were in the same room, but looking the other way so the windows were no longer an issue. Aled Jones was the main guest, singing two numbers and once again, three cameras all with their white balance set at 4,400K. That was straight forward enough for us except for the huge mirror in the back of shot and a grand piano accompanying Aled Jones. I have lit grand pianos in studios many times, but not on location with very limited time and opportunities for getting lamps in the right position. Once again, I was using one 2K as a direct keylight, (diffused by one of my favourite diffusers: a piece of ROSCO light A Sony FX 6 on Steadicam transparent B.P. material often parked and ready for action referred to as ‘Shower

Curtain’) and a 2K bouncing off the light coloured ceiling. 650’s provided backlight for Aled and the pianist. As many of you will know, a keyboard backlight is important for closeups, and in that respect, I wasn’t able to get it in quite the ‘sweet spot’ within the constraints of time and kit. This was followed by Carli Paoli singing an Italian carol in the same corner as Aled had been. Notice the ‘retro’ lamps which fitted in quite well in the location rooms as well as keeping the ‘warm and cosy’ brief alive.

Nathan setting up for a take

Aled Jenkins on tracking camera and Johnny Campbell on static, Nathan on steadicam

Set & Light | Winter 2021

one last gig

Gav has secured somewhere safe from the rain for his lighting board

Carli Paoli singing an Italian carol

As this part of the show was relatively straightforward, Gav was organising his crew to rig for the exterior night shoot with Aled Jones and the Deaf Choir at the front of the building. My frequent glances at the weather app were not reassuring. Rain was coming in from the west, a ‘nice’ winter drizzle. Meanwhile, a piano move, a different vocalist and a partial re-light stopped us getting bored before we could get outside into the drizzle. Dusk fell, as did the temperature, but Gav and his merry men had all the kit as prescribed in my retro lighting plan for the main part of the evening’s activities. This was to be Aled Jones singing to track, in front of Cor Arwyddo (Deaf Choir) who accompany him using sign language. All on the steps in front of the main building. Here is my plan for what I thought might happen. Notice that although the cameras were all on the grass looking towards the front of the building, the conductor had to be seen clearly by the choir, hence the Source 4 (19 degree) lamp by the building specifically for him. The atmosphere of the event really was quite seasonal as Gav and his crew did a great job on lighting the building with his Core ‘up lighters’. My role was once again to look after the talking, singing and miming heads. Cameras How I thought it would go still white balanced at 4,400K; with the Deaf Choir… I did check! 16

Set & Light | Winter 2021

Although, as I said earlier, my lack of ability to compare camera outputs limited my input from a quality control point of view. However, everything did come together within the production brief. I did find a use for the ‘selfie’ function on a phone in that sitting in a lit position, one could quickly tell if one was in the right ‘ball park’ from an exposure point of view. I did feel a little sorry for the members of the choir who had to put up with the inclement weather as they were, whilst our star Aled Jones was handed a scarf and padded coat to keep hypothermia at bay between takes.

The conductor of the Deaf Choir rehearsing their sign language that accompanied Aled Jones

You can see one of the 1 x 1 LED panels which did a nice job of controlling the shadows on close-ups. Note also the laptop on the (out of shot) stand acting as autocue. Finally, that evening, we had a small group of members of the Tongwynlais Brass Band, playing a number of short instrumental pieces that would be used as musical breaks in the finished programme. That lovely sound of a brass band in the open, at night, was a satisfying end to ‘Day One’

S4C at Christmas

Tuesday 30 November Today, we were to be indoors all day, but, as previously, there were challenges to be met and conquered. First off the line, it was to be Al Lewis, a singer/songwriter who was to be sat on the stairs in the reception area of the hotel with his acoustic guitar. This would be fairly straightforward with one tiny exception – the window at the back of shot. It was quite large and although facing North, would be pretty boring without treatment. Katie, the art director came to the rescue with some decorative translucent colour panels which she applied to the interior. That meant that they would look even better if they were backlit. Gav sent his crew around the back of the property to check out where we could put our biggest lamp (a tungsten 2K) safely to bring the window to life. Mmmm, there was only a rickety looking outbuilding which we could not trust. In the event, from further back with half spot at the top of its stand, it did enough. Just… I used a 650w lamp to give a cool kicker on Al from the top of the stairs to complement the warm keylight.

Gav applied colour treatment to the walls with the ubiquitous Core lamps and we were ready to roll. I will admit to using my ‘shower curtain’ diffuser on Al’s key light just to give a diffused soft and ‘natural’ look. Two numbers were recorded here; just out of shot to the right of this picture was our next challenge; a small band of three (including trumpet) called Brigyn who would be stood in a small area in front of a log fire. This was Adrian’s schematic of what he was planning for camera and artist positions. It shows a south-facing window again which would need converting to ‘moonlight’ and a fireplace suggesting some assistance from the lighting department too. Once those huge chairs were moved out of the way, we had a small stage which brought things a little closer. Here, you can that Katie (Design) had placed one of her ‘trees on wheels’ into the window corner whilst Gav had Set & Light | Winter 2021

one last gig

used LED bars and Core lamps for wall and feature lighting. We stayed with 4,400K on camera line-up and I used some warm up-lighters on the band from Par cans. It fascinated me to see the info that the cameras generated which had so many similarities to modern stills cameras. Here, on a monitor fed from the steadycam, I could see the ISO speed, the eye focus follow symbol (small square) and much more. I shouldn’t be surprised; Sony are well up in their video camera technology and stills cameras enjoy the benefits of technology ‘trickle down’. By mid afternoon, we were on the move once more; into the Garden Room to record Lily Beau accompanying herself at the piano. There were two numbers to record, and as Gav dashed around setting up lighting the walls, floors and set pieces, I concentrated on producing lighting that suited this talented and beautiful girl.

Set & Light | Winter 2021

The keylight was, once again, coming in at her eye level from a floor stand just out of shot. This was necessary principally because the piano ‘lid’ was on ‘full stick’. I half spotted the 650w as well as using my ‘shower curtain’ diffuser. The effect pleased me although made it a little difficult for the cameras to work around. There was also a slight issue with her mic casting a shadow on her chin, but Paul in sound soon sorted that by tweaking its position slightly. However, there were no complaints, just all working together as a team, which is what good TV is all about. Whilst I was sorting out my piano and artist lighting, Gav was rigging a 2K outside of the ‘in shot’ window to give us a touch of moonlight. That took us to supper time, which included an assortment of curry dishes for the second time in two days, much to the

S4C at Christmas

Aled arranging to sneak his camera under my keylight and to avoid shadows on the piano

I gained a minor new role in taking publicity shots too

Supper time!

delight of the crew! This was a good Indian restaurant and has been for many years. This is probably a good time to tell you of another important resident at Cwrt Coleman. His name is Ollie Colman, Head Mouser, and he even has a business card, (below). And yes, a Facebook presence too! Not sure whether he is into curries though…

After supper, there was quite a significant re-light for our next item: ‘Y Cledrau’, a five piece band. Piano gone, all the band sitting; quite a significant change in sound rig too. Gav gave us some cool blue background and the retro floor lamps gave us the warmth by contrast. And the 2K moonlight blended nicely with the blue wash from the Cores. What I should have mentioned is that the artists were all interviewed in a separate room rigged for that purpose. They were all lit and shot by D.O.P Aled Jenkins, which had the benefit of allowing us to get on with lamp movement and rigging in the other areas of the hotel. Our last item to record was a duet; Steffan and Siwan singing by the piano. Oh yes, the piano. Trundled back in to a similar position to earlier, my main concern was to see the artists in position where they were comfortable and where they could be lit nicely. Another thing I saw for the first time was an iPad (other similar products are available) being used by the pianist instead of sheet music. A neat 21st century solution to a 19th century problem. Unless the battery was low… One of the minor hazards of working at speed on a fairly crowded set such as these was to avoid tripping over cables, foldback speakers and the like. This was particularly so for Nathan on the steadicam; although the crew (including myself) were always looking out for him. And in no time at all, (I lie, it was the second 13-hour day on site) a voice shouted ‘It’s a My guestimate of what wrap!’ Lamps were faded out, might work… lamps fading, flight cases were Set & Light | Winter 2021

one last gig

S4C at Christmas

What the viewer will see…

What I could see: Nathan gliding around lamps and cables with his Steadicam

Set & Light | Winter 2021

What everyone can see: my 650’s towering above the tree!

filling, cables being pulled out; you know the scene. On my way home, I could look back on what had worked well and, as always, what could have been better. Thanks to the way that the team worked so closely and professionally, there were not many instances, in my view, that could have been much better. For that I particularly owe thanks to Gav and his crew who were always there and willing to have a go at whatever crazy idea I threw their way. And now, it’s back to ‘deep retirement’ and there was at least one programme over Christmas that I was watching with a critical eye!

obituary

Derek C Lightbody

Derek C Lightbody (right), who sadly passed away in November, aged 99. Here he is talking to the late Elemer Nyiry (left). (Photo courtesy of Mike Baker)

Derek C. Lightbody Research: Paul Middleton Derek Crosby Lightbody, or “Dee” as he became affectionately known to the other residents of Chorleywood where he lived until his death in November 2021, was born in King’s Norton near Birmingham on 20 May 1922. vHe was appointed as 2nd Lieutenant to the Royal Artillery – Supplementary reserve in December 1938 and released in January 1941. After graduating in civil engineering at Leeds University in 1944, he worked on naval design for Westland in Liverpool where he met Isabel Mabel Clarke. They married there in June 1948 and in 1950, Derek joined the BBC as a radio production engineer – which was no doubt due in part to his love of music. They moved first to live in Harrow, and then settled in Winchfield Close in North Wembley. However he didn’t remain in radio and like some other Lighting Directors who started in sound, he then moved over to lighting. Fellow BBC engineer Phil Parker (who later became Head of Engineering at Yorkshire TV) recalled that “DC”, as he was then familiarly known at the Alexandra Palace TV Studios, became “a lighting engineer who constantly sought solutions to the unique problems posed by the demands of television productions. In those days the practitioners came from a variety of backgrounds and Derek’s expertise as a Civil Engineer provided an appreciation of the laws of mechanics and physics which was of valuable assistance to his many contributions.” During his BBC career, Derek rose to become a Lighting Supervisor and eventually became overall Head of Lighting. In the late 1950s, Derek was the driving force behind the BBC saturated lighting bar system which was first trialled at Riverside studios where a large number of “illuminators” were installed on each 8'8" long aluminium barrel. When the TV Studios at Television Centre changed over to colour operation, he was the inventor of the Dual Source

double ended “Qwart” fixtures first manufactured by Berkey that featured in Issue 132 of Set & Light. These replaced the separate soft and key light fixtures used at Riverside and the original dual purpose 2K “Twister” lamps used at TVC in the black & white years. The length of the lighting barrels in TVC was generally reduced to four feet and Derek took the saturated lighting concept even further by the addition of rolling pantographs for luminaires which speeded up the overnight rigs even more and permitted exact lamp height, positioning and focusing decisions to be made at the last moment. At Television Centre the expectation was to be able to turn around the lighting and set rig in four or five studios every night. He persuaded the accountants of the day to invest heavily in equipment which would save time and allow maximum utilisation for over 50 years. Another item in which Derek was involved was the “Q-File” control system developed by Thorn Electrical Industries and launched in 1964. Phil Parker remembered that “the Q-File control could memorise dimmer settings and groupings for subsequent instant recall” and that it had a “sheer logic of operation whereby it was virtually impossible to make an operational error”. Q-File was initially up against the Strand IDM system. However as companies such as Yorkshire TV soon found, the IDM memory store was very unstable and prone to forget memory changes and levels and was quickly replaced by the “Q-File” system. Ian Hillson also recalls that “Q File was so successful that the Beeb updated it and produced three Q2s: the first for TC1 as their preferred choice (Galaxy) wouldn’t drive the huge number of dimmers. The other two went into TV Theatre (TVT) and Elstree” – presumably to replace the original Q-File installed by ATV. Derek first conceived the Aurasoft idea in 1981, but due to the BBC stranglehold on technology and designs produced by staff, he was only able to develop it after he left and joined OpTex in 1991 as a technical consultant. Optical and Textile Ltd had been founded by film cameraman Ron E Collins and Technical Director George Hill (from Newman and Sinclair, the camera and optical Set & Light | Winter 2021

obituary

Derek with his Oscar and the Aurasoft (also top right)

engineers) in 1969. It later became OpTex Ltd but was dissolved in 2009 and has nothing to do with the current Optex Co. Ltd. Derek began to develop the circular soft idea with production help from Optex Head of Sales, Ian Lake, which was eventually christened as the Optex Aurasoft. Derek was awarded the STLD Lifetime Achievement award for services to lighting in 1993, just a year before the launch of the Aurasoft in the Brunel Room at the Institution of Civil Engineers in 1994. The launch was hosted by Adrian Mills from the popular BBC TV series That’s Life who recounted an experience when acting on an episode of Dr Who where he was narrowly missed being hit by a lamp which fell from the grid. “That nearly crushed me” he said to the LD. “Crushed actors don’t cast shadows” was the unsympathetic reply! Derek’s persistence in successfully overcoming the many technological challenges his revolutionary design posed made his entirely British luminaires a global triumph. This was recognised on 27 February 1999 at the 71st Awards Ceremony of the Academy of Motion Picture Arts and Sciences (AMPAS) in Beverly Hills CA. Accompanying Derek were the British consul general and his wife Isabel as well as Barry Parker and Ron Collins who had backed him throughout the evolution of his exemplary soft light. The Academy Award noted that the “Aurasoft offers a radical new type of reflector design for the production of soft, very even and relatively shadowless light, with superior coverage and significantly higher intensity than existing softlights.” Optex had previously received a prime time Emmy engineering award from the Academy for their mini image intensifier which was used in US coverage of Desert Storm, giving the now familiar black, green and white effect to video pictures shot at night in the dark. The scientific and engineering statue had at that time only been awarded to nine other products in 70 years, so Optex were particularly pleased to bring that one back for their trophy collection. Aurasoft fixtures were also used in two of that year’s Academy Award nominations films Shakespeare in Love and Elizabeth as well as that year’s Bond film The World Is Not 22

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Derek C Lightbody

Enough. It was reported that Barbara Streisand demanded she be lit with an Aurasoft and they also featured in the lighting kit list for Trainspotting. To achieve an Academy Award a committee of 40 experts deliberate every year over the ingenuity, efficiency and contribution to the advancement of the industry of products in the fields of cinematography, digital imaging, electronics, research, laboratory, mechanical and optical effects, engineering, production, projection, exhibition and sound as well as lighting. If validated after the first meeting the candidate has to return to demonstrate the design to the Academy. After another meeting the Board of Governors hold a ballot to determine whether an award should be made. Derek’s Aurasoft came through all these stages with flying colours. The Aurasoft is a flexible modular system of either a 600mm (3kW Tunsgten) or 800 mm (4kW) diameter saucer covered in tiny spheroidal mirrors of cunningly varied various and disposition (to avoid any moiré patterning or other artificial looking characteristics). Through a hole in the centre a variety of different sources could be fitted of either switchable tungsten or dimmable MSR. An extremely clever glass hemisphere diffuses the forward light and reflects some back into the mirrors. The colour and brightness of the entire glass and mirror service is consistent from any angle and without an egg crate it makes beautiful natural looking catch lights in close ups as well as creating the smoothest shadows. When fitted with a revolving egg crate the edges can be placed exactly where you want them. The measuring instruments involved in arriving at that state of the art soft light included a broomstick against a wall. Derek explained that the quality of a softlight was best tested by examining how much of a shadow was visible when a broomstick leaning at 45 degrees to a wall was lit by different fixtures. The standard softlight end of a Berkey “Qwart” produced a soft shadow at low intensity, but as the level was increased two shadows became apparent. Not surprisingly the Aurasoft produces no shadow, and the broomstick test is still a good way of assessing any new softlight fixture you might encounter. The Aurasoft reached series 4 in 1999 with improvements to give a stronger mainframe and a new stirrup bracket for improved balance, as well as pole operation as standard. The hemispherical diffuser is now part of the interchangeable lamp head to ensure perfectly optimised geometry without compromise. It was held in a stainless steel structure and the MSR versions incorporated a specially designed resilient cage for the UV protection tube for increase stability. Those refinements were also available as an inexpensive upgrade for the series 2 Aurasofts. Derek attended the STLD Generic Lights Day at Pinewood in August 2006 where there was an Aurasoft on display on the AFM stand and they are still available from Panalux (and probably other rental houses).

2021 agm

The Society of Television Lighting & Design 47th Annual General Meeting Friday 26 February 2021 Chairman’s Report

This is the part of the AGM where the chairman usually goes back over the last year of Society events, well what can I say? Only a year ago our AGM was at Riverside Studios where we all gathered for food and drink, for a tour of the recently rebuilt studio complex and sat in a room together going through the business of running a society. And how we look forward to the day when we can do that again. Within weeks the reality of the pandemic that was already with us began to become apparent, and both work and home life changed in ways we could not have guessed at. Like many of you I sat there in that week in March watching my diary empty, wondering where this would lead us. But worse was to come when within a week of the first lock-down I received a call from Chris Harris saying he did not feel well enough to look after the mailing list for the next issue of the magazine. For those of you who do not know Chris he has been a very active STLD member for as long as I can remember, and was on the committee looking after both membership and exhibitions. Chris was not one to turn away from work, and I was very concerned when I heard him on the phone. It was only a short while later we heard that he was in hospital and early April we received the sad news that Chris had passes away - one of the earlier victims of COVID-19. He and his wife Debbie were a devoted couple and were often seen at STLD meetings, their last occasion being that AGM at Riverside Studios. Chris was a lovely man and we all miss him terribly, and we still hope for a day when we can get together to celebrate his life. The reality of COVID-19 was hitting us very quickly and it became apparent to me just what a crucial moment it was for the industry, and because of that for the STLD too. I put myself in the place of someone not sure of their future work and earnings and I realised that the only thing we could do was to let membership continue without subscriptions. It was a drastic step but I felt it was likely that if members were suffering hardship they would let their membership lapse rather than spend money they could not afford, I know I would. From that moment all subscription invoices included a note offering to continue membership for free rather than lose members. And of course if members were suffering hardship then so would sponsor companies and we made the same offer for sponsorship. We chose to make this subscription holiday voluntary and with no distinction

Membership update

between those who paid and those who did not as it was not our place to judge, it was the only way the society would get through this. The STLD was in a healthy financial position thanks to past prudence and we judged that we could survive for a while with some economies. But I am pleased to say that the take-up in subscription holiday was not as large as I feared, and very few people simply left, in fact in the last year we have recruited more members than we have lost. I must thank everyone who has been able to keep up their sponsorship or membership subscriptions, and although we are hopefully reaching the end of lock-down we will still be keeping up the offer for anyone renewing their membership or any companies renewing their sponsorship to continue without payment until we see an improvement in the industry. Mike will present his report next, but I will say that we have come through the last year in a better position than we might have feared, not least through making some savings. But our largest saving has come from the lack of meetings. We love our meetings and they are at their best when they combine a social occasion with a broadening of our experience and knowledge, and I for one can’t wait to start going to meetings in the future – and we will. When I returned as Chairman one of my main aims was to make the STLD more relevant in the industry by reaching out to students, to places of education, and to people wanting to get started in the industry. We have all benefited from someone who has given us that helping start, and the STLD is well-placed to be that catalyst. Between us we have connections with lighting designers, programmers, studios, and lighting companies from manufacturers to hirers, and nothing pleases us more than seeing new talent emerge. When I said this at the AGM two years ago I had many people come up to me after saying they fully supported this initiative which was very satisfying. In the last year we have made some progress in that direction although still not as much as I would like. On the committee we now have Matt Maller who graduated just a few years ago, John Piper who graduated just last year, and Nathan Mallalieu who is still a student, all of them doing good work in running the STLD for which I am really grateful. With their help we have set up a student’s subcommittee and work has started on setting up a set of training modules which we want to develop with liaison with Rose Bruford University. I will admit that this has not yet gone as far as I would like, but it has at least started. We have also improved our connections with other places of education including Backstage Academy, University of South Wales, Central School and Rada amongst others. All of these places teach lighting but not all include TV lighting in their curriculum, but we are beginning to show them the value of including it. Earlier this year we had an online meeting with the Strictly Come Dancing lighting team and we had a large number of both members and students attending. End of next week we have another similar event, this time with Dave Davey and the team from Dancing on Ice. We recently had another meeting via Zoom where Frieder Hochheim of Kino Flo gave a talk on his research into cameras and the use of LED lighting, thanks to sponsors Set & Light | Winter 2021

2021 agm Cirro Lite. I somehow doubt that anyone kept up with everything he told us, though maybe I am just judging by my own abilities! But I have no doubt that everyone who joined us that day learned something, and thanks to Zoom and to Kino Flo the meeting was recorded and everyone was sent a link after to watch again. This meeting had well over 100 people attending, and we had STLD members from all over the UK and even from Canada, France and Nigeria. I feel there is something to take forward from this pandemic, that with new technology we ought to be able to include members at our meetings without them having to travel. Clearly a meeting at The Royal Albert Hall is best experienced by actually being there, but even with that we ought to be able to have at least part of the meeting online. It is something we need to explore in the future. One of the limitations we have had to face in the last year is that our mailing service warned us that our magazines posted abroad faced serious delays or even might not arrive. We got around that by emailing downloads of the magazine to our overseas members, and I am thinking of continuing that into the future. Some other societies now only produce their magazines in virtual form now, and although we know from our survey last year that members appreciate paper copy we will be aiming to offer both versions in the future. It would certainly save on that shelf space that so many of us fill up with back issues. We are currently collecting back issues to add as a resource in the future. Another thing that we got from the survey was that we need to modernise the society and I want to talk about our website. The first STLD website was built at the end of the 1990s By Andrew Stone of Compulite, and at that time it was really just staking our place on the internet. This was followed by our current website built by John Bowling, who had given a talk about website design that committee member Ian Hillson had attended. Ian was impressed by John both as a person and as a designer, and it is a tribute to John that we are still using the site after 15 years or so. But the truth is that against the rest of the virtual world it is now beginning to show its age and we have reached a point where I think we need to move on. What’s more a website can now offer us so much more that we need to include. For instance, our accounts are now all on Xero making for more thorough and integrated accounting. With the right plug-in we can now safely and securely integrate the website with Xero giving us a platform that becomes a membership database that is GDPR compliant and secure. With this and other features the website ought to become the heart of the Society of the future. We looked into various routes to do this. The first was to go back to John Bowling, but he did not want to take on that sort of project again. We then tried Colin Jones, a very clever electrician who also runs a website design company, but after some effort and research Colin agreed that this was beyond his experience. We asked around friends and sponsor companies, but in the end we concluded that the only way we could move on was to look at professional companies. I know that this will end up being a significant cost but I really think that we have little choice – either move forward or risk the Society running out of steam. 24

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A new website can become the heart of the society, it can promote members and sponsor companies in the way we have not been able to do in the past. It can integrate much of the working of the committee making the work of individuals less personalised and more able to be taken over when committee members move on or need a hand. And more than anything it will be able to give the STLD a fresh and new look to the world. Now I want to make it very clear that I am not in any way diminishing the work put in by John Bowling, nor by Ian Hillson who has been responsible for keeping the current site up-to-date and I thank Ian for making the current site what it is. But Ian has asked to step down from his website responsibilities from now leaving the website to a new committee member. David Bishop has put in sterling work into a specification for the new site and we have already short-listed three companies who have tendered for the work. Another, and possibly more controversial thing we have been looking into is the STLD logo, which again has served us for many years but we decided to take a look at refreshing it. I say controversial because the committee could not agree – but we have developed an idea for something that works for print and for social media, things that have to be considered today that were not thought about twenty years ago when the current one was introduced. I would like to thank the committee for their work and support in the last year. Iain Davidson has joined us again to look after membership, taking over after Chris Harris sadly left us. It is an ideal job that he can do from home in deepest Cornwall. Iain has recently been chasing members who have got behind with subscriptions, always a thankless task. And Alan Luxford has taken over the exhibitions role from Chris – we look forward to them starting again soon. David Bishop is Deputy Chair and one of the newer committee members, and as I say he has been helping to research the new website. John O’Brien has been dealing with the admin of the STLD, and in particular has dealt with GDPR regulations and also our email addresses. This is quite a lot of hard work, and John plans to step down from that in the near future so we will be looking for reassigning those duties. Ian Hillson as I said has looked after the website, although he is stepping down from that from today. Emma Thorpe has kept the magazine going, not easy

Membership update

when the meetings dried up. John Piper has been Deputy Treasurer whilst still working with Nathan Mallalieu with Students matters, and Andrew Harris looks after our publicity, all supported by the rest of the committee Rob Horne, Matt Maller, John King, Bruce Wardorf, Jane Shepherd and Paul Middleton, And of course alongside of me is Stuart Gain and Mike Le Fevre secretary and treasurer. All of them give up so much of their time to help keep the Society going and I would like to thank them all on your behalf. Jane and Rob will be leaving the committee this year, and currently we do not have offers of anyone wanting to join us. But as we have learned in 2020 you can now do this from home, so if anyone would like to help out we would love to hear from you. 2020 was a year we could never have imagined, and in some ways would like to put behind us. But I firmly believe that next year we will look back to this time as the beginning of better times, and I really hope to be seeing you all out and about very soon.

Treasurer’s Report

The financial report had been circulated. The Treasurer pointed out there had been a £782 loss for the year but mentioned this was good considering the year we had just had. Reserves however remain strong. He also mentioned the £32k owed to the society and was keen to have any thoughts of how to recover this. The Chairman pointed out that we actively pursue invoices for items such as advertising. However, a large amount of this debt was due to overdue subs by members and sponsors. Out of this some is due to old information held by the society with members leaving and not telling us which means an arrears is held on file and also with sponsor companies not updating us and thus the system holding incorrect invoice information. There being no questions of the Treasurer the report was Proposed by Mike Le Fevre, Seconded by Stuart Gain and carried 22 For, 0 Against, 0 Abstentions.

The Society of Television Lighting & Design 48th Annual General Meeting Wednesday 2 March 2022 at ETC Ltd, 26-28, Victoria Industrial Estate,Victoria Road, London, W3 6UU Notice is hereby given that the 48th Annual General Meeting of the STLD will be held on 2 March 2022 at ETC. 48th AGM AGENDA 1. Notice convening the meeting 2. Apologies for Absence 3. Minutes of the 47th AGM, held on Friday 26 February 2021 (email secretary@stld.org.uk if you wish to see the full meeting Minutes) 4. Matters Arising 5. Chairman’s Report 6. Treasurer’s Report 7. Rule Change 8. Election of Officers and the New Committee 9. Appointment of Auditors 10. AOB

value and did not want us to stop The last word... great providing them. It was suggested that we could save money

Final diaries delivered

With issue 133 of Set & Light, you should have received your 2022 STLD diary. This will be the final paper diary to be issued, as passed at the last AGM. There has been much discussion about the value of the diary for many years now, and with so many people now keeping their diary on their smartphone, some said they were a waste of STLD funds. Others though insisted that they were of

by printing fewer and letting members opt in or out, but we were not keen on that. First of all the cost per diary goes up very quickly when you don’t buy many, and second it would be an administrative nightmare keeping up with who was in and who was not. We know some members used theirs to the end, and will no doubt regret having to buy a diary next year. But once there was a significant majority against (I was ‘for’, by the way) it was time to discontinue them. So keep your 2022 STLD diary when you finish with it, it could become a collector’s item in the future, perhaps appearing in an episode of Antiques Road Show, or maybe one will have its leather cover lovingly restored by a future Suzie Fletcher on The Repair Shop. Set & Light | Winter 2021

sponsor milestone

Friends, competitors, ex-staff, current and former suppliers and advisors, customers and industry colleagues enjoy White Light’s party

White Light at 50 From humble beginnings to the entire world via the West End, White Light celebrates in style Words: Bernie Davis Last November, White Light celebrated their 50th year with an occasion rarely seen in 2021 – a party! Friends, competitors, ex-staff, current and former suppliers and advisors, customers and industry colleagues were all invited to London’s Science Museum event space – Illuminate – to celebrate this milestone in the lighting business and to hear more about how the company has got to where it is today. White Light’s Managing Director Bryan Raven and their Founder and Chair John Simpson hosted the event, treating us to a potted history of how the company had been formed and how they had progressed from that day of incorporation exactly 50 years ago. Simpson had teamed up with Lighting Designer Andy Phillips – both from The Royal Court Theatre – and they managed to scrape together enough money to buy the equipment to supply the transfer of Alpha Beta, starring Albert Finney and Rachel Roberts, to the Apollo Theatre, the equipment all delivered in two minivans. The company name had come from Andy’s style of lighting, where he had a 26

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reputation of using the subtle tones of tungsten lighting rather than colour to ensure that faces were lit. In 1973, The Rocky Horror Show transferred from the Royal Court Theatre Upstairs to a cinema in the King’s Road. They took on the installation and then provided all the equipment and technical crew for the next six years. In a deal with Michael White, the producer, Simpson became Theatre Manager so they could then use the basement for their equipment and its maintenance. They began hiring in volume so had to move, and in 1978 found a warehouse a cobbled yard in Filmer Road, Fulham where they remained for 23 years. White Light’s reputation spread through the West End and soon they were supplying equipment to a host of huge West End shows, including 42nd Street, Chess:The Musical, Singin’ in the Rain and Camelot, and in 1987 John recruited another manager – Bryan Raven. By that point, they were not only supplying to ever more stage shows, including Madam Butterfly lit by co-founder Andy Phillips using the first 70 Rainbow colour-scrollers off the production line, they were also hiring to BBC TV Centre for shows such as The Generation Game, Blankety Blank and Top of the Pops. Their list of productions soon read like a list of what’s on in the West End, and if any of you ever visited their depot at Parsons Green you would appreciate that by the end of the nineties they really needed bigger premises with better access, and in 2001 they moved to their current site in Wimbledon. By then White Light had branched out further to include large projects overseas such as installing the

White Light’s Half-Century

White Light’s Bryan Raven (left) and John Simpson

White Light for hire!

The White Light stand open for business

lighting for the House of Dancing water in Macau and the Nürburgring in Germany. Their broadcast work continued with ITV Sport’s coverage of the European Champions League, Europa League and Euros with Andy Cottey and Chris Hollier’s award-winning presentation studio lighting. Recognising a demand to provide video and audio inhouse White Light recruited Lee Dennison to set up an audio division, and Andy Hook to provide video and broadcast expertise so enabling White Light to move into the AV market, soon winning prizes for events including ‘National Integrator of the Year’ at 2019 AV Awards, showing that they had successfully moved into other areas and was no longer “just” a theatre lighting company. At the end of 2019, Ronan Willson of ELP announced

that he was selling his lighting hire business to White Light to concentrate on his studio hire business, so bringing Darren Fletcher into the White Light fold, just as the first wave of COVID-19 struck. So just when theatres went dark, the TV business took off, and White Light found themselves covering some major events such as the VE Day concert in the grounds of Buckingham Palace and the VJ Concert in Horse Guards Parade, the BBC Proms at the Royal Albert Hall, and the Funeral of The Duke of Edinburgh at Windsor. There is no doubt that White Light have come a long way in their first 50 years, and we congratulate them and wish them every success for the next 50. Oh, and they still supply the equipment to The Rocky Horror Show – 48 years on! Set & Light | Winter 2021

VINTAGE TV LIGHTING GEAR PT II

2. Early monochrome cameras and line-up charts The second part of our new series where we look back at the history of equipment associated with TV lighting Words: Paul Middleton How to line-up a TV camera so that the pictures look good has been a problem right since the invention of Baird’s first mechanical scanning system where the amount of light that needed to be pumped onto the subject could cause the mannequins to catch on fire from the heat, making line-up very tricky!

Baird demonstrating his first 30 line TV system (Public domain)

At this point, I think it is worth putting in place a bit of history of the early days of TV in the UK. Most people are probably aware of the name John Logie Baird, but they might really only have a vague idea of his part in the history of TV. The first commercial electronic TV camera used in the UK was the EMI Emitron, but in 1936 Baird had also been working on his own “Electron” camera, which used the Image “Dissector” tube invented by American Philo T Farnsworth. In 1932, prior to the BBC setting up the Alexandra Palace studios, Baird Television Ltd (BTL) had been taken over by Gaumont British Pictures and underwent major expansion. BTL established three TV studios and development labs at Crystal Palace in 1933 where they employed over 380 people and leased 60,000 sq ft of space. Baird himself had his own private laboratory and the transmitter used for his trial transmissions was located in a tower at one end of the Crystal Palace building at the same point as the current Crystal Palace TV transmitter. There is pictorial and documentary evidence that Baird actually used an “Electron” camera as a backup during the opening ceremony of the TV service from Alexandra Palace, and BBC Weekly Studio Allocations sheets for the weeks of 15 & 29 November 1936 showed that programme items had been allocated to the Baird Electron, Baird Spotlight and 28

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The remains of one of the “Dissector” tubes found in the remnants of the Crystal Palace by the tube’s inventor Farnsworth. This tube and another complete version are on view at the Science Museum in London (Science Museum)

Baird IF (Intermediate Film) systems. There is also evidence that the Farnsworth camera was used in Germany to help cover the 1936 Olympic Games, however a fire at the Baird facility at the Crystal Palace on 30 November 1936 – barely 28 days after the start of the new TV service on 2 November led to the loss of the camera and other tubes along with virtually all of Baird’s records and apparatus, that had not been installed at Alexandra Palace. Baird reported that they had lost £100,000 worth of apparatus, which coincidentally was the same amount that Isaac Shoenberg had persuaded the EMI directors to invest in the development of the Emitron camera system! Regrettably, for Baird, the writing was on the wall for his mechanically-based TV system and the last ever broadcast for the 240 line, 25fps system was on 30 January 1937 after only 89 days of service and barely six weeks of actual transmission. The two competing systems had been used on alternate weeks for the fledgling BBC TV service, with transmissions usually only lasting for two hours per day, between 3-4pm and then 9-10pm.Thereafter from February 1937, the Baird Studio at Alexandra Palace was taken over by EMI with its 405 line 50fps system and all the Baird studio equipment removed. It is unclear whether BBC staff operated both Marconi-EMI and Baird studio equipment, but I suspect that cameramen and other operators were BBC staff, whilst the Engineers were supplied by the respective companies. The early models of the Emitron cameras back in 1936 had such a high Infra-red response that gaudy blue-green make-up and lipstick was at first needed to make faces look normal on screen. Each Emitron camera tube was hand made and had a different spectral response and gamma from another tube. The tube life of an early Emitron camera could be just tens of hours’ use, before needing to be refurbished. The use of “Tilt and Bend” controls, to correct for the geometrical effects of the tube’s off axis scanning, as well as their variable response as the tubes warmed up throughout

“Tilt and Bend” controls were used to correct the horizontal (tilt) and vertical (bend) shading that arose from variable electron scattering caused by the original short nose Emitron tubes. In the waveforms, black is at the top of each and white at the bottom. The peaks in between are not sync pulses, but spurious signals generated during flyback. These were blanked off and replaced by proper line and sync pulses

Early monochrome cameras and line-up charts

the day, meant that matching the pictures from the three cameras used in the studios at Alexandra Palace was not something that could be achieved once in the morning, and then left for the rest of the day. It should also be realised that as the Emitron camera tubes were “high velocity” types that had no form of contrast law correction, so there was no way of trying to match or check the transfer characteristic of each tube as it was fixed by the way it had been manufactured!

So where and when did camera line-up charts come into being? Pre-war (up until September 1939), during the Trade Test period each day firstly ‘black level and syncs’ were transmitted. This indicated that a test transmission had started and this was followed by ‘grey level and syncs’ and finally by electronically generated ‘artificial bars’ (Art Bars) which produced a black cross on a white background1.This signal enabled focus, brightness and contrast of receivers to be adjusted. The BBC Television Service continued for just over another two years until September 1939, when the outbreak of War caused the abrupt cancellation of the TV service. Baird Television was forced into liquidation, as there was no market for its television sets. The Baird TV brand returned after the war, but without its namesake, who had died in June 1946. Baird’s technology did however live on via the “Cintel” brand of flying spot telecine machines. Planning for the restart of the TV service began in November 1945 with the reappointment of D.C.Birkinshaw, now with the title of Superintendent Engineer Television. According to the official BBC history Alexandra Palace had been switched off in 1939 and the studios abandoned whilst staff were deployed to war work. However the BBC Yearbook for 1946 included this picture. The first meeting of the Commonwealth Broadcasting Association (CBA) actually took place on 15 February 1945, so the official view as recorded by Edward Pawley that the TV studios had to be refurbished and were not ready for operation until April 1946 appears to be false2. Anyway that’s a story for another article…

VINTAGE TV LIGHTING GEAR PT II

Two series of test patterns were planned. One for testing cameras and caption scanners, and one for transmission over the whole chain through to the display tube in the home receiver. The test transmissions restarted at first with just the pre-war “artificial bars” and 400 Hertz test tone on 1 February 19463. Test Card A was then developed to facilitate the testing of camera channels for definition, frequency response and geometry. The frequency response was indicated by the resolution of gratings on the card from 0.5 to 3 megahertz. It was transmitted during the mornings to allow Electrical Stores to show off their TV receiver’s brightness and resolution.Viewers who had already bought a TV receiver could also use the Test Card to check their receiver’s setup and tuning. Don’t forget everything was valve based back then and TVs needed time to warm up and stabilise, followed by a little bit of tweaking to get the receiver’s tuning spot on.

figure was not achieved in the studio then it was likely that there was a fault or that the tube was on it’s last legs before it would expire, or possibly explode. As the stability of the Emitron cameras increased it appears that a new version of Test Card A was introduced – which was not surprisingly called Test Card B. With the introduction of the Super Emitron and then in 1948 the CPS Emitron, camera matching became a viable feature. Test card B was a slight variant on Test Card A and introduced a Grey Scale wedge to replace the black wedge above the letter A. In the camera control area below the control room at Alexandra Palace, three engineers sat on different height stools in a darkened engineering control room (what we would now call racks), so that they could all see over each others shoulders to view the three monitors at the end of the room that showed the picture from each camera. In the studio things weren’t much better as the first Emitron Cameras didn’t have a viewfinder, so focusing and framing had to be done by using a pin-hole in the side of the camera to look directly at how the picture was aligned on the mica pickup cells of the tube.

The very first Emitron camera viewfinder consisted of a simple cardboard cutout to show the approximate camera framing. This picture was taken at the Radiolympia demonstrations in August 1936 Reconstruction of Test Card A

It must be remembered that in the 1940’s there were really only two means of generating a detailed TV picture. Initially there was the Baird flying spot system and then the EMI electronic cameras. There were no still stores or graphics generators back then! To transmit a TV Test Card it had to first be drawn as a piece of artwork on a piece of card – hence the term “test card” – and then be put in front of an actual TV camera, or shot with a Film camera and then played back via telecine. The BBC Tuning Signal Cards were drawn by BBC Engineer W C (“Paff”) Pafford, so it is reasonable to assume that he also drew the new TV Test Card, as he remained on duty in the AP Transmitter Control Room throughout the war working to defeat the German Wotan/Y-Gerät bomber navigation system. Either one camera from the studio had to be used to provide the image for the Trade Test Transmission or another camera in the Apparatus Room was used exclusively as a caption scanner. EMI later produced an Emitron Telecine and early test transmissions were made from film as the flying spot telecine gave the best pictures at that time. Test Card A wasn’t really designed to match the output of the three different cameras in the studio, as that was an almost impossible task at that time. Camera tubes were given a resolution figure when manufactured and if that resolution 30] 30

Set & Light | Winter 2021

A second matching ganged lens was soon added that enabled the cameraman to see a full colour, but upside down and reversed, picture viewed on a ground glass screen. Early attempts were made to use a beam splitting mirror and prism arrangement, in the style of later motion picture cameras, but the light loss to the camera tube, and the dimmer view on the viewfinder, was not workable with the low response of the original Emitron cameras that needed about 1,500ft candles to function adequately. The cameras had a single fixed focal length lens and it was essential that the full extent of the camera tube pickup was used to get the best resolution.

A twin lens viewfinder system. This camera is a later extended neck tube Emitron. The cameraman focused the picture by operating a knob that could be mounted on either side of the camera to move the lens assembly relative to the Emitron pickup tube

Early monochrome cameras and line-up charts

An early version of the viewfinder used a reflex configuration to split the light in the same way as a still camera

For mathematical reasons the original EMI 405 line system used a 5:3 aspect ratio and the first use of the line up chart in the studio each day was to set the overall scan size to pickup the full dimensions of the test chart. However they had no way of telling how much of their viewfinder picture was actually appearing on transmission as there was no TV monitor in the studio. The procedure that was developed was that the camera was manoeuvred into position and lined up onto the chart via talkback from the control room to the studio. Communication was one way only – the cameramen couldn’t “talkback” to the Director in the early days! The camera alignment onto the test card was checked using a tape measure to each edge to ensure the Test Card was flat on to the camera. What is not so well known is that once the engineering checks were completed the cameraman would remove the ground glass screen from the viewfinder and clean off the chinagraph markings from the previous use of the camera and then proceed to mark the extent of his view of the Test Card so that he knew where the edges of his picture were going to be, as the view in his optical viewfinder would be larger than the picture actually being scanned by the Emitron tube. With only a single fixed lens on each camera, there was no need to worry about different viewing angles from lens changes. It was not until the advent of the Image Orthicon (IO) Tubes that a Test Chart (or transparency) really started to be used to match the pictures from different cameras. As this series of articles is about Vintage TV lighting gear this is where I’ll stop. We’ll see how camera line-up charts developed in the next part of this article. References (1) DC Birkinshaw, Operating techniques in TV, World Radio 13 Jan 1939. (2) Page 354, Pawley, BBC Engineering 1922 – 1972, 1972. (3) Page 469, Pawley, BBC Engineering 1922 - 1972, 1972 (4) http://tech-ops.co.uk/next/tv-studio-engineering-the-pre-digital-age-3/

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AC-ET Cromer Pier’s Pavilion Theatre takes its performances to the next level with PROLIGHTS DeltaPix

Cromer Pier’s beloved Pavilion Theatre has recently added a digital dimension to its stage by installing a PROLIGHTS DeltaPix48T LED video wall backdrop. Running for 42 years, the Cromer Pier Pavilion Theatre offers a unique experience as home to the only ‘End of the Pier’ show of its kind. With approximately 450 seats, audiences are entertained all year with rib-tickling comedy, show-stopping vocals, mind-blowing specialty acts and an eclectic blend of dance, in an intimate, one of a kind venue. Keen to return bigger and better than before, the team behind the acclaimed Cromer Pier Show wanted to add new elements to the production and make a strong comeback following the enforced closure of the theatre due to the global pandemic. Cromer Pier’s director, Rory Holburn, commented; “Our new PROLIGHTS DeltaPix48T screen has added a lot more versatility to the show and what can be achieved from a backdrop. The stage is limited in space so we needed something that was fairly compact yet robust and Stuart Burdett was able to demonstrate the various PROLIGHTS video panels and we felt confident in our choice. We are delighted with how the DeltaPix has been performing and the huge amount of possibilities it has brought with it. The feedback we had from the summer show was fantastic. It certainly has helped bring the show up-to-date, and we feel we accomplished coming back bigger and better than before.” Leading equipment provider, A.C. Entertainment Technologies (AC-ET) supplied the PROLIGHTS DeltaPix screens, along with a Green Hippo Amba+ Media Server and LSC Power Distribution. AC-ET’s Video specialist, Burdett worked alongside the team at Cromer Pier to ensure they got the right products for the job and environment. AC-ET’s installation sister-company, A.C. Special Projects (AC-SP) handled the installation of the LED wall. Holburn added; “The Green Hippo V4.6 software is incredibly intuitive, we can create shows very quickly and our musicians can trigger the various cues with ease thanks to the MultiController component. Likewise, the inclusion of the LSC APS distro is vitally important as it is helping to protect our investment.” The Cromer Pier Christmas Show started in November and saw the team getting even more creative with their new technology to take the production to the next level. “We have been delighted with the complete package. It’s helped us lift the show in to the modern era and enabled us to do things we would have never been able to do in the space without it. The service and support we received from AC-ET and AC-SP was fantastic. Their knowledgeable teams were always happy to help and assist. "We very much looked forward to dazzling even more people with our Cromer Pier Christmas Show,” concluded Holburn. 32

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(L-R) AC-ET’s Jonathan Walters and Mike Docksey with some of Claypaky’s latest technologies

A.C. Entertainment Technologies (AC-ET) appointed as Claypaky’s exclusive UK and Ireland distributor

A premium brand with a pedigree of over 45 years, Claypaky products are synonymous with some of the world’s foremost productions and have collected no less than 60 prestigious international awards along the way. Jonathan Walters, UK Sales & Purchasing Director for AC-ET commented: “We are delighted to further our partnership with Claypaky as their exclusive UK Distributor. The brand is highly regarded by leading designers, and has produced some of the world’s most iconic lighting products. We are looking forward to working with the Claypaky team to bring their outstanding range to the UK market.” AC-ET’s Andy Mahaffey will work closely with Claypaky’s Paolo Dozzo to manage any sales or product related queries. Andy can be contacted at andy.mahaffey@ac-et.com to discuss a project or to arrange a personal demonstration of any of the extensive Claypaky range. General sales enquiries for Claypaky products should be addressed to cpsales@ac-et.com. Support and service queries for Claypaky products should be addressed to cpsupport@ac-et.com where AC ET’s first-class support team will be on hand 24/7. Alberico D’Amato, Claypaky’s Head of Sales added: “As we enter the post-COVID world, we are excited to take our next steps in the UK market with AC-ET. Their extensive knowledge and industry experience means they are the perfect fit for this role. We know all Claypaky customers around the UK will receive the highest level of service and support from AC-ET.”

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John Gresch of ARRI accepts the Engineering Emmy at the 73rd Engineering Emmy Awards in Los Angeles. (© Jordan Strauss/Invision for The Television Academy/AP Images)

ARRI ARRI honored with Engineering Emmy® for SkyPanel development

At the 73rd Engineering Emmy® Awards ceremony, the Television Academy honoured ARRI for the development of its SkyPanel family of LED soft lights. At the ceremony, held at the JW Marriott Hotel in Los Angeles on October 21, 2021, the judges acknowledged that the efficient and versatile family of ultra-bright LED fixtures with multiple control options had streamlined production lighting workflows and were now firmly established throughout the television industry. Accepting the Engineering Emmy for ARRI was John Gresch, Senior Vice President Sales & Marketing at ARRI Inc. “This is truly a great honour. On behalf of ARRI, especially our lighting engineers in Stephanskirchen in Germany, the management team in Munich, and all our worldwide locations, I thank the Television Academy for this,” he remarked in his speech. There is also great excitement about the Engineering Emmy at ARRI’s headquarters in Munich. Markus Zeiler, Executive Board member of ARRI and General Manager of ARRI Lighting at the time of the release of SkyPanel, comments: “We are very grateful for this very special acknowledgement of the Television Academy. This prestigious award recognises the hard work of the SkyPanel team of engineers and designers who worked tirelessly on the hardware and software for many years. SkyPanel was a major breakthrough product that helped facilitate the digital revolution in lighting for the film and television industry. Calibrated, tuneable LED lighting significantly changed set lighting, allowing more creative freedom while saving time and energy.”

Ivo Ivanovski, General Manager, Business Unit Lighting at ARRI, adds: “We would like to thank, not only the Television Academy but also our many customers worldwide who have trusted SkyPanel for their productions and studios. “We often hear filmmakers and lighting designers call the SkyPanel ‘the work horse of the industry.’ Software features and accessories have helped to maintain the value of investment for our customers. Their feedback has always inspired us to continuously improve over the years and it will continue to drive us in the future.” Since its introduction in 2015, the ARRI SkyPanel was immediately adopted for television and feature productions worldwide and frequently used in numerous broadcast studios, at live events, fashion shows, and even art exhibitions. Some notable shows illuminated with SkyPanel include recent four-time Emmy winner Ted Lasso (Apple TV+), the Netflix series Dark, The L Word: Generation Q (Showtime), First Ladies (CNN), and Genius: Aretha (National Geographic), along with multi-award-winning feature film Blade Runner 2049, the last two Star Wars productions, and many more. Through the Engineering Emmys, the Television Academy recognises individuals, companies or organisations whose outstanding technical developments have contributed significantly to improving existing processes or the recording, transmission, or perception of television. “Engineers, scientists, and technologists are a vital part of our industry and are key to the continuing evolution of television,” said Frank Scherma, chairman and CEO or the Television Academy. “These extraordinary pioneers and groundbreaking companies we are honouring have advanced the medium and elevate storytelling to a worldwide audience.”

Set & Light | Winter 2021

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Colour Sound Experiment now owns 160 Karif LT fixtures which it recently purchased from Ayrton’s exclusive UK distributor, Ambersphere Solutions, to expand its existing stock of Ayrton fixtures. “We originally invested in Karif as the smaller of the Ayrton units, since we already carry 50 Ayrton Eurus for mid-range and 80 Ayrton Huracan LT for long range applications,” says CSE’s Alex Ryan. “However, it quickly became apparent that Karif LT can hold its own in the medium size venues and is perfect for those such as the 10,000-capacity Brixton Academy. It really punches above its weight. “We chose Ayrton because they have designed a standardised, homogenous range to cover all sizes of venue: small, medium and large. The fixtures are also extremely reliable – much more than most – which is very important when you are dealing with them on a daily basis. And the price point is such that we can afford to invest in good quantities of each, enough to service a couple of shows at any one time. For a rental house and production house they give us creative and financial flexibility.”

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Hybrid Minds light up Brixton Academy (© Sophie Harbinson)

Sam Tozer chooses Ayrton Karif LT for Hybrid Minds’ Brixton Academy show

Lighting, sound and video specialists, Colour Sound Experiment, supplied 48 Ayrton Karif LT LED beam spot fixtures to lighting designer Samuel Tozer of Vision Factory when he lit the drum’n’bass DJ duo Hybrid Minds for a one-off performance, produced by NTRP, at Brixton Academy in London in October. The recently-released Ayrton Karif LT was the main lighting fixture in Tozer’s rig which was almost exclusively composed of Ayrton Karif LT and Ayrton Eurus. Tozer specified Karif LT because he needed a multi-use hybrid fixture in a compact body, with the capacity for the narrow beam looks traditional to D’n’B music, but also able to deliver wide textured prism looks. “The Karif could give me all of these things and is small enough to use in large quantities to give me plenty of creative scope,” says Tozer. 24 Karif LTs were rigged evenly on three overhead trusses and the arrangement replicated at stage level with 24 Karif LT acting as floor units – the only fixtures on stage – sandwiching the DJ duo of Matthew Lowe and Josh White in between. From here, Tozer used the Karif LTs to define the visual architecture of the show with big beam looks shooting out into the audience and creating wide open space and texture on stage. He used two Ayrton Eurus fixtures, chosen for their framing ability, as keylights on Lowe and White. “I loved using the Karifs and found them very reliable,” he says. “The huge number of gobos gives me plenty of variety and choice, and the zoom range (2.8° - 47°) is great. They are just the right size for moving at speed and using in large numbers, and gave me the perfect range of options for the Brixton Academy. It’s good to try out the latest technology and they looked amazing. They are great, tiny, punchy units.” 34

Set & Light | Winter 2021

Khamsin shine for designer Travis Shirley on Pentatonix’s Evergreen Christmas Tour 2021

Pentatonix, the three-time Grammy Award winning a cappella group, wrapped their 18-date Evergreen Christmas Tour 2021 where 45 Ayrton Khamsin-S profile luminaires served as the main fixtures for the show. Ayrton is exclusively distributed in North America by ACT Entertainment. The Evergreen Christmas Tour 2021, in support of the new Pentatonix album, Evergreen, kicked off on November 27 in Baltimore and wrapped on December 23 in Grand Prairie, Texas. It was their first Christmas tour since 2019, the coronavirus pandemic having sidelined last year’s event. Production and lighting designer, Travis Shirley, who heads Travis Shirley Live Design in Houston and Nashville, has been working with Pentatonix for the past nine years. “It’s been quite a journey,” he says, “seeing them grow to where they are selling out arenas around the world. After last year’s Christmas tour was cancelled, it was time to rejoice with a new show full of the energy and love Pentatonix is known for.” Shirley says the beautiful art direction of the Evergreen album informed the design of the show. “Choreographers and creative directors Lindsey Blaufarb and Craig Hollaman and I were inspired by the album artwork, which pays homage to the 1960s with silver tinsel and retro clothes,” Shirley points out. “Then I channelled the look of The Johnny Carson Show and the Tom Hanks movie That Thing You Do for the era’s lighting and scenography. We ended up designing around several curtain tracks starting with a metallic silver drape, thena vintage LED star drop and finally a red velour curtain.” What Shirley needed for his lighting design were fixtures that enabled him to achieve a vintage look but with modern tools. He also required fixtures that were quiet since Pentatonix performs a cappella. “Bandit Lites in Nashville, the lighting vendor for the tour, demo’d Khamsin for me,” he recalls. “It was love at first sight. Khamsin is a beautiful, well-rounded fixture. It had great brightness and colour temperature, and its LED engine made it nice and quiet.”

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Shirley admits that up until then he hadn’t used Ayrton fixtures because he felt they were more in the specialty lighting category and didn’t fit his specs. “So it was really nice to see Ayrton play in the big leagues of meat-and-potatoes lighting with a multi-purpose fixture – and they’ve done a great job with Khamsin.” He calls the fixtures the “workhorses of the show,” which was built around a forced perspective proscenium. “Khamsins framed all the edges of the proscenium, and they ran the gamut of applications from aerial effects to lighting scenic and principal artists.” Kyle Lonvin, whom Shirley brought on board for the 2018 Christmas tour, served as the new tour’s lighting director; Pentatonix tour veteran Chris Smith was the lighting programmer. Noting the compressed production timetable that typically comes with a month- long Christmas tour, Shirley says that Bandit Lites “took a lot of the workload off me. They took my ideas and drawings and adapted them to Bandit’s inventory. No one could have done a better job.” Shirley actually began his career with Bandit, “polishing theatre cable at age 18,” he recalls. “How our relationship has changed and grown! Bandit Vice President Mike Golden and I had been trying to find something to do together, and I’m glad this opportunity came up.” Shirley reports that the tour’s lighting crew said they’d had “zero problems” with the Khamsins during the run of the show. He has been so impressed with the fixtures’ performance that he plans to put them to work on some upcoming projects. “They will definitely make their way onto my rock ’n roll shows,” Shirley says. “But the beauty of the fixture with its very even field shouldn’t be underestimated. Khamsin is a versatile fixture that can play rough and also put on a suit and tie.” More information on Ayrton Khamsin-S fixtures and the extensive portfolio of innovative Ayrton LED fixtures can be found at www.ayrton.eu.

Ayrton appoints Marc Lorenz as Designer Relationship Manager for Europe

Ayrton is extremely excited to announce that renowned lighting designer, director and programmer, Marc Lorenz, has joined its growing international team as designer relationship manager with a focus on Europe. Lorenz brings to his new role over 30 years of experience as a freelance operator, programmer, lighting director and designer on many well-known festivals, arena shows, tours, television and corporate events, as well as being a respected trainer for lighting consoles and media servers. His past festival credits include Paleo Festival Nyon, Out in the Green Frauenfeld and the Open Air St. Gallen while his touring career has encompassed groundbreaking tours for artists – many with leading lighting designer Gunther Hecker – like Die Fantastischen Vier, David Garrett and Herbert Grönemeyer, amongst many others. Lorenz is also co-author with Roland Greil of Showlicht, vom Scribble zum fertigen Design. “I am very excited to be joining Ayrton,” says Lorenz. “I know some of the team already, and I know and like how

Chris Ferrante, Ayrton’s CEO, is driving the brand forward. “As a designer and programmer, I have worked with Ayrton products before, firstly with the Creative Solutions products like MagicPanel and CosmoPix, and latterly with Khamsin and other of their Classic fixtures. So I already know about the quality of the products, and this is what I want to bring to people’s attention. In my new role, my experience and knowledge will be a touchpoint Ayrton’s new Designer Relationship manager for for the designers and operators. Europe, Marc Lorenz We talk the same language (© Astrid Obert) because I have been in their shoes for a long time, so I know about the tasks and issues they face in their daily work. In turn, I can gather their input to help bring Ayrton to the next level and beyond.” “Having Marc join us makes us very happy,” says Ferrante. “We have long known of his creative talents which are supplemented by his broad technical knowledge, and his ability to bring even the most ambitious creative ideas to life. We are excited to have Marc bring those talents to Ayrton and know he will become a very welcome addition to our team.”

B360 B360’s still been busy this year

As 2021 drew to a close, we took the time to reflect on the complete rollercoaster of a ride last year had been. Our whole industry has faced unprecedented difficulties, but despite these, it has adapted to a new way of working and it is a pleasure to see how busy everyone has been. Our installation department has continued to work hard, providing the lighting grid, power and network infrastructure to a brand-new state of the art studio at Ealing Broadcast Centre for Timeline Television. We are also working on several more installations across the UK. Our power department has been busy providing power to a range of Outside Broadcast Units. We had the deepest pleasure of providing power for four rounds of the Autumn Rugby Internationals held at Murrayfield Stadium. It has also been a pleasure providing power for several episodes of Question Time, Ice Hockey European Championships, Speedway as well as Songs of Praise. We were once again invited back to provide power for the Dimbleby Lecture, a job we have been involved with since 2016. And just recently, we provided power for all the BBC’s coverage of the FA Cup second round. We were delighted to introduce our brand-new Stage V Super-Silent Twinset Generator to our growing fleet. This generator has been designed in-house, based on designs started by the late Colin Goodacre, who worked closely with us in his last years. Our generator is dedicated to his memory, Set & Light | Winter 2021

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his knowledge and legacy lives on, providing specialist power in the most stylish of ways. We are proud to say that we are the first company to invest in a Stage V twinset generator, running on Green D + HVO, providing efficient power, with minimal impact on the environment – something that we are incredibly passionate about here at B360. It was a complete pleasure to be invited back to the Isle of Wight to work with CC-Lab for their studio for Sky Arts Channel. Providing a bespoke lighting and crew package to ensure that their yurt looked incredible for the backstage interviews and insider stories. B360 were also asked to provide lighting and crew for the World Series of Darts Final again this year. We are also currently providing the lighting and infrastructure for the green screen studio for The Men’s Ashes, broadcast exclusively on BT Sport. With such a busy and fruitful year, and much work still to do, we currently have several positions available within both our power and installation departments. Please contact us for more details.

“We’re on a mission to engage and connect with a young audience like never before,” said Katie Leveson, Culture and Transformation Director, BBC Studioworks. “We’re an operational business that relies on the best off-screen talent to deliver the most ambitious and complex light entertainment shows in the country. We need to continue to inform and inspire the next generation of talent, opening their eyes to the many opportunities available to them off-screen. Only by opening up access to our industry, and investing in training and future careers, will we broaden horizons and help to build the strong and diverse pipeline the industry is crying out for.” Focus and investment in training and development also extends inside Studioworks where younger members of the craft team are given opportunities to rotate from working on continuing drama and panel shows, through to talk shows and some of the biggest live entertainment shows on TV. This is the start of many initiatives planned to build on the skillset within Studioworks and further develop the careers of its employees.

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BBC Studioworks selected as operator of Kelvin Hall TV studio

BBC Studioworks bolsters commitment to inspire and develop the next generation

BBC Studioworks is fuelling its commitment to building creative communities and investing in the future by providing much-needed access for the next generation of future talent. Following a successful pilot last year, eight more BBC Studioworks staff will mentor eight Elstree Screen Arts students, which started in November. The programme, run in partnership with ScreenSkills, forms one element of Studioworks’ strategy in tackling the skills shortage in the industry. Using National Lottery funds awarded to ScreenSkills by the BFI as part of the Future Films Skills programme, the mentoring scheme will provide much-needed support for school leavers from underrepresented groups. BBC Studioworks is also enhancing its partnership with Rise Up to deliver video content designed to inspire the next generation of engineers (especially female engineers) into the industry. The content will get under the skin of the broadcast engineering role and bring it to life for those considering their career choices, as well as showcasing the breadth and depth of the opportunities available. The aim is for this to become available to all primary and secondary schools and will form part of the toolkit provided via the Rise Up Academy. In addition, BBC Studioworks has volunteered to be part of Rise Up Academy’s ‘Project1000’ initiative, to deliver live broadcasting workshops and masterclasses to 1,000 technical college students and school children by Christmas. Opening up its doors to students has always been firmly at the heart of Studioworks and will continue in the autumn as it welcomes a mix of craft students (from cameras, sound and vision mixing) from the National Film and Television School and Elstree Screen Arts. Ensuring full COVID compliance, the students will get a real feel for life on a production, shadowing Studioworks’ off-screen technical talent, seeing real situations on a live show and gaining hands-on experience with kit. 36

Set & Light | Winter 2021

BBC Studioworks, a commercial subsidiary of the BBC which provides studios and post production services to the TV industry, is to operate the new TV studio at Kelvin Hall in Glasgow. The move marks stage one of BBC Studioworks’ ambitions to open additional studios across the UK, and is in direct response to growing demand to make more TV shows in Scotland. The studio will be a catalyst to fuel the growth of the sector, boost local jobs and support the development of a skilled and diverse Scottish workforce. The 10,500 sq. ft studio, co-funded by the Scottish Government and Glasgow City Council, will open in autumn 2022 and will house a wide array of entertainment shows across multiple genres. The facility will be multi-camera, offering state-of-the-art gallery suites and ancillary areas including dressing rooms, a green room and offices to meet the needs of production. The location of Kelvin Hall, right in the heart of Glasgow, is the ideal destination for studio audiences, production crew and on-screen talent who can enjoy the vibrant culinary hub and the many entertainment and cultural hotspots. Sustainability is core to BBC Studioworks and being able to reuse an existing building was key to the appeal of operating the facility. The studio will also use 100% renewable energy and has been designed for LED lighting. “Glasgow is a key creative hub, laying the foundations for our expansion outside London,” said Andrew Moultrie, CEO, BBC Studioworks. “Kelvin Hall provides purpose-built studio space in Scotland, meeting growing demand from broadcasters, production companies and SVODs alike to produce there. Drawing on our decades of expertise and unrivalled customer service, we will help grow the local workforce to deliver more local productions and support the continued development of sector-specific skills in Scotland.” “Today’s announcement that BBC Studioworks will be the tenant operator of Kelvin Hall is fantastic news for the city,”

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(L-R) Tim Davie (Director General, BBC), Angus Robertson, (Cabinet Secretary for Constitution, External Affairs and Culture), Andrew Moultrie (CEO, BBC Studioworks), Susan Aitken (Leader of Glasgow City Council) and Iain Munro (Chief Executive of Creative Scotland)

said Councillor Susan Aitken, Leader of Glasgow City Council. and with the BBC’s commissioning team on all of the new “BBC Studioworks will draw on their wealth of experience in programmes and series from Scotland that will be made in the industry to develop Kelvin Hall as an important and the decades to come.” attractive film and television location, continuing Glasgow’s rise in this sector. Kelvin Hall will be a nationally significant production facility that will enable productions and jobs to CHROMA-Q stay and grow in the city, further driving the development of our thriving creative industries, and adding to Glasgow’s economic growth.” Vista by Chroma-Q delivers beautiful results for “Our level of investment in Kelvin Hall, £7.9m, reflects the Cliff Richard’sThe Great 80 tour confidence we have in our fast-growing screen industries,” With over 60 years in the music industry, Cliff Richard said Cabinet Secretary for Constitution, External Affairs and decided to mark his 80th birthday in a memorable way – with Culture Angus Robertson. “There is unprecedented interest in a UK tour. Despite being slightly delayed due to COVID, The Scotland as a production hub and Kelvin Hall will be a Great 80 Tour went ahead in October 2021, delighting fans welcome addition to the growing range of studio space being around the country. used by film and television productions. We are working with Having provided the lighting for Cliff Richard on a number of partners to maximise the opportunities offered by the studio previous occasions, lighting designer Derek Jones knew that to develop expertise in the entertainment genre and build on Cliff loves a big light show, whilst at the same time wanting the existing skills and training schemes to further develop a ability to create an intimate stage, when the song requires. A big sustainable creative economy.” clean, bright and adaptable lighting rig is what was required to “It is almost two years since we first met with BBC achieve this. Studioworks to discuss their ambitions for an entertainmentJones a long time Vista user and supporter, utilised both the focused studio outside London,” said David Smith, Director Vista EX and Vista MV lighting and media control surfaces, to of Screen at Screen Scotland. “We have worked with them, bring his lighting design to life. alongside the fantastic team at Glasgow City Council and Speaking about why Vista 3 is his go-to for lighting control, the Scottish Government since early 2020 to land this Jones commented; “For me portability is key. I travel around a opportunity for Scotland. We look forward to working lot, so to have my own console that can go with me in the car with BBC Studioworks on training and skills or on a plane is a real bonus. The whole control system can fit development opportunities around the Kelvin Hall studio, into a Peli case and weighs under 30kg. Incredibly portable but

Set & Light | Winter 2021

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Cliff Richard’s The Great 80 tour (© Hayley Jones)

not short on power! Vista is also quick to set up but more importantly, easy to use. It has plenty of features that out performs many of the competitors’ offerings.” Jones continues; “When I’m running a show, I want it to be an easy occasion. I don’t like to be moving around the console too much during the performance, why would you? I therefore make great use of Vista’s ‘snapshot’ feature. Snapshots can provide everything I need for a particular song at the touch of a button. For example, button assignments, playback states and window layouts. “Editing cues and working with very precise timings is also the easiest thing ever, utilising Vista’s ‘Timeline’ and ‘live edit’ features. Select your lights and tell Vista the creative stage look you would like to achieve. Powerful and simple! “Finally, I find Vista to be very responsive. It just works, no waiting! The tracking backup set up is a good example of this – plug in the spare, click “sync show” and you’re done!” The Vista by Chroma-Q control solution was supplied by leading entertainment technology provider and Vista by Chroma-Q’s exclusive UK distributor, A.C. Entertainment Technologies (AC-ET). “The service from the Vista team is, in my opinion, the very best! They are always on hand to answer both big and small queries and always respond quickly and efficiently. Jack, AC-ET’s Vista by Chroma-Q’s product manager, is a top man – polite, insightful and knowledgeable.” concluded Jones.

More Chroma-Q Space Force land at Pixipixel

Independent London-based camera and lighting equipment rental house,Pixipixel, have recently invested in even more Chroma-Q ® Space Force TM octo LED soft lights. With nearly two decades supplying film, television and commercial productions, Pixipixel are committed to offering the latest and most innovative kit, and as such have been stocking the Space Force octo fixtures since they arrived to the market back in 2016. Johnny Colley, Director of Lighting at Pixipixel commented: “The Space Force lights are always a great choice for cinematographers and gaffers. The lightweight, fast and easy set-up, low power consumption and low heat emission make the Space Force octo fixtures a perfect fit 38

Set & Light | Winter 2021

on sustainable productions. We have found these have become increasingly popular, particularly when used in a studio setting, mounted from the rig. “These new additions arrived at our Lighting Division in Tottenham and are already being used in a studio shoot of a TV drama for a well-known streamer,” added Colley Pixipixel purchased their additional 40 Space Force octo units from Chroma-Q’s exclusive UK Dealer, A.C. Entertainment Technologies (AC-ET). Pixipixel’s Managing Director, Steve Knight said: “The team at AC-ET are always very helpful and quick to respond. Communication is great and so are the products received. Thank you, AC-ET for always being on hand to help with our equipment needs.” Please visit chroma-q.com for more information and a full list of Chroma-Q dealers.

CIRRO LITE Fiilex’s P3 Color LED now available in the UK – Q10 Color fresnel coming in 2022

Fiilex, manufacturer of high-end LED lighting for the film and television industries, has officially launched its P3 Color into the UK market. The P3 Color is a portable 90W LED fixture that packs a ton of features into its compact one kilo frame. The P3’s white light output ranges from 2,000-10,000K with excellent CRI, and its various colour control modes allow users to access the full range of vibrant RGB illumination. At the core of the P3 is Fiilex’s patented Dense Matrix LED, which is an extremely small light source capable of producing crisp shadows and clean barndoor cuts. Accessory attachments can diffuse or focus the P3’s output. No other portable LED fixture can match the P3’s combination of power, size, and versatility. The 900W Q10 Color sits at the opposite end of the Fiilex Color Series lineup. This highperformance luminaire is on track to be the most powerful full-color LED fresnel available when it launches this year. Besides its extremely bright output, other notable features of the Q10 include an extremely wide spot/flood range and built-in LumenRadio for wireless DMX control. The P3 Color is available for purchase from Cirro Lite LTD, and the Q10 Color is expected to be available in Q2 of 2022. For more information, visit cirrolite.com.

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

CLAYPAKY Claypaky illuminates the Nitto ATP Tennis Finals and Davis Cup with a mix of white light and spectacular special effects

How many of you would have bet that one day a tennis tournament would also turn into a light show? It is hard to imagine, for people who see tennis as closely linked to tradition. Yet, for some years now, even tennis has succumbed to the charm of technology, and we are not just talking about the hawk eye that determines whether the ball is in or out or on the line with infallible precision. Since the Next Gen Finals in 2017, the ATP Tour has gradually included more show-like elements in its tournaments, right up to the Nitto ATP Finals in November 2021. What was held at the Pala Alpitour in Turin could also be defined as a true light show. We spoke about it with the lighting designers Marco Piva and Marco De Nardi: “Using moving head lights to add spectacle to matches in which the eight top tennis players in the world faced each other was an enormous challenge. On the one hand, there is the appeal of implementing a completely new idea, but on the other, there is the fear that something might go wrong, or not be appreciated by the champions themselves on the court.” Moreover, the initial requirements were very stringent. The entire 23x45 metre court had to be covered with even lighting of at least 2,200 lux all over, and light had to be ensured on the centre of the court from the ground up to at least 12 metres above it. “I looked at several options from various lighting manufacturers, and eventually opted for a mix of Claypaky fixtures. Over 300 luminaires in all, including Arolla Profile HPs, B-EYE K20s, Midi-Bs, Mythos 2s and Axcor Profile 600s.” The main light needed was of course the white light for illuminating the court. There was no room for error. Tennis players can be disturbed extremely easily, and a poorly placed or underperforming light could have created problems. For this reason, the 120 Claypaky Arolla Profile HP moving heads not only provided 3,400 lux of uniform light – well above the minimum requirements – but also perfectly replaced the light normally provided by fixed units. Moreover, they afforded the lighting designers a number of spectacular lighting options that could not have been achieved otherwise. For example, the Arollas precise framing system allowed them to pick out the lines that mark out the court. This effect was used when the players were not on the court, before the match and during breaks in play, to create a spectacular three-dimensional effect. It looked almost as if the court was taking flight! A total of 132 Claypaky MIDI-Bs, 46 Claypaky B-EYE K-20s and 46 Claypaky Mythos 2s were used on the audience, as the two LDs explained: “During play, the audience was bathed in a fixed blue light, which is the ATPs colour. When the players changed ends, the blue changed to electric blue and the lights moved: the effect on the audience simulated something similar to waves of light. To do this I used B-EYE and Midi-B units as the colour base, and Mythos gobos to create synchronised

Claypaky’s show at the ATP finals

movements over the entire stadium. The absolutely most dynamic moments were when the players entered the court and were welcomed like true stars, and during the prize ceremony. Lastly, I picked out the player’s seats and the logos on the nets with white light using Axcor Profile 600s.” “The exceptional thing about this rig,” continued De Nardi and Piva, “is that we met all the lighting requirements using moving heads designed for the entertainment industry. We used them both as key lights to illuminate the matches and as show lights on the audience and the court itself, without using a single traditional light. The experiment was a success. We received a lot of praise and appreciation, and all the lights on the court turned out to be very reliable, despite being used intensively for over 20 hours per day.” All the Claypaky fixtures were left hanging and were used to illuminate Italy’s Davis Cup matches, which also took place at the Pala Alpitour from 25 November. The lighting concept was very similar to the one used for the ATP finals, with one important difference: the colour the audience was bathed in was green, not blue, as the organisers requested. “The trend,” concluded De Nardi, “is to use technology to bring the show-like elements in tennis up to the level of other sports, as already occurs – for example – in basketball, Formula 1 and even some football stadiums.” The rental company Audiolux, based in Zelo Buon Persico near Lodi, provided all the lights at the Pala Alpitour for the Nitto ATP Finals and the Davis Cup. Alberico DAmato, Claypaky Sales Director, said: “Tennis has always been a great passion of mine, and our being chosen to light two of the biggest tennis events in the world filled me with joy. We will work further along this path to ensure that sport and entertainment become an ever more inseparable combination.”

Claypaky Xtylos won “The AVard”, a prestigious award for the best in Entertainment sector technologies

Claypaky Xtylos won “The AVard”, the ProAV Awards in Germany (the-avard.de ) as “Best Entertainment & Infotainment Product”. The award ceremony, hosted by Professional System magazine and supported by many other leading industry publications, took place as part of the gala evening held on 4 November at the CCD Congress Center in Düsseldorf. Set & Light | Winter 2021

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This prestigious award follows those already won by the Claypaky Xtylos in 2019: LDI Best Debuting Product in Lighting and PLSN Best Advancement in Lamp Technology. Claypaky CEO Marcus Graser said: “The Xtylos is an innovative, energy-efficient and yet powerful unit! We are very pleased with this additional award, after those it won when it debuted on the market. The Xtylos incorporates unique Massimo Bolandrina, Claypaky (L) and Claas technology that benefits our Ernst,VisionTwo (R) entire industry.” receiving “The AVard” The Xtylos was launched in the (© Petia Chtarkova) market in late 2019. However, as a result of the pandemic, almost all the events where the Xtylos could have been used successfully were cancelled. This year we were finally able to see all the innovative potential of this fixture at the Eurovision Song Contest (ESC). Almost 500 Xtylos units played the main role at what is one of the most celebrated and highly watched shows in the world. In the meantime, Claypaky R&D has been developing this unique line of laser-light-source fixtures. The company has recently started marketing the XTYLOS AQUA (a weatherproof version, featuring IP66 protection rate) and the MINI XTYLOS HPE, a very small, compact but extremely high-performance version of the Xtylos. Massimo Bolandrina, Claypaky Area Manager for Germany, said: “We are glad to win such a prestigious Award and seeing the Xtylos being selected by such a wide number of professionals, ahead of many other major Entertainment & Infotainment technologies. The Xtylos is a unique product, which stands out for a whole range of creative solutions to LDs, and at same time being a safe investment for customers. I would like to deeply thank all the team in Germany at VisionTwo, our partner, which supports our brand perfectly on both technical and promotional side and congratulate them for this mutual important success”.

DEDOLIGHT Dedolight Lightstream PB70: virtual light source

The concept of reflected light is as old as image creation itself. In the past reflected light has been used to support other lighting situations, now it can possibly be a predominant lighting practice: versatile, creative and with some unprecedented advantages. The concept of creating the illusion of natural light, deriving from a very far distance, even in the smallest most confined space, is achievable using the dedolight Lightstream system. In practice, reflected light can be used to enhance the sensation of space and depth, creating a three-dimensional illusion. It can 40

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offer a very different character compared to other lighting. The largest parallel beam lighting instrument provided by dedolight is the parabolic beam light called the PB70. This provides a parallel light source that is clean and homogeneous – this is achieved with a parabolic reflector which works best with a point light source; as such a metal halide HMI light source is used in the PB70. This special light source provides homogeneous colour, maintained through the entire lifetime, and modified for clean light distribution and the smoothest near parallel beam light possible within the parabolic reflector. Several aspects of this are noteworthy – the virtual light source. With such a near-parallel beam the light does not derive anymore from the light fixture, the instrument, it is to be seen as a virtual light source from way behind the fixture. How do we define this: we elongate the outer rays of the beam backwards until they cross and that is where the virtual light source is active. With the dedolight PB70 this is between 6-20 metres behind the instrument. This enhances the distance from the effective light source to the object and thus it diminishes all the ill effects of the square law. When our actors move the change of intensity is less noticeable than we’ve known before. This inverse square law is defined as double the distance one quarter of the light. Now we know different ways to overcome these deficiencies – dedolight Lightstream with the PB70 light is also a very effective tool in this matter.

DOUGHTY Audio Light Systems selects Doughty Engineering for Norwich University of Arts

Doughty Engineering was the supplier of choice for Audio Light Systems when the company was contracted to kit out a lecture theatre and public event space at Norwich University of Arts (NUA). Neil McLucas, project manager at Audio Light Systems explained: “We were brought on board by NUA to supply and install cabling infrastructure with numerous facility panels, production lighting boxes, a bespoke truss/hoist system, sound reinforcement and AV infrastructure, to allow for a multipurpose space.” Audio Light Systems has worked with the team at Doughty on several projects over the years and knew that Dan Phillips, Doughty’s special project manager, would understand the exact requirements of the project and deliver a workable solution. Phillips commented: “Having been briefed by Audio Light Systems, we came up with a range of kit including all the facility panels, production lighting boxes, backboxes and internally wired bars, combining some of our readily available off-the-shelf products with some bespoke items designed specifically for NUA.” Unfortunately, due to the impact of COVID-19 and current supply chain issues, the project did experience some delays. McLucas said: “Doughty did everything they could – back boxes, where free, were issued to the electrical contractor for install prior to our start date from Doughty. This has been an issue experienced by most contractors however and there is

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

sadly very little that can be done about it. Needless to say, Dan pulled out all the stops to make sure we had the kit we needed at the earliest opportunity.” The completed venue is a space that can be used by NUA as a lecture theatre, but with the added infrastructure installed by Audio Light Ltd, it now has the capabilities to be opened up to outside parties as a performance space/venue. “We have a very happy client who is thrilled with the benefits the new theatre has to offer – a first class space for students to learn with the added benefits of hiring the venue out to third parties. Once again Doughty equipped us with attractive, reliable and good quality items that will ensure the venue is used to its full potential, “ concluded McLucas.

ELATION TSL Lighting invests in Elation Paladin™

TSL Lighting in the UK has invested in Elation Professional’s Paladin Cube™, a compact LED floodlight with IP65 protection that marks the company’s first purchase into Elation’s extensive product range. TSL (tsllighting.com) is a premier stage lighting company that operates across the UK and beyond. In operation since 2006, the company provides quality lighting, rigging and design for a wide range of live events, working from a state-of-the-art facility and warehouse in Basingstoke. “We chose the Paladin Cube for its size, shape, output, availability and price,” stated TSL Managing Director Sam Tamplin. “We’re happy with it and think it will be a good little workhorse fixture for us indoors and outdoors.” The Paladin Cube is a compact LED floodlight with IP65 protection that has versatile use as a wash light, blinder/strobe or eye candy effect. It houses nine 15W RGBW cells for a full spectrum of color options, including high-impact white light, and features multiple pixel zone control. Measuring a small 249x199x140mm and weighing just 4.75kg, output for such a compact unit is surprising at 3,200 lumens. Completely noiseless, it can work discreetly in any set or stage. An included diffuser softens and spreads the light while a range of optional diffusers, barndoor and shader add to its possibilities. After arranging a demo through Elation’s exclusive UK distributor, Entedi, TSL chose the unit and immediately sent them out on an outdoor winter walk project. “Cally and the Entedi team were great in organising demos and managing the purchasing process during a difficult time,” Tamplin says. Drawing only 120W of max power, the Paladin Cube’s small footprint and energy efficiency complements well TSL’s reputation as an advocate of environmentally friendly initiatives and sustainable practices.

Proteus Excalibur™ launches as the 21st Century’s ultimate searchlight effect The Proteus Excalibur™ from Elation Professional is a stunningly powerful IP65 beam moving head fixture set to assume the role as the lighting industry’s new 21st Century searchlight.

The newest member in Elation’s industry-leading Proteus range of IP65 automated fixtures, Excalibur’s extreme power, long throw beam and wide front aperture make it perfect for creating aerial light columns, sweeping beams, throws of CMY colour, and prismatic/air FX rivaling existing Xenon searchlights. Capable of creating effects as magical as its legendary namesake, the Proteus Excalibur is ideally suited for theme parks, cruise ships, outdoor special events, large-scale shows and concerts, or any situation where a massive beam or very powerful prism and flower effects are required. Excalibur is the brightest IP65 full-featured beam fixture ever created, producing up to 200,000 lux at 20 metres (7,500 lux at 100 metres), an incredible light output from a surprisingly compact, and fast, body. Rivaling existing Xenon searchlights and sky trackers, the Excalibur’s extremely narrow 0.8° beam ensures the fixture cuts effortlessly through the sky and is visible at great distances. The intense beam projects from an ultrawide 260mm front lens as a massive column of solid, attention-grabbing light, a towering beacon that is impossible to miss. A wide array of gobos (eight interchangeable plus a 17-position static wheel) and prism overlays (four- and eight-facet) allow for a large variety of dynamic sky animations that add excitement and draw attention to any event. The upcoming integrated sky animation system allows the Excalibur to operate impressive aerial shows without needing an external DMX controller. The Excalibur offers full CMY colour mixing plus 14 dichroic colors including CTO and UV. With its incredible light intensity, all CMY colours remain strong and vibrant, even when fully saturated. Beam control through a precise internal focus lens providescrisp projection without optical errors. Dual variable frosts allow for softening of the beam when required and a remote-controlled Expander lens widens the beam to approximately 3.5° for an even fuller look. The Proteus Excalibur uses Philips’ highly efficient FLEX lamp technology for long lamp life, lower power consumption and reduced fixture maintenance. The discharge lamp/ballast package produces an impressively high output for such a compact fixture while performance remains resourcefully economical with a lamp life of up to 4,000 hours. The Philips Platinum 500 FLEX (550W) lamp is dimmable via the internal ballast, which not only dims the lamp electronically but offers a Hibernation Mode that reduces power to the lamp when not in use, resulting in lower power consumption. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture. The Excalibur supports DMX, RDM, Art-NET, and sACN protocols and is naturally outfitted with all the professional features and IP65 connections that designers have come to expect from a Proteus luminaire. With unprecedented power and a full array of professional design features, the Proteus Excalibur sets a new standard in IP65 beam moving head fixtures.

Set & Light | Winter 2021

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Dance America Productions lights dancesport with high-quality Elation lighting

Dancesport is a growing discipline at all levels. From local dance competitions to myriad popular dance shows on television to its inclusion in the 2024 Summer Olympics, the world has clearly embraced dance as sport. Dance America Productions (DanceAmerica.net), an independent production company based in Tampa, FL, specialises in dance events of all types and has worked many of the genre’s competitions for years. Owned by Nina Kimbrough, a dancer herself, the company carries lighting, sound, pipe and drape and LED video wall, not to mention the all-important portable dance floors that range from 2,4006,000sq ft. Kimbrough uses a system of Elation LED luminaires (SixPar 300™ and Cuepix Blinder WW4™) with a clever airwall mounting system to provide high-quality lighting at dancesport competitions around the country. “The dancefloor is the stage so it needs to be lit properly,” Kimbrough states. “It needs to light the dancers and the space in which they are dancing in a bright, even illumination that doesn’t blind and with minimal hot and cold spots on the floor. It needs to provide the proper colouring for the dancers, and finally it needs to support photography and videography. I get all that from my Elation lights.” Traditional side light positions for dance floor events – single truss towers on or near the corners of the dance floor – pose a number of problems, according to Kimbrough, who prefers to forego towers whenever possible. “You want even illumination, but that is hard to do with towers. When you light from towers and project from the corners, it is hard not to blind dancers, judges or the audience.You also get hotspots on the dance floor and often shadows and dark spots.” Another option for lighting positions – flying truss above the dance floor – is also an unsatisfactory solution, she says, as costs can be prohibitive for a dance event. Shortly after acquiring Dance America Productions, just prior to the start of the pandemic, Kimbrough discovered another technique for hanging lighting fixtures that proved simpler and held many benefits. As most ballrooms house airwall systems with lines of airwall track, it was possible to hang pipe using up to 750lbcapacity airwall hangers. “It’s a wonderful system that allows for easy illumination from above, just like an overhead truss would provide. There is no floor footprint so the lighting is out of everyone’s way, and lighting is directly over the floor so illumination is much better and only on the dance floor.” Another plus – airwall hangers are much easier to transport than truss. SixPar and Cuepix A typical lighting setup for a dance event handled by Dance America Productions consists of groups of SixPar 300s above the dance floor. A flexible Par light with six-colour LED multi-chip, the SixPar is capable of projecting variable shades of white light or virtually any colour desired. With power linking from fixture to fixture, it is easy to set them up quickly and then take them down at the end of a competition. Each SixPar group works with a Cuepix Blinder WW4, an industry-standard four-lite that mimics an incandescent white and is great for skin toning. Both fixtures operate flicker-free for use with high-speed cameras and video equipment. 42

Set & Light | Winter 2021

Elation showing off its Dance Vision set-up

Kimbrough says she inherited the Elation fixtures when she bought the company but has been very happy with them. “These lights are very bright and because they are LED and don’t use a lot of electricity we don’t have to worry about additional power, which saves a lot of hassle and expense,” she says. “They are also versatile in terms of angling and positioning and come with good clamp options so they are easy to get up.” She concludes, “This entire airwall lighting system is a real novelty. Not only is it easier, it gives better results. It’s been a real win-win.”

ETC Scott Barnes drives Hog 4 rig and SolaHyBeam 3000s for Spider-Man: No Way Home

The filming of Marvel Studios’ Spider Man: No Way Home found lighting programmer Scott Barnes once again firing up his trusty Hog 4 lighting control setup, as well as bringing some new Hog 4 HPU Hybrid Processor units for the

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

production. Well-known for his use of Hog 4 control on Marvel’s films and other movies, Barnes said he approached the shoot for No Way Home quite similarly as he has in the past, but with ‘the biggest addition and MVP of the show being the HPU processor’. Barnes explains, “I was fortunate enough to beta test the HPU during the pandemic lockdown, and even more fortunate to get the very first two off the assembly line to bring onboard Spider-Man. My systems tech, Derek Page, provided our standard Rack Hogs, I provided two HPUs, and then he ended up adding another HPU towards the beginning of our schedule. Spider-Man was the perfect show to break in the new HPU. We used every bit of processing power those things could deliver! The show was loaded with lighting effects, and we must be a little more manageable with our Hog servers now, because we want to make sure that the HPUs get used on the stages that need them the most. It’s also been very nice to be able to use any of the Rack Hogs or HPUs as extra processors too.” “As was their typical setup, the team installed the servers (Rack Hogs or HPUs) on each of the stages they were using. Scott continues, “We were at Trillith Studios, formerly known as Pinewood, just south of Atlanta. This is the same place we shot Ant-Man, Civil War, Guardians vol2, Infinity War and Endgame. We had seven stages there, plus a huge exterior bluescreen that was used for a couple of different sets. We used three Rack Hogs, three HPUs, three Hog 4 consoles, and a Hog PC tech console throughout the six months of shooting. Each stage would have a Hog server set up near a corner. Then we would run two networks from them, the first being the sACN out of the FixtureNet port. This fed the entire stage and would be distributed via managed Pathway switches located in the perms and all around the set. The other network was the HogNet from the HogNet port of the Rack Hog or HPU. This network was also run through the managed switches and additionally tapped into the studio network infrastructure, so we could easily connect to the other servers running on the other stages.” Barnes enthuses that Stage 14 was a particularly fun rig that could not have been done without the HPU. “The HPU wasn’t enough – we had to add a few extra DP8000s to that stage! Half that stage was a horseshoe bluescreen, with over 100 Studio Force 72s, in high pixel count, to use as interactive light for various scenes. We pixel mapped the Studio Forces right from the console. We also had about 20 SoloHyBeam 3000s on that stage. The HyBeam 3K was our go-to mover throughout the show. I am a huge fan of this luminaire. It is like the ‘sampler platter’ of movers. Multiple Frosts, Multiple Prisims, Framing Shutters, Gobos, Iris… it just has everything, it’s bright, and the High-Fidelity units have a perfect white light beam to use on camera. I was speaking to Mike Bauman, owner of LUX Lighting in Burbank, recently about these lights. LUX provided a large amount of the movers we used, along with MBS. I never should have talked so highly about them after using them for the first time on The Prom. They’re getting very hard to find now. We just started working on Black Panther 2, and these lights are so popular now, you have to call far in advance to have any chance of getting some. We also used SolaFrame 3000 and SolaFrame Theatre fixtures.”

Director of Photography for Spider-Man was Mauro Fiore, who Barnes worked with several times in the early part of his career but had not seen in a long time. “Mauro is a wellknown DP who won the Oscar for Avatar. Josh Davis was the CLT (gaffer), who had originally called me way back when I was still working on The Prom. Then COVID hit, and everything got put on hold. Josh was someone I had worked with years ago on shows like Lemony Snicket when he was one of the electricians on the crew. We kept in touch over the years, and he had started working his way into gaffing. I was flattered that he called me to do Spider-Man. He is a pleasant person to be around and work for, and he is an excellent CLT. He will be a name you hear a lot in the coming years!” Other key team members on Spider-Man were rigging gaffer Adam Harrison, fixtures foreman Phil Abeyta, and Derek Page, Barnes’ senior systems tech. “Derek, Phil and I have worked together several times before, but this was my first big show with Adam. Adam is fantastic. He is a big advocate of networking and is a forward thinker. The four of us are now working on the next Black Panther together, but with a different DP and CLT.

Hog 4 control leapfrogs the paranormal on Ghostbusters: Afterlife

Released in November 2021, supernatural comedy Ghostbusters: Afterlife continues the beloved spooky storyline of the first two classic movies. Directed by Jason Reitman and set in Oklahoma, the film was shot in various locations and sound stages across the Province of Alberta, Canada in the months before the pandemic from July-October 2019. The crew travelled to Calgary and neighbouring communities, also working in Crossfield, Beiseker, and Drumheller over several months of principal photography. To handle the fast-paced needs of the production, Set Lighting Programmer Benoit Richard used an extensive Hog 4 control system to network the production. As a Ghostbusters fan, Benoit is quick to thank Gaffer Michael Ambrose for getting him this gig. “Nothing would have been possible without Michael calling and offering one of the jobs of a lifetime. I was a teenager when the original came out in 1984 – when he asked, of course I said yes! Manhattan Beach Studio Equipment filled a truck with Arri SkyPanels and a bunch of other lights that we couldn’t get in Canada, and I sent my usual package at the time – four Rack Hogs, my Full Boar 4, and we also brought a Road Hog for our Canadian rigging programmer, Erin Nelligan, to use when preparing sets for us.” According to Benoit, the prep was quite short, and the crew went straight into a camera test as soon as he arrived. Simultaneously, he was teaching the Canadian rigging crew the ways of Hog control. “With Ghostbusters, we turned some heads on how to do modern lighting control for movie sets,” he says. “The show was scheduled as very location front heavy, which meant that out of the 14 weeks of shooting, we were going on the road for the first eight. Shooting on location for that long gave the rigging crew more time to prep the three sound stages, which were turned over to different sets a few times throughout filming.” For the location work, Benoit’s Rack Hogs leapfrogged from one location to another. “We always had a point for our big Set & Light | Winter 2021

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location rigs to be fed from the Rack Hogs, like the Spinners Diner, the Sheriff’s Office and the Rust City Refinery where the kids meet Muncher for the first time.” “We ran dual Gigabit networks to feed sACN to DMX nodes at all the distros, and then we ran HogNet as a separate network so I could connect my Full Boar anywhere on set. The same networking concept was used at the stages. Most productions love to do ‘splinter shooting’, where they ask for the ‘C’ camera to go to stage 2 to get a quick insert, while we are still shooting on Stage 1. In my little room, I was able to have a separate console logged into the server on the other stage, and could control both sets at the same time.” In addition to SkyPanels and other film lighting fixtures, several SolaFrame Theatre fixtures were used on stage. Benoit says, “their low noise was certainly one of the main intentions for their use – as it made our sound mixer very happy! They were primarily used as back lights on the actors, or to front light the Farm House. When there was paranormal activity going on, we strobed the SolaFrame as well, which was great. They were also used on the famous Gozer staircase set as backlights, and to create motion for the all the Ecto-1 driving process work. The SolaFrame’s quick repositioning was very important, especially in the middle of a stage that didn’t have perms (overhead walkways that are common on Hollywood stages). Since we couldn’t send someone up to focus lights and couldn’t bring in lifts on a dirt/grass floor, using movers was a very handy tool to have in our arsenal.” Director of Photography Eric Steelberg communicated his lighting wishes to Gaffer Mike Ambrose, who would then relay instructions to Benoit. Additionally, an onset earpiece system and monitors allowed the programmer to listen and watch the actors’ performances and trigger any dialog or actionbased cues. Asked why he prefers the Hog 4 platform for film programming work, Benoit says, “I think one of the most important concepts of the Hog hierarchy is the port number system, which allows multiple servers to be interconnected. Let’s say that on Stage 1, the server port number is 6601, then on stage two the other server is on port 6602, etc. Here’s the cool thing – if you’re all connected – especially at these movie lots that have dark fiber lines, we can interconnect HogNet between stages that can be far apart from each other, and that way, whenever a rigging crew is setting up a new rig on another stage, the rigging programmer can setup in a central office and use a Road Hog on Port 6601 and Hog4PC on Port 6602 to control multiple stages at the same time – it’s the same thing for the main unit programmer, with a splinter camera heading over to a different stage for a ‘quick pop’… for me, that capability is amazing!” “And with this concept, every show file remains independent, which means you can start at Channel 1 on every stage. I think it’s way better to have multiple servers that are independent but are still able to communicate with the lighting console because of the port system.” Benoit picks the Full Boar over the full-sized Hog 4 because ‘he can pick it up himself’. He also uses a 22" Elo monitor as his third screen, always showing the output window or the plot view. “On the Full Boar 4, my left window has the cue list on the top half and the bottom half is the programmer. And on the right side I’ve got groups on the left, colours on the 44

Set & Light | Winter 2021

right and intensities on the bottom. We don’t really deal with beams that much, but sometimes I’ll bring up the beam directory when needed. It’s laid out essentially the same way I would for a rock show.” In closing, Benoit says, “For me, whether we were doing special lighting gags to represent paranormal ghost activity or enhancing the iconic proton packs on the back of the original Ghostbusters, it was so cool; I’m just very proud and happy to have worked on this show. We had such a great team, made some great new friends and my seven-year old daughter loved the show so much that we saw it twice!”

ETC introduces F-Drive B-Box, expanding fixture compatibility

A new F-Drive accessory is now available, simplifying installation and vastly increasing compatibility with third-party LED fixtures. The B-Box4 uses the RJ45 output of an F-Drive card to position up to four channels of Molex, terminal, or RJ45 connections at any location in your installation. With the addition of B-Box, the award-winning F-Drive LED power system offers more flexibility to meet each facility’s installation needs. Whether using third-party or ETCmanufactured fixtures, specifiers can simplify the wiring required to connect to the F-Drive unit. F-Drive is a modular, centralized solution for controlling LED luminaires. With easy access to swappable driver cards and power supplies, all critical components are readily accessible for maintenance and updates. F-Drive is available as an R12 rack-mounted solution or a W1 wallmounted solution. A variety of connection options allow facilities to use a wide range of luminaires with B-Box, while taking advantage of ETC’s superior dimming and control technology. ETC’s new F-Drive System Design Tool helps confirm third-party functionality. In addition, our integration test lab is set up and ready to receive general market fixtures for testing and performance grading.

GLP GLP supports Kinderlachen Gala

The 17th Kinderlachen Gala (Laughter Gala) took place recently at Dortmund’s Westfalenhalle, along with presentation of the KIND Awards – and the technical support of GLP. Kinderlachen e.V. has been supporting needy children all over Germany since 2002. With the annual KIND Awards, the association also honours people who have committed themselves to children in need in a special way. This year the actor Ralf Bauer and the podcasters Patrick Esume and Björn Werner were honoured with this award. The gala, which has been taking place since 2005, is organised by all involved on a voluntary basis. Since 2019, GLP has supported the event, this year as a technology sponsor. René Geissel from artequip has been responsible for the lighting, set and stage design since 2020. After the Kinderlachen Gala 2020 had been produced without an audience, it was unclear for a long time whether (and to what

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

extent) an audience could be admitted this year. “The decision was made quite early on that a pure TV format could definitely be produced for the Kinderlachen stream,” explains the designer. “So I decided to plan three adjacent stages that could still be photographed individually: one stage for ‘Band & Show’, one for ‘Talk & Presentation’ and one for ‘Show & Laudation’. All three stages were given their own look, each of which was determined by an eye-candy effect in terms of lighting technology. In addition, sufficient brightness for camera purposes had to be guaranteed on all stages, as did the aesthetic lighting design of the backgrounds.” GLP supported the event this year with 30 impression X4 L, 12 FR10 Bar, 10 FUSION Stick FS20, 16 FS16 Z LED sticks and 12 FUSION Exo Beam. The impression X4 L was used as a backlight and for show effects in the background of the stage. Further X4 L were in groups of four as floorlights in the Band & Show area. This arrangement was complemented by three Exo Beams each. “The colour scheme with the X4 L was the most important element in my looks,” says René. The beam splits were realised by FUSION by GLP Exo Beams, which were used exclusively on the floor. The FUSION FS 20 Sticks were used to illuminate the backdrops and “impressed with their brightness, colour rendering and their great dimming characteristic.” The 12 FR10 Bars were responsible for the eye candy on stage. Arranged in clusters of four, they created great light images. The ‘Light Forest’ and Laudation stage were designed with FS16 Z LED sticks. “The FS16 Z each formed the ‘stem’ of the so-called Star Flowers, which resulted in a unique new image. Thanks to the zoom and halo ring, this backlight effect was not only nice to look at; it was also really easy to film,” reports René. Since the designer has more than 20 years’ experience in the development of light and stage shows for well-known artists, working with GLP products is nothing new to him: “I’ve worked with GLP from the start and I’ve known [owner] Udo Künzler for what feels like an eternity. The very first moving light that I controlled was GLP’s legendary Patend Light, the successor to which I have been waiting for to this day. The impression series, and especially the X4 family, are industry standards. Colour rendering, brightness and the unique dimming behaviour convince me again and again. In this respect, I was pleased to be able to work with GLP for the first time at the Kinderlachen Gala.” René Geißel was supported on site by operators Philip Bernhard and Timo Greinert. Lleyendecker, from Wuppertal, was the technical service provider and nominated the project manager, Ulrich Spittmann. “Without his close cooperation I would not have been able to design this production,” says René appreciatively. Explaining his commitment to Kinderlachen e.V, he states: “I got to know the club last year. The work of Marc Peine and Christian Vosseler seemed worth it to me to support in an honorary capacity. The project ‘Every child has its own bed’ alone moves me to tears. I also have the feeling that the donations really reach those affected. “I would like to thank Marc and Christian for their trust in my creative work, Timo Greinert and Philip Bernhard, and Uli Spittmann and his wonderful Lleyendecker team for their

support. Further thanks go to Udo Künzler and Andreas Brandt from GLP, who took care of me and my concerns.”

GLP lights final election debate on ProSiebenSat.1

A week before the German federal election, the final TV debate took place between the candidates for the chancellorship, Annalena Baerbock, Armin Laschet and Olaf Scholz. For the broadcast by ProSieben SAT.1 and Kabel Eins, Jerry Appelt created a 360° lighting design with GLP impression S350 Wash and Spot, X4 Bar and X4 L, making it suitable for all cameras. The panel discussion – moderated by Linda Zervakis (ProSieben) and Claudia von Brauchitsch (SAT.1) – was produced in Studio H of Studio Berlin, with Daniel Boschmann leading the analysis. The designer was tasked with using an already partly existing set for the debate, while at the same time making it stand out from previous events in the 2021 federal election campaign. The 360° design, divided into a main area and a spatially adjoined analysis set, brought with it some challenges, as Appelt reports: “The five participants stood facing each other, as is usual at such events, in a circle, which is why there had to be an unrestricted view from all directions and perspectives. In order that no other camera was ever visible in the broadcast, we worked with hidden cameras and discreet drop cams. The set wasn’t particularly spacious, and so the GLP S350s were a good choice here because they are relatively small and light.” In the final analysis, 58 GLP impression S350 Wash, 43 S350 Spot, 77 X4 Bar 20, 54 X4 Bar 10 and 31 X4 L were installed in the studio. While the S350 Wash showed its strengths for lighting the personnel, the S350 Spot not only provided backlighting but also partially the decorative lighting. Further decorative lighting was achieved with the X4 L and the X4 Bars, which also illuminated the opera foil in the background. “The lighting of the candidates with the S350 also worked excellently on this project,” confirms Appelt. “These units are so quiet that you can work really well in a confined space in a closed studio. From my point of view, they are the modern workhorse to project technically clean light. They are small, compact, elegant, quiet and bright enough for studio applications.” The lighting technology was supplied by the POOLgroup. The Jerry Appelt lighting design team consisted of Andreas Rinne (head lighting technician), Otto Schildknecht and Ole Güllich (operators). The programme was produced by Redseven Entertainment GmbH with Konrad Melzer as production manager. Following the final debate, Jerry Appelt also oversaw the ProSieben federal election broadcast on the evening of 26 September.”

GLP impression FR10 Bars help Cate Carter frame Elbow

Elbow’s extensive recent UK tour – the band’s biggest in years – was brought to life by their long-term, award-winning lighting designer, Cate Carter, and her use of GLP’s powerful impression FR10 Bars. Set & Light | Winter 2021

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A massive fan of GLP’s innovative battens, she says that while the classic X4 Bar 20s have been “confirmed favourites that have featured on all our designs”, she took the decision to step up to the more powerful FR10 Bar after originally seeing it at the LDI Show in the United States. With its ten separate sources of 60W RGBW LED, as well as other unique features, the FR10 Bar is becoming increasingly popular. “We started designing at the end of 2019 for a tour that was due out March 2020. But when COVID hit, it was the last tour to be shut down and the first to start up again,” she explains. The brief had been for a strident lightshow – incorporating lasers, but without video – in a package that would be “big enough to sit in an arena, look impressive in a theatre, and at the same time be able to be shoehorned into a club”. “The band is very into its lighting,” she continues, “and as lovers of the X4 Bars I thought this time I’d give [the FR10s] a try.” Carter could see a unique opportunity to use these fixtures as a scenic element on the risers, she adds: “They were built into the stage set, and although they were on a curve, it really worked.” The designer had immediately been impressed with the fixture’s large aperture. “I also love the individual zoom and colour control, and they produce immense light,” she says. “The aperture around the risers gave an almost footlight feel and was a nod back to the days when shows had banks of par cans.” This harmonised perfectly with an album that the band felt would suit lasers, in deference to the earlier prog idiom of the early 70s. And the FR10 certainly stood up to the task. “We edged the risers in low intensity light – using the FR10s in their widest focus, as the beam effect can sometimes be a little too intense – and then we used the tighter focus options to create a frame and full-beam effects.” Carter says everything she had hoped for from the FR10 Bars had come to fruition during pre-vis. This took place at the HQ of Lite Alternative, which also the designer’s preferred, long-term vendor. “The first night at rehearsals my programmer [Franki McDade] and I did a bit of wrangling and the result was absolutely what we had been hoping for in a dynamic, multi-effect, multi-head fixture,” she continues. “What I like about these is the light curtain feel it creates… [which is] quite architectural when it comes to framing the band.” The band also voiced their approval, according to Carter. “They said [the FR10 Bars] looked fantastic – guitarist Mark Potter in particular,” she concludes.”

GREEN HIPPO Be ready for 2022 with Hippotizer

Hippotizer Nevis+ Media Server Our most compact, yet powerful media server with 1x Display Port 1.2 output allows you to create, visualise and playback video in real-time, all from a small, purposebuilt chassis. 46

Set & Light | Winter 2021

Hippotizer PREP Hippotizer PREP, the complete pre-programming tool, enables you to encode, pre-programme, and visualise with the award-winning media server software. Don’t forget accessories… The Magenta Research rugged active optical cable provides a powerful solution for extending high resolution video over long distances with watertight ends and an armoured core. Crush resistant up to 15,000lb of force and without the need for external power, makes this a very flexible option for live events.

Hippotizer Boreal+ drives live and on-the-fly visuals for Paralympics GB Homecoming

A month after collaborating on the Team GB Olympics Homecoming, Transition Video was back at London’s SSE Wembley Arena to help deliver another hybrid event, using Green Hippo’s Boreal+ Media Server for The National Lottery’s Paralympics GB Homecoming. Great Britain’s Paralympic stars claimed a total of 124 podium places and were welcomed home from Tokyo with a line-up of artists that included Jamie Cullum, Birdy and Raymond Antrobus. In the live audience, NHS workers gathered for the spectacular, which ran video highlights of the Paralympians’ performances as part of a Channel 4 broadcast. Transition Video’s Kate Perring worked as Server Support to Screens Producer to Louise Segal, who helped to create the production’s visual identity. “The Boreal+ has great processing power with a 4K signal,” comments Perring. “This kind of strength is needed when using many different visual layers and blended content. It comes with very powerful processing. Hippotizer can do so much in the moment and one can build show looks from multiple elements on the fly.” Transition deployed an Upstage LED screen 12.6m W x 6m H with 1.2m returns either side, and two 7.2m x 4.2m IMAG screens of ROE CB5 tiles, together with two Boreal+ Media Servers with DP Outputs with DUAL SDI Capture. The servers fed the onstage screen graphics and sports montages. With show programming undertaken by Green Hippo’s Nigel Sadler, Perring utilised the new Timeline software, noting: “This was my first show using new TimelinePlus and it’s a game changer for Green Hippo – they’ve turned a corner with functionality. It is very intuitive and is a safe and secure workspace where everything is locked away while not in use. I heartily recommend it!” Perring’s broad knowledge of media servers remains focused on Green Hippo: “Hippo’s strengths are in handling content, flexibility and programming capabilities. I’m not interested in becoming an expert in anything else.” Although the creative aspects of the show were demanding and complex, the rewards were tenfold, as Perring explains: “Building the set itself and working out where to place the screens for accessibility was vital, as was looking at how we would occupy the physical space. Teamwork was very important. Being able to show the athletes some appreciation was emotional, and certain moments in the show had us all tearing up. There was a great feeling of inclusivity in the line-up, as well as backstage.

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

“I’ve never worked in a team that had both female techs and female local crew in so many roles. Production Manager Keely Myers, from Global Touring Office, is forging a path for diversity and it really made a difference in the atmosphere.”

the CLD versions. “In fact the majority of lights on that show are now Martin MAC Encores. So I know them well.” Another benefit is the low-noise-floor provided by the Encores. “Peter Hylenski, the Sound Designer on Frozen, came up to me to ask what lights I was using. He couldn’t believe Hippotizer V4+ MK2 how quiet they were! At last we’re able to be responsible Explore new, emerging workflows without limits. Designed for collaborators by not forcing the Sound team to have to ride productions and installs that depend on high-performance everything so much louder just to compete with our fan noise. hardware and high-quality video playback, the next generation Moments of silence on stage are now truly that thanks to the of hardware, Hippotizer V4+ MK2, delivers on the widely MAC Encore. requested hardware features, giving up to 100% in increased “On top of everything else they are reliable” he continues. performance for long-term reliability. “Manufacturing has improved tremendously in the past 30 • Up to 100% more processing power for enhanced years, but also, once that discharge, super-hot heat source has generative performance been removed, componentry becomes so much more reliable • Front USB 3.1 ports for faster file transfer up to 5Gb and long-lived.” • Up to double the media storage size for instant playback He says that after 18 months of lockdown “to return to the West End, on the biggest show of my career with the biggest of even more assets rig felt like such a decadent opportunity. It has helped me • HDMI 2.0 capture for improved 4K60 connectivity to rekindle my love for the job. shows and installations “This amazing team made working on Frozen a real delight – Hippotizer V4+ MK2 won AV Technology’s ‘Best in Market’ I had a blast, and I hope they did too!” at InfoComm 2021! Austin adds that he is particularly delighted to be back working with Disney Theatrical Productions and their producer, Tom Schumacher, with whom he previously MARTIN BY HARMAN worked on Shakespeare In Love. Austin is impressed by their hands-off approach, and the way they encourage experimentation without interference. He also credits them Martin MAC Encore Cold Whites bring Frozen for allowing him to put together a team that not only theme to life at Theatre Royal included experienced production electricians, Martin Highly respected theatre lighting designer Neil Austin has again relied heavily on Martin Professional’s MAC Encore Chisnall and Gerry Amies, but also Associate Lighting Performance moving heads in lighting the West End Designer, Jess Creager, whom they flew over from production of Frozen the Musical for audiences at London’s America where she had previously worked with the LD famous Theatre Royal, Drury Lane. on Broadway. He is using 115 Martin MAC Encore Performance CLD Other key members of his team include fellow Associate, fixtures as part of a fully moving rig, quipping that “I chose the Jamie Platt, and Austin’s long-time collaborator and programmer CLD units as I predicted there would be quite a lot of cold Dan Haggerty. “This amazing team made working on Frozen a white light on Frozen!” The inventory was supplied by White real delight – I had a blast, and I hope they did too!” Light, whom Austin says he has been renting from “since I was He credits LW Theatres with their £60m overhaul of the a 15-year-old schoolboy.” White Light were supplied by theatre, which as well as improving the public areas, has also Martin’s exclusive UK distributor Sound Technology Ltd. devoted funds to upgrade the technical area behind the As the predominant fixture in his rig, the MAC Encores are proscenium arch, including over 1,000 dimmers. set on five overhead bars and six ladders either side of the With the press night successfully completed to rave reviews, stage in a virtually all-LED rig. “They’re basically everywhere Austin concludes, “My experience has been one of utter joy and I could fit and afford one. I’m a huge fan of Encores and put least stress.” them onto every show where the budget allows. The quality of light is extraordinary. “I knew there were brighter lamps available but I didn’t MATTHEWS want another discharge lamp because they decay over time. I wanted something that would remain the same colour and brightness the entire way through the run of a show, and the Matthews Claw expands rigging options for Astera MAC Encore has more than sufficient brightness. and T12 tube lights “In Martin’s hands, LED is so beautiful. It’s a truly fullAnnouncing the answer for safely mounting Astera Hyperion, spectrum light source. No longer do you have to dial in pink Titan and Helios as well as T12 tube lights to standard grip to get a reasonable colour for people not to look ill – it really equipment: The Claw! The Claw is a new generation clamp, is just like daylight coming through a window. The base colour designed to solve real on-set issues, by Sci-Tech Award-winning of the unit is great for faces.” Key Grip Richard Mall with gaffer Jeremy Launais and crafted by Neil Austin is entirely familiar with both the MAC Encore the team at MSE headquarters in Burbank, California. variants. On another famous Broadway show he replaced Made of lightweight aluminum with a black anodised finish older tungsten generics from a previous version of the show and weighing in under one-half pound, the system offers the with the MAC Encore WRM, and the old discharge lights with familiar operation of the popular Matthellini Clamp. But in this Set & Light | Winter 2021

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case, the Claw is purpose-built for delicate tubular lighting fixture and features an attachment insert for a safety strap. This unique tool brings these popular lights into the grip world, offering ease and compatibility with any common rigging that has a baby receiver. Integral to The Claw is a Matthews 5" long, industry-standard 5/8" Baby Pin. Designed with the mounting pin in-line with the fixture, facilitates low-profile and simple mounting to a 5/8" grip head or Baby receiver. The ¼"-20 threaded receiver allows the pin to be extended using a MicroRod or similar hardware. Adding Claws to a grip kit enables easy stacking of any number of tubes or accomplishing custom designed tube light arrays. Operation is easy. The Claw’s threaded pin may be activated by rotating its winged handle. Clockwise tightening engages the jaw’s four fingers, clamping them more than 180-degrees around the fixture for a sure hold. The handle is specially sized to eliminate over-cranking – a half turn is all it takes. For added protection each Claw finger is padded with textured rubber to avoid surface damage and slippage – safeguarding from nicks and scrapes on the tube’s housing. Within the jaw a series of magnets work to keep the Claw fingers in the open position ready to receive a tube.

The BM1 Bulb Mount™

Matthews Studio Equipment offers an easy, grip-compatible solution to hold the industry’s professional medium-sized dimmable LED bulbs. The BM1 Bulb Mount™ offers a quick, versatile and inexpensive answer for mounting these battery-powered bulbs to various types of grip equipment and ¼"-20 hardware. Characteristics • E26/E27 standard lamp socket thread accepts LED bulbs • ¼"-20 female insert fits MicroGrip Pin, MicroGrip Rod, and other standard gear • Low-profile matte surface does not reflect glare • Mates easily with Aputure® and Astera® LED Bulbs Specifications • Made out of Black Nylon • Weight: 22g (0.8oz) • Socket OD: 1.25"/3.175 cm • Length: 2.6"/6.604 cm

ROBE Vienna State Opera invests in Robe FORTE HCF moving lights

The world-renowned Vienna State Opera House in Austria – also home to the Vienna State Ballet – has invested in new Robe FORTE HCF LED moving lights and FORTE HCF FollowSpots, selecting the high CRI LED engine option for these powerful fixtures which utilise Robe’s unique TE (Transferable Engine) technology. TE is a powerful, intelligent, and eco-friendly lighting solution enabling different engines – high powered, high CRI, ‘tungsten’ etc. – to be used in the same fixtures. They can be 48

Set & Light | Winter 2021

Robert Eisenstein overseeing Robe’s Vienna Opera House investment

changed quickly and easily in 5–7 minutes! Vienna State Opera purchased 10 x FORTE HCF luminaires and 4 x FORTE HCF FollowSpots which work in conjunction with a customised RoboSpot control system, explained Deputy head of lighting Robert Eisenstein. The Opera House has a busy repertory schedule, and these Robe luminaires – delivered via Robe’s Austrian distributor Signal – replace the old manual-focus generic FOH tungsten fixtures with brighter, more adaptable, and more sustainable lights, and have upgraded the traditional follow spots in this impressive 1,709 seat and 567 standing capacity Renaissance Revival styled venue which opened in 1869, when it was the first building to be erected on the Vienna ring road! With a throw distance of 50m to the stage from the FOH positions, they needed the most powerful and the quietest fixtures. All the other options tested were either too physically large, too noisy, or not bright enough. While the FOH positions are not directly exposed to the audience, the ten fixtures are in a partial boxed area and the noise does escape and reverberate around the venue! The HCF LED engine version FORTES were required for achieving perfect skin tones, for the excellent colour rendering and “fantastic” range of tuneable whites. The fact that the FOH gallery lights no longer have to be manually focused means valuable between-production changeover times can be saved by having moving lights, and that the system is hugely more flexible for accommodating the needs of all productions. Robert and his colleagues are all delighted with the results, as are the visiting lighting designers who have so far benefited from using the new system. RoboSpots were first tested in the house three years ago when a system was rented in for the Vienna Opera Ball. This was a big success, and they knew it worked. However, it wasn’t until the FORTE was launched earlier this year, together with the FollowSpot version, that all the stars finally aligned to offer an impeccable match between follow spots and FOH lighting. Everyone was super excited to be able to use the same luminaire with the same quality light.

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

The Opera House follow spot slots rooms are in the high gallery in the middle of the FOH lighting positions which were already very tight for space, so having a small fixture was essential. They wanted the human touch of the operator being involved rather than having a tracking system, so the FORTE FollowSpots are fitted with Robe’s LightMaster kit handles which enable the follow spot operators to control the size and the intensity of the fixtures, while the other parameters are run via the venue’s main ETC GIO lighting console. Some custom software allows the output of the inbuilt FORTE FollowSpot cameras to appear on monitor screens attached to the wall of the follow spot box together with some of the RoboSpot system features, but essentially allowing the spotters to simultaneously see the stage in classic style. They can turn the crosshair marker on or off via the LightMaster buttons and can zoom the camera in and out. “Robe was flexible and willing for us to work with their RoboSpot software to get the precise solution we needed,” stated Eisenstein He thinks that FORTE is a powerful, viable and “highly effective” moving light for bigger performance houses and venues like this and mentions that all the visiting lighting designers so far to use the new system have been “very satisfied”. As a brand, Eisenstein thinks Robe is focused on delivering quality innovative products, especially with the ESPRITE and FORTE and other TE range fixtures utilising a powerful white LED engine and CMY colour mixing.

Robe adds magic to Cinderella panto production

The UK panto season came back with a BIG bang after waiting in the wings during 2020 as the country squared up to COVID-19, reigniting all things panto like slapstick comedy, toilet-brow innuendo, gawdy sets, psychedelic vibrance and total craziness for which it’s known and appreciated, with lighting designers around the country delighted to be back working on this peculiarly English and highly expressive genre of performance. None more than Andy Webb, who chose an all-Robe LED moving light rig for UK Productions’ spectacular Cinderella, being staged at the Waterside Theatre in Aylesbury, Buckinghamshire. For Andy’s first time working in this theatre – following five successive panto seasons up to 2019 at Blackpool’s Theatre Royal – the lighting rig was specified so he could present a new televisual style of panto lighting, with lots of fabulous neutral skin tones juxtaposed against the vibrant colours demanded by panto narrative and style. He also took full advantage of having a larger stage and house to play in! “Flexibility is always the key to lighting a panto as the real-time onstage programming and tech’ing schedule is traditionally tight, and that’s why I wanted the Robe fixtures in there because I knew I could achieve the depth, detail and levels of expectation of this production,” he explained. The show is directed by Chris Nelson, who is also playing one of the Ugly Sisters.

Andy’s rig includes Robe ESPRITEs and Spiiders as the Spot-Wash ‘base’ luminaires, with 10 x ESPRITES and 17 Spiider wash-beams distributed across the overhead LX bars. It is also the first panto Andy has lit with a full moving light rig over the stage, which made a massive difference to the layering and nuances that could be applied across all the stage looks in a short timeframe. Andy and the crew had three programming days on site in the venue in which time they would only generally see each scene once, maybe only for 20 minutes, lighting the scenes as the cast was rehearsing them. “Basically, it’s like lighting the show live,” he explained, and for this to happen successfully he needed to have full confidence in both his initial instincts for what looks good and in what the rig is capable of achieving. Another challenge is the sheer amount of set and cloth drops in any panto, required to keep up with the frenetic scene changes and pace of the action… so once all of that is installed, there is never a massive amount of room for lights! However, working with moving lights, these can be rotated and moved into another position to allow cloths/set flats to drop into the gaps, and then be moved back into their lighting positions! So, thinking laterally, using moving lights overhead can also hugely increase the options for set designers as opposed to using a generic rig. “I like the idea of being more creative – almost unintentionally – just by moving lights out of the way so scenery can drop in!” commented Andy, adding that this also makes things infinitely easier for the house crew who are tasked with running the show. In this case, it has been planned as 52 shows in four weeks. On top of the basic spot-wash configuration, Andy added 16x LEDBeam 150s on the overhead rig, used primarily for the musical numbers, freeing up the Spiiders to produce the main beautifully rich colour washes over the stage with the ESPRITES doing the keys, specials and floor texturing plus other effects applied via Andy’s unique programming style! He was initially intending to use Robe T1 Profiles in this context, but when ESPRITES became available, jumped at the chance to use these with their power, punch, and CT ranges capable of producing “absolutely outstanding” skin tones. Rigged on LX4 were six CycFX8s and six ParFect 150s for covering the larger set pieces. These were coupled with the house Robe ColorSpot 700Es – still working after a decade in

Cinderella at the Waterside Theatre Aylesbury (‘oh no it isn’t’, etc…) Set & Light | Winter 2021

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service – for rear gobo work. All the house luminaires, moving and static, were available to Andy, who naturally opted to utilise all of these plus the additional newer Robe fixtures which were supplied by rental company CEG. Andy integrated the house FOH Robe DL4S Profiles into his light show for texturing and colouring the front cloths, together with two more ColorSpot 700E ATs and 20 x ParFect 100s which were all rigged on the side booms each side at the front truss position, plus two on the drop-down ladders either side of stage. Four ParFect 100s with 10% diffusion were located on the circle front bar and used for colouring of the front cloths with primaries, with a pair of LEDWash 300s up-lighting the proscenium arch. “Having a rig with this versatility – being able to flip colours, positions, effects, etc., instantly at the touch of a button takes panto lighting into a different league and opens so many more possibilities,” enthused Andy, whose acclaimed festive production lighting designs have become increasingly automated over the years, with Robe always as his first choice of brand. “Not only can I be fully adaptable in lighting the show, but it’s also the only way to block light a scene in 20 minutes,” although this process is – of course – followed by considerable finessing during long programming sessions stretching into the nights! Andy did this himself using an Avolites Titan Touch II, with around 220 cues in the final show file, which was then handed over to house operator Josh Gallagher for the production run. “It’s a stressful three days, but the end results using this Robe moving light rig are very rewarding,” commented Andy as the glitter magic, drama and fun of the show unfolded and started being appreciated by live audiences again. Being back in person in a theatre with a real cast, crew and creatives was in itself part of this year’s experience. “It’s a little surreal,” stated Andy, “On one hand it’s like nothing has changed, there’s just been a longer gap between the shows, but on the other, we all appreciate more than ever the opportunities to create a wonderful experience to be enjoyed by a diverse audience.” Andy also bigs up the “awesome” house technical team at Waterside theatre who helped him make all of this possible, in particular production LX Joe Bryant, together with Lou Stevens, Alex Ratcliffe and Andrew Medhurst who “totally made me feel welcome and one of them – I have so enjoyed working here!”

Robe helps redefine the look for Idols SA

Idols South Africa 2021 underwent its most substantial visual transformation for a few years with a shift of venue, from the State Theatre in Pretoria to Studio 10 at the Urban Brew complex in Johannesburg. This moment was seized by the show’s long term lighting designer Joshua Cutts of Visual Frontier, for a radical rethink, and for the first time in 17 Idols seasons, he presented a lighting co-design created collaboratively with Andre Siebrits, also from Visual Frontier. The pair relied heavily on Robe moving lights – over 200 were specified on the rig, plus two RoboSpot remote follow spotting systems – to assist with a fresh new aesthetic 50

Set & Light | Winter 2021

that takes the SA edition of the show production to ‘next level’ status. Due to COVID regulations, a large live audience was still not possible this year, so Cutts and Siebrits embraced this effective restriction by redefining the look and optimising it for the multi-camera direction of Gavin Wratten, who also had some clear ideas about visuality. Taking a ‘bare stage’ approach was a bold and confident move that utilised lighting plus all the negative spaces in the room to create the drama, depth, and diversity. “It had to look completely different from anything before but also very contemporary,” explained Cutts, “and for this we needed multi-purpose fixtures to be at the core of the rig.” The backbone of the slick modern lighting look was created with Robe ESPRITES and MegaPointes with 24 of each type. The rig was enhanced by having the two RoboSpot systems controlling six BMFL WashBeams – also a first for an Idols SA series. The RoboSpot systems controlled four front and two back BMFL WashBeam luminaires, bringing precise control of key lighting. “It was a case of the right kit for the right space!” commented Siebrits, explaining that the clear uncluttered stage area and the way it was lit evoked the huge depth and perspective shots that Gavin wanted. With a high gloss-black floor and large sections of upstage LED video screen complete with a central entrance – the LED reflections produced great bounce-back along the stage floor – the ESPRITES, MegaPointes and other Robe moving lights were all chosen for their power and flexibility plus other key features like the CMY colour mixing. Both Cutts and Siebrits use Robe products regularly and enjoy the range and the reliability of the fixtures. The ESPRITES were rigged above the centre stage area with the MegaPointes arranged in striking horizontal left, right and centre lines running lengthways down the studio, producing a sense of linear elegance and numerous effects as the ‘show workhorses’. Both fixtures are “light in weight, bright and proved perfect for lighting artists, bands and judges as well as creating big gobo looks, stage washing and those glorious ‘international’ scenes that we wanted as a signature for this season,” elucidated Josh, who has been involved with lighting every Idols SA since the concept started there in 2002! Having the lines of MegaPointes and the pool of ESPRITES tied into the way the RoboSpot BMFLs were used as they were also a vital part of the lighting and stage geometry. With all six follow spots run from the two BaseStations positioned at FOH near to Siebrits and Cutts, this was an excellent set up for producing more interesting spot lighting effects whilst tying up less crew! Using the RoboSpot system also made it practical for the first time ever to have rear follow spots on an Idols SA show! “All of this further boosted our adaptability and ability to react at short notice,” observed Cutts. In between the MegaPointes in the studio roof were 24 x standard Robe Pointes and joining them on the rig, 24 x Spiiders for overhead washes, plus 24 x Spikies and 24 x LEDBeam 150s for whizzy fun effects and beam looks.

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

Dream Sets, co-ordinated for them by Eben Peltz for Idols SA producers SIC Entertainment. The show’s producer was Anneke de Ridder and it was broadcast live each week on the Mzansi Magic network. The 2021 Idols SA winner was Berenike ‘Berry’ Trytsman winning the title following weeks of intense competition with over 12 million votes cast!

ROSCO The tiny footlights that uplit the dark underbelly of Little Shop

Robe’s visual transformation of Idols South Africa

Cutts and Siebrits appreciated the colour matching and “excellent consistency” in colouration that exists between all the different Robe fixtures, which all helped speed up the programming process and is highly effective for television lighting scenarios. In addition to some the most recent Robe technology on the rig, some favourite ‘legacy fixtures’ included LEDBeam 100s, LEDWash 600s and 800s and even ColorSpot 700s and ColorWash 2500E ATs which are still going strong! These and all the other lights on the rig were programmed and run on a grandMA3 console. Challenges as always include creating a series of complex and fabulous lightshows for all the artists. They were often dealing with up to 14 songs a week in a tight timeframe due to the show format and schedule and a short amount of onstage time for both artists and the production team. And while after 17 years Cutts isn’t fazed by this as he has the routine down to a very effective process, it still gets the adrenaline rushing every time! He comments that while it’s become quicker in some ways over time, the complexity of what’s now expected in that same short time window… has grown massively! In this context, it was great having Siebrits working alongside him as co-LD. “Two minds working in unison the way we have are so much better,” he commented, adding that his extensive Idols experience combined with Siebrits’ fresh eyes on the show made it an “exciting and invigorating” way to work… together with the “fantastic” range of multipurpose fixtures at their fingertips! All technical AV equipment was supplied and managed by

Every member of Rosco’s Cube Family of LED fixtures has proven to be a fantastic choice for theatrical footlights. So far, we have shared how Braq Cubes® are the footlights of Hadestown and how the Miro Cube® 4CA fixtures were used as footlights for a new opera. To wrap up the series, we’re sharing how Lighting Designer and Rosco Ambassador Trey Brazeal used Rosco Pica Cubes™ as tiny footlights for a recent production of Little Shop of Horrors. Trey is a Chicago-based lighting designer who, like many designers and technicians around the world, is finally getting back to work after the COVID 19 pandemic. His first job back was lighting Little Shop of Horrors at Metropolis Performing Arts Center in Arlington Heights, Illinois. It was one of their first live productions too, and they staged it inside a large tent that they had erected nearby. Because this show has some dark undertones to it, Trey felt that creating those uplit “footlight shadows” would be essential. He also knew that the stage area inside the tent would be incredibly limited, so whatever footlights he chose would need to have a very small footprint. Trey had seen how Rosco Cubes were popular as footlights, so he visited the website and discovered the 2.5"x2.5" Pica Cubes. Trey installed a mix of the variable colour temperature Pica Cube WNC and the RGBW Pica Cube 4C fixtures on the front of his stage. Each Pica Cube ships with a 20°, 40°, and 60° lens. He was pleased to discover that, despite their size, the tiny footlights packed some punch! The bright output allowed Trey to install the 60° lens on the footlights, which provided him with a large enough beam-spread to cover the entire stage area. Once they were installed, Trey noted how the Pica Cube footlights “mixed wonderfully together to give a rich and well-rounded look to the action on stage.” In particular, he noted how well they worked during the moments where the voice of Audrey II was ringing through the mind of Seymour. “They created this haunting glow for me that brought out the idea of the plant controlling all situations, even when it was not present onstage.” After closing night, Trey reported back to us that “the Pica Cubes were the right kind of lights to emphasise the dark underbelly that is this show.” He shared how they were plenty bright enough to provide him with the lighting effect he needed, but tiny enough not to obstruct the performers or the aesthetic of the set design. “I would absolutely recommend this product to any designer, whether they be used as footlights or a hidden window light.” Set & Light | Winter 2021

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Filmmakers on The Colony reap the benefits of practical background visuals

Instead of using green screen or expensive LED walls, the filmmakers chose practical background visuals – including a Custom Rosco SoftDrop® – to create the stunningly bleak world of The Colony. The Colony is an award-winning, post-apocalyptic, science fiction thriller directed and written by Tim Fehlbaum. The film takes place on Earth after a global catastrophe has wiped out nearly all of humanity. Much of the film was shot in the German Tidelands. This wetland area features several small mudflats that created the barren, post-apocalyptic landscape for the film. The mudflats, however, only appear during low tide, which made it impractical to shoot the entire film on location. The filmmakers had to figure out how to recreate this unique landscape on a sound stage. Instead of using green screen or expensive LED walls, the filmmakers chose practical background visuals – including a Custom Rosco SoftDrop – to create the stunningly bleak world of The Colony. The relationship between the wetlands and the sky made the German Tidelands the perfect setting for this particular film. Recreating those wetlands inside a sound stage, however, was a massive undertaking. Tons of sand and water were trucked into Bavaria Studios. Plus, the set was flooded and drained every night to wash away the prior day’s footprints and reset the mudflats to smooth. Luckily, recreating the sky was a little easier. The filmmakers surrounded their set with a 29.5'H x 295'L (9m x 90m) Backlit Custom SoftDrop to create 360 degrees of sky around their mudflats. Markus Förderer, ASC, BVK was the cinematographer on the film. When asked why they chose practical background visuals instead of green screen, Förderer replied: “Shooting the story in ‘an authentic way’ was very important to director Fehlbaum. Shooting green screen would have led to a different aesthetic.” Förderer knew that capturing the reflection of the sky in the wet sand was key to making the stage scenes match the location shots. Having the practical sky in place gave the filmmakers freedom to explore as they shot. “That’s the major problem with green screen,” said Förderer. “You capture something assuming the final VFX composite will look great. But if it is not shot in the right perspective or with the right lighting, it will always look and feel artificial.” Förderer also shared how SoftDrop allowed them to shoot without the constraints that typically come with green screen. “Shooting on a green screen would have also restricted the production to a very limited number of shots,” reported Förderer. With SoftDrop, the filmmakers were able to capture everything in-camera and they could see immediately if the lighting looked real or if anything looked amiss. “I was able to experiment with various elements – different levels of haze, different focal lengths, etc – and know right away if they worked. The SoftDrop enabled us to see immediately what kind of shots worked well in this stage setting, which allowed us to adjust accordingly if we had to. Despite our limited budget, the SoftDrop enabled us to capture very dynamic shots that would have been too costly to create with VFX.” When it was all said and done, the filmmakers had created a set that perfectly matched the German Tideland location. The set design even earned Production Designer Julian Wagner a 2021 Lola German Film Award for Best Production Design! 52

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The filmmakers did such a good job recreating the location that even they had a hard time differentiating between what was shot on stage and what was shot in the mudflats. Förderer shared that the only way he could tell the difference is if the shot had specific details that gave it away. “The transition between location and stage is seamless,” he reported. “The printed sky reflections that the SoftDrop created in the wet floor made the setting feel so authentic that we were able to go back and forth between the location and stage shots many times within the same scene.”

UNUSUAL Theatre Royal Drury Lane dedicates new fly tower to the late Alan Jacobi LVO – plaque dedicated to Unusual founder unveiled at celebration of his life-

The new fly tower at Theatre Royal Drury Lane has been dedicated to Unusual Rigging founder Alan Jacobi, LVO. Jacobi passed away in April 2020 and due to the restrictions imposed by the pandemic, a funeral was restricted to immediate family only. However, in front of an audience of 500 friends, family, colleagues and industry peers, Jacobi’s life was celebrated on the stage of the beautifully restored Theatre Royal with tributes from those who knew him during his early years, through to royalty and his closest friends and family members who were with him in his final days. The plaque, unveiled by Jacobi’s wife, Peta, during a live stream from the fly tower at Monday’s event, reads: ‘The refurbished Theatre Royal Drury Lane Fly Tower was completed in 2020. Dedicated to the memory of ‘AJ’ Alan Jacobi LVO, Managing Director of Unusual Rigging Ltd. AJ’s determination, vision and passion for theatre is embodied in this fly tower and his legacy is clear to see for future generations of large scale productions to grace this magnificent stage.’

Alan Jacobi’s wife Peta unveils a plaque in his name at the Theatre Royal, Drury Lane

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

The celebration concluded with a performance of Jacobi’s favourite West End musical hits from Dynamic Vocals followed by an elaborate Abba Medley from the UK’s leading drag collective – The Globe Girls. Jacobi’s son Tom Harper who has succeeded him as managing director of Unusual said: “AJ’s greatest legacy is indeed embodied within the work undertaken at the Theatre Royal; to ensure another 300 years plus of exceptional theatre at Drury Lane. He had an invincible certainty that theatre must excel, with the impossible being realised on a production-by-production basis through exact engineering and rigging. This plaque will remain testament to the aspiration and dogged determination of AJ. As a company, Unusual is so very proud to have been involved with such a phenomenal project and to have the fly tower dedicated in his memory, is something that he would have received as an immense honour. We cannot think of a more fitting way for him to be remembered and for that we are hugely grateful.”

VARILITE/STRAND Vari-Lite VL10 luminaires shine brightly on Marc Anthony’s Pa’lla Voy Tour

Multi-award winning Latin music star Marc Anthony has returned to the stage with his Pa’lla Voy tour, taking in 26-dates across North America with an arsenal of VL10 BEAMWASH luminaires from Vari-Lite, a Signify (Euronext: LIGHT) entertainment lighting brand. The VL10 delivers speed, versatility and an impressive 28,000 lumens to Lighting Designer Travis Shirley’s bold stage design. Shirley developed his concept around six vertical lighting arrays that provide the tools necessary to create effective and functional stage focuses. “When the drawings of the show were completed, it was time to start discussing fixture choices. Good friend and production guru Roly Garbalosa mentioned to me that our preferred vendor ProColor was looking at purchasing the new VL10s and asked me to take a look at them. How does the saying go? It was love at first sight,” said Shirley. The tour, which kicked off at San Antonio’s 18,500-capacity AT&T Center on August 27, celebrates 2019 album Opus and Anthony’s three-decade career. It has sold out arenas across the US, with fans eager to see him play live for the first time since early-2020. The three-time Grammy Award and six-time Latin Grammy Award winner’s compositions vary from slow and heart wrenching to fast and flamboyant, moving fans to tears in one moment and lifting them to their feet the next. Therefore, the show design had to be both engaging and extremely dynamic. “I wanted to create a production that could not only accommodate his talented band, but also offer the flares of Latin salsa,” reveals Shirley. “I knew that we needed some sort of modern, yet classic, approach to an orchestra set up, thus the multi-tiered stage design. From there I looked at unique and creative ways to not only light the talent, but also provide the audience with lighting design appropriate for the genre.” He states that Vari-Lite has become a regular name on his specs. “Vari-Lite is one of the longest, most proven lighting

brands in the entertainment lighting business, so naturally they make their way onto my spec list very often. The product range is so diverse. I find myself using newer lights like the VL10 for some shows, yet also specifying the classic VL5 for others.Vari-Lite is a staple and I love that there are no surprises with the products. I know what I’m getting every time.” The award-winning LD, who is known for his innovative approach to lighting and show design, worked closely with Ian Berkman and the programming team at Visual Edge to realise the final design. The result is a captivating spectacle that has thrilled audiences across the US, Canada and Mexico through December, before it culminated at The Forum in Los Angeles a week before Christmas.

Vari-Lite VL800 luminaires create Chris Stapleton’s stunning wall of light.

Country music legend Chris Stapleton’s All-American Road Show is back with a stunning stage design featuring 400 VL800 EVENTPAR luminaires from Vari-Lite, a Signify (Euronext: LIGHT) entertainment lighting brand, supplied by concert touring specialists Premier Global Production. Taking conceptual direction from Stapleton himself, Creative Director Becky Fluke and Lighting Designer Calvin ‘Mac’ Mosier created film-like lighting, centered around a wall of light, which comprises 388 VL800 EVENTPAR RGBA and 12 VL800 EVENTPAR WW. The LED-powered luminaires, which offer classic styling, colour and output, impressed from the outset. Mac, who has previously worked with Prince, Tina Turner, Madonna, Lady Gaga and James Taylor, explains: “When I first saw the VL800 back in 2019, I thought it was great, so I got one and showed it to Chris and Becky and they both loved it, particularly the colours it produces. Soon after that, Chris came up with the wall of light idea.” The show design, which uses lighting and video in the most integrated way Mac has experienced over his 45-year career, features live video content played on the 12ft high x 56ft wide screen that spans the top of the stage. Using layering and some creative camera work, Fluke is able use the screen as an extension of the wall of light. Fluke comments: “The way the video wall sits on top, it really needed to marry nicely. We’re shooting the VL800s as a layer on the video wall, as we wanted it to really feel cohesive in that way. Certain cameras are just pointed at lights, so it feels like an extension of the lighting rig.” This is made possible by the VL800 EVENTPAR’s adjustable frequency, which can be set to exceed camera frame rates. Support for the production has been plentiful from both Vari-Lite and Premier Global Production, as Mac explains: “When we started back up,Vari-Lite sent a tech to Premier Global and updated all the hardware and software – they’ve been really supportive. Similarly, with Premier Global, whatever you need, you get it. They give us such personal attention and take care of us.” Premier Global Productions’ Vice President of Sales James Vollhoffer says: “It’s a pleasure to supply this show and we appreciate the mutual respect and support we have with Vari-Lite. When COVID hit, we all worked together to stay on track for when touring restarted and it was worthwhile. The show looks great – Mac’s a very talented designer. The VL800 Set & Light | Winter 2021

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Americas markets, customers are wanting better support of Vari-Lite and Strand fixtures within the ZerOS software,” explains Hole. “The library update includes new theatrical luminaires from Strand such as the Leko®, Cantata, and Acclaim LED Series, as well as multicell fixtures like the Strand Aurora LED Strip and Vari-Lite VL800 EVENTWASH.” The update also adds new configuration options to ZerOS’s move on dark capabilities and introduces other features and bug fixes as well. The new software is available now from the Zero 88 website, and a video summary of the new features is available on YouTube.

VERSION2 BOXXER inks new partnership with Version 2

Chris Stapleton’s All-America Roadshow

brings that retro par can look but with modern technology. It’s a noteworthy product, we’re seeing plenty of interest in it.” The All-American Roadshow continues through to Chicago’s Wrigley Field on July 23, 2022.

Strand and Zero 88 bring multicell fixture support, major fixture library update to ZerOS

Signify (Euronext: LIGHT) entertainment lighting brands Strand and Zero 88 have today announced the latest update to ZerOS, the award-winning software for their FLX S Series and FLX consoles. ZerOS 7.10 includes support for multiple pixel luminaires, a library update featuring a wide range of Vari-Lite and Strand fixtures, and more. The new update is available for Zero 88 lighting consoles as well as the recently announced Strand FLX S Series consoles. “Despite the prevalence of multicell fixtures in the market, facilities have mostly been able to find full multicell control on higher end consoles,” says Jon Hole, Global Product Manager, Strand and Zero 88 Controls and Systems at Signify. “Many of these consoles either control the luminaire as a single fixture with a large number of parameters or patch each pixel as a separate fixture, with compromises in either approach. Even consoles with sub-fixtures or cell control have conflicts between pixel intensity and fixture intensity. We have been waiting to implement multicell control until we could address all of these challenges.” To address this issue, ZerOS 7.10 allows users to dynamically select whether to adjust the whole fixture or a single pixel depending on how they interact with it using the multitouch screen on the console. “ZerOS is all about being powerful and easy to use, and this new update does that for multiple pixel fixtures, allowing users to fully control them just like the rest of their rig without complications,” adds Hole. ZerOS 7.10 also brings a major update to the fixture library, including many luminaires from Vari-Lite and Strand. “With Zero 88 now part of Signify’s entertainment group and the availability of the ZerOS-based Strand FLX S Series in the 54

Set & Light | Winter 2021

BOXXER is delighted to announce a new partnership with Version 2, which will become an Official Partner of BOXXER and Sky Sports Boxing. Headquartered in Reading,Version 2 is a lighting rental specialist for the television, broadcast and event industries. Working alongside some of the most prominent lighting designers,Version 2 services a broad range of productions, including I’m A Celebrity... Get Me Out Of Here, The Jonathan Ross Show and ITV’s forthcoming music show Walk The Line. Version 2’s leading product range is reinforced by a highlyexperienced team providing expert technical support and project management, plus creative innovation and in-house engineering services. The partnership kicked off with a stacked Fight Night at the Utilita Arena in Newcastle, headlined by world middleweight champion Savannah Marshall and supported by superstars Chris Eubank Jr., Lewis Ritson and Hughie Fury. Version 2 sponsors Marshall, who will be defending her WBO crown on Saturday, along with new BOXXER signings April Hunter, an undefeated local prospect, and Georgia O’Connor, a former elite amateur making her muchanticipated pro debut. As part of the partnership,Version 2 branding featured across all pre-event promotional activity during fight week, including a press conference hosted at St James’ Park – the iconic home of Newcastle United FC – and at the public weigh-in which took place at the bustling Metro Centre in Newcastle. Version 2 will then feature throughout the Fight Night, airing LIVE and exclusively on Sky Sports in the UK and Ireland – with prominent branding across the ring and arena. Commenting on the partnership, BOXXER’s founder and CEO Ben Shalom said: “We’re delighted to announce this new partnership with Version 2, ahead of a blockbuster card. Version 2 are leaders in their space and given the strength of their existing relationship with Savannah, it is a partnership we were particularly pleased to secure.” Nick Edwards, Managing Director at Version 2 said: “We’ve been impressed with Ben Shalom and his young team in particular their innovation, their ambition and their passion for the sport. BOXXER have already established strong brand values, we’re delighted to be part of their journey.” To find out more, visit boxxer.com

Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

WHITE LIGHT White Light leads integration technology installation for BAFTA 195 Piccadilly redevelopment

Under the ongoing redevelopment remit of BAFTA’s 195 Piccadilly headquarters, the world-renowned charity engaged technical solutions specialist White Light (WL) to manage the installation of its new state-of-the-art technological infrastructure. Officially opening in 2022, 195 Piccadilly will be a creative centre for film, games and television and the central hub for BAFTA’s UK-wide, and global, learning and talent development programme. It will also be a truly world-class space, providing innovative facilities for all event needs, whether live, virtual or hybrid. WL has been involved with the development of the ambitious project since its inception back in 2016. The scope included equipping BAFTA with its first ever dedicated learning space and state-of-the-art technology to help increase revenues, enabling its charitable remit to be fulfilled for years to come. Based on a system designed by consultancy Charcoalblue, WL was appointed to devise an integrated technical package for the overriding system control, as well as fully manage the installation process. To reflect BAFTA’s world-class status and relationships with leading manufacturers including Christie, Dolby, ETC and QSC, 195 Piccadilly has been equipped with some of the most cutting-edge equipment on the market. The very latest Christie projection system installed in the Ray Dolby Room, has allowed the space to become a fully projection-mapped environment. This offers clients a 360° digital canvas which they can personalise and has the potential to bring the

space to life with dynamic content for both in-person and digital events. WL’s Senior Project Manager, Jason Larcombe comments: “195 Piccadilly will be a centre of excellence for the creative industries and a flagship showroom for global brands to showcase their latest technology. This project spans the breadth of expertise and services that WL as a company is uniquely placed to offer. Beyond coordinating the installation of the integrated system and all third-party AV technology throughout the building, we have partnered with BAFTA to provide ongoing technical service and venue support. We are proud to have supported the full scope of this project over many years of progression and are excited for the next stage of our burgeoning relationship with BAFTA.” BAFTA’s Head of Property, Pauline Campbell adds: “We truly appreciate the dedication and input White Light has shown to the redevelopment of 195 Piccadilly. With the addition of state-of-the-art technology, BAFTA’s home and headquarters will continue to celebrate the film, games and television industries, and will be a centre of excellence for future generations to come. Their coordination and installation of a very complex design encompassing many partners and preserving a listed building showcases exactly the troubleshooting skills which left us in no doubt that they were the right company for the job and we look forward to developing our partnership over the years to enable us to fulfil our charitable mission.” By improving facilities and doubling the building’s capacity, the redevelopment will enable BAFTA to dramatically increase its charitable programme. A world-leading independent arts charity, BAFTA works throughout the year to find and promote the next generation of talent and to break down the barriers that can make it hard to build careers in the creative industries Set & Light | Winter 2021

society committee

Chairman + Sponsors’ Liaison Bernie Davis 07860 662 736 chairman@stld.org.uk

Deputy Chair David Bishop 07971 796 742 davidbishop@stld.org.uk

Hon Secretary Stuart Gain 07774 161 996 secretary@stld.org.uk

Treasurer Mike Le Fevre 07956 305 662 treasurer@stld.org.uk

Magazine Editor + Sponsor Administration Emma Thorpe 07850 709 210 editor@stld.org.uk

Assistant Treasurer John Piper johnpiper@stld.org.uk

Membership Iain Davidson 07592 885444 members@stld.org.uk

Publicity Andrew Harris 07973 745 583 publicity@stld.org.uk

Admin & Data Officer Paul Middleton 07720 446 9214 paulmiddleton@stld.org.uk

Student Liaison Nathan Mallalieu 07805 461162 nathanmallalieu@stld.org.uk

Exhibitions Alan Luxford 07867 536 522 alanluxford@stld.org.uk

Committee Member Bruce Waldorf 07702 741 338 brucewaldorf@stld.org.uk

Committee Member Ian Hillson ianhillson@stld.org.uk

Committee Member John King 07860 759 294 johnking@stld.org.uk

Committee Member Matt Maller 07901 724 487 mm@mattmallerlx.co.uk

Website Manager (Co-Opted) Oliver Lifely 07977 530 145 mail@tvld.co.uk

Set & Light | Winter 2021

sponsors’ directory

Please mention Set & Light when contacting sponsors

A.C. Entertainment Technologies Ltd (Jonathan Walters) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.ac-et.com/film-tv Anna Valley (Mark Holdway, Doug Hammond) Unit 13, Mount Road Industrial Estate, Feltham, Middlesex TW13 6AR Tel: 020 8941 4500 ~ Fax: +44(0)1932 761 591 ~ Web: www.annavalley.co.uk ARRI CT Ltd (Siobhan Daly, Lee Romney) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01895 457 000 ~ Fax: 01895 457 001 ~ Email: sales@arri-gb.com ~ Web: www.arri.com AYRTON (Matt Hallard) 2 Rue Vitruve, 91140 Villebon sur Yvette, France Tel: +33 1 8375 1200 ~ Mob: +44 7388 014 003 ~ Email: matt.hallard@ayrton.eu ~ Web: www.ayrton.eu B360 (Barry Denison) Gaddesden Home Farm Business Centre, Bridens Camp, Hemel Hempstead HP2 6EZ Tel: 0203 9534 360 ~ Email: info@b360.tv ~ Web: www.b360.tv BBC Studioworks (Karen Meachen) Room N101, Neptune House, BBC Elstree Centre, Eldon Avenue, Borehamwood, Hertfordshire WD6 1NL Mob: 07970 115 998 ~ Email: karen.meachen@bbcstudioworks.com ~ Web: bbcstudioworks.com CHAUVET Professional (Sam Bowden) Brookhill Road Ind. Estate, Pinxton, NG16 6NT Tel: 01773 511115 ~ Mob: 07714 487121 ~ Email: sbowden@chauvetlighting.eu ~ Web: www.chauvetprofessional.eu Chroma-Q (Jonathan Walters) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.chroma-q.com Cirro Lite (Europe) Ltd (John Coppen, David Morphy) 3 Barrett’s Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: j.coppen@cirrolite.com ~ Web: www.cirrolite.com Claypaky S p A (Davide Barbetta) via Pastrengo 3/B, 24068 Seriate (BG), Italy Tel: +39 335 72.333.75 ~ Fax: +39 035.30.18.76 ~Email: davide.barbetta@claypaky.it ~ Web: www.claypaky.it Dedo Weigert Film GmbH (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www.dedolight.com DeSisti (Nick Mobsby) 25 Rowtown, Addlestone, Surrey KT15 1EF Tel: +44 (0) 7785 233073 ~ Email: nick@desistilighting.co.uk ~ Web: www.desisti.it Doughty Engineering Ltd (Julian Chiverton, Mark Chorley) Crow Arch Lane, Ringwood, Hampshire BH24 1NZ Tel: 01425 478 961 ~ Fax: 01425 474 481 ~ Email: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk Elation (Larry Beck, Marc Librecht) Elation Professional B.V., Junostraat 2, 6468EW Kerkrade, The Netherlands Tel: 00 31 45 5468566 ~ Mob: +44 (0) 7495 051413 ~ Email: info@elationlighting.eu ELP Broadcast & Events (Darren Fletcher) Unit 3A, Space Studios,Vaughan Street, Manchester, M12 5FQ Tel: +44 (0)161 300 2922 ~ DDI +44 (0)20 8254 4622 ~ Mob +44 (0)7900 055314 ~ Email: info@elp.tv ~ Web: www.WhiteLight.Ltd.uk

Set & Light | Winter 2021

sponsors’ directory

Encore (Dave Slater) Crown Business Park, Old Dalby, Melton Mowbray, Leicestershire LE14 3NQ Head Office: 01664 821 111 ~ London Office: 020 8955 6900 ~ Email: Dave.Slater@Encoreglobal.com ~ Web: www.encore-emea.com ETC (Rory Frazer-Mackenzie, Jeremy Roberts) Electronic Theatre Controls Ltd, Unit 26-28,Victoria Industrial Estate,Victoria Road, London W3 6UU Tel: +44 (0)20 8896 1000 ~ Email: uk@etcconnect.com ~ Web: www.etcconnect.com 4Wall Entertainment (Simon Stuart, Mike Oates) Unit E&F, Glenfield Park, Philips Road, Blackburn, Lancashire BB1 5PF Tel: 01254 698 808 ~ Fax: 01254 698 835 ~ Email: sstuart@4wall.com ~ Web: www.4wall.com FTVS (Film & TV Services) (Joy Brennan) 86-87 Bestobell Road, Slough, Berkshire, SL1 4SZ Tel: 020 8961 0090 GLP German Light Products UK (Simon Barrett) Unit 23 The IO Centre, Salbrook Road Industrial Estate, Redhill RH1 5GJ Tel: 01293 228 660 ~ Email: s.barrett@glp.de ~ Web: germanlightproducts.co Green Hippo (Tom Etra, David March, Abi Roberts) Suite 1, 1 Rochester Mews, Camden Town, London, NW1 9JB Tel: 020 3301 4561 ~ Fax: 020 8889 9826 ~ Email: tom@green-hippo.com ~ Web: www.green-hippo-com JLLighting (Jack Linaker) Unit 16 Tower Industrial Estate, Berinsfield, Wallingford OX10 7LN Tel: 020 3880 8453 ~ Email: team@jl-lighting.com ~ Web: www.jl-lighting.co Key Light Hire Ltd (Alex Hambi) Unit 24, Sovereign Park, Coronation Road, Park Royal NW10 7QP Tel: 020 8963 9931 ~ Fax: 020 8961 236 ~ Mobile: 07949 686 802 ~ Email: alex@keylight.tv ~ Web: www.keylight.tv Kino Flo Lighting Systems (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. kinoflo.comk LCC Lighting (Lee Rickard) P.O. Box 78, Guildford, Surrey GU3 2AG Tel: +44 (0)1483 813 814~ Email: sales@lcc-lighting.co.uk ~ Web: lcc-lighting.co.uk Lee Filters Ltd (Nathan Bailey, Kim Brennan, Emma Sherman) Central Way, Walworth Business Park, Andover, Hampshire SP10 5AN Tel: 01264 366 245 ~ Fax: 01264 355 058 ~ Email: marketing@leefilters.com ~ Web: www.leefilters.com Limelite Lighting (Ed Railton) Harpers Farm, Summer Hill, Goudhurt, Kent, TN17 1JU Tel: 01580 239844 ~ Web: www.limelitelighting.co.uk Vitec Videocom Lightpanels (Andrew Woodfin) William Vinten Building, Easlea Road, Moreton Hall Estate, Bury St Edmunds, Suffolk, IP32 7BY Mob: +44 (0)7860 785 046 ~ Email: andrew.woodfin@vitecgroup.com ~ Web: www.litepanels.com LSI Projects (Russell Dunsire, Richard Bunting) 15 Woking Business Park, Albert Drive, Woking, Surrey GU21 5JY Tel: 01483 764 646 ~ Fax: 01483 769 955 ~ Email: richardb@lsiprojects.com ~ Web: www.lsiprojects.com Martin by Harman (Nick Hansen) Westside Two, London Road, Apsley, Ground Floor, Hemel Hempstead, HP3 9TD Tel: 01462 480 000 ~ Email: nick.hansen@harman.com ~ Web: www.soundtech.co.uk

Set & Light | Winter 2021

Please mention Set & Light when contacting sponsors

Matthews Studio Equipment, Inc. (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. msegrip.co MULTI-LITE (UK) Limited (Martin Carnell) 15 Airlinks, Spitfire Way, Heston, Middlesex TW5 9NR Tel: +44 (0) 208 561 4501 ~ Mob: +44 (0) 7970 224313 ~ Fax: +44 (0) 20 8561 8041 ~ Email: MCarnell@Multi-Lite.co.uk ~ Web: www.multi-lite.com OSRAM Ltd (Emma Woolf) 450 Brook Drive, Green Park, Reading, RG2 6UU Tel: +44 (0) 7932 159535 ~ Email: e.woolf@osram.com ~ Web: www.osram.com/pia Panalux Ltd (Mark Furssedonn) 12 Waxlow Road, London, NW10 7NU Tel: 020 8233 7000 ~ Web: www.panalux.biz PLASA (Sonja Walker) Redoubt House, 1 Edward Street, Eastbourne, Sussex BN23 8AS Tel: 01323 524 120 ~ Fax: 01323 524 121 ~ Email: sonja.walker@plasa.org ~ Web: www.plasa.org PRG XL Video (Kelly Kornfield, Caroline Kelly.) The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT Tel: 0845 470 6400 ~ Email: kkornfield@prg.com / milott@prg.com ~ Web: www.prg.com/uk Richard Martin Lighting Ltd (Steve Wells) Unit 24, Sovereign Park, Coronation Road, Park Royal, London NW10 7QP ~ RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Gloucestershire GL56 0LW Tel: 020 8965 3209 ~ Email: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk Robe UK Ltd (Ashley Lewis, Mick Hannaford, Steve Eastham) 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, Northampton NN3 8RQ Tel: 01604 741 000 ~ Fax: 01604 741 041 ~ Email: info@robeuk.com ~ Web: www.robeuk.com Rosco (Cristian Arroyo) Blanchard Works, Kangley Bridge Road, Sydenham SE26 5AQ Tel: 020 8676 6877 ~ Fax: 020 8659 3151 ~ Email: cristian.arroyo@rosco.com~ Web: www.rosco.com Signify (formerly Philips Lighting UK Ltd) (Stuart Dell) Philips Centre, Guildford Business Park, Guildford, Surrey GU2 8XH Tel: 07774 122 735 ~ Fax: 01296 670 956 ~ Email: stuart.dell@signify.com ~ Web: www.signify.com Stage Electrics Partnership Ltd (Dan Aldridge, Adam Blaxill) Encore House, Unit 3, Britannia Road, Patchway Trading Estate, Patchway, Bristol BS34 5TA Tel: 03330 142100 ~ Fax: 0117 916 2828 ~ Email: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk TMB (Lauren Drinkwater, Tim Obermann) 21 Armstrong Way, Southall UB2 4SD Tel: 020 8574 9700 ~ Fax: 020 8574 9701 ~ Email: tmb-info@tmb.com ~ Web: www.tmb.com Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ Email: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk Vari-Lite / Strand Lighting (Alan Luxford) Strand & Vari-Lite Centre, Unit 24 Sovereign Park, Coronation Road, Park Royal, London NW10 7QP Tel: 07867 536522 ~ Email: alan.luxford@signify.com ~ Web: www.vari-lite.com Version 2 Lights Ltd (Nick Edwards) Version 2 Lights, The Old Grain Store, Childs Court Farm, Ashampstead Common, Reading, RG8 8QT Tel: 020 3598 6938 ~ Email: info@v2lights.co.uk ~ Web: www.v2lights.co.uk

Set & Light | Winter 2021

sponsors’ directory

Please mention Set & Light when contacting sponsors

White Light Ltd (Dave Isherwood, Bryan Raven) 20 Merton Industrial Park, Jubilee Way, London SW19 3WL ~ Tel: 020 8254 4800 ~ Fax: 020 8254 4801 ~ Email: info@WhiteLight.Ltd.uk Web: www.WhiteLight.Ltd.uk ~ Hire Tel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841k Zero88 Zero 88, Usk House, Lakeside, Llantarnam Park, Cwmbran NP44 3HD Tel: +44 (0)1633 838088 ~ Email: enquiries@zero88.com ~ Web: www.zero88.com

education members Exeter College (Atila Mustafa, Lecturer for Film & TV Production) Victoria House Learning Centre, 33–36 Queen Street, Exeter, Devon EX4 3SR Tel: 01392 400500 ~ Email: info@exe-coll.ac.uk ~ Web: www.exe-coll.ac.uk

The STLD’s interactive Sponsors’ Directory is a useful tool, both for the STLD and, we hope, for those of our sponsors who use it. Its main advantage is that it enables the society to display up-to-date and accurate information about your company on its website. In doing so, it helps us update our records and ensures that we have accurate mailing and invoicing details. STLD sponsor companies can make use of this facility by contacting Bernie Davis at sponsors@stld.org.uk with the name and email address of the person who will become the company’s ‘sponsor user’. They will be registered on our secure database and will then be able to modify their company’s information within the Sponsors’ Directory. Please note that the directory enables company searches by category and area. Bernie Davis – STLD Sponsor Liaison

index of advertisers Ayrton 7 B360 9 Doughty 29 ELP 64 Limelight Lighting 2 Litepanels 11 Unusual 31 Version 2 63

Set & Light | Winter 2021

membership application

Set & Light | Winter 2021

membership application

Set & Light | Winter 2021

e Liv as Ide Big

Unit 3A Space Studios, Vaughan Street Manchester, M12 5FQ T: 0161 300 2922 E: Darren.Fletcher@WhiteLight.Ltd.uk

White Light Ltd

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ELP Broadcast Lighting

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BROADCAST LIGHTING EQUIPMENT MANCHESTER & LONDON

20 Merton Industrial Park, Jubilee Way, London, SW19 3WL T: 020 8254 4800 E: Ian.Charlampowicz@WhiteLight.Ltd.uk