Sponsor News

Vista by Chroma-Q are excited to announce the release of part 1 of their Vista 3 Training Series!

These videos will provide you with the knowledge required to setup, program, and playback great looking shows using the Vista 3 lighting and media control application.

Designed for both beginner and experienced users, the series provides clear examples on each topic with many useful tips along the way.

Head here to get started:- https://www.vistabychromaq. com/vista-3-training-series/

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, Clay Paky’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.”

The Television Academy announced the recipients of the 74th Engineering, Science & Technology Emmy® Awards. ARRI is pleased to be awarded the Philo T. Farnsworth Corporate Achievement Award for its more than a century of designing and manufacturing camera and lighting systems as well as its development of systemic technological solutions and networks for a worldwide complex of film, broadcast, and media industries.

Named after Philo Farnsworth, the inventor of the first fully working all-electronic television system and receiver, the Philo T. Farnsworth Corporate Achievement Award is a non-competitive award presented by the Television Academy as part of the Engineering, Science & Technology Emmy Awards. Since 2003, this prestigious accolade has honored “an agency, company, or institution whose contributions over time have significantly impacted television technology and engineering.” The winner is selected by a jury of television engineers from the Academy’s Engineering Emmy Awards Committee.

“Industry professionals have long relied on the stability and versatility of ARRI equipment in a portfolio that includes digital cameras, lenses, camera accessories, archive technologies, lamp heads, and lighting accessories. Along with offering exclusive technologies, ARRI Rental’s services and equipment provide camera, lighting, and grip packages to professional productions,” recognizes the jury of the Engineering Emmy Awards Committee. “ARRI cameras have connected the creativity and technology that have made filmed entertainment the premier medium of our time. Dedicated to maintaining its place in the forefront of the development of future technologies for the capture of moving images, ARRI has been at it for 100+ years…and counting.”

Dr. Matthias Erb, Chairman of Arri’s Executive Board

Dr. Matthias Erb, Chairman of ARRI’s Executive Board, expresses the company’s gratitude: “ARRI is very honored to be the recipient of the Philo T. Farnsworth Corporate Achievement Award. We are very thankful to the Television Academy for this esteemed recognition. Throughout our history, ARRI has been dedicated to creating the very best tools and solutions for the global production community. We look forward to many more years of successful collaboration.”

The Philo T. Farnsworth Corporate Achievement Award marks the fourth separate occasion that the Television Academy has recognized ARRI. Most recently, ARRI was presented with an Engineering Emmy for its SkyPanel family of LED softlights in 2021 and for the ARRI ALEXA camera system in 2017.Recent and notable shows that have been captured by ARRI and serviced by ARRI Rental include 2022 top Emmy contenders: “Ted Lasso” (Apple TV+), “Succession” (HBO), and “The White Lotus (HBO).”

(SMPTE) awards Michael Cieslinski, Technical Lead Imaging Frontend at ARRI, with the 2022 Camera Origination and Imaging Medal Award.

This prize, established in 2012, recognizes significant technical achievements related to invention or advances in imaging technology. According to Jay Ballard, Chair of the SMPTE 2022 Camera Origination and Imaging Medal Award Committee, Michael Cieslinski receives this prestigious award “in recognition of his pioneering work in image and camera design which led to the development of a family of high dynamic range electronic cinematography cameras that have the ability to create images with the look of 35 mm film.”

Michael Cieslinski affirms: “ARRI is a special place to work. On the one hand, there’s the know-how—on the other, there’s the ARRI spirit, with which people help and support each other. There is an absolute fixation on image quality and a management that has confidence in the employees and supports innovation. Outstanding products are then created on this basis.” He continues and recognizes his colleagues: “Without our excellent team, my ideas could not have been realized. I would therefore like to expressly thank my colleagues for the many years of cooperation and accept the award on their behalf as well.”

ARRI announces the launch of the two Orbiter Projection Optics 25° and 35°. Combined with Orbiter’s ARRI Spectra light engine, the high-end optical system provides a state-of-the-art LED profiler which is perfectly suited for theaters, cinematic applications, as well as broadcast studios or live productions.

The Orbiter Projection Optics provide unparalleled precision in every detail allowing for crisp projection of a light spot, as well as gobo projection and precise shutter cuts. The field of light is even and without color aberration. The projection has no visible hot spot or drop to the edge and the depth of field is outstanding. Both optics have a standard iris slot. The four manually adjustable shutter blades of the Projection Optics 25° and 35° produce a beam where the shutter blade cut projection and the beam’s edge are simultaneously in sharp focus. Both optics have a motorized focus adjustment which allows for great precision and repeatability. With the latest update of Orbiter’s Lighting Operating System, LiOS2, the focus can be controlled locally via Orbiter’s Control Panel or remotely by DMX/RDM or IP based (ArtNet or sACN). Once set, the focus is kept in place and not subverted by locking the lens tube into place. Furthermore, a standard B-size metal or glass gobo can be added. The genuine ARRI gobo holder is made to keep the gobo securely in place and the produced gobo pattern is clearly visible. Any focus adjustment between gobo and shutter is barely necessary; focus adjustment between gobo and open gate is not necessary at all. Additional ARRI accessories like a snoot or color filter frames can be added in front enabling fine tuning when needed.

The Orbiter Projection Optics are a great addition to the already existing Orbiter Fresnel Lens 15-65°. Orbiter’s unique Quick Lighting Mount (QLM) system allows the Projection Optics to be mounted safely and quickly but still enabling a 90° rotation. The LiOS2 update ensures an automatic recognition of this new optic and its latest feature, Optics Auto Adjust, offers 100% color stability with any focus and any optic. The optic’s cooling fan can be controlled via Orbiter’s Light Control setting through the Control Panel. Both Orbiter Projection Optics will be available in black in October 2022.

Ayrton MagicBlade - credit Matt Benson

Arri orbiter projection optics application

In keeping with Ayrton’s accelerating strategy of focused distribution, and in amicable agreement with our friends and partner, LiteNordic, Ayrton’s sales and distribution arrangements for Norway, Denmark and Sweden will soon be changing.

With effect from 31 July 2022, LiteNordic will no longer be Ayrton’s distributor in these countries. LiteNordic will continue to represent Ayrton until that date, and support all sales made before 31 July under warranty thereafter.

All sales enquiries after that date should be made to Matt Hallard, Ayrton’s European Sales Director, until a new distributor is appointed.

“Ayrton is now actively inviting Nordic distributors and industry captains looking for an exciting new challenge to get in touch,” says Hallard. “We are very grateful to LiteNordic for the past two years of dedication and hard work but agree that a change in distributorship is now the way forward. We will continue to work closely with LiteNordic until 31 July 2022 to ensure a seamless transition to new distribution partnerships.

“Ayrton is the leading brand of LED - and now laser - lighting fixtures and this is an exciting time to be joining our world. We are looking for three focused, dynamic, energetic young companies who are as excited as we are about the future of Ayrton. There’s a wealth of stellar companies out there whom we are yet know and we look forward to meeting them!”

Full Flood Inc. has chosen Ayrton MagicBlade FX lighting fixtures for NBC’s new, eight-episode American Song Contest, the domestic answer to the hugely popular and long-running Eurovision Song Contest. Volt Lites supplied the MagicBlade FX units, which are exclusively distributed in North America by ACT Entertainment. Hosted by Kelly Clarkson and Snoop Dogg, American Song Contest will feature 56 live original song performances by artists from all 50 states, five US territories and the nation’s capital. It debuted on March 21 and wraps with a finale featuring the winning performance on May 9. Episodes are also air on NBC. com, Peacock and Hulu.

Lighting Designer Noah Mitz and Lighting Director Will Gossett, both from Full Flood, are using 144 Ayrton MagicBlade FX for American Song Contest, which shoots on the Universal Studios lot in Los Angeles. “That’s by far the most MagicBlade FX fixtures we’ve ever used in an array such as this one,” says Gossett. “We’ve used MagicBlades on other shows in linear arrangements to border scenery or align with trusses, but it’s great to have such a visual impact in the vertical plane like we do on this show.”

Each MagicBlade FX fixture features seven squared 65mm transmitting lenses and a revolutionary FX optical zoom system. The RGBW high-output LEDs can be individually controlled to create airborne virtual scenery or illuminate sets and performers.

American Song Contest has “a uniquely-shaped performance environment” by Production Designer Julio Himede in the style of a forced perspective roadway, which terminates in an upstage wall comprised of various interchangeable lighting elements. “The set has to support 56 performances, each with a bespoke design, over the eight shows,” explains Gossett. “The MagicBlades comprise most of three independently sliding light walls; the three pieces can be configured as one wall element or used in different combinations. There is a grid of 54 MagicBlades in the centre wall and 45 MagicBlades in each of the left and right walls. The fixtures are yoked out 90º to maximize the variety of looks achieved through different pan positions”

MagicBlade FX fixtures were a logical choice to meet the needs of American Song Contest. “They are very versatile and we have yet to reach a limit to the patterns and effects that the MagicBlade FX can achieve in various position and zoom configurations in combination with clever programming by Patrick Brazil,” says Mitz.

“MagicBlade’s unique fixture face – linear with pixels – almost feels like dots moving freely through the upstage space,” Gossett adds. “And we have full pixel control, which adds an element of mystery, too. Sometimes there’s more negative space on the walls; sometimes a sequence of pixels gives a unique sense of motion for slower moments in songs – they don’t always look like lighting effects. But the MagicBlades also have a lot of horsepower to push light out of the wall when we want that intense presence.”

Lighting Directors/Programmers Patrick Brazil, Rob Koenig, and Darien Koop masterfully command a network of grandMA2 consoles in addition to Capture software in an extensive previs process for the set and lights. The consoles remain on site for the current run of shows and additional previs. ACT Entertainment also is the exclusive distributor of MA Lighting products in North America.

Gossett says, “It was quite fun when the entire production team participated in the first camera look-see day, and they saw the wall come alive and go through some looks and effects. It’s not every day that people stop and say, ‘Whoa! What are those fixtures?’ That many fixtures creating patterns and almost bending light is not what people are used to seeing.”

Other members of the lighting production team include Tyler Ericson (Assistant Lighting Director); Matt Benson (Gaffer); Mark Marroquin (Best Boy); David Russell, Janos Bode, Ben Lewis, Jeff Geisser (System Techs).

B360 at the Commonwealth Games

We celebrated the end of spring with The Queen’s Platinum Jubilee, supporting both the BBC and ABC News with their broadcast of the events over the weekend. Whilst this memory was still fresh in our minds, just a few short months later, we were back again at Canada Gate, but this time to mourn the passing of the Queen. Here we were required to mobilise our lighting package and lighting team to load in a mere three days after the

Announcement. We were honoured to again support both the BBC, ABC News and NBC News with their coverage of both the period of morning, and the Queen’s Funeral.

Early in the summer we were delighted to be once again involved with the Isle of Wight Festival, providing labour and studio lighting to CC-Lab for the Sky Arts Studio. Throughout the summer we worked in partnership with the BBC providing the lighting and labour for the Commonwealth Games in Birmingham. We had the delight of supplying the lighting, power distribution and labour for the BBC broadcast the European Championships in Munich.

B360 have continued to supply the daily lighting crew and Desk Operators at Ealing Broadcast Centre as well as News UK London Bridge. Our power department have been busy providing power to a range of Outside Broadcast Units. We had the deepest pleasure of providing power and studio lighting for the Womens FA Cup. We have continued to provide power for the broadcast of the National League, Women’s Super League, Women’s 6Nations, as well as the EPCR. We have also been honoured with providing power to the Queens Tennis, Henley, as well as Dutch Darts Masters again this year. For the first time this year we were honoured to work in partnership with Timeline to provide power, power distribution and labour for UFC, both in London and Paris.

B360 have continued to invest in equipment, growing our cable, distro and lighting stock. We have been excited to add the brand new Aputure LS 1200d to our stock – an LED, IP Rated equivalent to the M18. We are also delighted to add the new Gemini Hard 1x1 into our rental stock.

Our install department have been working hard throughout the summer and celebrated the launch of a new PLP Studio within IMG Studios. They are also currently designing several upcoming and exciting new studio installations and upgrades.

We currently have several positions available – within our warehouse, power department as well as our installation/project department. Please feel free to contact us for more details. https://www.b360.tv

**NEW IN RENTAL STOCK AT CIRRO LITE**

Matthews Studio Equipment, known for standard-setting grip gear for location and studio work, introduces the first off-the-shelf, modular grip and lighting stand that reaches 25 feet/7.62 meters. Air Climber™ uses pneumatics to be safely raised and lowered via a regulator switch and air compressor.

A large levelling platform supports the telescoping column (mast). Complete with eight-risers, the unique design employs seven locking collars with tension control and a frictional locking system for each section. A clockwise turn of the handgrip engages a metal band that braces each riser section and safely tightens and locks the riser tube. Individual riser tubes may be locked in intermediate positions so the user can enjoy precision accuracy when raising and lowering. The system’s pan ring allows 360-degrees of mast rotation without the need to completely lower the system—a valuable time-saver.

The large levelling dolly platform base comes equipped with four telescoping legs for footprint adjustment (maximum 8’x8’/2.44×2.44m, collapsed 5’x5’/1.52×1.52m) and four heavy-duty jacks with 14”/35.5cm reach to level out the platform. The 8-section telescoping column can be easily removed from the dolly with a single wrench or can be left built and ready to transport in the back of the truck. The rotating Base at the bottom of the the column (or mast) offers a Lock and Pan Wheel around it to ease fixture positioning. Four rugged tires with breaks and security struts assure safe and smooth movement and secure lock down.

Campari Boat-In cinema event 2022

One hundred Claypaky Sharpy Plus Aqua fixtures were deployed at the Venetian Arsenal from 31 August to 10 September 2022 for the Campari Boat-In Cinema event at the time-honoured Venice International Film Festival.

Campari has been the main sponsor of the festival for the past five years, during which it has organized a whole series of events to promote dialogue between established filmmakers and emerging talent. Among the bestknown initiatives is the screening of some of the films in competition with the audience watching from the water on small boats or platforms in the scenic Arsenal basin. A spectacular live performance opens the evening after an apéritif and welcome dinner for a select audience of about 180 people. This is followed by a film screening on the big screen. After the film, the evening firework party begins for a larger audience of about 1,500 people, with live performances and DJ mixes featuring scenic settings and striking light shows.

Event lighting designer Giovanni Pinna told us: “the client asked for some very ‘graphic’ lighting to bring out the four islands, which were built especially for the occasion and connected to each other with red carpet-like walkways. The stars and guests arrived and were guided along the

pier and walkways by a highly dynamic light path, drawn out using about eighty Sharpy Plus Aqua units, forty on each side.”

Claypaky’s Sharpy Plus Aqua is an IP66-rated hybrid moving head fixture, ideal for both indoor and outdoor events. It comes complete with all the latest effects and performance features and is capable of adding a distinguishing touch to any lighting design.

Pinna went on to say: “Aqua Sharpy Plus fixtures are absolutely excellent, and the only outdoor lights I used at the Arsenal. They provide so many visual effects. I used them almost entirely by playing with their gobos and prisms. To say nothing of their versatility: depending on the need, I could use them as beam, spot or wash lights.”

About twenty Sharpy Plus Aqua units were also installed on the edge of the big screen to provide stage backlighting. On some occasions they were used as key lights, for example during Stefano Accorsi’s performance.

“For such important events and demanding clients, you absolutely have to rely on proven products and brands that you know you can count on,” Pinna continued. “Claypaky has always supported me with great professionalism, and their technical staff was again invaluable during the rigging. Most important of all, the client was highly satisfied with the result!” Claypaky also supplied Mini-B fixtures. These small but ultra-efficient wash lights were installed inside the discothèque Campari set up.

The event was conceived and produced by MCM Comunicazione di Chicco Nobili. The lights were provided by Service LK Events di Salvatore Oliva. Studio Gio Forma handled the art and creative direction and “Laccio” dealt with the choreography. Giovanni Pinna received priceless help from chief technician Matteo Minchella.

Claypaky took part in Plasa 2022, welcoming a large number of industry professionals and practitioners from all over the world at its booth and in the spacious rooms set up in the Henley Suite.

Alberico D’Amato, Claypaky Sales Director, said: “Plasa was, as ever, a ‘must-attend’ event for the British market, which has always been one of the most dynamic and proactive in our industry. However, we were positively surprised by the number of customers from other European countries, and even from Asia, Australia, America and the Middle East. It is a show with an international dimension!” Claypaky presented all the products it has recently launched on the market, which stand out for their variety, versatility and unique features. The growing award-winning Xtylos family of laser-source moving heads now includes the Xtylos Aqua, featuring marinegrade C5-M protection, and the Mini Xtylos HPE, which is more energy-efficient than any other beam units made up to now. Claypaky is the only company today able to offer an entire family of laser-engine-based fixtures. The Volero Batten Aqua is a high-performance IP66 LED moving batten. The Tambora Linear is an advanced line of static LED pixel mapping bars designed for versatile lighting effects and artistic set decoration. The Tambora Flash is the only IP66 hybrid fixture on the market that can act simultaneously as a strobe, wash light and blinder, specifically designed with a modular approach for use in a linear array.

The Sinfonya Profile 600 is a unique, low-noise LEDbased unit, conceived and developed exclusively for the theatre market. The Sharpy X Frame is a multifunctional luminaire with all the Sharpy line’s best features and incorporates a four-focal plane shutter system in a lightweight, compact unit. The Arolla series features the new Arolla Profile MP and the Arolla Spot MP.

The CloudIO is the first IOT device for moving head fixtures. It opens up a whole world of information, diagnostics and remote assistance. Alberico D’Amato went on to say: “We have had very favourable feedback from lighting professionals. The market has almost fully reopened after the COVID-19 years. There is great excitement and eagerness, and our lights are there at the forefront to lead the rebirth of our industry!”

Claypaky organized a series of daily workshops to illustrate the features of its products in detail: one was devoted to laser technology in entertainment lighting, with focus on the Xtylos family; another to the next generation of truly advanced lights for theatres, with focus on the Sinfonya Profile; and yet another to the new Claypaky effect lines Tambora and Volero, with an exclusive preview of the new, unique LED bar, which will be officially launched in the coming weeks.

The 66th edition of the Eurovision Song Contest was held by the EBU (European Broadcasting Union) at the PalaOlimpico in Turin, featuring about 200 million people watched live and - for the first time in three years - there was an almost full audience at the venue.

RAI RadioTelevisione Italiana, as host broadcaster, took the lead in setting up the stage, which this year revolved around “The Sun Within” designed by Francesca Montinaro, an ambitious new stage concept based on the light of a kinetic sun. The multilevel stage set-up was complemented by spectacular waterfalls, large LED video walls and - as always - an impressive array of lights ready to set the competing artists’ shows on fire.

Claypaky was there with over 400 lights, including 120 Sharpy X Frame, 64 Xtylos, 25 Mini Xtylos, 42 Arolla Profile HP, 25 Stormy CC and 144 Sharpy Wash units. Particularly prominent among them all were the new Claypaky Sharpy X Frame hybrid lights, which flanked the two side catwalks that led from the upper stage

down to the stage below. The Claypaky Xtylos fixtures were arranged along the two top side edges of the structure and were particularly visible in the fanned-out coloured light that cut through the audience. They also had the essential task of creating the lighting effect that accompanied the presentation jingle at the beginning of each song. The Claypaky Mini Xtylos HPEs were fitted in unusual places: thanks to their great compactness, they were installed inside the stage-side trapdoors, from which sharp blades of coloured light shot out. The Claypaky Arolla Profile HPs and Sharpy Wash 330s were placed around the stage and the venue and played multifarious roles. They provided side and back lighting for the artists, and wash lighting for the green room.

The event was directed by Duccio Forzano and Cristian Biondani, and Mario Catapano was the lighting director. Marcus Graser, Claypaky CEO, said: “The world’s most impressive musical show used our lights once again this year. The lighting designer chose a wide range of Claypaky units, including profile spotlights, hybrid fixtures, beam moving lights, washlights and strobes. The fixtures used various light sources: LED-based, laserbased and discharge lamps. This speaks volumes about the wide variety of versatile, reliable lighting solutions which only Claypaky can currently offer the market.”

The lighting systems were provided by Calvini Light Equipment Service, based in Taggia (Imperia), and Sound D-Light from Pesaro.

DedoLight has introduced DedoLight Lightstream Table Top, completing the Lightstream family, made up of: (i) Lightstream standard (ii) Lightstream LITE (iii) Lightstream Table Top.

The range of tools included with DedoLight Lightstream Table Top was originally conceived to serve traditional table top tasks such as product photography, filming of miniatures, animation and other table top work.

In its basic configuration, DedoLight Lightstream Table Top consists of 2 × 8 Watt Ledzilla focusing lights, which can be mono or bi-colour lights. These lights can be fitted with the parallel beam intensifiers designed to work in combination with a rich choice of reflectors.

The front end of each Ledzilla, can also be exchanged for 2 types of imagers – projection attachments, which allow the highest degree of precision lighting for defined razor sharp accents: at the same time still enabling unnoticeable creative effects.

The basic DedoLight Lightstream Table Top system comes with a range of 15 different reflectors and unique holding devices. The system works with the same rail used on the back of standard DedoLight Lightstream reflectors, which can now be used with a multitude of different holding devices. including bendable arms, different variations of magic arms, clamps and other accessories. DedoLight Lightstream Table Top can also be used for the lighting of larger spaces and doesn’t need to be limited strictly to table top work. Entire studios have been lit for music videos using only DedoLight Ledzilla lights; with the progress of this new system, all these capabilities are now vastly increased.

DedoLight Lightstream Table brings DedoLight Lightstream to the absolute forefront of lighting with reflected light. The capability and potential of the tools are endless; enhancing the creative approach, tremendously.

Some 72 nations and territories came together July 28 – August 8 in Alexander Stadium in Birmingham, England, for the 2022 Commonwealth Games. Lighting the Opening and Closing Ceremonies of the quadrennial multi-sport event was Al Gurdon of Incandescent Design who used over 300 Elation Professional IP65 Proteus luminaires to light the festivities.

The Opening Ceremony was a visually spectacular and at times emotional show that featured dance groups, dream sequences, cultural parables, humor and even a 10-meter tall mechanical bull. A cast of thousands traced Birmingham’s history through themes of unity, diversity and resilience with the evening capped by a medley of hits by local heroes Duran Duran. The Closing, just as impactful, focused on the region’s unique musical heritage with performances by UB40, Jorja Smith and Dexys Midnight Runners, among others, including a surprise appearance by veteran rocker Ozzy Osbourne.

Needless to say, there was plenty to light in the form of sets, scenery and artists, both for the live crowd of 30,000 and the estimated global broadcast audience of more than a billion.

Gurdon, however, is a veteran of high-profile sporting event ceremonies, having designed lighting for the 2014 Sochi Olympics and served as Director of Photography on the 2012 London Olympics. He has also lit several Super Bowl Halftime shows and knows what type of lighting is required for a show of this caliber. “It’s an open-air show without a roof, with equipment in place for several

weeks, so waterproof fixtures are important, and so is reliability,” he said.

The designer looked to Elation’s market-leading IP65 Proteus line, using 212 Proteus Maximus™, 54 Proteus Excalibur™ and 54 Proteus Rayzor Blade™ luminaires. Incandescent Design provided the front of house team while PRG provided equipment and lighting crew, headed by Crew Chief Tim Probert. “Rich Gorrod at PRG was my design associate in the planning stages,” Gurdon says, “and put together and led a great team, as always, in the stadium.”

The Maximus and Excalibur fixtures have featured on many large projects but the Commonwealth Games marked the debut of the Proteus Rayzor Blade, a tiltable linear LED light that functions as a wash, strobe or FX light. “To be honest, the Proteus Rayzor Blades were our only option because we needed a tiltable waterproof batten and, as far as I am aware, there aren’t yet any alternatives,” Gurdon said of the RGBW fixtures, adding that they are also extremely bright. “I also wanted something with a decent zoom range because some of the action would be quite close, so they needed to go wide.”

For the Opening Ceremony, Gurdon lined the athlete’s path with Proteus Excalibur narrow beam moving heads and positioned additional units on audio carts. The 20,000-lumen Excaliburs with their 0.8° beam were primarily used for attention-grabbing searchlight effects. For the Closing Ceremony, which Gurdon says was much more about music than the Opening, he moved the Excaliburs to the ‘upstage’ east side to get a strong floor backlight for the musical performances. Meanwhile, from positions high on the stadium, a battery of 50,000-lumen Proteus Maximus moving heads were used as a bright, shuttering, weatherproof fixture whose principal function was “keying the action” rather than as effect light.

The Opening and Closing Ceremonies were two very different shows, according to Gurdon, and both reportedly went very well. “I was particularly pleased with the Closing because from a lighting perspective it was completely unrehearsed,” he remarked. “Because the Games were taking place in the stadium, the rehearsals took place at a 1:1 site on the other side of the city, and because all of my key lights stayed rigged throughout, there was no way of rehearsing with them. “Furthermore, the show was extremely complex from a staging and camera perspective so we had to rely on very careful preparation in terms of analysing those rehearsals in situ and, crucially, from camera recordings, which was often our only way of seeing what was going on.

We kept our pre-viz throughout, and without it it would have been impossible to do the show to the standard that we eventually achieved.”

By any standard, the Birmingham 2022 Commonwealth Games was a rousing success and that goes for the production team as well. Naturally, it takes a village to light an event of the magnitude of a Commonwealth Games, and Gurdon is forthcoming in acknowledging the team effort. “I cannot overstate the contribution of my fantastic team,” he shares. “Ross Williams and Alex Mildenhall as lead programmers with Ben Hornshaw providing systems support and management on site, and Nikita Jakovlev in pre-viz. Vision Supervisor Emelie Scaminaci produced beautiful pictures throughout, and Chris Henry spot-called two extremely complicated shows with a team of operators with only a small number of professionals, but the majority of volunteers who had never done it before.”

Gurdon concludes, “Zoe Snow and Gary Beestone [Birmingham Ceremonies] put together a fantastic team of creatives and technical chiefs and crew, and led and supported us all in this massive project throughout with a rare combination of great experience, calm professionalism, and great humor.”

This year marks the Platinum Jubilee of Queen Elizabeth II and in honour of the historical anniversary, the United Kingdom is holding several events celebrating her 70year reign. At The Royal Windsor Horse Show in May, Elation Professional had its own workhorse on display albeit not of the equine variety. PRG provided a full lighting rig for the event that incorporated 171 Elation Proteus Maximus™ IP65-rated LED moving heads as the key luminaire in the design.

The challenges of creating a dramatic and theatrical lighting rig on an arena scale with a daily Horse Show running concurrently are vast, but PRG has a long and successful history with the event and has provided lighting rigs for the illustrious equestrian show for over 12 years. This year, the company made the decision to update to a more sustainable LED option and much needed waterproof protection. Richard Gorrod, Vice President and head of Event Services at PRG UK, has led the PRG team at the event for a number of years and names the Proteus Maximus’s 50,000 lumens of brightness, ingress protection, framing shutters and gobo selection as key reasons for its choice.

“We have used non-IP65 discharge wash fixtures in previous years but this was a great upgrade and worked fantastic,” Gorrod commented. “The Maximus has everything in one fixture and was the workhorse for the main arena. It was very reliable, especially in the British weather.”

used on the show only a single unit was swapped out. “Amazing!”

Produced by HPower, The Royal Windsor Horse Show is held annually at Windsor Castle with this year’s Platinum Jubilee event an upgrade over past years. PRG worked with lighting designer Paul Cook and delivered a vastly increased lighting rig of 600 fixtures, 130 hoists and 500m of truss.

“The nature of this particular Pageant meant that everything had to be bigger,” says Gorrod. “Our long history with the show really gave us the upper hand in our ability to confidently enhance the show’s design to deliver the spectacle it needed, as well as being able to adapt our technical delivery to the production as it grew.” PRG also provided several extra rigs for the production, including lighting for the VIP boxes and break out dining areas for guests and dignitaries at the event.

The Royal Windsor Horse Show showcased all the pomp and ceremony befitting of a royal event and featured the royal military, 1,300 performers, 500 horses and an all-star cast of British and international talent. The Theme of the event was ‘Gallop Through History’ and was attended by Her Majesty The Queen and hosted by a number of celebrities.

ETC has worked with BAFTA and the redevelopment of its home and headquarters in London. The revamped BAFTA 195 Piccadilly is now officially reopen and will be the central hub for BAFTA’s UK-wide, and global, learning and talent development programme.

State of the art facilities and technologically advanced equipment has been used in the redevelopment including ETC products which have been installed in the new theatres within the space. This includes several lighting fixtures – fos/4 Fresnels, Source Four LED Series 2 profiles and Irideon wash lights. Eos family consoles with network infrastructure including Response Mk2 DMX Gateways are also used to control the lighting, with a stage engineering package involving ETC’s Prodigy P2 hoists and QuickTouch Preset controls. By improving facilities and doubling the building’s capacity, the redevelopment has enabled BAFTA to dramatically increase its charitable programme. 195 Piccadilly will be a creative centre for film, games and television. 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.

BAFTA’s revamp of its headquarters also brings an expansion of its talent support programme. ETC fully supports BAFTA’s initiatives for encouraging new talent and is equally committed to building up the next generation of lighting professionals with programs that are specifically aimed at students such as the Fred Foster Student Mentorship Program. ETC Regional Sales Manager for the UK, Jeremy Roberts comments: “BAFTA is such an important organisation for our industry, it was with real pleasure that we were able to support the changes and upgrades to the building. There is a great synergy between the education initiatives of the BAFTA team and the work ETC does in its North Acton training space for aspiring broadcast and film lighting professionals.” Pauline Campbell, Head of Property at BAFTA added: “We were pleased to work with ETC. In addition to providing cutting-edge technology, their support allowed us to fulfil our charitable remit and provide creatives, new talent, and practitioners with a dedicated global hub for the arts, as well as a lasting legacy in the heart of central London.”

BAFTA – Rory Mulvey

The Falklands Hall primary presentation auditorium at the Commando Training Centre Royal Marines (CTCRM) required an urgent replacement for their original tungsten lights, and ETC ArcSystem was chosen to upgrade the space. The tungsten lights had come to the end of production and spare parts and bulbs were unavailable which led to a health and safety issue as they fell below the legal level required. ETC dealer, Stage Electrics, selected ArcSystem fixtures and drivers to transform the space with LED.

CTCRM, is based in Lympstone, Devon, UK and is the official training base for the Royal Marines – the UK’s Commando Force. The auditorium space previously had 66 150-watt tungsten lamps which repeatedly failed and caused issues with maintenance as they were mounted over the seating rake. These luminaires were all replaced with ETC’s ArcSystem Pro One-Cell fixtures and ArcSystem Pro D4 CC Drivers.

The Pro One-Cell luminaires were selected for their high quality of light, and together with the D4 drivers, their smooth and superior dimming. The upgrade to ETC’s LED products led to over 80% reduction in power consumption at the CTCRM as well as a much-improved quality of lighting.

Technical Solutions Engineer at Stage Electrics, Martin Woodage comments: “It was fantastic project to work on, seeing the dimly lit space transformed into a beautifully lit space was amazing to see. The team at Stage Electrics worked hard to make sure the project was a success and brought the customer exactly what they wanted, with only a week’s downtime for the venue.”

ETC has released a new ETC Library App, making ETC documentation accessible from one convenient location. Through the app, users can easily view, and share datasheets, brochures, and other standard technical documentation for all ETC products. The ETC Library App replaces the former ETC Product Portfolio and is hosted on an entirely new platform.

Users can expect improvements in both speed and search functionality on the app, with the ability to look up documents by part numbers and more. The cloud-based platform also saves storage space for users, allowing them to directly download only the files they need. The new app makes it simple to create a collection of documents and share them via email, text message, and more. The ETC Library App is now available with all ETC product datasheets and with plans to continue expanding documentation and language options. Users who previously had the ETC Product Portfolio software downloaded on their desktop will need to download the new ETC Library App for current documentation. Users who had the Product Portfolio app on mobile devices will simply need to update the app.

To download the ETC Library App, please visit etcconnect.com/library. Find more ETC apps at etcconnect.com/Apps.

FTVS UEFA Women’s Euros 2022

The KF4 kit also includes (4x) 5” Fresnels that can spotflood each P3 Color from 15 to 45 degrees. Both 3” and 5” barndoors are packed into the kit to give users more light shaping options. The custom KF4 travel case also has 3 zippered pouches for storing power supplies and other accessories.

The new Fiilex KF4 4-Light Travel kit comes with (4x) 90W P3 Color lights protected by laser cut foams in a 22” x 14” x 9” hard shell rolling case. The delivery of the KF4 4-Light Travel Kit will start in Q4 2022.

FTVS’s lighting and green fuelled mobile power generation were in great demand by broadcasters for this summer’s televised major sporting and prestigious events. The roll list included The Platinum Jubilee, Open & PGA Golf, Wimbledon, Cricket (Tests, T20 and The Hundred) and Horse Racing.

One highlight was FTVS providing their services for the broadcasting of UEFA Women’s Euro 2022. FTVS teams worked on ALL of the 31 matches across 10 venues. FTVS supplied outside broadcast silent twin-sets power generators, distribution, TV lighting equipment and crew for pitch side and flash interviews, studio and mixed zones.

Joy Brennan FTVS’s MD, said, “It’s been a fantastic 2022 so far, with the highest-ever number of projects completed! A big thank you to our clients and partners for their ongoing support”.

Although it was a very sad occasion, FTVS were greatly honoured to be part of the OB family that delivered memorable television coverage. Their power and lighting services were required at multiple locations including Buckingham Palace’s “Media City”, RAF Northolt, Llandaff Cathedral, Cardiff Castle, Westminster Abbey, Hyde Park and Windsor. FTVS were still able to fulfil their existing regular commitments and projects across the country. Joy Brennan, said, “Our sincere thanks go out to all our teams, clients and partners who worked together on this historic event”.

FTVS expanded Equipment and Lighting Hire range can now be viewed online. Visitors to the ftvs.co.uk website can compile their product hire list and request a quotation from George Kloss FTVS’s Hire Manager.

FTVS’s first Electric Vehicle (EV) is now transporting equipment and supporting services. The EV forms part of the company’s environmental mission to advance to a sustainable future. It follows on from FTVS switching their primary fuel source for their vehicles and generator engines to Green D+ HVO in March 2021. FTVS has made a significant investment in energy saving LED lighting.

Kimberley has recently joined FTVS as Operations Coordinator, working closely with Karl Thompson and Peter Ward, Operations Director.

Kimberley’s operational and project management experience includes working for British Marine’s highprofile events, such as the Southampton International Boat Show. At FTVS, Kimberley ensures that scheduling and allocation of resources to projects is handled in a fast and efficient manner.

Quiz für Dich (Quiz for You) is the name of Germany’s new prime-time quiz show, airing on Sat.1 and moderated by Jörg Pilawa. At first glance, it may seem like this format has already been done many times before – but Quiz für Dich injects a breath of fresh air into the concept by introducing a special twist.

The lighting design is by Jerry Appelt, who has again turned to GLP for the majority of the lighting tasks. In each show, four celebrities compete against each other in teams of two and play for money that is to be donated to a good cause. However, this good cause does not remain abstract, as it does in so many other shows, but is given a human face, since the profit earned benefits a specific person who volunteers for a charitable purpose. The sudden surprise is revealed in each programme with the support of hidden cameras, creating moments of genuine shock and deep emotion on the part of the recipient. The show was produced at the EMG Studios (formerly nobeo Studios) in Hürth, Cologne, with Appelt – who frequently uses lighting solutions from GLP for his TV productions – acting as LD and DoP.

In addition to classics such as the impression S350 and impression X4 L, which serve as stage personnel and audience front and rear lights, Appelt has deployed a large quantity of the ultra-compact impression FR1. A total of 162 GLP impression FR1, 57 impression S350 Wash, 40 S350 Spot, 56 X4 L, 18 X4 Bar 20, and 25 pieces of the new FUSION Stick FS16 Z – with the special halo ring around the front lenses – are in use. “I’ve had a lot of experience with the small, versatile FR1s,” says Jerry. “They now play a special role in Quiz für Dich because they really define the visual look of the set. Since these are moving-head devices, we are able to easily position them according to the changing camera axes, which of course makes the work a lot easier.” The GLP impression FR1 is one of the most compact moving lights available in the marketplace. It has a powerful, homogenised 60W RGBW LED that produces crisp coloured or pure white beams with variable colour temperatures (2,500 K to 10,000 K). The quality of the visual output was the primary focus when the FR1 was being developed. The FR1’s beam remains clean, homogeneous and clearly defined in the narrow area over the entire zoom range (3.5–35 degrees) – the optimal prerequisites for use in front of cameras. The already well-proven impression S350 once again stepped up to the mark, as the designer explains: “Since the set has numerous video elements, I needed a light with enough power to be able to hold its own alongside the other visual media. The exemplary colour-rendering qualities make the S350 a really good tool in TV production environments.”

The linear solutions provided by the impression X4 Bar 20 and FUSION Stick FS16 Z offer various decorative backlight effects. “We were able to generate beautiful effects with the zoom function of the FS16 Z Sticks in particular,” adds the designer.

Joining Jerry Appelt as members of his lighting crew are Jonas Horney, Andreas Rinne, Daniel Gündner, Ole Güllich and Martin Rupprecht. The Salty Dog Studios in Hamburg were used for prep, pre-viz and pre-programming.

Deutschland sucht den Superstar (Germany’s Search for a Superstar), better known as DSDS, is one of Germany’s longest-running television hit, having just concluded series 19.

For GLP and lighting designer Manuel da Costa, who has been in charge of the TV format for 16 years, this year’s live finals were something special, because 100 of the new, next-generation impression X5 wash lights received their German TV premiere in the MMC Studios in Cologne.

Da Costa and Jonas König, from mdc licht.gestalten, created the lighting design for the shows and took the opportunity to integrate GLP’s new impression X5 into the design. In the DSDS finals, da Costa used them mainly as white or camera lights both in front of and above the stage.

demo. As a result, the decision was made, together with MLS Magic light + sound as an early adopter, to invest in 100 of these new wash lights,” the designer remembers.

MLS magic light + sound is one of the leading technology service providers in the television sector in Germany – and da Costa was one of the first clients to be closely involved in the decision-making process.

When asked what features had convinced him of the X5, he answers: “Its multifunctionality, paired with the high quality in this class.” The GLP impression X5 delivers an extraordinary light output, with a large colour space from 19 powerful 40W RGBL LEDs. Thanks to the new iQ.Gamut colour algorithm, the wash light generates a clean white point with a CRI 90/TLCI 90 at 6,500 kelvin by default. It also offers the option of quickly switching to other fixed colour temperatures, all of which are precisely calibrated and offer consistent colour quality.

With the new super-fast 1:16 zoom mechanism, the impression X5 offers a penetrating 3.5° parallel beam and a homogeneous wash up to 60°. The new lens design, arranged in a circle, enables contemporary effects that can be varied to create fantastic looks, using individual pixel control and pixel mapping as well as the integrated dynamic pattern effects.

“In my day-to-day work, the X5 fulfils the function of a white light fixture on the one hand – and thanks to the additional lime LED, it does it extremely well,” da Costa continues. “This makes the colour spectrum much richer. With the integrated magenta/green correction and the iQ.Gamut colour algorithm, the impression X5 generates really good white. I had tested this in the studio beforehand – and I wasn’t disappointed during production either.”

“The lamp also offers an extensive function and effects package with individual pixel control, tungsten simulation and useful pattern effects when things have to be done quickly,” he adds. “This in turn makes the X5 a genuine show light and gives me more flexibility when designing.

“Last but not least, moving lights such as the X5, which can be used very flexibly at a high level, are a plus point that should not be underestimated in these times of shrinking budgets.”

GLP has announced that it will be launching an active recruitment drive, geared at further expansion, following the decision by GLP US Inc. president Mark Ravenhill to take on a reduced role.

In a letter to the industry, Ravenhill says he intends to step away from the day-to-day running of GLP’s US operation in order to focus on guiding future global strategy in a more consultative role.

He states that “after more than 13 years with the GLP and having taken the North American subsidiary of the company from an idea on a piece of paper to where it is today, I have decided that it is time for a change, and I will be moving from an operational role in favour of a more reduced role.” Meanwhile, the tried-and-trusted GLP Inc. management staff remains, headed by long-term operations director AnnaLise Laundrup and Carl Wake, technical director.

Furthermore, to harness and nurture the enormous success GLP has experienced in North America – including Cosmic Truss and Scenex Lighting – the company is actively recruiting at all levels.

GLP founder and CEO Udo Künzler is confident that the momentum will be retained: “Mark has been a great influence at GLP, and has built our US business from the ground up, while at the same time retaining his associations with production designers at the top level across the globe.

“This decision gives us the opportunity to open a new chapter for GLP and move onto the next part of the journey. All things evolve, and to preserve his legacy and ensure all his great work is not wasted, we will be actively recruiting.”

“Most gratifying is that we are not losing Mark’s services entirely,” Künzler continues, “and we are delighted that he will continue to help guide our strategy in order to maintain the good relationships that we have built up with lighting professionals.”

The final word of assurance comes from Ravenhill himself: “You will still see me at key events across the world, where I will be waving the GLP flag – and I can still be contacted via the same email and cell number!”

The annual Miss Finland pageant was broadcast live on TV from Helsinki’s Valkoinen Sali hall in September, with contestants strutting their stuff backed by LED screens driven by Hippotizer Karst+ Media Servers.

The glitzy event, which crowns a winner who will go on to represent Finland in the Miss Universe competition, is a prestigious event in the country, drawing healthy viewing figures and sparking conversation on social media. It is keen to promote not only outer beauty, but mental strength and charity work showcasing the women of today. Helsinki-based Capital AV was commissioned by Miss Finland organiser, Finnartist Ltd, to create and operate the visuals for the event and design the staging inside the Valkoinen Sali venue, which was built in the 1920s. Capital AV’s Capital Creative arm designed and constructed a triangular catwalk from the hall’s existing stage, allowing the contestants to walk out into the audience and use the space effectively. Upstate and in shot for the TV cameras were two Absen T5 LED screens in a left-right formation with a central entry point space for the participants.

“We knew that the contest was going to be shown on live TV, so it was important to have the LED screens form a camera-ready, beautiful and soft backdrop for the contestants,” explains Visual Designer Max LapinsuoSylwén from Capital AV. “The screens had to work both in wide shots and close-ups and we mostly ran pre-made, branded graphics but the pre-shot inserts were displayed

on the screens simultaneously for the live audience.

“To achieve this in the most powerful yet simple way, we used a Hippotizer Karst+. It is our workhorse for events of this scale and it has never let us down. It certainly managed this event without breaking a sweat.”

Lapinsuo-Sylwén says the easiest solution was to utilize the SDI input on the Karst+ with the TV production company providing them with the insert feed. The Hippotizer was controlled via Capital AV’s grandMA console, using a pre-programmed cue list. “Hippotizer’s compatibility with this console is a feature we love and use almost in every production,” Lapinsuo-Sylwén continues. But what we love most about Hippotizer is its reliability, especially during live TV shows it’s important for us to use equipment we can 100% rely on. Hippotizer has been our number one media server at Capital AV for many years.”

In addition to Lapinsuo-Sylwén, the visuals were operated by Antti Huusko, and the lighting operator was Toni Mustikka. The winner of Miss Finland 2022, Petra Hämäläinen, was crowned live on AlfaTV against a sparkling LED backdrop.

The eyes of the world were on the incredible Queen’s Platinum Jubilee Concert in June, to witness a host of big-name singers perform on a specially created stage in front of Buckingham Palace. As the Royal Family, politicians, dignitaries and the public looked on, a show fit for a queen unfolded, backed by LED screen content driven by Hippotizer Boreal+ MK2 Media Servers. More than 200 sq.m. of ROE Black Quartz LED screens, supplied by Creative Technology, were erected on the stage, which surrounded the famous Victoria Memorial statue in front of the Palace. These were split into one large LED screen upstage centre, and eight LED pillars edging out toward the audience.

Taking the throne for media server programming was Matthew Lee, who was approached by lighting designer for the event, Nigel Catmur. “We had two Hippotizer Boreal+ MK2 servers, one main and one backup,” says Lee. “LED screens were fed from two 4K canvases, with other outputs used for my own monitoring, and as confidence feeds to the OB trucks. The Boreal+ MK2 servers were chosen for the amount of outputs and inputs required, and their power.”

“Having used Hippotizer for a long time, I’m always impressed with the ease of use, the power of the new systems, and that development is continuous. Also the support team are excellent when you need something.”

The team was presented with the challenge of tight programming and rehearsal time, with on-site get-in,

set up and testing restricted due to the huge number of events and people involved in the wider event. “The dress rehearsal actually only happened on the day, and most of our programming took place overnight, with rehearsals and other events fitted in during the daytimes,” Lee continues. “We also had issues with things such as lightning warnings, which meant the site had to power down for an hour during rehearsal time! In addition, we rehearsed everything in non-linear order, at different times, and with minimal programming time.”

“This is when the ease of use, and the adaptability of Hippotizer meant I was able to tweak quickly and onthe-fly where necessary to achieve our target.”

Lee programmed the Boreal+ MK2 using a High End Systems Hog4 lighting console, and the whole show was on a Cue Stack, with various manual buttons for items such as the ‘We Will Rock You’ stabs when the band Queen opened the show.

“I used a lot of timecoded content, so we were in Sync with the projection teams, which meant Hippotizer’s Sync Manager was my friend there,” Lee explains. “We also used the NDI send to great effect, as I was feeding into the lighting team’s Depence visualiser.”

LED Screen content ranged from live stage feed to custom made content, which was supplied by NorthHouse. Lee and the visuals team also utilised the live feeds to provide IMAG on various screens at certain points in the events, with screens rigged at sequential positions down The Mall for the thousands who were gathered to experience the event.

The Concert did, of course, begin in daylight and move into dusk. “The ROE Black Quartz LED enabled me to take control of the LED brightness via sACN from my control desk, allowing me to have fine control over brightness as the concert went from bright daylight, through to fully dark. It also meant we were able to push to its brightest output for the daytime events such as Trooping of the Colour,” he adds.

The event was produced by the BBC, with Claire Popplewell as Creative Director, Mark Siddaway as Executive Producer and Cheryl Ko Pearson, Claudia Bishop, Tom Dennings, Jerry Reeve and Matt Flint sharing the Creative Producer role. The stage design was by Stufish, with the Concert directed by Julia Knowles.

The Hippotizer Boreal+ MK2 Media Servers and control were supplied by Catslife Media.

Highlights of the show included Alicia Keys, Elton John, Rod Stewart and a look back through seven decades of British music with dance group Diversity. The Concert finale saw Diana Ross wow the crowds. The LED screen visuals were complemented by huge video mapped projections onto the façade of Buckingham Palace, and a drone formation displaying Royal crests and celebratory messaging.

with wraparound LED screen backdrops driven by Hippotizer Boreal+ MK2 Media Servers.

The broadcaster’s built-for-purpose, state-of-the-art studio, designed and ordered by Viaplay and built in collaboration with NEP Finland, features a curved 2.6mm LED screen behind the presenter’s table comprising 4416 x 960 pixels and standing large at 11.5 x 2.5m. It displays live feed, pre-made and branded content as the channels air sport, film and original drama.

Rigged to the right of that is a straight 2.6mm screen that is 1920 x 768 pixels or 5 x 2m and there are two further screens – a circle screen above the table is made from 2.9mm flexible LED panel that is 3612 x 172 pixels or 10.5 x 0.5m and another 98” Panasonic display. All of this is VideoMapped using the Hippotizer Boreal+ MK2.

Green Hippo’s Finland distributor Amepa Oy was approached by Viaplay’s broadcast studio partners NEP Finland and Sibelius Design to deliver the visual elements of the studio, which is located in the Helskinki district of Vallila.

Amepa’s Johan West, who has championed the Hippotizer brand in Finland since 2003, suggested the Boreal+ MK2 as offering the right processing power, robustness and media management system for the job. “The most important thing for this installation was that the media server would have enough rendering power, as the client needed many mixes, sub-mixes and layers that would eat up a lot of computing power,” says West. “That’s the reason why I specified and installed a Boreal+ MK2 – I knew it can handle the task. We also required network capacity using HippoNet, MANet, ArtNet and NDI so all four network ports on the Boreal+ MK2 are in use.”

West and his team installed the Boreal+ MK2 in the server room located approximately 40m away from the studio. A network was built consisting of HippoNet, MAnet, ArtNet and NDI between the control room, server room and the studio, covering three studios in total. “I can control everything from wherever is needed,” West continues. “Everything is programmed with short timelines and triggered via an external Zookeeper. The Hippotizer operating team create templates in Adobe After Effects, and we are currently using NDI for running content back and forth between the Boreal+ MK2 and after effects. Two HDSDI live feeds are also going through the Boreal+ MK2 and the placed within custom alpha masks onto the screens.”

Viaplay carries a large amount of sports broadcasting, meaning that there are a large amount of logos, pictures, backgrounds and live feeds to process for events such as F1, NHL, skiing and Premier League Football.

“The video data driven to the LED walls is two 3840 x 2160 @50hz feeds over fibre to the main studio, and all the LED wall processors are in the studio behind the curved LED wall,” West explains. “I managed to fit all LED into one UHD output of the Hippotizer and those sections are then mapped using the VideoMapper in the Boreal+ MK2, with the second output running the one 4K monitor.

“The content mapping is achieved using different viewports with four main and four sub mixes, so a bucketload of layers are in use due to the fact that there

is a lot of changes for every broadcast! All upright LED strips are also pixelmapped in the Boreal+ MK2.” During live broadcasts, one Hippotizer operator is on-site at all times, programming and creating visuals on the fly.

Viaplay’s services include the on-demand subscription streaming service Elisa Viihde Viaplay and V sport and V film pay-TV channels. In Finland Viaplay’s sports rights include a wide range of worlds best sports events like Formula 1, Premier League, Bundesliga, UEFA Europa League and UEFA Europa Conference League, NHL, UFC, FIS Winter sports, MLB, golf and much more.

After a 16-year break, The Games returned to ITV in May, making its big come back with presenters Holly Willoughby and Freddie Flintoff. The primetime TV show saw 12 celebrities compete in athletics, cycling and water sports for their name on the leaderboard.

Broadcast live over five evenings, this was ITV’s flagship show that combined multisport events with celebrity reality TV, as we witnessed the contestants undergo gruelling training and competition.

Seamlessly fusing both entertainment and sporting genres was the distinctive lighting design, which was created by one the industry’s highly regarded Lighting Designers, Gurdip Mahal.

“Lighting a live show always brings challenges, but The Games extended beyond the usual studio, stadium or location design brief,” explains Mahal. “This involved a range of outdoor and indoor locations, a studio, multisport activities, varying natural light levels [as day turned to night], a stadium and live broadcast audiences.”

Gurdip Mahal is one of the most sought-after LDs in the broadcast and entertainment industry. His plethora of original designs extends to TV and music productions worldwide. Closer to home, he has designed looks for shows, including The Wall, Ant and Dec Saturday Night Takeaway, The Great British Sewing Bee, The Big Breakfast and Sports Personality of the Year.

“For me The Games lighting design had to deliver anticipation and drama,” said Mahal when questioned about how he developed the lighting scheme for ITV.

“A primetime TV show with such a strong celebrity line-up, as well as a live audience [at home and in-person] needs to pull out all the punches. But, in this case, it also had to facilitate a range of serious live sporting events.”

The central location for The Games was Crystal Palace National Sports Centre, where the majority of the athletic events took place. Here, the production team at Initial created an outdoor platform and indoor studio where the presenters could seamlessly walk to and from the stadium while still on camera. Inside the studio, Holly and Freddie interviewed guests throughout the live broadcast.

As the week progressed, The Games watersport events – including swimming, diving and canoeing - took place at the London Aquatics Centre. While the cycling events were hosted at Lee Valley VeloPark. Both located at the Queen Elizabeth Olympic Park in Stratford.

“Working with my Lighting Gaffer, Mark Gardiner and Project Manager, Ed Railton we developed a scheme for the main stadium that involved over 250 moving lights, including the latest Ayrton Khamsins, Martin Professional’s Mac Aura PXLs and Clay Paky Xtylos Aquas.

“We used over 100 Helix S5000 and Cream Source Vortex wash lights in various parts of the stadium, which could be moved as the filming required. To illuminate the track, we installed over 200 Par Cans – a traditional light, but still very much the best light for the job!” explained Mahal. Lighting the presenters and the main studio were ETC Source Four Lustr Series 2 Daylights, Martin MAC Aura XBs, Litepanel Geminis and Astera AX-5s.

Mahal’s Gaffer, Mark Gardiner said, “From a logistics point of view, filming across multiple sites meant there was a lot to consider. During the planning process we undertook numerous recces to determine; 1. The number of operators and crew in each location; 2. The effects of the natural light [day to night] during filming; 3. Cable routes, as they could run across tracks; 4. The power regulations for electrical installations near swimming pools.

Controlling the lights during filming were Mark and Gurdip’s trusted board ops, Ross Williams, Rob Bradley and Shaun Burnett, who operated 4 Hog consoles at all three locations.

The Hogs were supplied with the immense lighting, power and rigging equipment by Limelite Lighting.

“The guys at Limelite know exactly what we want and frequently invest in new stock to ensure the end production meets Gurdip’s design concept and my own logistical requirements,” explained Gardiner.

Upon completing the show, Mahal commented, “This was a big production for ITV and thanks to the production company, Initial and my crew, the lighting design delivered the dramatic scene I envisaged.”

The Games finale saw Love Island star, Wes Nelson take first place overall and in the men’s category. While footballer and singer/songwriter, Chelcee Grimes won gold in the women’s category.

Over the five-day live broadcast, The Games managed to fuse sport and reality TV to deliver entertainment gold!

Litepanels, a global provider of professional broadcast and cinematic lighting solutions and a Videndum brand, today announced the global launch of its Studio X Fresnel range. The high-performance, energy efficient Fresnels are available in six models with lens sizes from five to fourteen inches. Each model offers directional precision spot to flood beam control of quality white light, perfect for lighting talent in studios. achieved with high output COB LEDs to produce superior white light. With no variation in quality at any dimming level from 0-100% or across the adjustable CCT range from 2700°K to 6500°K, Studio X Bi-Color Fresnels perfectly match ambient and practical set lighting to show talent in a naturally realistic light. Daylight and tungsten models are also available. Following successful installations into broadcast studios in the USA, Studio X Fresnels, engineered in partnership with Italian broadcast lighting professionals, Quartzcolor, are now available worldwide. “Litepanels LED panels are installed into leading studio facilities worldwide and customers have been asking for a broadcast quality Bi-Color Fresnel series to pair with them,” said Michael Herbert, product manager, Litepanels. “The Quartzcolor Fresnels bring high quality, color accurate output with matching CCT values in robust, broadcast quality fixtures that complement our panels to provide a complete studio solution.”

The smallest model, Studio X2, is a 60W Fresnel with a 5” lens and a spot-to-flood beam angle range of 10°49° delivering up to 2,300 lux at 10ft/3m (spot). The largest model, Studio X7, is a 360W Fresnel with a 14” lens and a spot-to-flood beam angle range of 6°-57° delivering up to 28,116 lux at 10ft/3m (spot). Studio X3, Studio X4, Studio X5 and Studio X6 make up the full range. Studio X3 and larger include RDM-DMX in/out connectors and PowerCON True 1 in/out connectors. All units include 4-leaf rotating barndoors. Advanced thermal management ensures 50,000+ hours of LED engine life. “Fixtures in the Studio X range use up to 85% less energy than traditional Fresnels and, because they emit less heat, can significantly reduce HVAC costs,” continued Herbert. “Broadcasters are increasingly turning to LED lighting to improve their efficiency and we are delighted to offer a combination of LED panels and Fresnels that can help them to minimise power consumption without sacrificing quality.”

Litepanels, a global provider of professional broadcast and cinematic lighting solutions and a Vitec Group brand, today announced a further expansion of its award-winning Gemini RGBWW LED panel range. Litepanels’ Gemini 2x1 Hard RGBWW LED Panel is brighter than any other 2x1 panel, delivering up to 23,000 lux @10ft/3m of output from a lightweight, compact fixture.

Just like the Gemini 1x1 Hard released a year ago, the double-size Gemini 2x1 Hard produces highly accurate full spectrum white light as well as RGB output and a range of creative cinematic effects. It weighs just 25.3 lbs (11.5kg), including yoke and integrated power supply, and has a maximum power draw of just 500W. Twice the size of its smaller sibling, Gemini 2x1 Hard produces an output that is an incredible seven times brighter than the Gemini 1x1 Hard, creating a large volume of punchy light that can be easily softened with a range of diffusers.

“Gemini 2x1 Hard produces a greater volume of light than any other RGBWW LED panel available to gaffers and lighting designers today,” said Michael Herbert, product manager, Litepanels. “No other 2x1 LED panel is this powerful or this versatile. We have combined the latest advances in LED technology with cutting edge industrial design to push the boundaries of what is possible with LED lighting for cinema production.”

Gemini 2x1 Hard can deliver a powerful 20° beam of accurate hard white light, or seamlessly switch to a beautiful soft 100° wash with included diffusion panels. Users can control and modify without compromising on source. The extraordinary output enables users to deploy a wider range diffusion or reflection tools not possible with less powerful fixtures. With no external ballast, the lightweight fixture is quicker and safer to rig. Ultra-Light and Domed Diffusers are supplied as standard. In addition to its onboard controls, Gemini 2x1 Hard offers a range of wired and wireless control options for easy integration, including integrated DMX, CRMX, and RDM. Like other Gemini fixtures, Gemini 2x1 Hard delivers consistently accurate, flicker-free performance at any frame rate, shutter angle, or intensity with ultra-smooth dimming from 100 percent to .1 percent.

Martin MAC Aura PXL at TRNSMT © Euan Robertson

MARTIN BY HARMAN

The main stage of Glasgow’s TRNSMT festival featured a house lighting rig that comprised an impressive assortment of fixtures, amongst which were Martin Professional’s all-LED MAC Ultra Wash, MAC Ultra Performance and MAC Aura PXL. Set within the city’s Glasgow Green on 6th-10th July, TRNSMT had a line-up including Paolo Nutini, Lewis Capaldi, The Strokes, Nile Rodgers & CHIC, Wolf Alice and Sam Fender.

Adlib supplied the house lighting rig, further complemented by the headliners’ touring lighting packages. The house lighting design was by Adlib’s Andy Green and in-house project management was by Mike Blundell.

A total of 24 x Martin MAC Ultra Wash, 44 x MAC Ultra Performance and 16 x MAC Aura PXL were deployed on the main stage. Three overhead trusses each featured an alternating design of 8 x MAC Ultra Wash and 9 x MAC Ultra Performance, with a fourth truss containing an additional 17 MAC Ultra Performance. Two side trusses each featured 8 x MAC Aura PXL.

Adlib invested early in Martin’s flagship MAC Ultra moving heads, purchasing 100 x MAC Ultra Performance and 30 x MAC Ultra Wash fixtures in preparation for the summer season from Martin UK distributor Sound Technology Ltd.

The MAC Ultra Wash and Performance are incredibly bright fixtures offering a 63,000-lumen output for the Wash and 46,500-lumen output for the Performance; a new LED light engine, exceptional colour rendition and optics, and a brand new framing system in the Performance. Their quality and output make them the perfect fixture for daytime festival use.

Adlib’s Account Manager, Jordan Willis, commented on MAC Ultras and Aura PXLs “TRNSMT is one of our annual festival highlights, which brings the biggest artists with incredible productions that always push the visual boundaries. That’s why we believe the house lighting rig must provide a solid foundation for headline artists and daytime artists alike. For this reason, as part of our lighting setup, we’ve specified MAC Ultras and Aura PXLs, which are powerful enough to provide a great show for the daytime slot whilst simultaneously adding to the expansiveness of the headliner performance. They have proven extremely reliable, with many visiting LDs commenting on their fantastic operation.”

Leading supplier Siyan Ltd recently provided substantial quantities of Martin fixtures including MAC Aura PXL and VDO Atomic Dots for BBC Radio 1’s Big Weekend festival.

Staged at Coventry’s War Memorial Park on 27 - 29 May 2022, BBC Radio 1’s Big Weekend featured artists including Ed Sheeran, Calvin Harris, Sam Fender, Harry Styles, George Ezra, Foals, Disclosure and many more.

stage, 60 x VDO Atomic Dot WRM on the BBC Music Introducing stage, and 36 x MAC Aura XBs on the Future Sounds stage.

Siyan’s Project Manager for the event was Steve Finch, with Ben Inskip the main stage designer.

Steve Finch commented, “We chose the PXL because they are a great versatile, lightweight punchy fixture with added twinkle for creative looks. And as for the Aura XB’s, what can we say - a great industry standard. The VDO Atomic Dots were also specified for their great versatility, for certain looks, and the ease at which they can be configured on site. We can use up to 10 in a line. They can be used as a blinder on one song, eye candy on the next.”

The MAC Aura PXL and VDO Atomic Dot form part of Martin’s latest generation of creative LED fixtures. The Martin MAC Aura PXL is bigger and brighter than the MAC Aura, and the first wash light to feature individual pixel control for its 19 main beam pixels and 141 Aura backlight pixels. The VDO Atomic Dot is a superversatile hybrid lighting and video fixture, acting as a small spotlight with video-controlled Aura backlight and a bright blinder/strobe dot all in one fixture.

Siyan’s Martin rental inventory has recently expanded with the addition of more MAC Aura PXL and VDO Fatron, with all equipment supplied by Martin UK distributor Sound Technology Ltd.

150 x MAC Aura PXL deployed for the Queen’s Jubilee Thanksgiving Service at St Paul’s Cathedral

Lighting supplier Limelite Lighting provided 150 Martin MAC Aura PXL units for the Queen’s Jubilee Thanksgiving Service on Friday 3rd June.

St Paul’s Cathedral is a venue that is steeped in tradition, even when it comes to lighting, the traditional Par 64 has always been the fixture of choice for lighting designers. However, for the Queen’s Jubilee Thanksgiving Service, Lighting Director and Bafta Award winner, David Bishop stepped away from tradition, opting for an all-new LED lighting rig, with the new Martin MAC Aura PXL taking the leading role as the main lighting fixture.

David Bishop explains, “For the Queen’s Jubilee, it was important to maintain the traditional feel and the natural look, yet I wanted to increase the flexibility and efficiency of the lighting rig. exceptional for such a compact fixture and perfect for this application. It allowed me to have much greater control of the colour temperatures, while the remote controllable fixtures meant our focus session was far quicker because we didn’t have to communicate each par fixture to multiple electricians at height. We could also continue to perfect our focus during camera rehearsals without disturbing the production.”

Gaffer, Mark Newell adds, “Installing any type of lighting rig at St Pauls Cathedral is challenging – the building was simply not designed with us in mind back in 1675!

“Access to the triforium level - where the majority of lighting for events and broadcast is installed - is via a tiny window, just half a metre wide. All the equipment must be winched up the outside of the building, then manoeuvred manually around the Cathedral’s small alleyways. Because the Martin MAC Aura PXL is compact and weighs just 16kg, we could access most areas without too much trouble. Using an all-LED rig also reduced cables and power requirements of this previously power-hungry rig.”

Limelight’s investment into the MAC Aura PXL has proved very popular for numerous events, sub hires and broadcast productions.

“The MAC Aura PXL has been a fantastic addition to our hire stock,” says Matthew Mountier, Limelite’s codirector. “Being a compact, yet versatile moving light is very appealing for many of the gaffers and LDs that we hire to. They offer a huge range off effects, which makes them the perfect unit for a diverse range of events. Since arriving at our warehouse, they have been on back-toback hire, so they were definitely worth the investment.”

Matthews, known for their go-everywhere C-stands and other grip gear now has a more efficient way to transport them to a set or location. The C-Stand Shoulder Kitbag takes the awkwardness out of carrying up to two fixed or turtle-based C-stands in either sizes.

The C-Stand Shoulder KitBag features an efficient triangular design packed with ample ABS honeycomb and high-density, closed-cell EVA foam padding for protection against bumps and jolts. Its rugged black, water-resistant ballistic nylon and polyester exterior unzips butterfly-style to reveal a generous inner compartment in high-visibility Matthews signature red lining. Within it, padded dividers separate stands while convenient hook n' loop fabric straps prevent shifting of the contents.

For easy access, the Kitbag offers dual-directional easyglide zippers. Additionally, quick catch magnetic grip handles, and a padded shoulder strap ease set-up and tear down.

With internal dimensions of 57" x 20.5" x 4" Shoulder Kitbags fit virtually every Matthews C-stand including both sliding and spring-loaded fixedbased versions as well as Turtle-base varieties.

The C-Stand Shoulder Kitbag is available through Matthews dealers worldwide. For more information on Matthews’ full line of equipment stands and other studio grip gear, please visit https://bit.ly/CStandBag or

AL focuses on the design and manufacture of products for the architectural lighting and entertainment technology industries. The company’s CEO, Wayne Howell — inventor of the Art-Net lighting protocol and recipient of the 2017 Gottelier award — has ensured the longevity of the business through innovation and adaptability. As a result, the company is highly regarded as a solutions provider for the more technically demanding installations, with a broad product range at the leading edge of technology.

Robe needs no introduction. As a global leader in moving light design and manufacture, the company embraces innovation, quality engineering and dedication to the very highest production values.

Wayne Howell explains the background to the acquisition; “Artistic Licence was born out of my passion for designing and inventing. Over the years we have expanded and diversified our range, and it is now in a form that I am confident will serve the control infrastructure market for many years to come.

With the company in a stable and profitable position, it seemed like the ideal time to move onto the next phase of my career. My enthusiasm for inventing has never diminished, and I wanted to have the time to explore new designs and consultancy projects.

That said, I will be staying on as a co-director of Artistic Licence. The company’s USP is its technical credibility, and Robe are obviously keen to preserve that reputation.”

Robe’s global CEO, Josef Valchar, sums up the match as he sees it. “I have known and respected Wayne for many years, so when we heard that things might be changing at Artistic Licence, our interest was piqued.

Robe is of course known for moving lights, but lighting technology is interconnected. Time and time again, we find ourselves troubleshooting problems that are nothing to do with our fixtures, but instead related to a bad splitter or faulty network data somewhere upstream.

By having control over the infrastructure, we can present our customers with a superior solution that enhances the reliability of the installation.”

Robe and Artistic Licence are both companies with a proud history of independence and private ownership. We are committed to innovation and quality, and only manufacture in Europe/UK. With these shared fundamental values, we are looking forward to a dynamic and productive ongoing business relationship.”

Robe ‘I’m A Celebrity’ in Germany

Robe’s new IP65 rated iSpiider LED wash moving lights passed some serious jungle tests on the latest edition of “I’m A Celebrity Get Me Out of Here Germany” (Ich bin ein Star – Holt mich hier rau) … which was recorded at Blyde River Canyon in Hoedspruit, Limpopo Province, South Africa.

Lighting was supplied by Blond Productions and designed by Mauritz Neethling for production company Triosphere who facilitated the series for franchisee ITV. Normally it would have been shot in Australia, but that was not possible this year due to Covid travel restrictions, so instead they chose South Africa as their new production hub.

The iSpiiders were a new purchase specifically for this show at the start of 2022. This followed a site recce in late 2021 when Mauritz met the German team including director Michael Maier and DoP Roberto Piersanti.

When the series was broadcasting from Australia, due to the time difference, they were shooting in daylight from three different areas – the camp, the studio, and the trials locations. However, with SA’s time zone being so close to Europe’s, now everything needed to be lit for night-time transmission.

The iSpiiders were used for the show’s studio segment that facilitated the live link up, and the task was to provide location lighting over large distances bringing all the dramatic contoured valleys and bush environment into the foreground and background shots. This even incorporated a waterfall approximately 800 metres away, so lighting had to capture all these spectacular exterior vistas.

They used HMI fixtures to illuminate the background and furthest parts of the bush, with the iSpiiders positioned for optimal lighting of the closer backgrounds that were between 10 and 30 metres away from the presenters in the studio.

The lighting control position was around a kilometre away with no direct line-of-sight to the studio.

Three iSpiiders were deployed on the studio roof, two were positioned behind the Studio in trees, with one on the jib platform immediately facing the studio. The lights were all purchased with the wireless DMX modules so data can be daisy chained from the first one, saving in cable and time during the set up.

iSpiiders were chosen for several reasons including their IP rating so they did not have to worry about rain and other environmental challenges in all these very exposed positions on the studio roof and in the trees.

Mauritz loves “the versatility, the accuracy of the colour rendering, the indexable moves and the fact they just work perfectly for television,” he said.

The fixtures were certainly put to the test with South Africa’s exceptionally heavy rainfall over the last few months, and they worked every day without fail. Additionally, they stood up well to another major challenge for outdoor lighting – bugs – none of which could penetrate the sealed lenses!

Two of Mauritz’ regular crew – Lucky Kilur and Jack Mogoboya – provided his ‘eyes on the floor’ positioned over in the studio, they related information back via Grand Ma network so he could tweak and update his lighting focus positions as needed for the recorded sections.

Lighting was programmed by Braam Avenant – using his grandMA onPC with a Node and a Wing – who was highly impressed with the iSpiiders. A different approach was needed when utilising these LED washes as studio lights in an outdoor environment, concluded Mauritz, but “both the director and the DoP saw first-hand the power and versatility of the luminaires,” and appreciated how using them saved a lot of extra kit being needed to create the desired spectacular results.

The pacey, quick-witted, all-action entertainment of Disney+’s hugely popular High School Musical: The Musical: The Series (HSMTMTS) returned to TV screens for a much-anticipated third season, with producers Skot Bright and Zack Lowenstein asking Hisham Abed to join the production team as director of photography (DoP).

Shot over four months in the spring, 12 x Robe SuperSpikie moving lights were specified by Hisham and the producers to help provide flexible and efficient solutions for lighting ‘permanent’ sets in the Burbank, California, studio where the season was recorded in addition to assorted locations in and around Los Angeles.

Skot and Zack have worked together on several previous projects. Skot’s history in music and rock ‘n’ roll touring production and Zack’s background in television make a great synergy and they are known as a class industry double act! Skot underlined the importance of moving lights to a production like this as “essential” to producing the requisite looks and atmospherics needed for the comedy-fantasy-musical genre with “multiple dynamics and some magical touches needed to capture the mood and flow”.

Hisham has cut some of his DoP teeth in reality television where clever lighting reinforces the authenticity of the genre without making it staged or contrived. It was exactly that aesthetic they wanted for the ‘mockumentary’ / docu-comedy style of Season 3.

When it came to choosing actual fixtures, “We needed something small, lightweight, powerful and versatile that fit our budget,” explained Skot, although the final pick was left to Hisham who added, “The lights needed to be quick and easy to set up and program to help us keep pace with the hectic rehearsal and shoot schedule.”

Following a demo of the SuperSpikie by Robe North America’s western regional sales manager Adam Camp, Hisham decided on renting 12 units for the duration of the shooting period which covered the eight Season 3 episodes. The fixtures were used for various studio sets, mainly the Theatre / Barn and the Void and were part of approximately 70 or 80 fixtures in total utilized for each set.

The ‘mockumentary’ style was characterized by the edginess of multiple Steadicam and hand-held cameras – restless, exciting, and dramatic – and informed by Hisham’s lighting background, these immaculately framed but slightly raw images have become a signature of this season.

The challenge for Hisham was dealing with creating the diversity of looks needed whilst simultaneously prepping and rigging the next shots. Being a musical production as well as a TV show, actors and singers were constantly rehearsing, recording tracks and filming.

“Luckily all of us on this production were adrenaline junkies who thrive when constantly working and finding answers to new daily and hourly challenges,” elucidated Hisham referring to the frenetic pace! “These SuperSpikies were another weapon in the arsenal” stated Hisham, impressed after the demo, “and were perfect for all our needs.”

The Theatre was the main set on which the SuperSpikies were used, which was right at the heart of the musical summer camp being attended by the cast at Shallow Lake.

Robe Disney+ High School Musical the Musical S3 4 - Photo Anne Marie Fox

The action also included a myriad of backstage shots and scenes in addition to the onstage performances which averaged two full production musical numbers per episode, so the lights were very often in shot for the final cut and had to look good for their own onscreen parts!

“They were an invaluable visual resource that helped us keep the action going, perfect for boosting lighting quickly in a specific or a general area and hugely better and more practical than having someone climb up and down a ladder!” stated Hisham. “A fixture able to switch between classic light characteristics and more contemporary theatrical effects is “a massive asset” concluded Hisham.

For one musical number needing a certain gobo effect they utilized a Robe MegaPointe which is a favorite of Hisham’s who has used Robe in his work for several years. He thinks the manufacturer pushes the boundaries with innovation and in producing useful and highly practical fixtures.

Working closely with Hisham on lighting this “High School Musical: The Musical: The Series” season were gaffer Damon Dulas and programmer Wally Sylvia, who have worked together for over 10 years

The main technical challenges involved organizing the time efficiently to program the musical numbers, each of which was a mini-production in its own right, and the constant coordination required between the choreographers and the various directors which rotated throughout the season.

In spite of the exacting nature of this production, Skot, Zack and Hisham all reckon it was one of the most fun and imaginative environments in which they have worked, collaborating with many nice and highly talented people all passionate about their craft and disciplines, creating a series reflecting Disney+’s wellknown and exceptionally high production values.

VARILITE

Vari-Lite, the originators of the modern moving head and a Signify (Euronext: LIGHT) entertainment lighting brand, today announced support for the General Device Type Format (GDTF) in all currently shipping fixtures and consoles, including production luminaires such as the recently launched VL3600 Profile IP, theatrical fixtures like the Acclaim LED Series, and consoles running Neo or ZerOS software.

GDTF, jointly developed by the GDTF Group, is an industry standard for entertainment fixture profiles, intended as a unified definition for the exchange of data for the operation of intelligent luminaires. GDTF profiles are available for all current luminaires. GDTF support is included in the recently announced ZerOS 7.13 and will also be included in the Neo 4.0 software update, bringing support for the standard to existing FLX, FLX S, and Neo controllers, along with future Vari-Lite consoles. Customers can use the GDTF builder online tool to build profiles for any third-party fixtures, and both Neo and ZerOS consoles will continue to get regular fixture library updates as well.

“Whether it’s a production company, concert venue, touring theatre destination, or a lighting designer with their own console, many Vari-Lite users need a way to ensure they have a profile for every fixture every time despite varying rigs,” explains Jon Hole, Global Product Manager, Vari-Lite Controls and Systems at Signify. “Designers want to ‘just get it done,’ with less worry and preplanning, and no need to build—or request—a fixture profile. And they want any console they choose to work great with every luminaire in their rig without being locked into a single manufacturer to get the functionality they want “

“Our customers know that lighting systems aren’t a one-time purchase but a lifecycle of service, and they want the peace of mind to know that their system will continue to operate brilliantly, even when a new console or luminaire is introduced,” adds Martin Palmer, Sr. Product Manager, Vari-Lite Luminaires at Signify. “Adding fixtures should be fast, visualization should be simple and accurate, and creating new fixture profiles—when it needs to happen—should be intuitive and stress free.”

GDTF console product line

Vari-Lite, the originators of the modern moving head and a Signify (Euronext: LIGHT) entertainment lighting brand, today announced the VL3600 PROFILE IP, a large-scale, high output production profile fixture with an IP65 rating. Designed to withstand inclement weather, yet with weight and size comparable with similar non-weatherproof fixtures, the VL3600 PROFILE IP is perfect for touring and TV productions, stadiums and arenas, and large theatres and houses of worship.

“Weather-rated moving lights are becoming highly desirable for outdoor and even indoor applications, but current IP65 fixture designs considerably increase the size-to-weight ratio compared to equivalent non-IP rated fixtures,” explains Martin Palmer, Sr. Product Manager, Vari-Lite and Strand Luminaires at Signify. “This makes the fixtures harder to mount and heavier in the rig. The VL3600 PROFILE IP is the lightest in its class, meaning designers no longer need to choose between lighter nonweatherized fixtures or heavier IP-rated ones, reducing the budget and environmental impact of the entire tour.”

With a 1000W monochromatic light engine producing 85,000 source lumens, the VL3600’s huge output power is ready to light the show from any distance in any weather. Thanks to a CMY+CTO color wheel mixing system, the fixture produces a wide range of rich colors while eliminating the appearance of blades in the lens, improving direct view applications. With dedicated CRI boost and color correction filters, colors render beautifully on stage or on camera.

“We really focused on making the VL3600 a workhorse fixture that gives the designers what they need while making life simpler for the crew as well,” adds Palmer. “From a design perspective, the VL3600 PROFILE IP offers a wide set of tools to create the most amazing effects on the largest of shows.” The VL3600 PROFILE IP includes the exclusive VL*FX animation wheel, as well as gobo wheels, a dual prism and frost, framing system, iris, zoom, and focus. “To help the crew, the lighter weight and exclusive V*Track Calibration System reduces the tension in the suspension and addresses the somewhat notorious ‘swing after startup’ issue.”

“The response to the VL3600 since we previewed it at Prolight + Sound in April has been tremendous,” says Palmer. “Customers love that it’s a single workhorse fixture that fits in a variety of indoor and outdoor applications, and they rave about the high output, low weight, and strong feature set. It fits well without our portfolio of production luminaires, and it can easily be accentuated with other fixtures in our lineup, such as the VL10 BEAMWASH or VL800 Series fixtures, for the right balance of luminaires from a single manufacturer.”

Visitors to The Air Force Museum of New Zealand are seeing its collection of historic aircraft in a whole new light, thanks to a new LED rig and control solution from Vari-Lite, the originators of the modern moving head and a Signify (Euronext: LIGHT) entertainment lighting brand.

The museum took the opportunity during a rearrangement of the main Aircraft Hall display area to replace the existing lighting system to the LED rig to dramatically reduce power consumption and provide a more flexible, long-lasting and dynamic solution. More than 100 powerful, honeycomb-lens SL Punchlite 220 fixtures are now installed, beaming rich, blended and saturated colors onto classic airplanes such as a Spitfire, Hudson and Avenger, and washing the space with hues. display areas, lecture theaters, restrooms and the main atrium, the technical team invested in a Neo Compact 10 Console. A Vision.Net architectural control system has also been installed for a seamless, integrated lighting control experience across all the sites to help the team manage looks, power lighting scenes and simplify management.

“We needed a replacement control system that would be able to manage a large number of fixtures, run multiple cue lists, accept inputs from a variety of sources, and run time-based events,” says David Nicholson from the museum, who oversaw the project. “The Neo and Vision. Net combination offers this solution and we are now using the C10 for programming the lighting states in the Aircraft Hall with great success. There were many benefits, including the C10’s compact size enabling us to easily move around the museum doing programming as we moved from plane to plane.”

In addition to the lighting, the Neo C10 and Vision.Net duo are also being used to run timeclock-based events such as audio announcements, video playback via screens around the venue, as well as building start-up and closedown each day. The museum’s technical team is using the full-featured Neo operating system software on a PC to control more than 500 desk channels, with regular events activated by its internal timeclock scheduler.

“Vision.Net screens provide all the human interface requirements around the complex,” Nicholson explains. “There are touchscreens in five locations, and three physical button panels. The panels allow local control

VL3600 Profile IP

of some features, as well as more general functionality such as turning full complex on or off, putting the system into Event Mode to disable or play announcements and activating on-demand display features.”

The Vision.Net system’s preset commands are all monitored by Neo, which in turn runs shortcuts to turn on and off required cuelists. Commands that Neo initiates are run back through the Vision.Net system to keep all Vision.Net screens in sync with the real-world system status. The Vision.Net system also facilitates the customization of each screen depending on its location, as well as password-locked and hidden screens for additional setup and maintenance options.

The new rig was designed by Nicholson in collaboration with lighting designer Joe Hayes, as well as Grant Robertson from Christchurch-based Vari-Lite supplier The Light Site, who also managed the initial design concepts of the Vision.Net and Neo setup. Glenn Stewart from Kenderdine Electrical supplied the Neo and Vision.Net hardware and conducted all the Vision. Net programming. Darren McKane from The Light Site did all the Neo cue and integration programming.

Our guest for Episode 2 is award winning Lighting Designer and Lighting Director Tim Routledge.

Tim shares stories and highlights from his career, discusses the challenges of lighting a headline act at Glastonbury, the impact that mobile phones have on a show and what’s in store for 2022.

Listen to Lighting for Radio - Episode 2 at v2lights.co.uk/ podcast or on any major podcast platforms.

Version 2 the UK’s foremost lighting rental specialists for the television, broadcast and media production industries, announced today that it completed the asset purchase of Finelight Ltd (“Finelight”) a UK-based television lighting rental company.

Finelight’s rental business will merge fully under the Version 2 umbrella with immediate effect. The coming together will benefit existing customers of both parties with a new increased inventory pool. This integration combined with substantial equipment investment reflects the forward momentum at Version 2.

Version 2’s managing director Nick Edwards said, “We are excited to integrate Finelight’s inventory into our growing operations. As a preferred supplier to the BBC, Finelight have built up an excellent reputation for quality of service. We’re equally delighted to welcome Simon Perrott to our management team”.Finelight’s managing director Simon Perrott added, “We have got to know Nick and the team at Version 2 over recent years whilst collaborating on a number of high profile shows. We have a shared passion for great customer service, and we’re looking forward to building upon this further with the backing of Version 2 and their large equipment inventory”.

Simon a veteran of the tv lighting industry, started his career at Richard Martin Lighting before forming Finelight over 25 years ago. He was involved with some of the first supply of moving lights to studios, working on iconic shows such as Top of the Pops. At Version 2, Simon will be account managing a wide range of shows, including continuing his long standing relationship with leading LD David Bishop. During the course of July 2022, Finelight’s operations will be consolidated into Version 2’s Reading headquarters. Communication channels for both companies in the interim will remain unchanged.

TV, broadcast and event lighting rental specialists, Version 2, was proud to supply the moving lights, control, cabling and power distribution infrastructure for the Queen’s Platinum Jubilee Party at the Palace, catering for the needs of all four stages and the audience areas, including the Royal Box, which had been built in front of Buckingham Palace.

One of the main highlights of the four days of Jubilee celebrations that marked the 70th anniversary of the Queen’s accession to the throne, the Party at the Palace, took place on the evening and night time of Saturday 4th June 2022. The stunning two-and-a-half hour event wowed the nation and a global audience of 13.4 million

viewers, with a dazzling array of technology, and programme of classic performances that began with Queen and ended with Diana Ross.

Produced by BBC Studio Events, and with a multistage design by Stufish, the set featured four stages: the Pop Stage and Orchestra Stage which flanked the Palace gates; the Palace Stage that linked the Pop and Orchestra stages; and the central ‘QVM’ stage around the Queen Victoria Monument, connected to the rest of the set by a catwalk.

The performance areas were defined by 70 pillars – silk covered truss towers with custom mounting plates - that were designed in house by Version 2 and manufactured locally. “Not only were these key elements representative of the 70 years of service the Queen has given the country, they also provided elegant mounting solutions for the moving heads that Nigel used to light the event, and were much easier for the crew to rig and access,” says Version 2’s Joe Marter.

The responsibility and privilege for lighting this momentous event went to lighting designer Nigel Catmur and his team of 5 console operators supported by Gaffer, Mark Gardiner and his team of 12 site technicians, and the team at Version 2.

Version 2 was approached by Catmur in January 2022 to supply the lighting after winning the tender process from amongst a strong field of contenders. Both Catmur and Gardiner were happy to have them on board. “I have worked with them many times and was delighted to be working with them on this very special event,” says Catmur.

Catmur and Version 2 worked closely together through various developments of the design, adapting kit lists to fit suitability and availability until a final design was signed off in April. This left about six weeks to procure 1009 lighting fixtures, most of which were supplied from Version 2’s rental stock, with cross-hire support from close collaborating companies.

“Fixture choice is always a balance between budget and availability,” says Catmur. “The budget for these kind of events is never as big as one would imagine, but it helped that I am now so am familiar with what they have in stock. And when they didn’t have it, they were excellent at sourcing and investing in what I needed.”

Catmur was adamant from the outset that he wanted Robe BMFL followspots and Robe BMFL Blades as the keylights for all four stages. “Martin Mac Aura XBs were also a given,” he says. “They are a fantastic unit with colours that are perfect for lighting people’s faces for camera, as well as being able to do all those rock and roll chases.”

All these fixtures were protected from the elements under cover of the Pop and Orchestra stage roofs, but IP65rating was essential for almost everything else. “As we discovered on site during the build up, the rain could be torrential!” says Catmur.

“The IP65 rating was paramount for the majority of the fixtures on the QVM stage and many fixtures on the Pop and Orchestra stages, all of which were completely open to the elements,” says Marter. “Given the nature of the event, the vagaries of the British weather, and the fact the eyes of the world were upon it, it was essential the fixtures were weather-proof.”

- Tim Routledge and Nia Visser

with a similar look – because I’d be using 3 - 4 units to uplight each of the 70 pillars,” says Catmur. “Joe Marter recommended and sourced them and they turned out to be an excellent choice. They are absolutely superb units. I was genuinely impressed and they were remarkably reliable too. I think we only lost one out of the 142 Cameo Zenith W600 and maybe two out of over 400 Flat Pros, which in the pouring rain is pretty good!”

“Lighting the QVM stage was quite a challenge because of its position so far in front of the set up,” says Catmur. “Central lighting positions would obstruct the sightlines up the Mall so we had to push the rigging positions much wider left and right than we would normally want to go. Consequently the angles were very wide and flat, but they worked extremely well and had the added advantage of being able to reach the outer edges of the Pop and Orchestra stages at the rear.

“For the QVM stage front light we relied on 12 BMFL Blades and some Astera AX5 on the floor, backed up by 4 Robert Juliat Lancelot followspots and 6 BMFL Robospots.

The followspots were rigged in a spot tower behind the audience seating above the press box, at the maximum height allowed, and operated by Dave Scrivens and his team of professional followspot operators from Pro Spot.

“I chose the security of the Lancelots because I wanted to be absolutely certain I had the power to cut against the daylight at the start of the show,” explains Catmur. “Given the show starts in daylight and that we had the highest profile band opening the show, it’s a big moment and having that extra power from the Lancelots provided that reassurance for that specific moment. They are beautiful machines – ferociously bright!” “I was very pleased with the result. It was an amazing event to be part of. We are all incredibly proud of what we managed to pull off!”

More on Catmur’s use of lighting for the Party at the Palace can be read on the Version 2 website at:

The mammoth task of organising the logistics, and designing and installing the control and distribution infrastructure was the responsibility of freelance gaffer Mark Gardiner and his team of 12 carefully selected technicians. Gardiner has known and worked alongside Nigel Catmur for a very long time, and also for many years with Version 2 and its MD, Nick Edwards.

“With no pre-existing infrastructure on site, we literally had to build everything from scratch: stages, grandstands, pillars, etc,” says Gardiner. “My role was to put together the lighting for the show, book the crew, handle the logistics of every aspect from the trucking to the order in which we build the show components. This involved liaising with every department to ensure the correct kit was delivered to site over multiple days to keep the work schedule flowing.”

A major part of Gardiner’s remit was to design and install the lighting control system which entailed several kilometres of fibre supplied by Version 2. “From the central, custom-built control desk hub at the back of the south grandstand, we had the best part of 3km of fibre cable running around the site,” he says. “The system was run on over 150 universes of DMX and had 3 types of lighting control across multiple networks on different V-LANs: ArtNet protocol, SACN and MA-Net. Alongside this we also integrated a High End Systems Hog across the sACN part of the network that was looking after all the screen content. This enabled this operator to take control of the brightness of the screens to be able to balance them as the light level dropped.

“It took a lot of processing to achieve a seamless integration and that takes a lot of planning from the outset before you even get on site.”

This was in no small part facilitated by the team at Version 2. “I was able to give Version 2 my list in advance and they built the control racks to my specification. We then spent 4 days with them at Version 2 HQ prepping all the control elements and building the entire system before moving on site at the end of May, with just a week of build up before rehearsals.

“It wasn’t possible to connect of all these elements on site until Day 10, so we built the whole system in the warehouse and linked it together with the actual length of fibre run we would use on site to replicate the ‘real’ conditions. But because everything was physically so much closer together in the warehouse, we were able to make any adjustments in a fraction of the time. It’s so much more efficient than building a system on site and we knew it all worked before we even got on site.”

Full connectivity on site involved working with all the TV and sound departments to run cabling through subterranean tunnels and ducts, which in turn had to be organised with the Parks Authorities for the police to

search the ducts beforehand and have an overview that it was safe once the lids went back down.

“It all came together and worked on that first day – brilliantly and with no major problems,” says Gardiner. “It’s actually quite a big moment - you would be surprised how pleased you are as a team when it all goes right! The prep beforehand is invaluable, and not something that all production companies understand but BBC Events gets it entirely – they trust us to deliver - and Version 2 is exceptionally good at it.

“Version 2 understand what is needed to put on a show of this scale and were completely unfazed by it. It’s the little details that they are so good at facilitating. Joe Marter in particular as the account manager was just amazing. Nothing was a problem for him and he supported me very well, giving me excellent options each time I had a query.

“The whole team are very happy to oblige and help in any way. The quality and reliability of their kit across the board is brilliant and we had hardly any swap outs. They did a great job. They should be very proud of themselves.”

“It was a genuine privilege to partner with the BBC, Nigel Catmur and his team for this once in a lifetime production,” says Version 2’s Nick Edwards. “The end result was truly stunning, the plaudits for Nigel’s design are still ongoing – I’m sure this production will be talked about for many years to come!” Edwards concluded with praise for his team “I must give huge kudos to Joe Marter for heading this one up so diligently. Credit to our Operations team, it was a herculean effort to pull off a job of this magnitude so well.”

GettyImages1241108663Credit WPA Pool

In the past months, ELP Broadcast provided lighting, rigging and OB power services for many broadcast events including HRH Queen Elizabeth II Platinum Jubilee, National Eisteddfod, BBC Proms at the Royal Albert Hall, Easter Service, Pentecost, Young Musician, Morning Live, and Steph’s Packed Lunch.

We were also honoured to have played a vital role last month in the subsequent events which followed the passing of HRH Queen Elizabeth II. With the deployment of 80 tonnes of lighting provisions all across the UK, the team worked on multiple sites throughout the official mourning period, including Scottish Parliament, Llandaff Cathedral, St James’s Palace, St Giles, Westminster Abbey, and St George’s Chapel Windsor. In addition to this, the team also provided lighting within the news presentation studios of Methodist Central Hall Westminster and Windsor Castle.