Set & Light 138

From the Society of Television Lighting and Design Summer 2023 | Issue 138

Inside | STLD AGM page 06 | Coronation page 12

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WELCOME to the Summer issue...

MAGAZINE

In this issue we fully report on the 49th Annual General Meeting of the STLD, and we would like to thank Cirro Lite for hosting the evening.

Editor: Emma Thorpe Email: editor@stld.org.uk Web: www.stld.org.uk Production Editor: Louise Ferne Sponsor news: Emma Thorpe Email: sponsornews@stld.org.uk Advertising: Emma Thorpe Email: adverts@stld.org.uk Cover photo: John O’Brien Design by: Originate Design Printed by: Gemini Print Deadlines for the next issue: Editorial: 18th October Advertising: 18th October Advertising is accepted only from sponsor members of the Society

Other articles include the lighting of churches from Evensong to Coronations, a visit backstage at East Enders, and a talk about re-lighting stage shows for camera given at the Royal Opera House – a joint meeting with the ALPD. Can we please make our regular plea to make sure all your email address is current with our membership records. If you have not received any email from us it might be that we have an old address for you, so do please check by emailing members@stld.org.uk Editorial and Advertising deadline for our Winter 23 issue is 18th October.

Emma Thorpe Editor, Set & Light

© Society of Television Lighting and Design 2023

Contents 04 Chairman’s Note

| Below:

STLD visit to the Eastenders set

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06 STLD AGM 10 Cirro Lite 12 Coronation 20 Eastenders 24 Opera House Visit 30 Lighting Darkness 36 Obituary: Martin Kisner 38 Sponsorship News 65 Society Comittee 68 Sponsor Directory 70 Membership Application

Set & Light | Summer 2023

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| Chairman’s Note

New approach to students You should all know that one of my goals when becoming STLD Chairman was that I wanted to expand our reach to students thinking of working in TV Lighting, and thanks to good work by our Student Representatives on the committee we have improved our connection to students via their places of education and we have been rewarded with good student attendance at some of our meetings. However we have had very few students wanting to commit their money to actually become STLD members, and we have discussed what we can do about this at committee meetings.

We have decided that we would like to take a new approach to Student Membership partly made possible by new technology. I am proposing that we make student membership free for the period of their studentship if they are prepared to sign up to paying a reduced graduate rate for a limited time once they qualify, building up to full membership after say, three years. During their free membership they would receive an e-version of the magazine, and only receive a paper copy once payments start. They would of course be invited to all our meetings throughout.

Our hope is that this structured introduction helps with the transition from student to lighting professional, and although we know some may choose to leave before the payments start we hope that others will stay with us.

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“I am sure they will help us to keep the STLD relevant to the next generation of lighting designers and programmers.”

To introduce this membership structure requires an STLD rule change that can only be enabled at a General Meeting, so to speed things up and to get this change implemented in time for the next new student year I would like to hold an Extra General Meeting by the end of August. This will be held over Zoom to enable anyone who wants to contribute to the discussion to join in, or at the very least to send in any concerns they have. Watch out for an email from the committee giving notice of the meeting and the rule change by the end of July.

And on the subject of students, I would like to welcome our new Student Representatives. Nathan Mallalieu has now graduated from Rose Bruford University and we have had offers from two more students to take on the role, and have decided to co-opt both to the committee, and having spoken to both Georgia ‘Gee’ Elsdon and Aaron Parker I am sure they will help us to keep the STLD relevant to the next generation of lighting designers and programmers.

Set & Light | Summer 2023

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| STLD AGM

STLD Annual General Meeting 2023 | By Bernie Davis, STLD Chair

It seems an eternity since the Covid pandemic turned everything upside down; in fact three years ago were just days into the first lock-down with no idea where we were heading. Clearly with Covid we are now into the ‘living with it’ phase with most productions back and running. Some productions have clearly had their budgets hit, and over the next few years we will all be settling into whatever is the new-normal – let’s all hope that it is actually normal. Your committee met face-to-face for the first time only last month, the Zoom meetings were too convenient if not as pleasurable.

The saddest memory of 2022 was that we lost our treasurer Mike Le Fevre. Mike had suffered a minor stroke a few years back, and medical checks following that showed a heart irregularity, which was then under treatment. But I did not expect that day in May when I received the call that Mike had died suddenly on his way home from work. Mike’s family asked me to speak at his funeral, and researching that opened my eyes to how loved Mike was and how his generosity had helped so many people. The STLD had made good use of Mike’s skills with accountancy to be our treasurer for so many years, and his sudden departure left us with a big problem. Fortunately for us that stroke had sounded an alarm bell, and we had asked new-ish committee member John Piper to shadow Mike for a while so he could learn the ways and methods, the contacts and the passwords. I have to say that asking John to shadow Mike was the best move we ever made, and in no time John was getting bills paid, accounts handed over, and coming to terms with the invoicing of members and sponsors. John will

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talk through his financial report, and you will all see that he has made a huge improvement to our accounts just in the last ten months.

Other colleagues we have lost in the last year include Dave Griffiths, a vision supervisor who had worked his way to the top of his profession, whilst helping so many others along the way, Alan Woolford who celebrated his ninetieth birthday last summer – Alan had been an STLD member pretty well from when it started, and was a big influence on me in my early days of TV lighting, and of course John Simpson co-founder of White Light and a driving force for Back Up. The Technical Charity.

Even during 2022 productions were reluctant to have gatherings following the isolation of Covid – it seems hard to believe that now. But we did manage a few memorable meetings.

At the beginning of 2022 ARRI UK hosted a spectacular meeting demonstrating the use of LED volumes to deliver virtual reality settings to film makers. This latest technology is already in use for about 30% of films, and STLD members were given an expert demonstration of how it works.

We visited the new BBC Cardiff Broadcasting House to see their latest studio technology, although many of our guests seemed more impressed by their library of all back issues of the Radio Times! Brad Dickenson, a Canadian Lighting Designer gave us a high-quality technical Zoom meeting about his work on calibrating LED fixtures to cameras.

In June 2022 everyone was impressed with the spectacular

concert in front of Buckingham Palace celebrating the Queen’s Platinum Jubilee, and we were lucky enough to get Lighting Designer Nigel Catmur to come to RADA’s theatre to be interviewed about how he did it. I don’t think we have ever had a meeting quite like this one, and it worked extremely well.

The STLD had a stand at PLASA which was bigger than last year although still not back to what it had been in the past. The STLD sported its new signage, and we thank Alan Luxford for flying the flag for us at exhibitions.

At last, and for the first time since the pandemic, we were able to have the ever-popular Strictly Come Dancing meeting in the studio. Over 100 guests – mostly students – were treated to an excellent presentation

by Lighting Designer David Bishop and his team of programmers and crew, all giving up their time to help make the meeting a great success. We thank sponsors Version2 generously supported the meeting.

Then just recently we held a joint meeting with the ALPD and with the Royal Opera House in the Linbury Theatre, where I gave a talk about the relighting of stage shows for cameras, for broadcast and for streaming. This process has been around for a while but is in demand more than ever now, and still attracts a lot of interest.

At last year’s AGM I was saying the meeting not to miss was Showlight 2023, delayed from 2021 thanks to – well you know what. Sadly even this was recently postponed again, which was very disappointing for everyone involved. Concerns were building up about potential costs and financial liability, together with a few problems that were still unresolved with the location. Showlight in its current form Set & Light | Summer 2023

has big costs that have to be met, and there was uncertainty about who might attend and how much revenue might come in. Personally I can’t see Showlight happening again in the same way it did in the past, but a new more streamlined version could easily take place, it just needs a team to take it on.

“We are pleased to say that we have a few more meetings planned for 2023”

We are pleased to say that we already have a few more meetings being planned for 2023 and hope to send out details soon. But we would always welcome more so if you have any suggestions do please pass them on to someone on the committee.

dairy to satisfy those who wanted to continue to use their. The take up was very low, and the diary company stopped replying to our phone calls and emails, so I’m afraid the STLD diary is no more.

The Jubilee Concert meeting, the Strictly meeting and the ROH meeting were all opened up to students, following our policy of engaging with students through their places of education, and we recently added Mountview to our list of contacts and hope to see more of their students at our meetings.

I would like to take this opportunity to thank the committee: Secretary Stuart Gain, not only for his own help as secretary, but also bringing us his partner Susie Tiller, who has done great work with our membership in the last year.

John Piper has of course been co-opted as treasurer after we lost Mike, and I can’t praise too highly the work John has put in on behalf of the STLD. His report will show you just how much he has tidied up our accounts in less than a year.

All the meetings and more get written up in the STLD magazine Set & Light and I must thank the editorial team for their efforts in keeping it going, and Emma has now been joined by Louise Ferne as the magazine designer Louise is working on updating the style of the magazine – edition 136 being her first one. I welcome the changes she has already made, and look forward to further improvements.

Deputy Chair David Bishop has been far busier than ever as restrictions have lifted, but is still looking after the new website design.

I am sorry to say that the new Website is taking far longer than I would have liked, and the latest tranche of updates are being progressed even now. I really hope we will go online with it in the near future, we are planning to take the approach of launching even if parts need improving just to let it settle down, then setting a date after a year or so we can have another round of fixes.

On the subject of IT we have just taken up an offer from Dell Computers under their Small Business Partnership scheme, by which we can offer discounts on all Dell products to members. This discount is on top of any other discount schemes they are offering at the time. They also offer a personal advice contact to help with any purchases. We hope this membership benefit will be of use, and it costs us nothing.

Members might remember that after the diary was discontinued we tried to get new inserts for the Set & Light | Summer 2023

Emma Thorpe is still our editor, she hoped to be here today but has unfortunately has been unable to come today due to family reasons.

Alan Luxford is our Exhibitions secretary, and at last the exhibitions are coming back and we hope to have stands at Production Show and PLASA this year.

Andrew Harris deals with our mail shots, Ian Hillson helped to oversee the old website, but

unfortunately could not join us today. We also have Matt Maller, John King and Nathan Mallalieu who help to broaden the spread of experience and knowledge.

Nathan has been our Student rep, but we have recently looked for someone to replace him as he has now graduated. He will continue on the committee but we are looking at two volunteers who have come forward offering to help with student matters. John and I will meet with them soon, we but are looking at the possibility of them sharing the role. They would of course be co-opted as and when this is decided.

I must thank Paul Middleton (Admin and Data Officer) who has also helped with providing cameras at some of our meetings as well as his work administering the old website and our email systems.

Bruce Wardorf is stepping down, having been too busy to attend and meetings, but I still thank him for offering to help.

And although not technically on the committee I would like to thank John O’Brien for looking after our social media feeds, and also for his photographs of meetings and his advice and experience.

If you feel you have the time to help run the STLD we would welcome you on the committee. Committee meetings are far more enjoyable than they sound, and at the face to face meeting we even feed you!

Finally I would like to thank all our members including our sponsor members. Running the STLD costs money and we can only do it with your generous support. Can I wish you all the very best for 2023, and please do not hesitate to contact the committee if we can do anything. We are an interactive society and welcome your thoughts and ideas.

| Right: Projecting Mike Le Fevre’s hat gobo courtesy of GoboPlus

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| STLD AGM

The Society of Television Lighting & Design 49th Annual General Meeting Held at Cirro Lite HQ, London. Monday 20th March 2023 at 19:00 Present: Bernie Davis, Stuart Gain, John Piper, Paul Middleton, Alan Luxford, Susie Tiller, John King, Andrew Dixon, Ian Howlett, John O’Brien, John Farr

Notice convening the meeting Was read by the Secretary Apologies for Absence Received from – Andrew Harris, Ian Hillson, Andy James, Mike Baker, Albert Barber, John Watt, Guy Morgan, Dan Cranefield, Bill Dudman, Richard Broadhurst, Dudley Darby, Ian Wren, Emma Thorpe, and Matt Maller Minutes of the 48th AGM held on Wednesday 2nd March 2022 at 19:00 Were Proposed by The Chairman and approved by the meeting unanimously.

Matters Arising There were no matters arising Treasurer’s Report Firstly, I would like to pay tribute to Mike Le Fevre, who’ll be sincerely missed by many and who we owe a great debt to for his 18 years of service as Treasurer for the Society.

Mike was well-known within the industry and is sincerely missed.

After Mike passed in May last year, I took over the reins of the Society’s finance, it was only credit to Mike’s proficient records that I was able to get to grips with the vast intricacies of our financial and legal responsibilities so efficiently and in thanks to the time he gave in teaching me so much about how the society functions over the previous few years.

To give a brief overview, Committee agreed, that given my close partnership with Mike on the Society’s finances, it made sense for me to take on the role of Acting Treasurer and I was happy that I could support the STLD in this way.

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We established me as a signatory with our bank account Mandate and elected me as the Primary account user for the business.

In the interim period while we were regaining access to the Society’s bank accounts, which were primarily in Mike’s name. Bernie kindly stepped in to support the Society’s cash flow and we set up an interim chairman’s provision for the Society to enable him to spend his own money on behalf of the society, this provision has since been repaid and was with the blessing of our accountants. My thanks to Bernie for supporting our cash flow in this way. Additionally, I have regained access to our PayPal account so we can access funds and receive money in that way.

HMRC have been informed of Mike’s passing and they’ve passed our VAT responsibilities to me.

The ownership of our book-keeping software has likewise passed to me.

Mike always used to describe the AGMs to me as being a ‘necessary evil’, and after dealing with yearend for the past couple of months, I can see exactly why! Despite the challenges, I am very pleased to report the Society made a Net Profit of £5,252, this is fantastic news, and this profit was mainly due to us sustaining a high turnover and Gross profit as per previous years and it’s been great to see the return of industry Sponsorship for the Society.

We increased expenses on holding meetings in-person this year, vs the online alternatives which we were holding at lower cost during COVID times. However, I believe the additional value these meetings

provide, by far justifies the larger expense where possible, we’re trying to digitally record meetings now, so that we can provide them on our new website as an on-demand viewing resource for Members. Our year’s meeting costs of £4,281 contributed to our Meet the Martin’s event at Pinewood, our members meeting at BBC Cardiff, our AGM last year at ETC and our Platinum Jubilee talk from LD Nigel Catmur.

Additionally, we’ve introduced a new cost for the STLD this year, with our hosting of online publications of Set & Light, this is a flat-rate cost for the STLD of £400/year and provides excellent value to give us the ability to host our Magazine online as well as in physical print, giving us flexibility moving forward into the digital age, and opens the possibility to explore reduced printing and distribution costs for the Society for those members who would be happy with a digital-only copy.

Our work on the new website continues, and we have just our final payment remaining for our initial £15k investment. I have moved these payments to our balance sheet so that our upfront cost for the development of the website will be spread by depreciation over the lifetime of the site. I’ve agreed with the accountants that this depreciation will happen over 10 years and we’ll delay the depreciation start to the publication date of the new website.

We’ve been able to maintain the same level of charitable donations as last year, with a total of £2,500 worth of support to the Molly Rose foundation and Backup, the technical entertainment charity.

Set & Light | Summer 2023

This year, we’ve established two new, modern methods of collecting payment from our Members and Sponsors alike. Firstly, Stripe, who provide domestic and international debit and credit card payment collection at lower cost than PayPal with a simpler checkout online than PayPal, which will be integral to the online payment system on our new website. We also now support Direct Debit via GoCardless, which provides a huge advantage over Standing Orders for us to keep Member’s accounts balanced.

Despite our profit this year, it does come with a caveat for 2023.

We must write off some of our outstanding debt from Members.

We’ve written off a lesser amount of false debt this year than the previous and this comes down to the technicality of how we write this debt off and that the majority of the debt we’re dealing with now is historical rather than current. This means the ‘writing off of debt’ has shifted to our balance sheet rather than being recorded as a loss... A long story short, this accumulated sum will need to be written off next year, so ultimately despite current positive projections for 2023, I am expecting to close 2023 with a loss.

Initially, I have agreed with our accountants to make a conversion next year of £13,649.00 to move the remaining balance of Doubtful Debt sitting on the balance sheet to become Bad Debt on our Profit/ Loss for FYE 2023. This figure will be considered an additional loss to the Society for next year. The Society has strong reserve funds and gross profit and cashflow should remain positive or at least stable. With that, I submit this report for approval and welcome any questions. The Set & Light | Summer 2023

report was voted on and approved unanimously.

Rule Change There were no rule changes proposed for this AGM Election of Officers and the New Committee The Proposed Officers and Committee for the coming year are: CHAIRMAN BERNIE DAVIS DEPUTY CHAIRMAN DAVID BISHOP TREASURER JOHN PIPER HON.SECRETARY STUART GAIN ADMIN OFFICER PAUL MIDDLETON MAGAZINE EDITOR/SPONSOR LIAISON EMMA THORPE EXHIBITIONS ALAN LUXFORD MEMBERSHIP SECRETARY SUSIE TILLER PUBLICITY ANDREW HARRIS WEBSITE ADMINISTRATION OLIVER LIFELY

MALLER, NATHAN MALLALIEU This was voted on and carried unanimously.

Appointment of Auditors The Treasurer Proposed keeping our Auditors the same being Hillier Hopkins Accounting and Tax Services Ltd. This was seconded by Alan Luxford and carried by the meeting unanimously.

AOB There was no further business relating to the AGM. However, a few topics where discussed. The first of these was membership. The question as to how new members could be attracted, particularly students. Consideration was given to membership fees and whether these could be reduced. There were mixed views on this, some for and against.

The Chairman said we had good support from our sponsors, but was mindful that the society needed to demonstrate we are good value for money.

There was also discussion regarding the future of the magazine in terms of printed version, as compared to on line. Committee will look at both of these topics and report back in due course.

The Chairman gave thanks to Cirro Lite for hosting the meeting and providing refreshments. It also gave them an opportunity to show us their latest equipment.

STUDENT REPRESENTATIVE GEORGIA ELSDON, AARON PARKER COMMITTEE MEMBERS JOHN KING, IAN HILLSON, MATT

There being no further business the meeting closed at 20:00

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| Cirro Lite

| Right: Fiilex Quad Color Punch Light

Lighting latest from Cirro Lite Before the AGM David Morphy of Cirro Lite showed us some of the latest products available from the group of companies now under the Cirro Lite umbrella

| Below: Fiilex G3 90W LED Ellipsoidal

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Recent years have seen many changes in company structures and we have witnessed a crossfertilisation of styles of lighting with film and TV benefitting from the experience and technology of live events, and vice versa. Evidence of this was a Chauvet Maverick Silens on show as Cirro Lite now has a partnership with Chauvet.

The Maverick Silens is a superquality moving light we reviewed in Set & Light a while ago, and which fits in well with Cirro Light’s expanding top-quality repertoire. A fresh approach to the mechanical design means that even during movement hardly any noise come from this high quality moving profile.

Chauvet also have a 2x1 LED panel, the onAir IP Panel 2, an IP65 rated fixture with high CRI full-spectrum light source. Connectivity could not be easier, with PWM, DMX, RDM, CRMX, Art-Net, sACN, and it can also be controlled on the unit itself if wanted. It can be powered by mains or through a 28v 3 pin XLR if you want to work cable-free.

Another part of this jig-saw is that Frieder Hochheim – inventor and mastermind of Kino Flo – has now sold his interest in Kino Flo to Chauvet. Frieder is still involved with the products, but is also involved with a new product – the MIMIK, a modular LED panel that uses the very high quality LEDs that Kino Flo has been known for. The product is aimed at the LED Volume market where the screens end up being the light source, both directly by parts of the display being used as light source, and also indirectly where the images on the screens get reflected by the subject being filmed. Frieder had seen this as a weakness in this new technology that his screens could improve. The modules are remarkably light and remarkably robust being made from carbon fibre, and the associated server

| Right: Chauvet Professional onAir IP Panel 2

enables easy pixel-mapping and manipulation of the images.

Dedolight’s range has expanded with units from 20w to 90w, and they have now introduced the new dedolight DTN neo ballast which can drive all new dedolight LED Systems including monocolor, bi-Color, infrared and ultraviolet units. The ballast autodetects the light source and changes the settings and display to match.

The hall-mark of Dedo Lights has always been the superb optical path, and this has continued with their LED ranges.

| Above: Kino Flo FreeStyle Air LED Panel Set & Light | Summer 2023

| Left: Dedolight DTN neo ballast

The new KinoFlo FreeStyle Air is a very light-weight addition to the Freestyle range, which integrates seamlessly with existing FreeStyle systems, and are compatible with existing FreeStyle mounts, extension cables and LED-140 & LED-150 Series controllers.

Fiilex is a brand that comes out of Silicon Valley where this clever company have perfected making very compact high-quality LED arrays, and it is that compactness that allows the optics of the fixtures to be equally high-quality.

The range of fixtures has expanded

from fresnels to include their new ‘cinema-grade’ ellipsoidal profiles spots – the 90w ellipsoidal G3 profile with the options of 19° and 36° lenses.

smaller 175w Fresnel.

Also from Fiilex are two LED panellike fixtures: the Matrix Color punch light which can control its 100° spread with clip-on lenses taking it down to 30° or 18° , and the Quad Color with 1360 RGBW LEDs that make it equivalent to a 5K, again with lenses taking it from 100° to 30° or 18° . There is even a Motor Quad option with mororised pan and tilt, clearly aimed at the film business rather than the light entertainment use of moving lights. All these products boast very high CRI with smooth dimming and no flicker.

| Below: Fiilex Q10 fresnel

If you want to know more about these products, or anything else from Cirro Lite please visit their website: www.cirrolite.com

Most impressive in their range is the Q10 900w colour LED fresnel with a 11° to 65° spot-to-flood range. It is quoted as being ‘the modern day 5k’ and although I doubt it matches an old 5k in straight performance, if you take into account the light lost in filtering for your colour of choice it is probably not far away. They also do a 320w Q8 which claims to be brighter than a 1k fresnel, and a

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Set & Light | Summer 2023

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| Coronation

| Jonathan Brady / Press Association Media

Lighting of the Coronation of King Charles III and Queen Camilla | By Bernie Davis It is a poorly kept secret that big royal events such as funerals and coronations are planned as an on-going process for years, as the former is inevitably going to happen at short notice, and the latter will almost certainly follow on. I have been lighting events at Westminster Abbey for over twenty years, and in some ways every visit has to be used as another chance to advance the design for these ‘future events’. Although not the largest of churches, if you add up the nave, the choir, the transepts, and the altar area the Abbey still has about 2,500 square metres of floor area where guests will be, and every part needs to be lit.

My first design used largely par cans, about 300 in total, mostly with quarter blue correction to help bridge the colour gap between the warmth of the altar candles and tungsten chandeliers, and the cooler daylight that comes in at so many levels depending on the time of day and the time of year. Most of the lighting was rigged in the triforium about 17m from the floor, with a more intimate level being created at the top of the columns around the choir and the altar at

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a height of about 9m. The design gave pretty good face lighting in most areas where people might sit, as well as the obvious processional routes, altar and pulpits. There was included in that design a limited amount of architectural lighting – the organ pipes, the altar screen, the organ loft, and end walls to give distance to wide shots. Much of the rest of the building was lit by some limited internal lighting on the ceiling and of course the ambient daylight. This approach had worked well for years and for many events including the wedding of Prince William and Catherine Middleton, and I was quite happy with it apart from the fact that it was all tungsten and somewhat heavy on power. It required 80 socapex cable runs at an average of 80m each, to four separate dimmer stations, and four significant power supplies. It took three days to rig and two days to focus, and was not cheap.

BBC Events had regularly asked if I could get the cost down for less high-profile occasions, but the problem is – what do you leave out and how much does it save anyway? Fixtures don’t get cheaper than par cans if you

measure light output vs weight and cost to hire, and you still need crew, dimmers, and power supplies, but I still thought there should be another option. Then in 2016 I was asked to light a ‘Somme Vigil’ service which was a night time event where a bit of theatre was required, with zoned areas changing to night as candles were extinguished, ending up with one candle by the tomb of the Unknown Soldier, which itself was then extinguished as the final moment of the very moving service.

I decided to light it mostly with LED wash lights – a mixture of Mac Quantums and Mac Auras which I knew would be bright enough for a night-time service. But while I was doing it I took the opportunity to try a focus and colour that would work during the day, and my light meter told me they delivered what I needed.

This experiment allowed me to make a new design for a regular service, but it needed to be no more expensive than the tungsten version to be acceptable, so the nave ended up with sixteen Mac Quantums replacing almost 100 par cans. With similar substitutions throughout the building we were able to light the Set & Light | Summer 2023

whole of the abbey for about half the cost of the tungsten version, and were now drawing less than 15kW per side of the triforium. This was a massive saving that could then be developed for the future.

A bonus I had not anticipated was that when we returned with a similar rig I sat at the lighting desk on the abbey floor during the rig with the show file from last time, and as heads came on line I only had to make sure the modes and addresses were right, and the pan and tilt directions were as before, and the heads went back to focus. Any additional heads could be focused by me while the rig continued, and by the time the rig was finished the last head was focused and we were ready to rehearse. The new LED rig was a little basic but it was ready for developing further as it was clearly the way we had to go.

About that time BBC Events had a little shuffle of people leading up to the royal funeral, and Nigel Catmur was asked to look after the Abbey while I did Windsor, which made sense as I was the only person to have lit St Georges Chapel at Windsor for many years and we don’t go there very often, but inevitably it would mean that the Coronation that would follow the funeral would surely be lit by Nigel. But when the details of the Coronation were announced there were far more other events than had been anticipated. A programme of ‘Light Up The Nation’ projects

called for lighting at a series of Landmarks around the UK, and Nigel was quite rightly needed for the concert at Windsor, so I was delighted to be asked to return to Westminster for the Coronation.

Nigel went to great effort handing on where the development of the LED plot had got to, and we enhanced it to meet the additional demands of the Coronation.

Further additional lights were added to cover the two orchestras and various choirs, as well as the usual reading points. The main orchestra was placed in the organ loft which ended up somewhat full, and we had to add a couple of our spare Auras just for them. There was even a choir of the King’s Scholars from the local school who were placed in the triforium where they could only be seen on camera, so of course needed their own lighting rig. During the course of the service the aisle down the centre of the choir stalls changed from being an orchestra location to a processional route, to a place for soloists during the service, and then back to a processional route at the end, and the use of moving lights let us optimize each of these different situations.

The Coronation service is very different from other ceremonies, and one of the biggest differences is that the action around the high altar is not facing towards the congregation or across the altar as at a regular service, nor around the steps to the altar as happens at weddings. For this Coronation service a ‘Theatre of Coronation’ was built from the crossing at the transepts right up to the altar. Two thrones sat at the crossing, and two ‘Chairs of Estate’ sat to one side of the altar pavement facing the central Coronation Chair, which itself faced the altar, all helping to emphasise the religious nature of the Coronation service with the focus of attention towards the High Altar. To get pictures of that part of the ceremony cameras had to be in places we would not normally use, including one rigged on the top of the altar screen itself. Without these we would have been looking at the backs of heads at the essential crowning moment.

The final design used 148 Mac Aura XB washes, 40 Mac Quantum washes, 38 LED Source 4s of different types and lenses, 14 Super LED DeSisti f4.7 fresnels, 12 ColorSource Pars, 16 Colorado Q40s, and a small collection of Gemini panels, and Sola4+s and Astera equipment, all driven over 12 universes.

The Abbey house lighting has been updated in recent years and now has a comprehensive lighting installation for the ceiling and for key structural elements. They have also changed all the light sources in the chandeliers to full colour changing, and the control for all of this can be picked up on its own universe by our lighting desk.

I was fortunate enough to get the services of Rob Bradley, a lighting programmer who learned his skills with some of the best LDs such as Mike Le Fevre and Dave Gibson, and he was everything I could have hoped for. The desk was a Road Hog as Nigel had the last Abbey event already stored and patched on one and it was easier than starting again.

I thankfully had Giles Hiscock looking after the cameras, as he is one of the very best in the business.

Eight additional Aura XBs were added to the plot just in the altar area so they could be programmed

| Image credit: With kind permission of Holophane Ltd Set & Light | Summer 2023

to cover each element of the ceremony.

| Image credit: Bespoke chandeliers and projectors by Holophane Ltd.

Our lighting control area was in a side chapel of the abbey just behind the shrine area east of the high altar, where we were able to have the main and spare desks, two large monitors with Multiview displays giving us monitoring of 32 of the total of 38 cameras in and around the Abbey.

We also had the usual switchable monitors and comms panels.

For me one of the most important considerations for an event like this

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| Coronation

would at a non-public event, but we were able to make the best of every location used by simply cross-fading from one set-up to the next in a way that I am sure no-one in the service would have noticed. The biggest operational change was when the King left the altar via the north door to the shrine area behind, and one of the remote cameras took a closeup of him at a moment where there was no light facing him – the nearest lights in my rig were 9m above or else even further and from behind him. I managed to hide a small soft light at the base of the camera, but it was in danger of being seen by some of the cameras at other times, so we had to just fade it up as the King walked towards the door. A piece of gel made it all but disappear when not on, and careful timing meant he would not see it come on, so it was never in shot when lit.

| Image credit: Coronation of Queen Elizabeth II, lighting by Holophane Ltd.

| Image credit: With kind permission of Holophane Ltd

| Image credit: Holophane projector unit.

is that it is not a TV programme and should not be seen as such by the guests, Moreover it is an event with people who will be very sensitive to anything they feel is not to their liking or is uncomfortable.

With pretty well all the fixtures being colour tuning I had to choose the colour point we would start from, and I decided to set the colour of the general lighting by eye rather than on camera as that is what the guests would see, I could then fine tune it for camera if needed. With Rob’s help we set the chandeliers so they looked bright and sparkling at the right time of day, then set some of the Quantums to look good against the chandeliers. Once I was happy Rob then copied that colour to all the face light fixtures. The lights that lit architectural features were then coloured to give depth and richness to the pictures, either warm or cool depending on their location.

It might seem obvious to set the lighting colour by eye, but I am not sure I have ever done that quite so deliberately before. I will not fade lights up and down as freely as I

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The complexity of the whole event, and especially the installation build for the Theatre of Coronation, meant we did not have a simple build period. But the event production company were extremely helpful, and my lighting crew worked carefully with them such that everything was ready to rehearse within five days of being on site. For the next three days we had copious music rehearsals – more for the orchestras and the choirs than for us – followed by a full event rehearsal. Throughout rehearsals Rob continually created cues to get best balance for each situation, although none of these rehearsals were at the correct time of day so the effect of the sun had to be allowed for, and in May that can be considerable and very different throughout the building. My crew kept up with any changes and additions, negotiating with Abbey staff and with security for access times, and it has to be said that everyone has learnt over the years how best to manage these events and I could not fault the efficiency.

The schedule had built into it a buffer day between the dress rehearsal and the event day, which is so sensible as it means you can address all those last minute jobs and still get an early night leading into a very early start for the day itself. The transmission started at 07.30 as the first guests were admitted, and the occasion built to the point three and a half hours later when the King and Queen arrived at the west door for the start of the two hour service. No intervals or comfort breaks here!

Set & Light | Summer 2023

It was decided that the Coronation would be covered with the latest Ultra High Definition cameras in High Dynamic Range mode, which brought its own series of problems to be addressed. A serious consideration is that most people would be watching in regular High Definition, and most of the equipment and infrastructure on site is not UHD. In lighting we did not have a UHD monitor, nor did the vision team exposing and colouring the pictures. To see the pictures a LUT (look up table) down-converts to Regular High Definition by putting all the additional contrast and colour gamut into the range of the monitors, and we know from experience that this process can cause colour issues particularly in the highlights.

Extensive tests were carried out in advance to make sure that the table values made the HD and UHD pictures match, so that we were sure our pictures matched other locations such as the procession to and from the abbey, and also the presentation area. Thanks to this there was no compromise for the majority of viewers watching in HD rec709, and at the same time the whole event could be seen on i-Player in UHD, as well as there being a UHD recording made for posterity.

Credits Lighting Crew Chief Mark Gardiner Lighting Contractor ELP White Light Client Manager Darren Fletcher Lighting Programmer Rob Bradley Vision Supervisor Giles Hiscock OB Facilities EMG

| Image credit: Andrew Matthews / Press Association Media

Set & Light | Summer 2023

15

| Coronation

Coronations

and Public Access | By Bernie Davis 2023 saw the fortieth coronation to be held at Westminster Abbey, going right back to William the Conqueror, but as Queen Elizabeth II reigned for over 70 years very few of us were around for the last one, and what’s more, technology has advanced beyond anything that could have been dreamt of in 1953. Public interest is always huge, but how the public have been able to experience these royal events changes every time as the press and the broadcasters bring their latest and best to the occasion.

Although Queen Victoria’s coronation in 1837, already the third that century, had its budget cut back it was still a grand affair with presentation to a wider public being a key consideration, and it included the longest street procession since Charles I with scaffolding built all along the route for the public to get a good view. It is estimated that thanks to the new railways 400,000 people came to London in the days leading up to the Coronation. The inside of the abbey had galleries and boxes in all directions to allow far more than just the peerage to attend. Unfortunately on the day the ceremony seemed noticeably under-

16

rehearsed, with an under-sized ring being painfully forced onto the wrong finger, and one elderly lord tripping and rolling down the steps to the throne. Photography really came about during her reign, and although photographs of Victoria exist there are none of the coronation, which was only recorded for history by virtue of oil paintings.

But by the end of her life the government was keen to make a big show of the new empire, and world leaders and heads of countries within the empire all travelled to England for King Edward VII and Queen Alexandra’s coronation, only to have the day postponed at the last minute due to the king’s illness. The day itself when it was rescheduled was somewhat chaotic too, with the Archbishop of Canterbury clearly too ill to conduct the service but too stubborn to step aside. At one point he was unable to stand after kneeling to pay homage and had to be helped up by the King himself, and when someone asked if he felt well enough to continue his robust reply was heard all over Westminster Abbey. A stills camera

recorded the couple leaving for the Abbey on the day, but recording of the service itself again fell to artists to paint the occasion. Electric lighting had been installed in Westminster Abbey temporarily for the first time for the Coronation, but no decision was made about its permanent retention and it was removed after the event.

Electric lighting was again introduced ten years later for the Coronation of King George V and Queen Mary, initially on a temporary basis, but this time after the ceremony the supply cable and main fuse boards were not withdrawn, and they became part of the first permanent installation.

According to a blog by the Institution of Engineering and Technology, an article in The Electrician mentions that “a supply of continuous current was obtained from the Westminster Electric Supply Corporation at 200 volts for the lighting and at 400 volts for the organ blowers”. A Flemish design of ‘electroliers’ (electric chandeliers) was adopted for the lighting. These installations were managed by the government through the ministry of works.

The technology of media had moved on by 1911 and Pathé News filmed

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the procession to the Abbey, but of course there was no sound as talkies would not arrive for another ten years, and there was no radio yet. But stills cameras were now recording the ceremony for the first time.

So the first Coronation to happen after the BBC had started the Television Service was that of George VI and Queen Elizabeth in 1937. Coverage of the procession was again provided by Pathé news film cameras, now with sound.

However the Television Service had formed just six months earlier, but some television cameras were taken from Alexandra Palace to work from a brand new mobile control room at Apsley House, so creating the first outside broadcast.

The truck was built to take three Emitron cameras matching their standard studio complement and it worked alongside the equally new mobile transmitter that could send the live pictures directly to Alexandra Palace. The Post Office also managed to lay a balanced pair cable capable of taking the TV pictures directly to Broadcasting House, with another from there to Alexandra Palace acting as a backup to the mobile transmitter.

The Emitron cameras were a little grainy in the lower light of a dull day and could not have worked inside a dim abbey but the live broadcast of the procession was hailed as a great triumph, reaching an audience of !0,000 viewers.

BBC radio coverage of the service came via 32 microphones hidden at strategic points giving the most comprehensive broadcast to date.

The windows of the abbey were somewhat blocked by the galleries built to accommodate the 8,000 guests, making the interior far darker than usual, and Holophane Ltd were commissioned to provide lighting additional lighting, and in the nave they fitted custom built chandeliers hung from the roof, and also 44 500w projectors 17m up in the triforium focused to give 15 foot candles (160 lux) of even light along the processional route through the nave to the altar. At the Theatre of Coronation, between the transepts and up to the High Altar they used further chandeliers and projectors to achieve a higher level of 30 foot candles (320 lux). Holophane was not a theatrical company but had a pedigree of having lit public buildings such as St Paul’s Cathedral and Westminster Abbey in the past, and it is a testimony to their fixtures that so few 500w projectors with Set & Light | Summer 2023

their prismatic lenses could achieve that light level.

By 1953 television had advanced significantly despite being mothballed for World War 2, and the BBC prepared to play a big part in the Coronation of Queen Elizabeth in 1953. After intense lobbying the BBC were eventually allowed to take television cameras in to cover the service itself. Five camera positions were agreed, (you might well have that many in a presentation studio these days!) working alongside a further ten news film cameras, providing colour film pictures of a coronation for the first time.

Holophane was again commissioned to provide the lighting, but this time to a level of nearer 2000 lux. The new Image Orthicon cameras used by the BBC were fairly sensitive compared to what had been used before, but the high light level would have been required for the film cameras. The high level of lighting must have been very apparent to everyone attending, and in his commentary Richard Dimbleby noted while one camera tilted up during the preset: “… the brilliant lights, far more brilliant than any normally seen, through which and sometimes against which we will sometimes have to watch the great scene unfold below us” Whilst the film cameras produced beautiful pictures, it was the live accessibility of the television service that really captured the public’s imagination. Many people bought their first television just the occasion, and invited relatives and neighbours round to watch. More than twenty million people out of a population of 36 million in the UK watched the programme live, and film-recorded versions were quickly flown to Commonwealth countries, to Canada and to the United States,

“... the brilliant lights, far more brilliant than any normally seen, through which and sometimes have to watch the great scene unfold below us”

where the audience was increased many times over. It was the first time that the television audience had exceeded the radio audience (11 million), and is now seen as the moment when TV came of age.

But one little known fact is that this event also seems to have witnessed a colour TV first, in that Pye Limited of Cambridge, in collaboration with the Chromatic Television Incorporated of America, arranged a programme in colour for the benefit of the children at Great Ormond Street Children’s Hospital in London. Using the British Experimental Field Sequential Color System, a field sequential camera was used and the signal was broadcast over a UHF channel to Great Ormond Street Children’s Hospital in London. Receivers had the Chromatron CRT rather than the color wheel that had been used in all previous field sequential systems.

Transmitted by a low power wide band UHF transmitter on 575 mc/s this was I believe, the first UK colourtelevision outside broadcast ever attempted, and it seems that it was successful. One cameraman noted: “Whilst 20 million viewers watched the transmission in black and white, 150 children and staff of the Hospital for Sick Children in Great Ormond Street watched part of the procession in colour. Pye of Cambridge were given permission to set up three colour cameras on the roof of the Foreign Office, and by using a portable transmitter beamed the signal to Ormond Street to display colour pictures on two 20” sets” Jump forward seventy years to the coronation of Charles III and Queen Camilla, and the whole event was covered in Ultra High Definition, and with the BBC as host broadcaster the pictures went live all over the world to an audience of around 400 million.

The abbey unlike with previous coronations had no tiered seating or galleries, and housed just 2,200 guests unlike the 8,000 last time, but unlike previous occasions anyone with a limited view inside the abbey had large courtesy monitors and a comprehensive PA system so they could witness the event in far more comfort. Other places around the UK showed the ceremony on large screens, and thanks to the thirty eight cameras in and around the Abbey every part of the occasion could be seen live by more people than ever before.

My thanks go to Holophane Limited for access to their archive and their permission to use their information and pictures.

19

| Eastenders

STLD heads to

the East End | By John Piper & Matt Maller Photo credit: Martin Christidis BBC Studioworks welcomed the STLD to its facilities at BBC Elstree Centre on Saturday 10th June 2023.

BBC Studioworks; a commercial subsidiary of the BBC, provides studios and technical services for productions. One of its long-term clients is EastEnders. EastEnders have been located at the site since the birth of the soap in 1985 and the show has grown to be an enormous operation on the site, keeping up with the demand for producing two hours of content every week and maintaining a quality to compete with the highend dramas seen on subscription streaming platforms.

It was a pleasure for BBC Studioworks to be able to welcome back some of EastEnders ex lighting staff members; including Barry Austin (Lighting Director) and

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John Bradford (Vision Supervisor).

Interesting to hear from them was the contrast and similarities between how they use to light the show and the techniques used today, with the traditional use of poly boards to softly bounce light still going strong while new technologies in use which allow for the dynamic colour temperature control of studio rig lighting from the gallery.

The collaboration between the STLD and BBC Studioworks was driven by a shared commitment to supporting and introducing new talent to the television industry. Recognising the need to bridge the age gap in the lighting profession, which poses a barrier for aspiring professionals, both parties aim to offer new opportunities and foster the next generation of lighting experts.

The STLD invited six places of education: • University College London (UCL) • London Metropolitan University • Mountview Academy • Royal Academy of Dramatic Art (RADA) • Rose Bruford College • Central School of Speech and Drama Extending a free invitation for those actively studying lighting to join our members visiting the BBC production.

We were delighted that the majority of our attendees were students and that the STLD, in partnership with Studioworks were able to support so many discover television and explore the complexities of TV lighting and consider lighting for camera as a career path.

The meeting started with a reception Set & Light | Summer 2023

how Matt explained in steps how we approach lighting a scene with examples throughout, building each scene from scratch, talking through motivation for lighting scenes, what considerations have to be factored, such as times of the day and the mood of the scene and how these fit into the constraints of multi-camera drama.

After the demo, the attendees split into groups with some looking around the set of No55 and asking John Carberry & Matt questions, with others looking at the adjacent set for Peggy’s wine bar. The third group headed upstairs for a look at one of the lighting & vision galleries for the show with a talk from John Piper (Vision Supervisor) and Arran Mackenzie (Supervisory Studio Engineer) on how the operations and roles work upstairs and what the role of the VS is and how they are critical in supporting the LD who operates from the studio floor.

“Matt explained in steps how we approach lighting a scene with examples throughout, building each scene from scratch, talking through motivation for lighthing scenes”

of drinks and food in the BBC Club.

The food was generously provided

by Studioworks while the drinks were sponsored by De Sisti. The meeting was very privileged to have Fabio De Sisti present to talk through he and his families work in developing luminaires for camera, he kicked off the meeting with a demonstration to our members, showing a range of their typical kit found in many studios throughout the country. The demo served both as a great introduction to typical studio lighting kit for the newcomers in the room, but also a detailed breakdown of the approach the manufacturer has taken to ensure the lighting products they produce are bespoke tailored around feedback from their clients. De Sisti break their design down to the emitters used within the fixtures to ensure they’re producing the exact Set & Light | Summer 2023

quality of light needed to best work on camera.

After the quick-stop tour of De Sisti’s products, the group were taken to BBC Elstree’s historic Studio A which, at the time, held both EastEnders Peggy’s Wine Bar and No55 Albert Square sets. John Carberry (Lighting Manager for Drama at BBC Studioworks) along with Matt Maller (Lighting Director) greeted everyone to EastEnders with the summary of who makes up our lighting team, what the average day working on the show looks like and how the iconic studio site has developed over many years of producing film and television.

Matt continued with a demo in the set of No55, showing how we typically light a daytime scene vs a night-time scene. This demo had some great feedback from

John & Arran talked about how the show is operated from three galleries on-site and each of the galleries can hot-patch to control any of the nine different recording locations on-site, including: three stages, three studios, both outdoor scenery lots and a hospital the show inherited from Holby City which ended in 2022. Lighting and talkback are both distributed across the site over a shared physical network with all three galleries sending sACN data across about 20 universes.

What was of interest to some of the professionals attending was the show’s unique use of recording in High Dynamic Range (HDR). The show is recorded in BT Rec 2020, 10-bit S-log, 1080i format allowing us to record approx. 14 stops of composition which we then send to post-production. The engineering setup is fairly complex due to how the show still uses the BT Rec 709, Standard Dynamic Range (SDR) remit for monitoring and of course EastEnders is still ultimately broadcast in SDR on BBC One and uploaded to BBC iPlayer currently in SDR. So why record in HDR if the show is watched in SDR? The short answer is that it gives the colourist greater freedom and ability in postproduction allowing us to compress and manipulate elements of the picture to retain detailed low-lights as well as high-lights while keeping a good exposure and balance for faces on screen. A typical example is that

21

| Eastenders | Right: Fabio De Sisti of De Sisti Lighting.

the show was evident with the new HD cameras starting to reveal a level of detail which exposed the degrade of the scenery to the audience.

Moreover, there was a need for a more secure set to improve the safety of daily working while filming outside.

The new set contrasts from the old as they’re now properly built buildings vs the old facade flats which made up the fictional housing. The new buildings will be long-lasting for the show and due to their modern and permanent construction with weather-proof and well insulated design, offering warm sanctuary for crews filming throughout all elements non-stop for fifty weeks of the year. The lot also now features a fresh distribution of camera cabling, networking, fibre lines and power distribution to provide ease of use with the latest filming technologies.

The lighting team make use of lighting in every building, with DMX control via IP putting every fixture at the control of the VS in the gallery saving an enormous amount of work to architecturally light the set. on a sunny day, you’d expect for the cameras to be exposed to faces on screen but usually for shots on TV that means a compromise of having a completely burnt out glaring white background behind the person in shot. Using HDR we can retain all the detail of the sky, including the clouds and the background buildings while balancing for faces and the colourist can then recover that detail using tools to manipulate the picture and compress it into a new picture for transmission.

After the groups rotated, everyone headed over to Stage 1 to visit the iconic interior set of the Queen Victoria pub, which made for a memorable part of the day. With a quick talk from Matt & John

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Carberry, critically showing the team’s use of LED lighting in the Vic compared to the tungsten lit cafe set within in the same studio but also showing some secrets of the sets, if cameras are looking at windows how a natural daylight feel can still be created with some cheated daylight direction safely out of shot.

To end the day, everyone headed outside to the Front Lot. EastEnders rebuilt their external set to make it HD compliant with the new front lot replacing their old back lot in 2021. The original set was only ever designed to last for the pilot of the show and 35 years later it was still standing (just a little worse for wear!). The need for a new set for

The VS has control of lights in every window, doorway and stairwell of each house or building as well as control of every practical seen in-shot from shop signs to porch lights, not to mention having control of every bi-colour.

Each streetlamp post around the lot features a True-con power outlet hidden in the base along with a DMX port, accompanying the array of outlets equipment wall boxes hidden inside the set buildings allowing the production electricians to get power and data feeds for deployable lighting kit used to light the actors faces and reduce the battle of contrast with the sun.

The meeting closed with a message from Bernie Davis (Chairman of the STLD), who remarked on how enjoyable the day had been and how great it was to be able to support the upcoming generation of lighting professionals. Bernie explained that for the last few years, it’s become a critical purpose of the Society to be a catalyst for helping young people gain entry and progress in the trade of lighting for camera.

Bernie also thanked the team at BBC Studioworks for graciously hosting the event and particular thanks to John Carberry and Anthony Brown for hosting the event, thanks to Fabio and Nick Mosby for their talk on De Set & Light | Summer 2023

| Right: Nick Mobsby of De Sisti UK

“The event served as a catalyst for both groups, fostering a deep appreciation for the evolving landscape of television lighting.”

Sisti’s products and Bernie gave personal thanks to both Matt Maller and John Piper who were both critical in organising the day and continue to support the STLD with their work on the Committee.

Overall, this event proved to be an invaluable experience for students, immersing them in the captivating realm of television lighting. It left them feeling inspired and fuelled

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with enthusiasm as they embark on their own exciting journeys into the industry. Simultaneously, seasoned professionals gained valuable insights into how the lighting team seamlessly integrates modern technologies into the creation of the show. The event served as a catalyst for both groups, fostering a deep appreciation for the evolving landscape of television lighting.

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| Opera House Visit

Royal Opera House visit | By Bernie Davis Photo credit: Martin Christidis In February the STLD and the ALPD jointly arranged a meeting on the topic of stage shows being relit for camera, a subject that has attracted increasing interest recently. TV companies have televised operas and ballets for many years, but the number of these broadcasts has massively increased with the introduction of steaming and of cinema viewing in the last couple of decades, and it is a subject that has interested me since I first started TV lighting.

I was able to get free use of The Linbury Theatre, the smaller of the stage spaces within the Royal Opera House at Covent Garden, and the meeting ended up as a combined STLD / ALPD / ROH event with an audience that included many students of lighting, as well as ROH staff, STLD and ALPD members. It gave me the interesting challenge of talking to people of very different experiences, and explaining some technical points that frankly I ought to know more about myself! For this article I will bias what I said towards a TV viewpoint.

“One of the first STLD meetings I went to was hosted by Alan Woolford in 1989 I believe, where he spoke about his work modifying stage productions for the BBC to broadcast, and I was really impressed with what could be achieved even in those days. Alan was a colleague at BBC Outside Broadcasts and he was a great help in my early days of TV lighting, and it is fair to say that this meeting inspired me to move into this niche corner of lighting. In 1990 Alan Woolford had left the BBC to go freelance, covering operas and ballets around Europe and Russia for the increasing market of video sales. After nagging my manager I eventually was allocated to my first stage broadcast show at Covent Garden in 1992, it was Verdi’s opera Otello, with Placido Domingo and Kiri Takanawa in the leading roles, Georg Solti conducting (it was his 70th birthday gala with Prince Charles and Princess Diana in the

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audience), Elijah Moshinski directing the stage, and the programme was broadcast live on BBC 2 directed by Brian Large. It was a big occasional for me to have my first go! There were no rules about how to approach this work, it was not taught on the BBC Lighting Course, and all I knew was what I had heard at that STLD meeting.”

“By then as a vision engineer I had seen many stage events re-lit for camera where the art sucked out of them by the additional white light needed just to make the cameras work, and that is not a criticism of my predecessors, TV cameras were not very sensitive and stage lighting instruments were far dimmer than they are today. Stages weren’t very bright much of the time, and the only solution was to pile in large quantities of additional light. At that time the BBC would buy out a Sunday to stage a performance

that was only for camera, and the invited audience would have free seats to watch a TV recording, so allowing the lighting to be changed as much as was needed. But Alan was pushing back the boundaries by working with the theatre lighting team to get a better balance for camera. He still used to add light for the audience and the auditorium, and to do this the BBC would buy out boxes to place stand lighting with 2k or 5k fresnels, to our own dimmers and desk. By 1992 we had moved on to the cheaper option of televising a regular performance and drastic lighting changes were not acceptable.”

“Having seen the a rehearsal of Otello with the powerful storm sequence at the start of Act 1 there was no way I wanted to spoil that with additional front light, although it was clearly too dark for the Philips LDK5 Plumbicon-tubed cameras Set & Light | Summer 2023

we had on the main units at that time, so I turned to the OB crew who would be doing the show for advice. The vision supervisor was Barry Milne of BBC Outside Broadcasts and he persuaded BBC management to change all the cameras for the latest Sony CCD cameras, and we were then able to push the cameras to their limits and the storm sequence worked with minimal changes. One member of the audience sat behind a camera spoke to the camera operator in the interval, and asked how long the BBC had been using cameras that could see in the dark – they could see what was happening through the camera viewfinder but could not see what was happening on stage.

So in essence I drove the cameras to meet the lighting, and didn’t just change to lighting to work for the cameras which has been my approach ever since.”

I went on to explain the different TV recording processes that the theatres might meet.

First of all, just one stand-alone camera: This could record a wide shot on one pass then on further passes record other shots to be edited up to cut together. This is pretty cheap from the camera side, but very time-consuming in both recording and editing and relies on consistent performances Multi camera: This can speed up the recording process by having several cameras

all recording at the same time, but that still takes considerable editing to make something usable.

This might well be how an EPK (Electronic Press Kit recording of a short section or sections, often used for trailers and promotions) is made and for a couple of minutes clip it might well take a couple of hours.

For this meeting we were really looking at multi-camera recording of a performance, which could also be streamed or broadcast live. This might take the form of a large OB truck that cables into the building, or else a fly-away production facility which sets up in the theatre and combines camera coverage much as an OB truck does. Here at Covent Garden they have installed a permanent comprehensive production gallery capable of large 4K transmissions. It has a large and impressive production gallery, and internal cabling that allows quick placing and routing of cameras in all the expected locations, not only the main auditorium but also the Linbury Theatre, The Floral Hall, and even two of the ballet rehearsal rooms. This was a large investment that is more than justified by the number of recordings, broadcasts, and streamings they take on throughout the year. There is also a high-quality sound gallery to handle the sound requirements of opera and ballet, and which is even used

by Radio Three for their regular OBs from Covent Garden. The galleries are maintained and administered by the theatre Sound and Video departments, topped up with regular TV freelancers on a show

by show basis. Cameras are hired in as needed, although they do own a small number of cameras too. To my knowledge this type of investment is rare in the UK, in fact the only other one I know of is a much smaller installation at The Barbican Concert Hall.

“So what is the problem with cameras working with the stage lighting? I mentioned that with Otello there was a shortage of light, but this is not often the problem these days, and indeed even on Otello we had some very bright HMI lighting from the wings that was if anything too much.

The most common problem for cameras is the contrast range. A modern broadcast camera can make good pictures in full sunlight, and also indoors when it is just about light enough to see what is going on.

Your eyes can see about 14 stops range of brightness whereas the TV transmission is designed to deliver only about 5 stops.”

Using a broadcast camera (one of their soon to be replaced Sony 950s) I was able to demonstrate to the meeting how the audience could see details in the darker corners of the stage that could only be seen by the camera with use of the iris.

I had been lit by the theatre crew to a balance that looked good for the audience, but for the camera I could show that I could expose the background or my face but not both.

“Modern camera sensor chips can resolve a far wider range than is needed, but we are still living with a TV signal standard based on CRT displays and we have to work within the transfer characteristic defined by Rec709 for High Definition television.

Our eyes and brains are very clever at exposing pictures, or rather making sense of the jumble that goes in through our eyes, but cameras are unforgiving. It is the same with getting the colour right, our eyes automatically compensate to see colours as we expect them to be, but cameras have to be told which colour temperature they are working to.”

“Chromaticity defines a colour, but we have to start with a neutral point or white point: the camera white point defines the starting point of the pictures’ colour. In a typical TV studio with tungsten lighting we balance the cameras to 2950k to allow for tungsten fixtures at 70% intensity.

Work outside in natural light and we set the colour balance to daylight, although even that can vary from 5600k to 14000k, so where do you set the colour balance for stage?”

Set & Light | Summer 2023

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| Opera House Visit

“It is clear when observing stage lighting designers that they would use an open tungsten source to give them a warm white and if they wanted a cooler white they would colour correct the fixture to taste. With the range of automated lighting now in use it is very easy to produce a range of colours to taste without ever thinking of colour temperature, so where are we with camera colour temperature for stage shows? I have found that the best starting point is often about 4000k as a camera setting, and I think the logic is that your eyes settle on a balance somewhere between tungsten and daylight, so if you do the same with the cameras then the pictures will look close to how the stage looks. Interestingly I now find I do the same when lighting churches, as the problem is similar: you have a range of light sources from daylight to candles, and the pictures look best when the daylight is not too blue and the candles are not too orange.”

Again using the Sony 950 I could demonstrate the effects of setting colour temperature. I had been lit that day by the Opera House lighting team to look how they would light a person giving a presentation, and had avoided influencing what they did. With the camera set to 3200k I looked fairly cold on the monitor, but when I went to 5600k I looked too warm.

Around 4000k and I looked roughly the same on the monitor as I did in real life. This is exactly what I usually find with theatre shows: almost always the best place to start with the camera colour temperature settings when covering a stage show is around 4000k.

I went on to talk about other colour issues I often meet. “Some productions suit lower saturation, some but certainly not all, and I would discuss this with the vision supervisor. But there is another issue that is becoming a problem with getting the colour right for TV coverage of stage shows, and I think I have identified what is going on!”

“When covering a National Theatre play that had a large projection area we made the face colour look right in the usual way, but the screen then looked colder than the very monochrome images as seen in the theatre. I was not unhappy as the

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cool monochrome images looked fine to me. The graphic designer was however very concerned, but I pointed out that we could not move the colour settings of the cameras to improve the graphics without making the faces look far warmer than would be acceptable. This answer was not accepted and we had to look further into improving things. We tried many different settings, but when we switched off the matrix things immediately looked much better. The pictures looked a little thinner than before but we then turned up the saturation a little, and the graphics stayed properly monochrome. One happy graphic designer - but I had to think what was going on, and I think I now know.”

but not necessarily to the camera.

We have seen the same problem with fluorescent tubes over the years, and I think what is happening is that some of these spikes get picked up in the cameras by the matrix resulting in false colours rather than just the colorimetry improvement it is meant to produce. I have since seen the same problem with some LED lighting now in use everywhere, in particular a recent production of La Boheme at Covent Garden where the restaurant scene looked very unrealistic on camera. After much discussion we again turned off the matrix and the problem was solved. I have no doubt that this problem will vary with different fixtures, but it is a fix that I use often now, although always with care.”

“The projector is not an ideal light source, it produces a series of spikes within the visible spectrum that make a good white to the eye

“Another way that LED lighting is proving to be a problem for cameras is that some fixtures give a green cast on camera that doesn’t show to the Set & Light | Summer 2023

eye. Changing the fixture colour to help the camera is not always the solution as the scene might start to look pink by eye. In a studio this is not a problem as all that matters is the camera pictures, but in a theatre with a paying audience this is not always acceptable. I have seen improvement with help from the matrix settings, but the usual solution is just compromise” I then talked the guests through the TV issues with cheap LED sources and flicker.

“Low quality LED drivers can sometimes create camera flicker especially at reduced dimmer values. The camera clear-scan control can usually reduce this to an acceptable level but with two considerations: First, using the clearscan can mean the camera has to open up more. Fine if is a bright show but if there is a darker scene there could be problems. Second, I have known the use of clear-scan to introduce flicker from other fixtures that were fine before. On one show we had an actual 35mm film projector which did give us flicker, and nothing at all improved it. The back-up digital projector was fine, but the designer was not happy with that option so we had to live with the flicker.”

At this point I explained to the non-TV audience how the Vision Supervisor looks after the pictures, and through the concepts of different gamma curves, using the knee, black stretch, all with their

“On a consistently bright show it is not unknown for us to add negative to gain help”

advantages and disadvantages.

But the real concept I wanted to get across was the need for a close relationship between the Lighting Director and the Vision Supervisor.

Another important thing I wanted to get across is that televising something is a photographic process with all the considerations of focus and depth of field.

“If a scene is dark you can open up the iris to expose the camera, but if the action involves movement up or down stage it can be tough on the camera crew to maintain focus. But usually you can’t just increase the lighting to get around the problem as the fixtures in use might not have enough range to get much brighter, certainly not the stop or so required.

A small increase and a tolerant camera crew might just get those moments within range, but if that is too much to ask the only option is to add gain.”

“At the other end of the scale, too much light can be a problem in that you end up with a very deep field of focus and it always looks better

to throw the background out of focus even a little. On a consistently bright show it is not unknown for us to add negative gain to help. “ I then talked through the process I use when taking on one of these projects and although it varies with different companies and different types of production the steps are similar.

“First of all I like to see the stage show before doing anything, just to have a good sense of what the theatre audience would see. I also ask for a scratch recording if at all possible – this is a wide-angle recording of the show sometimes made for the theatre to have a record of their production anyway.

These are often very poor quality (it would be disappointing if they were of broadcast quality without our help!) but at least are a reminder of the staging, and it is surprising just how much you can see if you watch with a TV lighting viewpoint, such as hot follow spots and people in dark areas. If you are lucky you might even get a version with the LX cue information recorded with it.”

“The next important thing is to establish when any lighting changes can be made, and this needs to be agreed at an early stage as theatre crews will be scheduled around the days that cameras are in and times can’t just be changed for the broadcast team. I like to have at least one session before the first time on camera, even if I can only trim a few hot spots or lift a few dark areas. This is very important as it helps me and the stage lighting team understand more about how the scenes are lit and how the problems might be resolved. How much time you need can depend on the show design, in that if there is substantial scenery movement you might not get to work on the whole show, and I would target scenes of most concern.

At the Royal Opera House I would almost never get lighting time before the first camera rehearsal, but thanks to their broadcast infrastructure I can always watch a performance with a fixed wide broadcast quality camera, and so get an idea of the colour settings and exposure issues. They have even found a way to embed the camera exposure onto its output to be recorded for me, with the LX cues from the stage manager on one of the audio tracks.”

“This then takes me to the first camera pass, which is always a performance run and not a stop-start rehearsal. Armed with my scratch

Set & Light | Summer 2023

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| Opera House Visit

recording I can recommend camera settings to the vision supervisor, and also warn of any excessive or sudden exposure changes. It is quite normal to record this first rehearsal as there will only be one more camera pass and if anything goes wrong they will have to use the first pass for editing. This is of course disappointing for lighting and vision, but think of the camera team, the director, and even sound department, knowing that their first attempt might be edited into the final version.”

“I like to keep all my lighting notes written against a lighting cue list, it makes it far easier when I have my lighting session to be able to reliably

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say which cue we are modifying. It would not be possible to balance all the cues to one exposure, and on my notes list I keep a record of the exposure for each cue, so I can then warn vision of any exposure changes needed during the next camera pass. Some shows need quite dynamic racking and we are in constant dialogue about the upcoming lighting cues and expected exposures.”

“The most valuable lighting time is between pass one and pass two as at that point I am aware of all the camera shots and any shortcomings of the lighting design to work for the camera shots. Before that it is just educated guesses. I also note

individual camera shots that need vision’s attention, such as a cut-away of someone a little down in level or a sudden lighting change on a specific camera. These I would call to vision during the run of pass two.”

“So my recording of pass one ideally has mixer out with burnt in f-stop value of a selected camera, Stage Manager LX cues on one audio track and production talkback on the other.

This way before any LX session I can note exactly which cue we are in and be sure we are changing the right cue.”

“We very rarely get more than two passes, the notable exception is with The National Theatre where I would Set & Light | Summer 2023

normally have my first LX session the day before the first camera pass, we then go to a cinema and watch the whole show together will all craft heads including costume, make-up, stage management, so that everyone can see how the show is looking on camera. I then get another LX session before a second pass, with the live pass usually the following day. It is of course far cheaper to stage a rehearsal of a play for cameras, you just call the crew early one day, and finish in time to turn around for the performance that night. With an opera or ballet there is a large orchestra to factor in.”

At the meeting I was able to demonstrate a part of ‘The Barber of Seville’ which we had recorded the week before. I had picked two sections, and was able to show how they looked on my scratch recording, how they worked for camera at the first recording, and talk through the changes I made, then show the final version after the changes.

“So what am I allowed to change and how far can I go? The original lighting designer is very rarely there for these sessions, but I usually try to make contact with them especially if I have not worked with them before. Ideally I would have their original programmer making the changes for me as they will know the design thinking as well as being very aware of how the rig is used. I very rarely add extra lighting equipment, preferring to use what is already there. With moving lights it is often possible to alter a focus even cue by cue to fix problems, and including all the changes within the existing cue structure makes it more comfortable for the stage team to run the show exactly as they normally would.”

“With moving lights it is often possible to alter a focus even cue by cue to fix problems”

I do occasionally have people express concern that the lighting for the live audience will not be right if I make changes, but the truth is that the changes we need are usually subtle and I would defy any audience member to say where the changes are, even if they have seen the show before.

A Few Myths “There are a few comments I sometimes hear about stage shows before I get started:

This show will be easy, it has loads of light As you might now see, loads of light is not always good, TV needs an even balance, and more even than stage usually wants.

This show will be tough, it is very dark Again, cameras are quite sensitive so dark is not always the problem it used to be.

The problem is the lighting Quite often the problem is not the lighting, it is the design. Scenes set against black are not good for camera, but if there is nothing to light it can’t be fixed by lighting.

One day cameras will be good enough to not need to change the lighting for broadcast...I hear this

quite often, and it is simply not true.

We take such a range of shots that all need to be valid, and theatre designs don’t take that into account.

We are already in a place by which High Dynamic Range cameras can handle scenes we would not consider accepting in the past. But to transmit in REC709 the pictures need considerable post-production so HDR can’t currently be used for Live without down-conversion. I have covered a few stage shows with HDR cameras but they still need lighting modification and post production, however they do generally make life far easier.

Lighting changes for camera make the show not look as good as it was for the theatre audience.

Most of the time I would defy anyone apart from the original lighting designer to spot the difference after I have made the modifications, although that is in part because I like to think I appreciate how far it is reasonable to compromise. I don’t believe that any audience member would be aware that they were watching a compromised version of the design.

The ‘live’ audience are more important than the ‘TV’ audience I get this more often than you might think. My point is that the changes are not so great that the lave audience gets a second class version. But more importantly, we are compromising the lighting for one performance to make a recording that might be around for twenty years or more. A Royal Opera House cinema relay might well go to close to 1000 cinemas around the world to an audience of over 200,000 people in one sitting. It might also live on their streaming platform for many years in the future. A recent cinema relay of ‘The Sleeping Beauty’ was number two viewed cinema show that week. And these cinema broadcasts if anything promote the operas and ballets they show, potentially expanding their theatre audiences too. I like to point out that a viewer in New York might well decide to book to see a show at Covent Garden when the visit if they like what they see, and if lighting is important then it is as important for them as much as anyone else.

The meeting was very well attended, with an audience of ALPD members, current students, Royal Opera House staff and STLD members, and we would like to thank Chauvet for kindly sponsoring the refreshments for the meeting.

Set & Light | Summer 2023

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| Lighting Darkness

Lighting Darkness

Former BBC staff producer and director Steven Benson is forced to find new ways of recording multicamera recordings of services from some of the country’s darkest cathedrals. The project, called “Lighten Our Darkness” * is a new landmark documentary about the 400 year history of Choral Evensong – the service sung every evening in almost every cathedral in the country.

To set this article in the same edition as one demonstrating the glorious achievement of lighting Westminster Abbey for a coronation could be seen as contrasting the sublime with the ridiculous. Many STLD members have come through the studio or OB LD route providing lighting for live multi-camera events.

They have time (although less than they used to), money (less than they used to) and an understanding from the large ecclesiastical establishments that lighting for a live event is a labour-intensive task, involving many people and requiring much planning in terms of aligning of schedules and even possible closure of buildings at certain times to keep the public safe.

My last staff job in the BBC was producing and directing the Queen’s Golden Jubilee Thanksgiving Service from St Paul’s Cathedral in 2002.

25 cameras. I can remember the lighting element of the budget alone (it was high tens of thousands), I still have the rigging schedule (scaffolding started over a week before the event) and there were over 50 crew and production colleagues on site on the day of the service. ‘PAR-Can-Pete’ (Greenyer) had lit the building for me many times. The good old days.

Roll the calendar forward 20 years.

Take the event away from the BBC. And for the purposes of a DVD/ streamed documentary about choral evensong – its past and its present – the task still is to record many live events, centred on the singing from

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| Above: Our first location last December. Chester Cathedral chancel looking west towards the unlit nave. This angle – recorded in 4k for framing latitude in postproduction – was on a Sony A7Siii DSLR from the foot of the east window. Ungraded.

the choir stalls and the playing in the organ loft, from some of the most stunning cathedrals in the land. Oh, and also record the audio in such a way that a 5.1 surround sound mix will reflect the experience of being in the building.

OK. Cards on the table. 1 day per location. 2 people. 4 pairs of mics.

Several spot mics. 11 cameras.

(Yes, you read that correctly.) And lighting. Mad? Probably. But this is the real world, and for many people whose training and experience enables them to push boundaries, traditional methods are simply no longer an option. The broadcasters and corporates may have money to do things ‘properly’, but this crowdfunded project simply could not happen if the starting point were to

be the scale of operation which I was fortunate to enjoy in my BBC days.

Since this is the STLD journal, I know the primary interest in such a project will be in lighting. We had given these cathedrals the undertaking that we would minimise the time taken on site, that we would work from floorlevel only, be as inconspicuous as possible in terms camera operators being close to the singers, and would use the minimum lighting required to get ‘satisfactory’ pictures. We didn’t want to alter the character of the event and mood or ambience in the choir area in particular more than absolutely necessary, and much as I love a good canter round a triforium, in most cathedrals (especially with narrow chancels) triforium level is too steep to light the faces of singers in choir stalls opposite. You simply Set & Light | Summer 2023

| Above: Truro Cathedral looking west with 4 x 150W Dedo lights poking over the wooden filigree behind the back row of the choir. You can see here that even if we had time to rig luminaires in the triforium, in a narrow chancel the angle for lighting choir faces would have simply been too steep. Notice also how no other mics or cameras were visible. Here, at the start of the 6:30 pm service, there was a lot of ambient light from windows. There was much less at the end. Ungraded.

replace the shadows under the eyes created by the cathedral’s overhead lighting with slightly different shadows caused by your own lighting from an inappropriate, if easily accessible, section of the cathedral’s own structure. The ideal location for the lamps more likely being below the apex of the arch, and supported by scaffolding.

Simply not an option for this project.

Enter the humble Dedo. Beloved of many a PSC camera crew for small-scale filming work, and the worthy successor to a car-load of Blondes and Redheads, 4 of these little lights just about did what was required. Sitting on the rare but brilliant Manfrotto 1004BAC stand we could get a lamp height of almost 15’ above the faces of the young choir members opposite giving us just about 30 degrees into the faces of the front row. 2 Dedos each north and south to light faces

opposite, using the same stands for a backlight on its own side, did what was required, changing the soft and flat ambient to something with significantly more shape.

For services recorded in winter when we were so dependent on the

| Above: Chester Cathedral looking west from floor level.

Since we could never see the nave (it was set up for a Meat Loaf concert that evening after we had finished), this WS was augmented by a couple of floor mounted PAR Cans catching the top of the nave arch. Unsubtle as it is in this ungraded picture, I will bring down the level to match the cathedral’s own lighting as seen on the near camera-right pillar.

“... using the same stands for a backlight on its own side, did what was required, changing the soft flat ambient to something with significantly more shape.”

| Above: Truro again, looking east. Not ideal, but so much better than the ambient light alone. As the service progressed, and the daylight through the windows dropped, the Dedos continued to offer consistent colour and the modelling here required for the tighter shots.

cathedral’s own lighting, the Dedos had maximum impact in terms of level. But we had to contend with a variety of lighting already in the buildings. Much of it was LED, and with the cameras running at 59.94 (the main delivery platform for this project is DVD around the world and so has to be NTSC), we often had to go up to shutter speeds of 1/100th to get rid of flicker. That lost us almost a stop. Most of the lenses on the locked-off Sony A7S cameras (mainly Canon “L” Series) were operating at F2.8 or F4 with the exposure being set using the ISO. Large sensor cameras give great shots for looking along a row of choirgirls or choirboys but in a world of inevitable compromise, we dare not trade off depth of field for noisy pictures.

St Patrick’s Cathedral in Dublin is one the darkest cathedrals in the British Isles. On the recce day (a luxury, but I happened to be going through the city about 6 weeks before the recording date, so I popped in to meet the team and check possible camera positions) I was struggling to find 100 lux in and around the choir stalls with the cathedral’s own lighting in the late afternoon light – less than even a large-sensor camera would be comfortable with, and fairly shapeless in terms of artistic merit.

| Above: Unlikely. Having seen so many cathedrals lit with hundreds of 1kW PAR cans, to attempt to get pictures with only 4 x 150W seems unlikely place to start. A remarkable little unit.

Set & Light | Summer 2023

The effects of the Dedos can be seen to greater effect here if you

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| Lighting Darkness

| Above: Although this picture seems bright enough thanks to a large-sensor DSLR camera, St Patrick’s Cathedral in Dublin is one of the darkest cathedrals in the British Isles and the choir stalls the darkest part of the building. Ambient light in the choir stalls before we arrived was around 100 lux. Ungraded.

compare the choir faces with the conductor on camera right of frame from another A7S on a locked-off WS looking at the south side of the choir. We had no easy way to light the conductor, and so in most locations the poor conductor became a casualty of attempting a shoot on this scale in a day.

“We had no easy way to light the conductor, and so in most locations the poor conductor became a casualty of attempting a shoot on this scale in a day.”

| Above: This ungraded picture would have been unthinkable without some key light. You can see from the shadow of the candle-holder behind how high it was possible to get the Dedo lights on the very tall Manfrotto floor stands for very little effort. Ungraded.

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| Above: However, with my trusty Dedos we were able to get the level up to between 300-400 lux, with the pictures now becoming much more acceptable. And even a small amount of backlight is making a difference to the lay clerks in the back row.

Cameras were balanced for 3800-4000 but lit with tungsten to give that bit of warmth, and backlights 1/4 blue to give the feeling of daylight coming in through windows above. Ungraded.

| Above: Compare the unlit conductor (camera right) with the singers. Choir closeups were the main interest here, so lighting the conductor was just one thing we had to lose under the pressure of time. Ungraded.

Set & Light | Summer 2023

| Above: It’s the close-ups that we find the most engaging. These pictures have still to be graded. Yes shadows can be seen, and it would have been great to get the Dedos slightly higher. But…

| Above: Cross-shooting in front of the conductor ensures the option for a balanced sequence of singles and 2-shots, but sometimes you find that shot you hadn’t planned for. Here in the chapel of Rugby School, a chorister on the same side as the camera (south) provides a rather moody (if a bit shadowy) 3/4 profile.

| Above: The start of Truro Cathedral’s final rehearsal about an hour before the evensong recording began. A lot of ambient light around and the effect of the Dedos not immediately obvious, but a small DSLR camera secreted on the mic stand gave this view – a shot seldom seen in buildings where there is no rood screen.

| Above: The Sony FS7 and F5 which were the main operated cameras (same sensor) recorded internally and were used with Sony’s Hypergamma 4. The Sony A7S DSLR cameras were matched with the CineGamma 2. Their domestic HDMI output was converted to SDI using the BlackMagic Micro Convertors which were powered by 30,000mAh power packs, and the resultant SDI signals were recorded on an Atomos Sumo and Atomos Shogun (4 inputs each, recording 10bit straight to DNxHD ready for editing in Avid). For their size and weight, the Atomos machines provide an unbelievable facility for field recording. This picture was taken before the cameras were colour balanced.

| Right: Again, well before the start of the service in Truro, we had about 45 mins to expose the cameras, check focus, and set the iso cameras to REC. Getting to this position from the choir stalls took nearly 10 mins and a passion for that stunning top-shot.

Set & Light | Summer 2023

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| Lighting Darkness

| Above: Not all the services are recorded in cathedrals. Here, recording in a small parish church just outside Sheffield with the Steel City Choristers, we had only 6 hours after the morning service to get set up to record evensong. There was a fair amount of ambient light around albeit somewhat “toppy” and so for this recording the Dedos were not used. The resulting pictures were inevitably flatter.

| Above: Getting the operated cameras to the right position is critical for close-ups. Here 5 minutes on Avid allow removal of the “offending” excellent camera operator. You can’t do this during a coronation!

| Above: New uses for a pulpit! Left to Right: Sony FS7 - the main camera for CUs choir south, Atomos Shogun 4 channel 10 bit video recorder, recording the 4 DSLRs on the north side of the church, iPad controlling levels on the Zoom F8 audio recorder, and Zoom F8 8-channel audio field recorder… small, compact, extremely low-noise pre-amps, and capturing the complete kit of parts needed for a 5.1 surround sound audio mix.

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Set & Light | Summer 2023

| Above: Being so high, the heads could not be adjusted from the floor, so it was a case of trial and error to get the beams focussed on the faces of choir opposite.

| Above: Dedo lights lost in the chancel’s ornate woodwork and metalwork. On the Manfrotto stands we achieved a height of nearly 14’ above the base of the stand.

| Above: We had arranged with the Director of Music that the back row of the choir stalls would be unused so that we could put the lighting stands in without risk of them being kicked or touched. We also had enough room to space the lights off the woodwork to avoid damage from their not inconsiderable heat.

Developing technology and improving performance - especially in the area of noise - is making possible video capture that would have been unthinkable even 15 years ago. This production is not attempting to be “Carols From King’s”, (I worked on that too back in the day), and it’s certainly

not what we would have called a “multiple PSC shoot” 20 years ago.

As with so many things nowadays, boundaries are blurred when it comes to naming procedures and defining processes. Personally I’m interested only in getting good pictures and good sound, and if that means leaving traditional methods

of acquiescence behind and exploring some new techniques, I’m very happy to go there. Long live the humble Dedo.

“Lighten Our Darkness” will be available next year from Fugue State Films (www.fuguestatefilms. co.uk)

| Above: Lighting was less of a problem at Bolton Abbey. The original building dating from 1132 offered no structural support for anything, so the lighting was simply Divine and the camerawork simply stunning. Music was provided by a choir whose members were drawn from all over the country attending a 4-day course.

Set & Light | Summer 2023

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| Obituary

Obituary: Martin Kisner Martin’s career started out with a 5 year apprenticeship with EMI Electronics that allowed him to spend time in many parts of their business including a stint in 1963 at Abbey Road Studios, as a ‘very, very junior’ engineer.

He was part of a small team responsible for maintaining the recording studios. There were several standout memories of this time for him including a time when Igor Stravinsky was overseeing a recording of ‘The Rake’s Progress’.

The recording took place in Studio 1, the largest of the recording studios. Martin was standing at the back of the control room feeling very conspicuous in his regulation white coat that EMI maintenance engineers had to wear at the time.

Having completed his duties, he probably shouldn’t have been there.

Robert Kraft, Stravinsky’s assistant beckoned him over and quietly asked him to escort Mr Stravinsky to the toilet, and to return him to the control room, adding that he “wasn’t very well”. Martin noticed enroute to the loo that the great man took a couple of swigs of his favourite scotch whisky from his hip flask to help him on his way!

What a time for popular music 1963 was and what an amazing time to be at Abbey Road when performers from Cliff Richard and the Shadows, Adam Faith to the Goons and Helen Shapiro were recording their hits. The studio was about to be elevated to iconic status with the arrival of the Beatles.

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Martin was present in Studio 2 for the recording of ‘I Wanna Hold Your Hand’ which took place in October 1963. He was also there for the recording of ‘She Loves You’ in July of that year when a photo was taken of the fab four with their sound engineer Norman ‘Hurricane’ Smith. Martin was once again standing at the back of the control room and that photo took pride of place in his home ever since. It occasionally appeared in newspaper articles and tv documentaries, but unfortunately each time he was cropped out just below the chin. This became a source of great amusement to his children and grandchildren. He was always ‘almost famous’!

As a 14 year old boy Martin wrote to the BBC to find out what his direction of study should be for him to get a job there. In August 1964, with the experience and training with EMI, he followed that dream of joining the BBC, where he worked until his retirement in 2001.

During his BBC years he progressed through various camera assistant roles before becoming a television cameraman in 1971 (he noted that promotion was slow in those days!). After deciding that lighting was his preferred direction, he worked towards that goal, gaining a place on a highly sought after BBC lighting training course. In 1986 he was promoted to the position of

Lighting Director, a role that he loved and excelled at for the next 25 years.

Martin worked on a variety of large studio productions such as Children in Need, Comic Relief, 2000 Today (the BBC’s welcome to the new millennium). He also very much enjoyed working on entertainment and game shows such as Lenny Henry’s Christmas Show, Friends Like These and Big Break. He was privileged to work on early National Lottery Live shows featuring world class stars like Whitney Houston, Madonna, Celine Dion, Elton John, Lucciano Pavarotti and many others.

None of which phased him in the slightest. In addition, he did his time on regular shows including Eastenders, Top of the Pops and Tomorrow’s World. In the days before BBC staff worked on independent productions he also worked on a number of TFI Fridays, with Chris Evans, that were broadcast on Channel 4.

Following his retirement in 2001 aged 60 he still had many good years of work in him and embarked on his freelance career. Having the freedom of being his own boss was like a breath of fresh air. He continued to work mainly on light entertainment shows across all of the terrestrial channels as well as Sky and some independent production companies.

He had the opportunity to work at other TV studios including ITV Set & Light | Summer 2023

on the South Bank, BBC Cardiff and Manchester and Elstree Film Studios. He was also on the committee of the Society of Lighting Directors for six years. He was involved in organising events and meetings for the society and two years prior to his retirement was honoured to sit on the judging panel for two years selecting the award winners for the four disciplines of television lighting at the annual Knights of Illumination awards for professional lighting designers, which includes theatre lighting, rock and events lighting as well as television lighting.

His final programme at TV Centre proved to be a family event, attended by his wife and sons as guests of the production. The show was Shooting Stars, which of course featured Matt Lucas, who in childhood was a neighbour and family friend. Following the show, Martin enjoyed chatting to friends and colleagues in the green room, a fitting end to his working association with the BBC. In the following years he kept in touch with old colleagues and was a doting grandfather, endeavouring to share his love of the creative arts with them. He cared for his mother and brother in their final years as well as looking after his wife Bernice, who has suffered with dementia.

Martin Kisner sadly died on Sunday 23rd April following a stay in hospital. He was 81. He was highly regarded in his professional life as he was loved in his personal life. We will miss him a lot.

Simon and Darren Kisner

Set & Light | Summer 2023

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| Sponsor News ACET

Royal Opera House Muscat chooses Color Force II by Chroma-Q Standing on Muscat’s main thoroughfare, Sultan Qaboos Street, ROHM – commissioned by Sultan Qaboos bin Said himself – is the leading arts and culture centre in the Sultanate of Oman. This sumptuous and ornate building opened its doors on 12 October 2011, with a production of Turandot, conducted by Spanish tenor Placido Domingo. Today, showcasing a diverse programme of artistic, cultural and educational content, this stunning venue plays host to leading classical and operatic performances from around the globe – and its performance standards are accordingly high.

Discussing the choice of the Color Force II LED battens, the venue’s Technical Department Manager, Donald Cox, said the venue’s need was very much for a unit that could provide a decent spread of high-quality light, considering the short distance and the tight space that they would be used in.

We liked the light output and smooth dimming curve of the Color Force IIs,” he said. “The output is very even, with a good colour spectrum. They’re a great replacement to our old tungsten lighting battens, with excellent colour mixing.”

The Color Force II 48 is a multipurpose cyc, wash and effects lighting batten fixture which, thanks to advances in LED technology, delivers at least 50% more light output than its predecessor. It provides an extremely smooth and homogenous 13,500-lumen output, enough to easily cover a cyc up to 12m. Featuring Chroma-Q’s factory calibration to guarantee superior fixture-tofixture colour consistency, with improved saturates and pastels and a purer white, the unit offers tungstenemulation theatrical grade dimming and a high CRI of 92, making it suitable for even the most critical stage lighting demands.

Housed in a robust, extruded aluminium body with internal power supply, the fixture’s 16 x RGBA LED emitters provide pixel control down to 76mm increments.

Individual units can be easily controlled via their touchscreen interface or DMX, and a quick-release lever provides optimal tilt adjustment of individual units.

RDM capability is available through wired (or optional LumenRadio CRMX wireless) connection.

With a schedule of mostly touring performances and productions passing though the venue, the versatility and output characteristics of the Color Force II were a particular benefit to the team. Asked if the venue’s lighting crew were impressed with the new additions, Cox replied: Very much so – we will be looking at purchasing more in the future.

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Covid cancellations. To source the wireless DMX control system which would be essential for the event, lighting supplier Neg Earth Lights turned to A.C. Entertainment Technologies (AC-ET).

As the UK & Ireland distributor for Swedish innovator LumenRadio, AC-ET is the go-to source for the kind of robust and dependable wireless DMX technology demanded by a project of this calibre.

Produced by Identity, with creative direction from Dan Colbourne and David Zolkwer, the celebrations included an enormous fireworks display, along with a drone light show and a large-scale lighting spectacle created by lighting designer Tim Routledge. With the television cameras in mind, Routledge knew he needed powerful lighting fixtures inside each of the London Eye’s 32 pods to provide the visual ‘punch’ required. He also knew that the luminaires would have to be controlled wirelessly, as this would be the only way of sending control data to each pod.

Neg Earth Lights, with help from AC-ET’s Jack Moorhouse, began looking at LumenRadio’s latest wireless DMX control products back in September, with a series of demos set up by AC-ET at Neg Earth’s London headquarters. After encouraging results, followed by successful site tests, the team was confident that the LumenRadio systems would ensure the reliability required for such a high-profile event. The order was placed for three CRMX Stardust and 34 CRMX Aurora units, along with the required antennas. For the actual event, 12dbi outdoor directional antennas were used on the Stardust transmitters and 5dbi omni antennas on the Aurora receivers.

The moving head fixtures, each accompanied by a powerful strobe light and an Aurora receiver, were loaded onto dollies to be quickly wheeled into the pods of the London Eye – which continued to revolve. As Moorhouse explained, “The wheel doesn’t stop turning, You have about 60 seconds to get in and get out before the next pod comes along. So there’s limited opportunity to troubleshoot or adjust the receivers – it needs to load in and simply work!”

LumenRadio’s powerful new CRMX Stardust units offer transmission of up to eight universes of DMX/RDM when using CRMX2, with an enhanced radio design giving record-breaking operational ranges on all universes simultaneously. The CRMX Aurora units, meanwhile, can send or receive one universe of DMX/RDM. The units can be quickly configured locally via their colour screen, web interface, or via the CRMX Toolbox App, through which users can quickly identify all products, check battery status, conduct firmware updates, toggle between receiver and transmitter mode, change output power and much more.

He added, “AC-ET understood our requirements. We are very happy to have purchased the Color Force II and trust that they will give us many years of service.”

Programming was carried out over three nights, with the dollies being moved into the pods every evening and out again every morning. The RDM facility of the units was used to monitor the signal strength of the wireless lighting network.

AC-ET supplies “rock-solid” wireless for London’s New Year London welcomed 2023 with its largest ever New Year’s Eve celebration, and its first after two years of

Neg Earth Lights’ crew included project manager Damien Jackson and technical solutions manager Joao Magalhaes, assisted on site by Jamie Hiles. Magalhaes commented, “New Year’s Eve, Wireless and no Latency’ Set & Light | Summer 2023

TECHNICAL PRODUCTION PARTNERS

Television, Film & Events

ohh, what’s this?

| Sponsor News were our bold lines for this project. We were looking for a product to deliver a 360° service from support to implementation, and in LumenRadio we’ve seen a partner to embrace this challenge. The Stardust and Aurora products provided a faultless system, with the extreme signal strength, the easy setup workflow, and the Linking Key option, which is very useful for devices to join the network quickly, offering redundancy capability if needed.”

which also includes ARRI Korea, ARRI Japan, and ARRI Australia. Together, they provide sales and services to the entire Asia-Pacific region.

“The inauguration of the Singapore subsidiary in the heart of the Asia-Pacific market symbolizes a new phase in ARRI’s venture in the region. It shows how vital the region, including its emerging markets, is for ARRI. Together with our customers, we plan to significantly increase our activities here,” emphasizes Dr. Matthias Erb.

He added, “Jack Moorhouse from A.C. Entertainment Technologies has helped and supported us from the beginning, backed by the LumenRadio development team. We’re happy to have LumenRadio in our toolset and we’re confident this will deliver on the most challenging projects.”

Bertrand Dauphant, ARRI Asia-Pacific Managing Director, adds: “Completing the establishment of our Singapore subsidiary was a tremendous challenge and a significant milestone for our company. I am incredibly proud to say that this opening is a testament to the hard work and dedication of our team. With this move, ARRI is now even better equipped to serve the Asia-Pacific market and meet the increasing demand for our products and services. ARRI Asia-Pacific is now structured around four strong hubs allowing us to better support our clients and promote industry growth throughout the region.”

Lighting designer Tim Routledge was also pleased with the performance of the LumenRadio link, commenting, “The wireless system was rock-solid. We wanted a beatperfect programmed show, so hits and accents needed to be perfect. We had 100,000 people with mobile phones nearby, and the system did not let us down.”

Primely located in Marina Centre, Singapore, the new corporate office spans 3,600 square feet and boasts a modern and innovative design with exceptional facilities for both customers and staff. The facility features a multipurpose creative space that can be easily converted for equipment demonstrations, ARRI Academy training, company events, and more. The office also includes an openconcept workspace, adaptable meeting rooms, and a collaboration corner to enhance productivity and efficiency.

ARRI

ARRI opens subsidiary in Singapore Established in 2008, ARRI Asia-Pacific initially operated from Hong Kong. Fifteen years later, the company has relocated to Singapore to further bolster the moving image industry in the region.

To mark this momentous occasion, ARRI Asia-Pacific organized a grand ceremony on April 25th with an open house and an ARRI party. The top management team from the headquarters in Germany, including Executive Board members Dr. Matthias Erb (Chairman) and Lars Weyer (CFO), industry leaders, and key players from Asia-Pacific’s moving image industry graced the festivities.

ARRI Asia Pte. Ltd., the official name of the new subsidiary in Singapore, is part of ARRI Asia-Pacific,

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Furthermore, the subsidiary in Singapore houses a fully equipped 3,000 squarefoot service center to cater to the growing demand for maintenance and repair of the extensive range of ARRI products in the market. In addition, the service center includes a warehouse space to ensure clients receive high-quality products promptly.

| Below: arri-opens-newsubsidiary-insingapore-office

ARRI opens office in Rome ARRI opens a new office in Rome to further promote and support the film and audiovisual industry in Italy. To celebrate this important milestone, an opening ceremony took place on May 3, 2023. More than 100 guests from

Set & Light | Summer 2023

provides full camera control and menu access for the ALEXA 35 and ALEXA Mini LF. Opening up new camera configuration possibilities, the CCM-1 combines ARRI color accuracy and a bright display with customizable controls and rugged build quality.

In response to requests from camera operators who prefer to judge framing and exposure with an onboard monitor rather than a viewfinder, ARRI offers its new Camera Control Monitor CCM-1. Developed collaboratively by ARRI and SmallHD, the CCM-1 provides an alternative control, menu, and image interface to the MVF-2 viewfinder, which it can either replace entirely or work alongside. the Italian film industry, including cinematographers, producers, directors, business partners, postproduction and rental professionals gathered together to toast the new premises. The event was also attended by members of ARRI’s global management team.

“It is with great pleasure that we celebrate the opening of the new Rome office. The Italian film industry has an incredible heritage that needs no introduction. ARRI already has a long history in Italy. ARRI’s new presence in the Italian capital shows the will to be an integral part of this community to bring support to our loyal customers and users who have been working with our tools for a long time,” says Christian Richter, General Manager Sales & Solutions EMEAI at ARRI. Natasza Chroscicki, as Managing Director ARRI France & ARRI Business Development Director MED-BeneluxNA responsible for ARRI Italy, adds: “We also open our doors to the next generations of filmmakers and share knowledge by hosting demos, workshops, and trainings in these new premises. After the challenging times of these recent years and the necessity of remote work, this office will finally serve as a homebase to the young and vibrant team of ARRI Italy. Here, they will be able to physically connect with each other and with customers to grow our presence in this active market.”

In the past years, Italy has become a favored shooting location for major international productions due to the incredible variety of beautiful locations as well as available production services and skilled local crews.

Therefore, ARRI’s presence in Rome is even more important given the growing international demand.

The CCM-1 displays a bright, high-contrast HD image on its 7” IPS LCD screen that is easily viewable in daylight from a range of viewing angles. Like the tried and trusted MVF-2, it connects via the camera’s VF connector and provides an image that faithfully conveys the accuracy and subtlety of ARRI color management. Sensor-level monitoring functions make use of the sensor’s full resolution, for example zooming into the image for more accurate focus checking. The false color tool on the CCM1 is much more user-friendly than on standard SDI-connected monitors because it affects only the image from the camera, and not the status overlays.

By using the camera’s VF connector, the CCM-1 leaves both SDI outputs free for other uses. VF cables of up to 10 m in length are supported, providing flexibility of operation for tight spaces, cranes, dollies, and car rigs. The CCM-1 can alternatively be connected via SDI like a normal onboard monitor, allowing application of ALF-2 and ALF-4 look files, full access to the SmallHD toolset, and use with third-party cameras. Multiple other connection options facilitate different camera configurations and use cases.

The flexible user interface of the CCM-1 is perfectly suited to professional environments. All functions are adjustable via the touchscreen or via buttons and a joystick that are positioned on one side of the monitor and can be operated with one hand, leaving the other hand free.

The power and back buttons have unique tactile indicators that make them easy to find without looking, or with gloves on, while the dedicated menu button provides

Situated in a prime location in the heart of Rome’s Prati district, close to numerous production and postproduction houses, the new company office covers an area of 120 square meters and consists of a meeting room, a creative space/show room, and a large warehouse. Industry professionals are able now to deepen their knowledge of ARRI products, including cameras, lenses, stabilization systems, lighting, and electronic and mechanical accessories. The office also features a dedicated space that can be used to host regular workshops and master classes to keep industry professionals up to date on ARRI Technology.

New ARRI Camera Control Monitor CCM-1 provides full camera control for ALEXA 35 and ALEXA Mini LF ARRI announces an exciting new control option for its latest cameras: The CCM-1 is a 7” onboard monitor that Set & Light | Summer 2023

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| Sponsor News fast access to the familiar menu of the MVF-2. Four user buttons allow personalized settings, and a lock slider disables the touchscreen and all buttons, preventing accidental triggering of functions.

Interactive status overlays permit rapid adjustment of settings without interrupting the live view, and a new playback screen can be accessed through the menu or assigned to a user button. The large clip list on the playback screen includes metadata display and remains visible during playback, improving the user experience for smaller crews relying on the CCM-1 for reviewing takes. The specially designed home screen will be familiar to ARRI users, while the SmallHD PageOS user interface allows endless customization of live view pages.

The CCM-1 comes with an innovative sun hood that snaps onto the monitor like a protective case on a smartphone, eliminating the need for Velcro or straps.

With a scratch-resistant faux leather finish, the sun hood’s soft but rigid side and top flaps are held in place with magnets and can be folded flat for easy storage and safe transportation. Also included is the two-axis MAC-1 monitor arm for rapid positioning of the CCM-1 without affecting the horizon relative to the camera.

The MAC-1 features an adjustable friction system for one-handed repositioning and inserts for different mounting standards.

Constructed from aluminum, the CCM-1 is durable, weather-sealed, and temperature-resistant, embodying ARRI’s reputation for rugged, set-ready equipment.

Various mechanical interfaces using the new ARRI PinLock standard allow flexible mounting options.

AYRTON

Ayrton fixtures feature in Tim Routledge’s Eurovision dream In a unique collaboration, the 67th Eurovision Song Contest, that annual extravaganza of music and lighting, was hosted in Liverpool by the UK, on behalf of last year’s winners, Ukraine - the first time two countries have co-hosted the event. Two semi-finals on 8th and 11th May saw 37 acts whittled down to 26 finalists for the spectacular Grand Final on 13th May at the Liverpool M&S Bank Arena. The show reached record UK viewing figures and was broadcast globally to over 160 million viewers.

In what he calls ‘a dream-come-true project’, multi award-winning lighting designer, Tim Routledge and his team were, in addition to all 37 performances, responsible for every aspect of the lighting including presentation states, commentator boxes, voting sequences, and the half-time and opening shows for the two semi-finals and Grand Final. This massive undertaking was based on briefings, renders and notes - mostly delivered remotely - and a 20-minute meeting with each of the countries’ delegations in March. “We had to focus on the key points from each to realise their design wishes, and work fast to deliver everything within the time frame,” says Routledge.

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| Right: Ayrton Diablo S for Creative Rock © Courtesy TST/ Creative Rock sml

With such tight time schedules and high-profile exposure, Routledge needed equipment that was fast, accurate, versatile and reliable. He chose Ayrton’s new Zonda 9 FX, Karif LT, MagicBlade R and the laser-sourced Cobra as key components of his lighting inventory.

90 Zonda 9 FX were used to create 10 ‘Svoboda 3000’ pods, Routledge’s modernised recreation of the classic Svoboda batten, which he says were a ‘massively important feature’ in the show.

The pods were mounted on independent automated hoists, and tessellated within the three concentric rings of oval lightboxes above the centre stage to form one big curve, and could each be lowered and raised at will.

“I’ve always loved those Svoboda lights, plus it was a kind of nod to my late father who first gave me a book on Josef Svoboda when I was young,” says Routledge. “We wanted to create a Svoboda pod that was epic and could fly in and out individually.”

Zonda 9 FX’s large face was ideal for providing the eye candy and dressing looks that Routledge was after, as well performing as a punchy wash light. “Zonda 9 FX has great power, but we chose it mainly for the clever matrix effect (LiquidEffects™) on the front,” he says. “These gave really cool looks to fill the shots when they were dropped in low, and also had the ability to create something pretty without having to blow the shot with loads of powerful light - they looked great without even having to use their punch. They proved very popular with the delegations and fulfilled the brief of what I was trying to do with the pods perfectly.”

96 MagicBlade R were rigged in the central chandelier feature that filled the space between the oval light boxes in the centre of the arena. These were used for “fun stuff and sky eye candy filling the centre spot above the oval stage.”

50 laser-sourced Cobra, which can narrow down to the tightest of beams at 0.6°, were rigged down the sides of the arena to provide big beam looks for all the audience ‘down-the-room’ shots and dressing shots for camera reverses. “The Cobras were used really well on several numbers, especially France’s prop which was edged in a mirror ball fascia, and during the Semi-Final 1 half-time show when the performers opened up their costumes to reveal a mirrorball textured heart jacket,” says Routledge.

“We pointed the Cobras at those with phenomenal effect.

“At another point, Spain wanted their artiste to scoop up a beam of light in her hand – one Cobra was aimed Set & Light | Summer 2023

at a specific spot for a closeup on her hand bathed in high intensity light that looked she was literally holding light. The punch and the tight beams the Cobras gave us shooting from 80m – well they were brilliant in every sense of the word!”

30 Karif LT were rigged around the arena on goal posts to provide back beams for the audience shots and add background texture to the oval stage’s left and right wings. “To avoid compromising audience sightlines we were quite restricted for space and height, so I needed a compact beam light that would work well in those tight spaces. Finding the right LED fixture that was small and fast was the challenge, and Karif LT fitted the bill really well.”

“I want to heap praise on my programmers Tom Young, Alex Mildenhall and Mark Nicholson who programmed over 79,000 beat-perfect precise lighting cues, and my associate LD, James Scott, for helping this dream come to fruition,” concludes Routledge.

Neg Earth Lights was the official lighting supplier for Eurovision Song Contest 2023, with great technical support by Ambersphere.

Set & Light | Summer 2023

| Above: Ayrton Chloe Hashemi

The Eurovision Song Contest 2023 was organised by the BBC, together with the European Broadcasting Union (EBU), in consultation with UA:PBC, Ukraine’s public broadcaster.

Creative Rock Thailand invests in Thailand’s first Ayrton Diablo S fixtures Total Solution Marketing Thailand (TST), Ayrton’s exclusive distributor for Thailand, is happy to report its first sale of Ayrton fixtures into Thailand with the purchase of 16 Diablo S by Creative Rock Thailand.

Creative Rock Thailand, which specialises in servicing high end international conferences, was looking to upgrade its existing 700W moving lights to LED fixtures. “We had been hearing of the growing popularity of the 300W LED Ayrton Diablo so we compared it with several other LED moving light brands,” says Creative Rock’s Managing Director, Wikran Maneesri (Nit). “We found the Diablo to be compact and light weight and surprisingly very bright for its size. It has everything we need for the conference market: framing shutters, good colours, smooth dimming and great output. It is very versatile, which means we

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| Sponsor News can use it across many segments including conference, theatre and live events.

He describes his new role as a ‘natural evolution’ in his career where his wealth of experience will break new boundaries. “I’m very excited to be joining Ayrton right now,” says Iain. “The product is at its absolute peak, the people, company culture, agility and pace are amazing, and the company is in a dynamic phase of growth and development but with an attention to quality that is aweinspiring. The future potential for my role is extremely exciting and I can’t wait to get started.”

“What’s more, my team love it because Diablo’s small size and light weight make it very easy to handle, and its build-quality is great so it is a very easy fixture to maintain.

“As we are the first in Thailand to invest in Ayrton we initially had some reservations as to what to expect of these fixtures…. but their performance has well exceeded our expectations. Consequently, we are planning to grow our Diablo inventory as they have proved very popular and we are getting more Diablo request from our clients.”

“Iain’s years of experience in project management and business development will be an undeniable asset to our newly formed Global Install Team,” says Michael Althaus, Global Sales Director of Ayrton. “His understanding of the global lighting market, specifically in the Middle East, as well as his extensive experience with large-scale projects and his people management skills will play a vital role in the advancement of Ayrton in the install field. PJ and I have great plans for him and intend to keep him very, very busy indeed!”

Creative Rock Thailand is also very happy with the service received from TST which introduced Diablo S to the company: “We have worked with Total Solution for many years and have consistently received high levels of good post-sales service and technical support over the years, not just in lighting but also excellent support in media server products,” confirms Nit.

DEDO

“We are very thankful to Creative Rock Thailand for being the first company in Thailand to believe and invest in Ayrton products,” comments Tevin Heng, Executive Director of Total Solution Marketing Thailand. “We are delighted that the Ayrton Diablo S performance has surpassed their expectations and is getting good reviews from lighting designers and clients in Thailand.”

Dedolight Lightstream: V-flector New variflector for producing circular and elongated light shapes; can be used horizontally or vertically.

Dedolight Lightstream began with four different types of reflectors, each with different light-character and spread angles. These reflectors are available in five different sizes

Ayrton welcomes Iain Quinn to its Global Install Team Ayrton is delighted to welcome Iain Quinn as the latest member of its growing Global Install Team. The role begins with immediate effect.

Then reflector number five was added: a spreading reflector.

Iain brings to the position over thirty years of experience in business development and project management roles with some of the industry’s major lighting manufacturers.

Now dedolight introduces the V-flector which means variable; we can change the surface from completely flat to a bent shape and that allows us to control the spread angle in terms of width, be it horizontal or vertical.

Iain will be working alongside Global Install Director, Paul ‘PJ’ Johnson, focusing on the large-scale, permanent installation market, both on land and sea, exploring and expanding the Ayrton brand on a global scale.

The result is a gradual blend of light without any steps; this can be a very useful if you need that kind of light distribution.

There is a lever attached to the reflector; when you activate this it controls how the reflector is bent which inturn influences the shape of the reflected light.

The V-flector is available in dedolight Lightstream reflector number two or reflector number three. The V-flector, for variable spread.

Dedolight Neo The requirements of our broad customer base changed considerably since the original dedolight hit the market over 30 years ago.

Over the years solutions had been tailored to each customer resulting in various electronics.

To solve this problem, we decided to simplify and enhance the LED product portfolio and built dedolight neo. | Left: Ian Quinn

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Our new DTN dedolight|neo “Intelligent LED Control Unit” will drive all dedolight LED Light Heads from 20 Set & Light | Summer 2023

to 90 Watt (Series DLED2 to DLED9 as neo version) Monocolor, Bi-Color, Infrared & Ultraviolet

| Right: Mark Chorley

It is based on a novel technical platform of advanced electronics and packed in a housing with a unified connector layout.

The system will autosense the connected light head and adjust the electronic settings and OLED display.

Interchangeable attachments allow battery or AC operation.

Accessory for mounting can be attached through the extrusion profile rail. industry. We take great pride in asking our customers what they want, rather than second guessing what we think they want and that’s something I’m keen to see continuing.”

DOUGHTY

Julian commented: “We needed to regenerate the thread of continuity as we move forward as a company, and the board must reflect this intention in the management and governance of the company. A solid and secure board is vital in order to guide the company into the future when no doubt responsibilities will be ever more demanding.”

Doughty welcomes two new directors to the board – appointments ensure the brand’s future is in safe hands Doughty Engineering today announced the appointment of two new directors. Dan Phillips and Mark Chorley will join the board with immediate effect. Julian Chiverton will serve as CEO, with Stephen Wright taking on the role of managing director. The new directors are current employees at Doughty and will, in time assume specific leadership roles within the company.

“This restructuring of the company is an incredibly positive move for us,” he commented. “ It’s something we have been discussing for some time and is essential to ensure business continuity and to help us meet the exciting challenges in our markets. Dan and Mark are two invaluable team members who will now take on the majority of the day to day running of the company.

They know Doughty inside out and inspire confidence in all our customers, and in the industry as a whole. They are respected amongst their colleagues and the wider industry for their loyalty and expertise, and I know they will be a fantastic asset to the board. I’m confident that we all share the same aspirations for Doughty’s future – a future which I’m sure will be in safe hands.”

Dan Phillips has been a member of the Doughty team for more than 15 years, originally joining the company as a sub-contractor in assembly. In his most recent role as special projects manager, Dan has built strong client relationships as well as working within R&D to bring new and innovative products to market. “I feel very privileged to take on this role. After the past few turbulent years brought about by COVID and Brexit, the future is looking bright and I’m delighted to be joining the board at such an exciting time for our industry.”

ELATION

Mark joined Doughty three decades ago and has been responsible for the design and release of some of Doughty’s most famous and well-loved pieces of kit over the years. He said: “I’m thrilled to be joining the Doughty board and working with a great team of people. I’m looking forward to leveraging my experience and using it to continue Doughty’s tradition of developing quality, reputable solutions for the entertainment technology

Elation lights support epic storytelling at Game of Thrones Studio Tour The fantasy world of HBO’s hit series Game of Thrones is brought to life at Game of Thrones Studio Tour in Northern Ireland with over 1000 Elation lights supporting its epic storytelling. The new global attraction, located at one of the acclaimed series’ original filming locations at Linen Mill Studios in Banbridge, invites fans to step behind the scenes and discover the making of the celebrated series.

Game of Thrones achieved record-setting ratings over 73 episodes and eight seasons, and established itself as one of the most iconic shows in television history. Opened in 2022 in partnership with Warner Bros, Game of Thrones Studio Tour is a 110,000-square-foot interactive indoor experience that allows fans to explore the original sets, costumes, props and weapons used in the series. | Left: Dan Phillips

Set & Light | Summer 2023

Brian Reilly, MD of PSI Production, one of Ireland’s

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| Sponsor News

largest technical production and installation companies, coordinated the project, supplying and installing rigging, lighting, and special effects. He said: “It was a great privilege to be involved in such a project right from the outset. PSI delivered in the most challenging circumstances imposed by the pandemic.”

Marcel Wijnberger, who served as PSI’s Onsite Project Manager, helped manage various aspects of the project, working closely with LD John Gallagher, the set design team at MinaLima, AV and systems integrators, and the client.

The important task of lighting design was managed

by John Gallagher of Lumiere Productions, one of Ireland’s foremost designers who liaised with exhibition designers, suppliers and other stakeholders to support the storytelling and ensure a cohesive and visually captivating atmosphere for the attraction. The designer also managed planning and supervision of lighting focus and programming.

According to Gallagher, proper exhibition lighting that highlighted the rich detail in the sets, costumes, and props, along with theatrical lighting that often emulated a film look, was required. It was also important to the studio tour designers, owners and partners that all displays worked well on camera.

A plethora of different lighting fixtures was used on the project including nearly 1100 lights from Elation Professional: 341 Colour 5 Profile™, 658 SixPar 200™, 48 Paladin Panel™, 29 Paladin Brick™, 14 Fuze Par Z120 IP™, and 6 Fuze Par Z175™. The sale of the units to PSI took place through Elation’s exclusive distribution partner in the UK, Entedi, who offered product support and arranged for demo equipment.

Gallagher says that reliability, consistency, and subtle color rendition was important in all fixtures. “The look of the show required extensive use of subtle variations

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| Above: Elation Game of Thrones Studio Tour

in white and variations of color temperatures, as well as occasional more saturated tones,” he said. “The Elation color engines allowed us to achieve this very successfully.”

The two workhorse fixtures on the project, the Colour 5 Profile and SixPar 200, are both used throughout. The Colour 5 Profiles fulfill a variety of roles, including tight focus on display objects such as costumes/mannequins, and signage, while also providing gobo projection and beams. The designer says that the SixPar 200s provide a cost-effective option for area lighting, backlighting, and lighting through set windows in tight spaces, and are also utilized as house lights.

“The barndoors were an advantage,” he said of the SixPar fixtures, “often just to mask the source/reduce spill, and we used the diffusion filters extensively to provide options for beam angles and ‘stretch’ the light directionally.”

The Paladin floodlights provide “a neat and effective option for lighting backdrops, scenic backings and painted cloths,” while the Fuze Pars are used for set lighting.

“With several hundred Elation lighting fixtures on the project, I was very impressed with both the consistent quality and reliability of the units across the range,” Gallagher concluded.

Luminis deliver large Elation KL lighting system for ultra-modern Bulgarian broadcast studio Leading Bulgarian media company Nova Broadcasting Group recently opened an ultra-modern studio complex of nearly 17,000-square meters in the capital of Sofia.

To ensure top-quality, professional illumination in the new facility’s multiple studios, Nova Broadcasting Group worked with Elation distributor Luminis Ltd. on a broadcast-optimized lighting solution.

Nova Broadcasting Group is one of the biggest multiplatform media and technology companies in Bulgaria, Set & Light | Summer 2023

part of United Group, Southeast Europe’s leading telecom and media operator. The new facility, designed for high-quality television and radio production of international standards, features five television studios, four radio studios, spacious equipment rooms, editing rooms and newsroom. The capacity of the new studio complex, unique for the Bulgarian media market, allows Nova Broadcasting Group to produce highly impactful content using the latest technologies.

Several years ago, Budapest-based Luminis Ltd. collaborated with a broadcast technology company called Rexfilm Ltd. on a significant project. Later, when Nova Broadcasting Group was looking for someone to manage the lighting for their new studio, Rexfilm Ltd. recommended Luminis for the job. Luminis was then tasked to deliver a comprehensive lighting solution including power distribution and lighting control network.

Luminis worked with a local lighting designer on the specification and design of the system, which is made up of 202 KL Fresnel 8 FC™, 20 KL Profile FC™, 137 KL Panel™, and 89 KL Panel XL™ fixtures, along with 36 Arena Zoom Q7IP™. The lights are spread across a large 1000-square meter television studio plus two smaller studios of around 350 square meters each. Luminis installed the luminaires working with lighting personnel from Nova TV and programmed initial lighting scenes for the studio. Elation’s Bulgarian distributor, Pro Audio Ltd, works with Luminis to provide local support when needed.

Péter Rábay of Luminis, who worked closely on the project for 18 months, says that the studio required soft lights, profile luminaires and Fresnel lights that would work with their state-of-the-art HD and 4K setup. “It was important that the lights be in the same family,” he explains. “In the past, with halogen lights and their more consistent color, it wasn’t that necessary that lights all be from the same family of fixtures. But now with LED, because their color engines can differ so much, it is more necessary.”

Due to the studio’s high definition and 4K capabilities, as well as its numerous video walls and modern cameras, it was imperative to utilize luminaires with high output. Rábay states that the KL Fresnel 8 FC, which provides a total fixture lumen output of 18,000, was a wise choice as it offers additional lighting power when required. The fixture houses a 500W RGBMA LED engine with precise color temperature control, full spectrum color rendering and even wash coverage. It also includes a motorized zoom of 10 to 50 degrees and meets the strict standards of studios like Nova Broadcasting that are light critical and noise sensitive.

complements the KL Fresnel 8 FC very nicely as they both have RGBMA LED engines and they also commented that it looked like a quality-built product.”

When deciding on the KL Panel and KL Panel XL, Rábay says the main requirement was their color temperature changing flexibility while the LED softlight’s green-shift adjustment was also deemed significant. The fact that they can project the full spectrum of colors was seen as a bonus, he says. Furthermore, the availability of various accessories, such as snapgrids and snapbags that allow for easy manipulation of the light, was also considered important.

Additional to the rig are Arena Zoom Q7IP, full-color PAR fixtures that work nicely with the KL fixtures and allow the studio to forego renting fixtures in when hosting live performances. A further requirement was a simple yet reliable DMX/RDM splitter, a need fulfilled by Obsidian Control Systems’ NETRON RDM6XL, which Rábay says are easy to work with and work very well. Some 114 RDM6XL splitters are used across the lighting control network.

The first of the new Nova Broadcasting Group television studios opened in late November in time for the FIFA World Cup and Rábay reports that the client has been absolutely thrilled ever since. The other studios, all of which are used for multiple programs such as news, current affairs, and sports shows, opened shortly thereafter.

Elation’s all-in-one KL Profile FC™ ellipsoidal now shipping Elation Professional is simplifying ellipsoidal lighting with the new, all-in-one KL Profile FC™. Designed for the ultimate in flexibility and performance, the KL Profile FC combines everything a designer needs in one innovative package, eliminating the need for additional lighting accessories and making it the most convenient and costeffective ellipsoidal lighting solution on the market.

Following an extremely positive reception from designers and specifiers at the LDI show in Las Vegas, Elation is pleased to announce that the KL Profile FC is now shipping. The unit projects a superior quality of light and is designed for any application where a compact ellipsoidal or wash fixture with outstanding color range and a flexible zoom range is required. It is an excellent choice for the wide variety of white or color illumination needs required in theatre, broadcast or any performance environment.

The KL Profile FC offers full-spectrum performance from a 92 CRI engine that utilizes a 305W 5-color homogenized LED array of Red, Green, Blue, Mint, and Amber sources.

Luminis first encountered the KL Profile FC ellipsoidal during the Prolight + Sound tradeshow in 2022 and were impressed with the fixture. With a 7 to 50-degree zoom, the fixture requires no additional lens tubes, reducing cost, complexity and providing excellent flexibility. They decided to order a demo to test it before presenting it to the client for consideration.

Rábay notes, “In the beginning, they were considering using different brands but after demoing and testing the KL Profile FC over several days, they absolutely agreed that it was very reliable and a good professional light with nice CRI and TLCI. They could see that it Set & Light | Summer 2023

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| Sponsor News The RGBMA engine, calibrated at a native color temperature of 6500 Kelvin, emits beautifully diffused saturates and soft-field pastels, including tunable white light. The carefully tuned LEDs ensure accurate color reproduction while delivering a powerful output of 10,600 lumens.

make the KL Profile FC a top choice of professionals everywhere, and with an energy efficient and durable design it is an economical and reliable choice for any venue.

High color quality and color manipulation are central to the KL Profile FC, ensuring that designs translate well to camera. The unit can adjust for light that shifts away from pure white towards green or magenta through a green/magenta shift adjustment and a virtual gel library. Virtual color correction from 2400K - 8500K plus CMY and RGB emulation give designers access to an impressive LED color array including beautiful mixed whites. Capable of matching the white balance for camera, users can easily shift the color temperature without the use of plus/minus green gels and filters.

Additionally, the LED refresh rate is DMX adjustable so there is no flickering when used with high-speed cameras.

ETC

The fixture’s enhanced optical design and lens coatings ensure precise and razor-sharp projections, removing all unwanted color shifting and aberrations in all zoom, focus or framing positions. Dimming of the LED engine is smooth and stepless with variable 16-bit dimming curve modes available to suit any application.

With the Augment3d Scanner app, a comprehensive 3D space model is just a few touches away. Built for use with the Eos Family line of lighting control systems, A3d Scanner leverages the augmented reality tools included in your device, saving you time building your 3D space.

Once installed, explore the easy-to-use tools to map your space - including walls, doors, windows, a full floor plan, and even proscenium tools. When you complete your plan, the Scanner app builds a model right on your device, allowing you to send it via a Wi-Fi connection to any Eos Family console or computer running Augment3d, or save a copy for later import or use in other software.

ETC introduces Eos Augment3d room-scanning app With visualization software and tools like ETC’s Augment3d 3D programming environment, digital models play an increasingly integral part in lighting workflows.

When time or budgets are tight, however, drafted or point-cloud models can still be out of reach. ETC’s new Augment3d Scanner app reduces this barrier to entry, allowing users to seamlessly create and import readyto-use room models directly to their Eos Family consoles from a phone or tablet.

With an integrated manual zoom range of 7° to 50°, the KL Profile FC requires no additional lens tubes, reducing cost and complexity and providing excellent flexibility for any performance venue or show. The fixture allows for manual rotation of the barrel and the integrated manual iris allows for further beam control. A full blackout manual framing system lets users refine the beam shape as needed and frame around objects to be highlighted.

With the affordable app now available on iOS and Android app stores, getting started with 3D lighting programming is faster and more seamless than ever.

The fixture includes a 16-bit rotating/indexing gobo slot for versatile imaging and ships with the KL Profile Designer Gobo Set, containing 10 high-resolution glass gobos. The integrated gobo slot is easily accessible from the top of the fixture. The unit includes a 7.5” gel frame and 7.5” front accessory holder, and an optional Fresnel Wash Lens Conversion Kit allows users to utilize the fixture as a framing wash.

ETC fixtures light up Greek TV and Theatre ETC’s automated luminaires and entertainment fixtures have been selected by rental company Papadimas AVL S.M.P.C in Greece for renowned TV shows ‘The Voice’ and ‘Just the 2 of Us’, as well as a recent production of the hit musical ‘Phantom of the Opera’ in Athens, and Thessaloniki.

The KL Profile FC has also been designed with respect for the whisper-quiet requirements of the professional stage and studio. Exceptionally quiet, it offers enhanced fan controls down to Elation’s Mute Mode, which disables the internal cooling fan.

Almost 200 High End Systems moving lights feature across the productions, including Lonestar, SolaPix, SolaFrame and SolaSpot automated luminaires. ETC’s affordable Lonestar fixtures took their Greek TV debut on talent show ‘Just the 2 of Us’, bringing their professional feature set, and quality output all wrapped up in a small package. They joined over a hundred other High End

A host of other features come standard like multichannel DMX control with RDM protocol support, 5-pin DMX In/Out, and IP65 locking power In/Out connectors.

Operation is simple via a 4-button touch control panel with easy-to-read 180° reversible LCD menu display that makes navigation through settings uncomplicated. The fixture can also be controlled manually for standalone operation using the included encoders. Add in the other benefits of LED lighting like greater reliability, a long life LED rating, and overall less maintenance, and the KL Profile FC will satisfy even the most discriminating professional.

Superior performance combines with ease of use to

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| Right: ETC Augment3 Scanner App Set & Light | Summer 2023

Systems moving lights as well as 50 Source Four LED Series 3 Daylight HDR profiles, all controlled by a mix of Hog 4 and Eos consoles. Series 3 continues to wow on-camera around the world, with its patented X8 array giving unmatched control over how skin tones and objects render on-screen.

SolaPix 19 luminaires returned to world-famous reality competition show ‘The Voice’ this year, working alongside High End Systems SolaSpots and almost one hundred Source Four LED fixtures. The unique face-look of SolaPix, with its HaloGraphic Pixel Definition and innovative FleX Effects engine is a big hit on-camera, but the fixture is also capable of incredibly smooth washes, adding even more versatility to the rig.

Papadimas AVL S.M.P.C established its presence in the broadcast market in Greece through working on such shows and supplying ETC products. “We met the demand for high quality equipment and services on the ‘The Voice’, ‘Just the 2 of Us’ and the ‘Phantom of the Opera’ with ETC gear, which has also set the bar high for our competitors. The certified quality of ETC products combined with the large quantities we own have helped us create a fleet that provides exceptional results, with consistency and competitive prices,” comments General Manager at Papadimas AVL S.M.P.C, Panagiotis Papadimas.

The live productions of ‘Phantom of the Opera’ used a wide range of High End Systems spots and wash-lights alongside industry standard Source Four LED Series 2 Lustr profiles to bring the story to life. Released in 2014, Series 2 continues to earn its keep in hire stocks around the world, with venues and rental companies continuing to invest in its reliability and incredible color control, all backed up by ETC’s industry leading warranty and support.

Set & Light | Summer 2023

| Above: ETC Greece

ETC Regional Sales Manager, Konstantinos Vonofakidis comments: “I would like to thank Papadimas AVL for their continued trust in our products and services even during the challenging times of the pandemic. This has been a great collaboration that has been forged through the unparalleled support of our local dealer – Audio & Vision.

“The co-operation between Papadimas AVL and Audio & Vision has had a significantly positive impact on the TV and live events industry in Greece. The overall quality of lighting has improved with many productions being upgraded with ETC equipment, and DOP’s and LD’s continue to create unforgettable lighting designs with our products.”

FIILEX

NEW G3 COLOR Fiilex presented a new 90W G3 Color, an ellipsoidal spotlight constructed specifically for the motion picture industry at BSC Expo 2023. This new fixture takes advantage of the ‘Dense Matrix’ light engine with advanced optics delivering uniform and clear projections.

It also features a rotating yoke barrel for ease of use.

This is a product that will give precise lighting control to users. The compact kit will come with 19 degree and 36 degree barrels, gobo set and iris.

Q10 COLOR In BSC 2022, Fiilex presented its flagship Fiilex Q10 Color, a powerful 900W LED Fresnel which is positioned as a modern-day 5K tungsten. As a Fresnel, this bright fixture allows high-quality colors to be called out quickly

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| Sponsor News

and delivered to the desired places. It is a cutting-edge product that helps productions move faster and more efficiently.

WHY DENSE MATRIX? ‘Dense Matrix’ is a signature technology by Fiilex which combines multiple spectrum LED chips tightly packed under a single glass optic. These light sources produce full multi-colour light that uniquely casts hard single shadows with no colour fringing or compromise. For example, this allows for a clean cut from the barndoors similar to the optical quality from a traditional light source. When combined with the custom-designed Fresnel optics the beam stays smooth and uniform all the way from flood to spot.

P3 COLOR With the updated Fresnel lens P3 Color is now even more powerful. At the core of the P3 is Fiilex´s patented Dense Matrix LED, which is an extremely small light source capable of producing crisp shadows and clean barndoor cuts.

NEW P3 ACCESSORIES FOR SET LIGHTING The P3 COLOR KF4 Kit includes four P3 COLOR light fixtures with the 15-45deg Fresnel accessory and

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| Above: FTVS King Charles III Coronation - Sky News Canada Gate FTVS Broadcast Lighting & Technical Support - FTVS

barndoors. This kit is designed for use on sets where precision colour and light control is required.

The Recessed Lens accessory enables the easy installation of the P3 COLOR as a recessed ceiling fixture.

Clamps hold the recessed trim in place and support the weight of the mounted P3.

FTVS Film & TV Services Celebrates 45 Years Film & TV Services (FTVS) is celebrating 45 years in the broadcast power and lighting hire industry.

The First Decade The company started operating in February 1978 as a supplier of TV lighting equipment for hire.

During the first decade, Film & TV Services established its reputation for being first on-scene for major live news coverage. This included the tragic Zeebrugge ferry disaster and Pan Am flight 103 at Lockerbie.

FTVS then developed an enviable list of projects Set & Light | Summer 2023

working on well-known studio productions and outside broadcasts. Howards Way, game shows such as Deal or No Deal and significant political events to name a few.

Recent productions involving FTVS lighting crews include Big Brother, the first Love Island and the Vicar of Dibley.

Another notable event includes the meeting of the French and British excavation teams at the centre of the Channel Tunnel. We also pay tribute to the heroic work by our broadcasting crews during the Troubles in Northern Ireland and the Falklands War. Royal Occasions FTVS is honoured to have been associated with televised coverage of significant Royal events over the years. Queen Elizabeth II’s funeral and King Charles III’s Coronation called upon our extensive resources involving crew, equipment and planning expertise.

Sport’s Power & Light It was in the 1990’s when FTVS expanded into Broadcast Power Generation, starting with single set generator units. The expansion of live televised sports meant that there was a great demand for assured uninterrupted coverage. This saw the company develop its first-generation twin set mobile broadcast generators. The European Golf Tour in 1996 set the benchmark – it’s why the fleet of vehicles changed from blue to the green livery that is frequently seen on location or in transit.

The Premier League football justified the company’s investment into broadcast-silent twin set mobile power

generators. FTVS has become the preferred supplier for hire of broadcast power generators and lighting for televised football, Test & First-class Cricket, Horse Racing, major Snooker and other big sports events.

Environment: Transition to Green Fuel & Battery Broadcast Generators Over the last 6 years the company has undertaken a significant investment programme to upgrade its lighting equipment - especially LED technology. FTVS switched its primary fuel source for vehicles and broadcast generator engines to Green D+ HVO in March 2021. Last year the company introduced their first electric vehicle to the fleet.

Film & TV Services has jointly developed the HPU Agile, their first unique battery 60KW broadcast generator. The towable unit has been successfully field-tested, including BBC’s Winterwatch and Springwatch – the HPU Agile is now available for general hire. FTVS also incorporated hydrogen generators for BBC Springwatch.

Today & The Future Film and TV Services one-stop hire solution now consists of a comprehensive range of broadcast lighting equipment for hire. Plus experienced and talented TV lighting crew to rig and manage complete projects. And not forgetting FTVS’s largest fleet of broadcast-silent twin set mobile broadcast power generators.

Joy Brennan Managing Director said, “We are grateful for many long-term clients for whom we work on a regular basis. Our thanks go to our clients, partners and team for all their support.

45 years of excellence in broadcasting A big thank you to our clients, team & suppliers for all their continued support.

Lighting Hire Design Support Broadcast Power Generators Green D+ HVO Skilled Technicians Nationwide

www.ftvs.co.uk 020 8961 0090 operations@ftvs.co.uk

Set & Light | Summer 2023

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| Sponsor News The company’s reputation for a personal and prompt service epitomises the original family firm’s ethos – excellence through teamwork. This has endured whilst the company has transformed to fulfil our clients’ needs in the 21st century.

| Right: GLP ayanna

Above all, our talented and enthusiastic staff are behind the success and longevity of Film & TV Services. They continue to ensure that FTVS remains a market leader, progressing in an ever-advancing business. Together we look forward to the future”.

GLP and a built-out punt page all the way down to crowd blinder cues with the FR1s at max zoom,” as Speer put it. “Classical music can be very technical, and while the players have a ton of skill, they must show restraint while playing a highly complicated piece musically. That ethos, Justin absolutely nailed.”

GLP supports SXSW’s unique classical showcase Impression X4 Bars and compact impression FR1’s to the fore at Austin’s Esther’s Follies Karlsbad (Germany), 14th June 2023: This year’s South

By Southwest Music Festival (SXSW) in Austin, TX provided a unique classical music showcase into its multi-cultural annual event.

The artists themselves had also contributed to the cues, allowing them to tell their own individuals stories. This was essential, as pianist AyseDeniz Gokcin explained: “Lights provide visual context to the piece; the energy is then passed to the audience in a heightened way. I love creating not just music but an experience with the help of great lighting design—the immersive aspect of it really helps me communicate with the audience directly.”

The brainchild of Thea Paraskevaides from Brightonbased ‘Artists&’, the underlying concept was to close the gap between classical musicians and audience via integration and collaboration—aimed at creating a fluid and dynamic experience for the audience. “I want to move classical music more into the mainstream,” she declared. And production lighting would play a vital role in that process.

As for Thea Paraskevaides, she was engaged throughout the week on SXSW’s Classical Showcase, which included discussions, but it was the ‘Classical Reimagined’ event, showcasing six acts at Esther’s Follies, that set the blueprint for future activity.

Having walked onto the GLP booth at Frankfurt’s Prolight+Sound she could see how the introduction of a dynamic lighting component would act as the conduit for her mission. “By incorporating immersive tech with a creative lighting design we could break down these barriers,” she believed. GLP immediately offered to help.

Dash Speer also expressed his delight at being able to use the GLP fixtures. “Most of my experience with GLP products previously had been in large venue and arena productions, where the impression X4 Bars and JDC1s really shine,” he said. “The ‘wall of light’ you can make when you fly out X4 Bars is like nothing else.”

Given a choice of venues by the organisers she opted for Esther’s Follies, a quirky, brightly coloured downtown cabaret / vaudeville theatre. With only a relatively basic house rig, which would need to operate independently, the addition of a GLP floor package would bring the performance to life. This comprised four impression X4 Bar 10 battens and eight ultra-compact impression FR1 moving LED heads—expertly designed and programmed

by Dash Speer, who runs local tech suppliers, Limitless Lights & Sound.

Faced with a small stage he sensed the linear X4 Bars would be a great fit to provide movement behind the artists upstage, without sacrificing a lot of stage. “The FR1’s we pre-rigged on threaded pipes, then rode them in J-hooks in the truck. This rig then went up in under 30 minutes,” he said. “While we’ve had hands-on experience with the impression X4, the impression FR1 is new to us. This unit provides a compact beam and wash fixture at a size no larger than a par, with a more prestigious look for eye candy [than competitors].

Speer programmed a cue list of looks with the house LD, “focused on drama, key, and primary colour” directed

by Limitless’ in-house LD Justin Estes. He also built a ‘busk’ page while following Speer’s preprogrammed cue-list in a more ‘instrument-like’ manner. “This meant riding fade times by hand, relative effects programming, live updating values, tap tempos, bump cues, delays,

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In summary, he said, “We were extremely honoured get to work with [Thea] on this classical showcase. The goal was to connect the audience and the performers by wrapping them in an evolving lighting show that rises and falls with the intensity of the music—and I feel we achieved that.”

Of the GLP fixtures, he concluded, “It’s not every day I get the keys to drive whatever I want. The FR1s did a really nice job in all those slow transitions, and fast zoom/colour bumps and blind looks, while the X4s were a workhouse on that upstage edge, providing ample and dramatic backlight whenever needed.”

| Below: Russell Brown

As for her own summary Thea Paraskevaides says she was delighted to have staged an event that was the first of its kind, with a discussion panel and showcase linked together. She also reports that the organisers were as happy as she, as to how artists performed on the night under the production lighting.

“It was great to be able to put classical music into such an eccentric venue where lighting was fundamental to making this work and a crucial part of the event’s success.

We’re indebted to GLP for supporting this at grass roots level. There were moments when I noticed just how Set & Light | Summer 2023

absorbed the audience was, and that was very special.”

GLP US appoints Russell Brown as sales manager GLP is excited to announce that Russell Brown has been appointed as the company’s new sales manager looking after customers in the southeastern United States.

Russell has spent nearly 30 years in the industry, getting his start as an award-winning DJ. Since his DJ days, Russell has worked for numerous renowned companies, where he has consistently increased sales, successfully managed teams of up to 45 people, and honed his skills within the sales and marketing world. GLP is very excited to work with Russell, his wide knowledge of live event technology and his extensive network.

Russell states: “My experience as a touring DJ in sales, customer support and product development in the audio world, combined with my passion for themed entertainment, gives me a unique perspective in the industry. I look forward to sharing the knowledge I’ve learned from some incredible mentors with the GLP family.”

GLP sales and marketing director Tyler Wise adds: “Russell brings decades of genuine professional relationships across multiple disciplines. His talent and personality are welcome assets to the GLP team as we continue to meet customer needs for more marketspecific technical expertise and attention to detail. We look forward to Russell engaging with our customers across the southeastern United States.”

Russell concludes: “The opportunity to join GLP with its history of innovation and excellence in customer service was a chance I could not pass up. Working with the team at GLP gives me the ability to have deeper connections with the integration, rental and themed entertainment markets.”

GLP supports the opening ceremony of the special Olympics World Games in Berlin The Special Olympics World Games Berlin 2023 is taking place from 17 – 25 June for the first time in Germany under the motto ‘Unbeatable together’. Around 7,000 athletes from 190 countries are competing in 26 sports at the world’s largest inclusive sports event.

The opening ceremony of the Special Olympics World Games, which takes place every four years, contributes significantly to the public perception of the event and its inclusive mission. Numerous broadcasters took part in the TV broadcast of the opening. Against the backdrop of the legendary Olympic Stadium, a 360° light show was required that would require numerous camera angles and the use of a Spidercam.

The phase7 performing.arts collective, under the artistic direction of Sven Soeren Beyer, was responsible for the creative concept of the opening ceremony, as well as planning and implementation, in cooperation with the media pool event company on behalf of LOC. The central stage consisted of two concentric circles separated by water and linked by a bridge. Two curved footbridges were situated left and right of the stage.

The entire stage, including rondelles and bridges, was lined with impression X5 IP Bars which, thanks to their motorised tilt, were either beamed into the audience, illuminated the bridge itself or served as an uplight for actors on stage.

“The requirement at this point was clearly to use IPcertified LED bars”

As lighting designer and light setting cameraman (on behalf of phase7 performing.arts), Flo Erdmann was responsible for stage lighting the opening ceremony in the Berlin Olympic Stadium. More than 300 GLP moving lights, including over 100 each of the impression X5 and impression X5 IP Bar – some supplied directly by GLP as part of a sponsorship – supported the event. The technical service provider was POOLgroup GmbH. For the opening ceremony, Flo Erdmann specified a total of 120 GLP impression X5 washlights, 138 impression X5 IP Bars and 80 HIGHLANDER washes. Without a stage rig, only the fixtures in the stadium itself could be adjusted.

“The requirement at this point was clearly to use IPcertified LED bars,” states Flo Erdmann. It was his first use of the new weatherproof batten from GLP’s impression X5 series and one of the first large-scale uses in Germany.

The 120 impression X5 Washlights were installed at constant intervals around the railings behind the first upper tier, from where they served as spots and backlight for the audience.

“The output and colour mixing of both X5 models was simply excellent – both in the white light range and in the colours,” praises the designer. “Word has now got around.

We were able to use two models from the X5 series for the first time at the Special Olympics World Games, which of course was extremely practical because no significant adjustments were required and, for example, presets are common to all GLP fixtures.”

Last but not least, the high availability on the market also played a role in his choice of lights, he adds: “Right from the start, the X5 series was very well received in the market, including dry hire – so I was confident that I would be able to procure a larger quantity.”

Erdmann generally favours GLP products in his designs: “There are many reasons to like GLP. On the one hand, they keep bringing really innovative devices with a long service life onto the market. From a sustainability point of view, this is important to me. In addition, all GLP fixtures are extremely reliable. With around 300 moving lights, we didn’t have a single failure or other problems. GLP produces real workhorses that you can rely on.

Communication is also excellent. The team is always available when I need support. Thanks to GLP for partially sponsoring the lamps, which enabled us to give athletes a strong, glamorous performance at the Special Olympics World Games.”

Phase7 performing.arts was responsible for the

Set & Light | Summer 2023

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| Sponsor News planning, implementation and creative design of the opening ceremony in cooperation with mediapool Veranstaltungsgesellschaft on behalf of the LOC. Raphael Grebenstein acted as lighting director and show light operator, alongside Johannes Laugwitz as keylight operator, and Ole Güllich and Younes Rellmann as gaffers.

| Right: Hippo Icelandic Idol 2 © Magnús Stefán Sigurðsson

Credits: Concept, stage Design, direction: Sven Soeren Beyer Video design: Studio Eigengrau | Frieder Weiss Light design: Flo Erdmann Musical direction: Das Dur Production: mediapool Veranstaltungsgesellschaft & phase7 performing.arts Customer: LOC Photo credit: Manfred H. Vogel

• Hosts in MediaManager now have a blue sync icon when actively syncing to another host. A green icon means the host is ready to sync, and a grey icon is when sync is not configured.

• The Zip Debug feature contains additional information for faster support.

• Preset overlay in Timeline+ now includes bank and slot values as well as name and time.

GREEN HIPPO

Software Update: Hippotizer™ V4.8.2 Green Hippo is pleased to announce the release of Hippotizer software version: 4.8.2.

Key Improvements • Mix Selector container no longer removes embedded pins when leaving the custom pinboard view.

• Engine and ZooKeeper now both have a shutdown prompt when using shutdown buttons from HippoLauncher.

• Improved pinboard behaviour when DPI scaling is enabled. Pin can now be dragged across entire pinboard area.

• TimelinePlus goto cue operations in multicontroller are no longer clamped to values below 100.

• Improved Input level response before saving project and restarting engine.

• Fixed newly created livemasks not working.

What’s new in v4.8.2 Hippotizer version 4.8.2 builds on V4.8.1, fixing key issues, and focuses on new features such as Export Map Image from VideoMapper and an improved HippoLauncher Licensing page.

New Features Export Map Image from VideoMapper: Users can now export an image of the input or output video map layout straight to PNG format. Maps can be uploaded to the MediaManager for playback straight from a layers media player.

Hippotizer Boreal+ MK2 fires up Icelandic Idol visuals The popular Idol TV singing competition burst back onto Icelandic screens recently after a hiatus of more than ten years, updating its staging and visuals with four LED

Functionality Changes Stay up to date with the improved HippoLauncher Licensing page. This update helps determine what versions of new software will install onto your Hippotizer system; providing the certainty of future software features needed to plan your investment. Here, you’ll find information for active license version and, if required, the number of versions to extend license to the installed version.

| Left to rigth: Hippo_Icelandic Idol_1 © Magnús Stefán Sigurðsson.

Hippo_Icelandic Idol_4 © Gottskálk Daði Reynisson.

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Set & Light | Summer 2023

screen elements which were all driven by Hippotizer Boreal+ MK2 Media Servers.

| Right: KinoFlo MIMIK 120

The fifth season’s finale was broadcast live from Reykjavik as contestants battled it out in front of a live audience, judging panel and TV viewers at home. The stage was dominated by an upstage centre Absen PL2.9 LED screen at 2688x1680px, flanked by two LED side walls at 2688x1512px. An additional Absen PL3.9 lite LED floor at 3584x512px completed the video fest, enveloping the set.

Icelandic TV technology solutions company Luxor served as production designers for the show, specifying the Boreal+ MK2 Media Servers for Video Designer Ingi Bekk’s creations. “ We used two Boreal+ MK2 servers running as a main and backup unit, with content ingested on the backup server in the HapQ format, then synced over to the main server ́s media folders and media maps,” explains Luxor Technician Ágúst Ingi Stefánsson. “ Both servers ́ output signals were fed into a Barco E2, to make use of the E2 ́s easy primary/backup destination configuration, as well as mixing inputs from the OB truck to the screens.

Once up and configured, the Boreals really didn’t break a sweat no matter what heavy lifting was required of them and that gives us, and the creative minds we work with, the confidence to achieve visual mastery without worry.”

Ingi Bekk began conversations with creative director Unnur Elisabet Gunnarsdottir in the run up to the show to design the core visual identity of the show. “We opted for a more abstract feel that would swell and blend with the music and the performance without interfering with the focus on the performer,” says Bekk. “ This led to us taking a ‘left-field’ approach to some of the designs that really added an interesting and exciting texture to the show as a whole.

“I have been a long time user of Green Hippo products, as well has having a long and successful working relationship with Luxor who supplied the Boreal+ MK2s.

I think the simplest way to put it is that when it was confirmed the show was to be run on the Boreal+ MK2s I had the confidence to really push them as far as I could as the output processing headroom is plenty.”

All of the content was produced with Notch and rendered out for timecoded playback using HapQ at a 1 to 1 resolution to the screens. “The ingestion of the large files was incredibly quick and easy through the native Hap support on Hippotizer’s MediaManager, making Luxor’s video programmer Olafur Starri Palsson’s job a little bit easier,” Bekk continues.

“The Hippotizers performed brilliantly throughout without as much as a dropped frame, proving their reliability as a playback platform.”

The Luxor team used four HDMI outputs from the Boreal+ MK2, and mapped each LED slice to its respective output through the viewport configuration.“ Ingi’s creative workflow worked best with the floor slice rotated 90 degrees CCW, so through the viewport we Set & Light | Summer 2023

rotated it back to 90º, meaning no compromises had to be made in the creative process for us to fit the content nicely into a standard 4K signal,” adds Stefánsson. “On top of that, we ran 34 universes of pixel strips via sACN from Hippotizer’s PixelMapper component.

“We always enjoy using the Hippotizers with a lighting desk for fast and efficient programming along with the lighting team’s timecode programming. We feed the same timecode into the Hippotizers, and make use of Sync Manager to keep timings as tight as possible. Ingi created content to the same timecode, ensuring we were always in sync with lighting. Lastly, we use CITP into the video programmers desk for easier overview of what content lived in the selected bank, directly from the desk. ”Twenty-four-year-old Saga Matthildur won the 2023 final, to be crowned Iceland’s new Idol star. The production company and broadcaster was Stöð 2 (Channel 2)

KINOFLO

Kino Flo MIMIK 120 Earns NAB 2023 Product of the Year Award Blazing new paths brings its own rewards, but sometimes, it can also garner awards bestowed by industry peers.

Such was the case earlier this month when Kino Flo, a CHAUVET Professional sister brand, won the 2023 NAB Show Product of the Year award for its new MIMIK 120.

A first-of-its-kind product, this full spectrum image-based lighting tile mirrors video content while applying a very high tonal and color rendering range. As a result it delivers extended spectral bandwidth and cinematic color fidelity when lighting talent and set elements in virtual production environments.

Utilizing Kino Flo’s patented Matchmakker® technology, MIMIK 120 translates an incoming RGB video signal into five individual emitters (warm white, cool white, red, green and blue), generating synchronized foreground lighting that creates the utmost realism on virtual sets.

The new tiles output an impressive 10,000 NITs, far surpassing the 800 – 1,200 NITS output of typical LED screens. They also have the capability to shoot up to 960 frames per second and offer as many as 32 Alpha channels at 30 frames per second.

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| Sponsor News The result is a cinematic fidelity that seamlessly creates a realistic and fully integrated image. This was dramatically evident to visitors to the company’s NAB booth. At its center was a meeting table, that looked not much different from any other table at the show. But when visitors looked at that table on a monitor, they saw it, and the people sitting at it, circling on a giant Ferris wheel in an amusement park in real time. The effect was stunning… and powerful enough to win this revolutionary lighting tile the Product of the Year award.

Freestyle Air The New FreeStyle Air arrives ready to take its place as a lightweight accessory that integrates seamlessly with existing FreeStyle systems. Compatible with FreeStyle mounts, extension cables and LED-140 & LED-150 Series controllers, these portable thin profile panels offer the advantages of easy deployment and favorable cost of ownership to current FreeStyle owners and operators.

Ease of maintenance is built into a user serviceable design. It features a removable upper rail and quick access to pull-out LED platens that are easily replaced or repaired.

Combining new mobility and reliable performance with familiar features, the FreeStyle Air delivers Kino Flo’s renowned Color Science LED technology in this lightweight addition to the range.

MARTIN

LD Rajiv Pattani deploys Martin ERA 150 Wash fixtures for SMOKE at the Southwark Playhouse London-based lighting designer Rajiv Pattani, formerly senior technician at the Bush Theatre, recently deployed a pair of the new compact Martin ERA 150 Wash fixtures for the production of Kim Davies’s play SMOKE at the Southwark Playhouse.

In search of the perfect super-compact yet high performing wash fixture, Rajiv discovered the Martin ERA 150 Wash. “I was interested in finding the next new compact fixture, suitable for low-ceiling, tight theatre applications that would deliver great colour balance and a wide zoom range.” he explains.

The Martin ERA 150 Wash moving-head LED wash fixture provides class-leading lumen output at 3900 lumen, high-intensity narrow zoom and full-gamut colour calibration for accurate colour reproduction and colour temperature control, making it an incredibly versatile yet affordable workhorse lighting solution.

Co-directors Polina Kalinina and Júlia Levai presented SMOKE in the round, with an abstract non-naturalistic design by set designer Sami Fendall for the kitchen in which the play is set. Acting as the main colour wash the ERA 150’s were able to successfully bring the LD’s concept for the intense design to life.

Commenting on the specifics of the design Rajiv continues, “The colour rendition of the ERA 150 Wash is excellent, allowing me to use long subtle colour shifts as a pathway to an emotional moment or reaction

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between the characters, and with its wide zoom range I was able punctuate key emotional reactions with close-down moments and punchy zoom-in-out effects to heighten tension.”

In one memorable scene an opened fridge, spilling atmospheric effects, is dramatically lit by the ERA 150 Wash from both behind and in-front from their discrete positions.

Rajiv also praises the speed of the fixture’s pan and tilt and its quietness for theatre applications and concludes,” The ERA 150 Wash is tailor-made for applications in smaller spaces. It’s compact and lightweight, simple to programme, and delivers a usefully wide zoom range with exceptional colour balance. I look forward to using it on future projects!”

About to go into rehearsals, Rajiv’s next production is Great Expectations at the Mercury Theatre in Colchester.

MATTHEWS

Matthews Displays Dovetail Cross Plate & New Black CAM Tank Work Together or Individually Matthews highlights two rugged and versatile camera support tools that individually solve a world of everyday busy set needs and together form a dynamic camera support duo.

The Dovetail Cross Plate (patent-pending) expands orientation versatility when mounting a camera to a fluid or gear head. It also simplifies working with prime and zoom lenses where minimal balancing is required. A quick addition to existing camera supports, the 2-layer swiveling plate design provides both traditional camera mounting, as well as additional 90-degree and 45-degree angles.

Each rotating Plate has a different finish for easy identification and features a spring-loaded post and stationary stop to prevent the bridge plate or sled from sliding off. Other safety features include a special angle lock design and an internal positioning safety spring. In addition, twenty 3/8”-16 and 1/4”-20 threaded holes on the plate bottom with Heli-coil wire inserts secure the connection. The Dovetail Cross Plate is compatible with the quick release on most fluid heads and other supports including the Matthews CAM Tank.

I was interested in finding the next new compact fixture, suitable for lowceiling, tight theatre applications that would deliver great colour balance and a wide zoom range” Set & Light | Summer 2023

| Right: PRG

“Since finishing the installation in April 2023, this system has been generating 330amps for the running of our operations.”

On this latest step in sustainability, Mark Burn, Regional Finance Director UK commented, “Since finishing the installation in April 2023, this system has been generating 330 amps for the running of our operations. Whether you’re working in our office, in our warehouse, prepping your production, using our rehearsal space THE BRIDGE or “plugging-in” anywhere on site, our colleagues and clients can be assured that they are solar powered.”

Proven for over a decade, CAM Tank now sports a new sleek black finish and red trim. This hefty support accepts all standard large format camera plates or can direct mount to any large or medium format camera equipped with 3/8″-16 mounting threads. It is designed for extremely low shots, while maintaining the ability to pan 360 degrees and tilt 30 degrees in each direction.

It is commonly used to achieve dutch angles when mounted to a fluid head or can be pointed straight down off of a fluid head on a tripod or jib.

PRG UK thanks Peter Adler and Philotimo Smart Power Solution for their expertise and guidance during this process.

ROBE

The rugged system is CNC machined out of 6061 T6 aluminum and utilizes the finest stainless-steel hardware, including premium NSK deep grooved ball bearings for the tilt mechanism. The pan bearing uses a machined polyoqymethyline, delrin disk, which self-lubricates and has an endurance rating 100x more than any plastic. Pan and tilt functions offer premium brakes for solid lock-off shots and camera safety. Weighing 180-lbs/82kg it is ready to support any camera measuring 10″x7″ /264mm x 177mm with a minimum height as low as 4″/101mm.

Over 600 Robe Moving Lights help Dazzle at 2023 Eurovision Sing Contest Award-winning lighting designer Tim Routledge and a hugely talented team of creatives and technical specialists – working across multiple disciplines – helped deliver a dazzling, slick, streamlined and highly emotional 2023 Eurovision Song contest event at Liverpool Arena in the UK on 13th May.

The Dovetail Cross Plate is an easy companion for the CAM Tank. Thanks to industry standard threads, they mate together securely and safely support the camera in almost any position to help produce routine shots or seemingly impossible angles, on schedule.

All the glamour, craziness, and sheer ebullience of the 67th Eurovision Song Contest was embodied in the event that was shifted to the UK after 2022 winner Ukraine had security concerns related to the ongoing war with Russia which has raged since being invaded by its neighbour in February 2022. As the 2022 runner up, the UK stepped in and stepped up to ensure that millions of Eurovision fans worldwide could enjoy Ukraine’s party on UK soil.

PRG

PRG UK installs solar panel system in major sustainability investment.

A greener future for PRG UK. After a recent sizeable investment in new sustainable infrastructure, PRG UK is proud to reveal its newly installed 870-unit solar panel system at its UK HQ in Longbridge, Birmingham.

At PRG we are committed to advancing our low emission practices across the business and are conscious of the need to demonstrate our sustainability credentials that we have been awarded by Albert, the leading authority on industrial sustainability in production. This switch to a green energy source has totally overhauled the way we power our UK operations; drastically impacting our emissions as we anticipate saving the equivalent of almost 200,000 car miles and £200k of grid electricity costs each year.

Set & Light | Summer 2023

| Right: Robe Changes Up - Bram De Clerck

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| Sponsor News | Left: Robe Changes Up - Jens Poehlker

ensuring faces looked perfect.

The FORTE parameters could all be controlled via the FOH grandMA3 consoles, leaving the operators free to concentrate on following the artists.

Other Robe elements included 152 x LEDBeam 150s, 84 x PAINTES, 123 x Spiiders, 190 TetraXs, 12 x Robe BMFL Blades and 12 x Robe PATT2013s, a fixture that Tim invented, and that he used on this occasion to light Latvia’s performance.

Tim utilised over 600 Robe moving lights for his design which comprised approximately 2500 luminaires plus 2 kilometres of LED tape, clocking up 17,500 individual light sources when counting the individual pixel cells of the various fixtures, all supplied via lighting equipment contractor, Neg Earth Lights.

For Tim, well known for his sumptuous glossy floor and epic pop lighting designs for television, it was his first ESC. He collaborated closely with set designer Julio Himede, acclaimed for his work on major music broadcast shows like MTV’s VMAs and EMAs amongst others, also working on his first ESC. Tim and his team created 37 unique immersive lighting environments to showcase each delegation’s songs, keeping each of these micro-shows animated, fluid and energised, curating lighting and video interactively and simultaneously.

This enabled the end-goal of offering the clean, precise shots from multiple angles that resonated with camera directors Nikki Parsons, Ollie Bartlett and Richard Valentine, and translated brilliantly on the TV broadcast.

The set effectively surrounded the performance space with video, so lighting placement was challenging and had to be facilitated where there was no encroachment, whilst maintaining the architecture of the space and creating all the right moods. The results were a feat of synergy as much as technical excellence, in an infrastructure where lighting, video and scenic presentation worked seamlessly as one visual entity.

The lighting rig included a 15-way Robe RoboSpot remote follow system running with 15 out of the 66 Robe FORTES in the building, which were positioned all around the arena, offering the flexibility of picking up artists from any angle, eliminating shadows and

A back wall of TetraXs worked brilliantly as stun-andamaze effects for several artists. They were on the reverse side of seven LED columns making up the back wall of screen which rotated 360 degrees revealing the TetraXs, and made their presence felt during the performances of Israel, France, Finland and others.

An upstage wall of PAINTES was revealed when the screens were rotated at 90 degrees.

Tim’s FOH team included Ukrainian LD and programmer Zhenya Kostyra – a regular at Kyiv based rental company Alight – who worked as the overnight associate LD when on site, with James Scott as the overall lighting design associate.

Lead programmer was Tom Young and the other two main programmers were Marc Nicholson and Alex Mildenhall.

Follow spots were called by Louisa Smurthwaite, and Morgan Evans worked with Tim and Tom during the pre-viz period which included four weeks at Neg Earth’s studio ahead of the get-in in Liverpool, when the process continued onsite as each delegation’s lighting looks evolved and were finessed.

Seven students on stage and lighting design and technical courses at two locally based academies – the Liverpool Institute of Performing Arts (LIPA) and Cheshire College – had the opportunity of working on Tim’s crew for the duration the event was on-site at the Arena. Five were RoboSpot operators and the other two were lighting technicians, all recruited via Robe UK’s NRG (Next Robe Generation) programme.

Additionally, Tim’s team co-ordinated with four vision engineers in the truck, and at the centre of ensuring all things lighting ran as smoothly as the surface of the best polished Eurovision glitterball, was gaffer Keith Duncan.

Tim elucidates that around 79,000 lighting cues were programmed into the consoles over the course of the three live broadcast shows, which included two televised semi-finals from which the last songs from the 37 participating countries were chosen … and went forward to the final.

The finale line up comprised 26 stonking pop anthems from 26 countries covering a diversity of genres from thrash metal to hip hop!

With 50-second set changeovers, all delegations with their own creative directors and demands and the sheer intensity of creating that many individual performances, several very complex, in a short space of time, challenges abounded … and everyone delivered a superlative show.

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Set & Light | Summer 2023

Tim was “thrilled” to be involved, even admitting that designing a Eurovision final event was one of his professional bucket list items!

He is also the first to credit the “massive” teamwork that made it all happen, together with the fusion of skills, experience, personalities, and camaraderie of all involved. “It is the most joyous show I have worked on, with a team who just wanted to be there and give it their all, and of which Ukraine could be very proud!”

The annual glam-and-glitter-tastic pop extravaganza is one of the biggest entertainment broadcast events of the year.

It was organised by the European Broadcasting Union (EBU) and host broadcaster the BBC (British Broadcasting Corporation) on behalf of UA:PBA, Ukraine’s public broadcaster.

The live shows were presented by British singer Alesha Dixon, British actress Hannah Waddington and Ukrainian singer Julia Sanina, who were joined for the final by Irish TV personality, Graham Norton.

The 2023 winner was Sweden with “Tattoo”, performed

by Loreen who became only the second performer in the history of Eurovision to win twice, following her success in 2012 with another banger, “Euphoria”. Coming a nail-biting second was Finland’s flamboyant Käärijä with “Cha Cha Cha” which stormed home with the biggest public vote.

Robe Lighting s.r.o. agrees to Acquire Avolites Robe Lighting, the world’s leading entertainment lighting manufacturer, has agreed to acquire Avolites, leaders in the design and manufacture of lighting and video control products. The agreement was reached in the UK yesterday.

“This is a great acquisition for Robe”, stated Josef Valchar, CEO of Robe lighting s.r.o., “Avolites has always been at the pinnacle of lighting control with products that complement our lighting fixtures; this will add significant value to sales made throughout the global distribution networks of both companies”.

The acquisition of the Avolites business is an important part of Robe’s strategic future growth plan.

Avolites will remain based in the UK and will continue under the existing leadership team.

“The Avolites’ leadership team wanted to ensure the best outcome for our employees, customers, suppliers and the brand” commented Avolites MD Paul Wong, “Robe is an ideal home that will enable us to achieve just that, whilst maintaining our core values. Robe is a great fit for everyone associated with Avolites”.

Robe has a wealth of resources that will assist Avolites to accelerate its ambitious innovation and product development programs.

Robe Changes Up for the Future Robe lighting starts 2023 with the announcement of two important new roles boosting its international management team, both looking ahead and eyeing the company’s expansion over the next several years!

Set & Light | Summer 2023

Bram De Clerck adds ‘key account manager Europe’ to his existing ‘business development manager’ detail, while Jens Poehlker takes on a new role as regional sales manager for Asia on top of his position as MD for Robe’s Singapore office.

This follows the announcement at the end of 2022 of Ingo Dombrowski as Robe’s new international sales director, while Harry von den Stemmen became key global account manager as well as taking on a more ambassadorial role in the company.

Like Ingo and Harry, both Bram and Jens have already been integral to the growth and success of the Robe operation for some years.

Bram’s new role as key account manager for Europe will include assisting and following up of the day-to-day business with distributors across Benelux, Italy, Hungary, Romania, and Bulgaria, and he will continue the coordinating and management of high-profile club projects in China.

As BDM, he will focus on specifications and working closely with lighting and visual designers, production managers and promotors to realise the creative goals of their projects. He will also remain in close contact with individuals and companies seeking to advance Robe’s global vision and horizons in harmonious and innovative ways.

Bram is known for his massive energy and passion for the industry as well as his vast array of contacts and is “very excited” about his new Robe roles, and in bringing his unique style and approach into more areas of business.

Prior to joining the Robe international team full time in 2017, he worked tirelessly for leading Benelux sales and distribution company Controllux as a business development specialist for the Robe brand and products across Benelux. He has great communication skills, loves people and being at the sharp end of all areas of entertainment technology, on the road around the world investing time and enthusiasm in visiting shows and installation projects in person. Singapore based Jens joined Robe as MD for Robe Asia Pacific in 2016 and has steered that operation diligently and successfully through the many pandemic-related challenges, building a talented and stable team to work alongside him.

“It is now time to set the focus on bigger targets!” he stated.

Known for his great organisational skills and inclusive approach to management, with this dedicated team and other resources in place at Robe’s Singapore office, Jens is perfectly placed to provide outstanding ad hoc service and support across the region. Pooling these resources will assist partners in other Asian countries to service their Robe customers faster and even more efficiently, offering a real win-win situation.

With the current strong partner network in the region, Jens is optimistic about the future and the potential of managing a vastly bigger territory which he views as a chance to increase flexibility and capitalise on new commercial opportunities. “By leveraging each other’s experiences, Asia as a region will become much more robust with the option of working together across companies and borders,” he explained, adding that he is “looking forward to collaborating with our partners and continuing the great work that Harry has started over the

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| Sponsor News years.”

Robe further announced the appointment of Michel Arntz as a new key account manager for Europe at the start of the new year.

ROSCO

Rosco DMG Lighting™ – “The Clear Winner” For Broadcast Studios Hochschule der Medien (HdM) is a state university in Stuttgart, Germany, that offers numerous degrees in Media Studies. The programme includes an AudioVisual Media degree course that provides students with practice-oriented training in film, television, and media studies. To keep their students up to date with the latest broadcast lighting technology available, the department recently upgraded the lighting package inside both of their film and television production studios. After extensive testing, we were thrilled that HdM – whose research has gained international visibility in the fields of High Dynamic Range, Wide Color Gamut, and Higher Frame Rates – decided to specify Rosco DMG Lighting fixtures as the soft lights in their studios.

Testing The Lights The goal of the lighting team at HdM was to determine which LED panel lights produced the best color spectrum that could be used both in the studios and in location filming. The team performed a comprehensive shootout that compared all professional LED panels currently available on the market. They measured the spectrum of various white light settings as well as the output of the individual emitters. The lighting team also took test shots of illuminated objects with three different camera models.

The patented, six-chip MIX® technology (Red, Green, Blue, Lime, Amber & White) inside of every DMG Lighting fixture was engineered specifically to produce a fuller spectrum than other color-mixing LED lights. The lighting professionals at HdM commented on the results: “After evaluating the tests, the DMG Lighting technology was the clear winner over all other participants with RGB-W, RGB-WW-Units. The decisive factors were the best colour quality with the best spectrum as well as the modularity and the low weight.”

Superior Quality Of Light Rosco’s MIX LED technology features unique, phosphorconverted emitters that enable our DMG Lighting fixtures to produce colors other LED lights can’t. “In addition to the excellent white light quality and the possibility of using full color, the DMG Lighting fixtures can be used universally both in the studio and on location,” reported the HdM lighting team when asked why they chose Rosco’s DMG lights. “The ideally soft shadow gradient and a very homogeneous light field also made DMG Lighting the first choice when purchasing our LED soft lights.”

A Wide Variety Of Mounting & Control Options The modular and compact design of the DMG Lights was also highlighted as a significant advantage for instudio and on-location lighting setups. The HdM team

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remarked how “the slim design of the stable aluminum housing, combined with passive cooling, makes the DMG Lighting fixtures light and flexible in their installation. A sophisticated connector system allows the DMG MAXI luminaires to be mounted as a matrix and hung securely due to their low weight. This function is so far unique and excellently implemented.”

Procurement & Integration 2 DMG Stuttgart Media U vertical MAXI 20230309165427_IMG_3002Hochschule der Medien, working closely with Rosco dealer Lightpower, ended up purchasing 24 DMG MAXI fixtures for their production studios. 12 fixtures were mounted on Single Pole Operated Yokes, and the other 12 were doubled up on six Double Pole Operated Yokes. The HdM team noted how, “using the double yoke, larger soft light assemblies in the studio ceiling can be easily mounted as a soft top-light.”

In addition, HdM also procured 11 DMG DASH Pocket LED Kits, four DMG MINI Kits, and Four DMG SL1 Kits for shooting on location. Not only do these fixtures provide the same superior light quality, but the HdM team also reported how “the narrow and lightweight design of the DMG SL1 and DMG MINI fixtures make them a perfect portable lighting solution.”

Because this is an educational facility, HdM also bought a number of MIXBOOKS®.

These digital swatchbooks enable the students to explore different color and lighting possibilities outside of the studio using the free myMIX® app. There, they can create or choose colors and save the ones they want to use in the app. Then, because the MIXBOOKS have the same MIX LED technology as our DMG Lighting fixtures, they can easily re-create those same colors in the studio or on location by sending their saved color choices to the DMG Lighting fixtures they have on set.

Thank you to the HdM team and to our partners at Lightpower for sharing this story with us. We are so appreciative that Rosco’s DMG Lighting fixtures passed the stringent tests of this prestigious, global university and we look forward to seeing the marvelous content that its students create with them in the future.

UNUSUAL RIGGING

From Siam to the UK: Unusual tours with The King & I The multi award-winning Broadway production of Rodgers and Hammerstein’s The King and I musical is touring the UK, following its sold-out season at The London Palladium. The timeless classic, which has been captivating audiences for over six decades, is playing at a different venue every week until July 2023 and is, according to production manager Jason Culverwell “Probably the biggest musical with a weekly turnaround, touring the country right now.”

Knowing how demanding the schedule was going to be, Jason immediately brought Unusual Rigging on board to handle the rigging requirements for the tour. “My relationship with Unusual goes way back, having worked with them on shows such as War Horse, Curious Incident of the Dog in the Night Time and Ocean at the End of Set & Light | Summer 2023

the Lane. I knew that they would have all the knowledge and skills required to provide a full bespoke rigging package for The king and I.” The brief given to the Unusual team, was to ensure that the show would work in all the venues it was playing at. “We have a few smaller venues on the tour which makes it more challenging, that’s for certain, but Unusual always finds a way to make it work in a way that doesn’t impact on outcome for us or the experience for our audiences,” commented Jason. “In some venues, where the utopian footprint for the show could not be achieved, we have made some adaptations, but none of which feel like a compromise.”

Luke MacBride, design engineer, Unusual, added: “We’re visiting 25 venues on this tour, and at each venue we have 40 chain and 24 fly bars in action. The show weighs in at 12 tonnes which, while not the biggest we’ve worked on, is pretty substantial given the quick turnaround. Moving from venue to venue, mark out starts at 8am on a Monday morning, the first show plays on the Tuesday and we load out after the final performance on the Saturday night…before travelling to the next venue to do it all over again.”

Unusual is responsible for the storage of multiple scenic elements on the show, including the ship that Anna and her son Louis sail into Siam on in the first scene. “This has to be flown out and kept in the wings. Also Anna’s bed is another item that we have to take care of, while keeping the wings clear,” added Luke.

Jason concluded: “The team at Unusual Rigging are the best of the best, from drawings through to kit and riggers; they provide it all. There has never been a moment when dealing with the team at URL that I thought we could not achieve the creative team’s vision.

They’re one of the first suppliers I call when dealing with a new show, so thank you URL, you’ve done it again!”

VERSION2

Version 2 gets creative with NBC 10-part series, real-life Hot Wheels and Britian’s Got Talent Auditions.

Version 2 lights, have been excited to work on a Live Action 10-part NBC series of Hot Wheels: Ultimate Challenge airing in the US on Tuesdays at 10:00 p.m.

ET/PT and streaming on Peacock. Each episode will give passionate car lovers and Hot Wheels® superfans the opportunity of a lifetime – turning a nostalgic car from their past into the life-sized Hot Wheels of their dreams.

Hosted by car afficionado Rutledge Wood, each episode will invite two superfans into the Chrome Zone, where they will face off in transforming an ordinary vehicle into an extraordinary Hot Wheels showstopper, inspired by personal stories and pop culture touchstones.

Working alongside a team of automotive magicians known as “The Car Pool,” the two superfans will create their designs in high-tech, decked-out garages. The winner of each episode will take home $25,000 and the chance to get into the finale, where three lucky finalists will transform another car in hopes of winning a Set & Light | Summer 2023

“Using the double yoke, larger soft light assemblies in the studion ceiling can be easily mounted as a soft top-light”

legendary prize – an additional $50,000 and the honour of having their build made into an official Hot Wheels die-cast car.

With great thanks to Lighting Designer Peter Canning, Lighting Director Sonya Fossett and the High Res design team who joined forces with and worked alongside our Account Director Kelly Cornfield and Gaffer Sam Healey.

The US broadcast show required a lighting package across two studios and interview rooms which needed the flexibility to switch between light entertainment and reality lighting. The rig consisted of over 100 Lightpanels Gemini 2x1, and a large moving light rig incorporating MAC Performance, Robe Spikie, Forte, Tetra and Mac Aura XB’s.

Kelly Cornfield: “It has been an absolute pleasure to work with Peter and his team through every step of the process, from design concept to final execution and the inevitable challenges that occur when in the studio!”

Peter Canning: “We’ve worked with Kelly on many projects over the years, and her understanding of value engineering a project, while keeping the design intent was essential in delivering this project to the standard we envisaged. Her team in Version 2, under the guidance of Sam Healey, seamlessly delivered the design with perfection and integration with all other departments while onsite. The kit was immaculate and the system was installed under a challenging schedule, with the usual curve balls of changes and requests being met with near instant results. We look forward to working with the team again on future projects.”

The show was in Space Studios Manchester for over 3 months across multiple areas so crewing was a real challenge. Sam shared the gaffer role with Paul Crompton, Rob Anderton and Alex Griffiths and we feel lucky to have engaged with such a great team and wanted to thank all the technicians and crew involved.

Furthermore, we want to thank Workerbee and Amanda Cuttell for bringing us onto the project with Banijay Americas company, Endemol Shine North America under license from Mattel Inc. It was a pleasure working with Lighting Operator Tom Dyson, DOP Josh Williams and the amazing production team from Workerbee/Endemol.

Version 2 had the pleasure of being invited to work on Britian’s Got Talent Auditions. The nation’s most loved variety talent shows returns for its incredible 16th series with Lighting Director David Bishop and Gaffer Mark Newell for Thames TV. This series experienced brand new judge Bruno Tonioli along with fan-Favourites Simon Cowell, Amanda Holden and Alesha Dixon. The unmatched pair Ant and Dec hosted the multi award-winning talent spectacular.

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| Sponsor News supportive of Sheridan’s emotional fluctuations within the story. Naturally these were developing continuously during rehearsals and my design responded as such”.

For the first time since the pandemic, the auditions were held in the London Palladium from the 24th to the 29th of January, and The Lowry Salford Quays, Manchester from the 7th to the 12th of February. The rig consisted of over 100 ROBE Spikie, 62 ROBE Spiider, Fortes, Astera AX5, Mac Aura/Encore and a Robospot followspot system.

Knowing what she needed to achieve, Lucy then approached the team at WL to supply her lighting fixtures. She explains: “My main challenge was how to light the cyc, which was a complex curve and actually got tighter as it reached stage left! The cyc was 9m high and I managed to negotiate a continuous distance of 2m for the lighting behind. Despite having lit many, many cycloramas in my lighting designs for dance, I wasn’t confident that just one fixture would be the best overall, so I gave myself options and consciously chose three different types of fixture. For the top of the cyc, I chose ColourForce units; for the bottom for a ground row I chose the Robert Juliat Dalis; and then I had a mid-row of GLP X4 Bars because I wanted to create a moving sunset effect and pixel map out from the middle to create a sense of emotionally expanding worlds. The Dalis created a lovely diffuse and even bottom-up wash which extended all the way up the 9m. The ColorForce added a great, bright intense top to the sky and the X4s worked brilliantly to create a mid-horizon line that could slowly drop lower down the cyc to sunset. They also open out in a wave from centre at a particular moment in the play when Shirley steps outside into the evening and the world opens up before her.

Simon Perrott: “It’s an absolute pleasure to have supported David and the entire BGT crew. This was our first-year servicing the highly acclaimed production, and as a Company we’re immensely proud. Our Thanks go out to Mark Newell and his team for putting a significant amount of kit into this venue in such a short time frame.”

WHITELIGHT

White Light Takes a Trip to the West End with Shirley Valentine First performed in 1986, Willy Russell’s classic onewoman show Shirley Valentine is the joyous, lifeaffirming story of a person who got lost in marriage and motherhood but who has a secret dream – as well as an airline ticket to Greece… The show has recently been revived at the Duke of York’s Theatre in a brand-new production directed by Matthew Dunster and starring Olivier Award and BAFTA winning Sheridan Smith. The lighting designer is Lucy Carter who approached White Light to supply her lighting rig.

This production of Shirley Valentine marks its first West End revival since its original run in 1988, which then subsequently transferred to Broadway. Discussing the play, Lucy explains; “Throughout the entire show, there are only two locations: Shirley’s kitchen and a beach in Greece. These are obviously very different so it was down to myself and Paul Wills, the set and costume designer, to create designs that could deliver both of them convincingly.

The beach in Greece represents Shirley’s freedom from her mundane existence at home and the possibilities of what her life could hold if she broke free from this.

Matthew, the director, and Paul imagined this in a more abstract and subliminal world as opposed to a totally naturalistic environment.

She adds: “With some of my rig on curved lighting bars and some on bars angled to the kitchen walls, I needed flexible moving light units to service both acts. I used cold Encores for the main light sources inside the kitchen and for the general cover of the beach which gave me much needed flexibility. I also used MAC Aura XBs to add low fill from the sides of the auditorium because Sheridan utilised the whole space and would often stand very far forward when delivering her performance directly to the audience, hence I needed face fill right up to and against the proscenium”.

| Below: Whitelight Shirley Valentine 3 © John Wilson

Shirley Valentine has now opened to rave reviews and has already announced a three- week extension, running until 3rd June 2023. More information can be found here.

Lucy concludes: “For a play that is seemingly simple, with

She continues: “They saw the large blue skies of Greece as the key to this sense of possibility and therefore a large, curved cyclorama became the main element of my design for the second part of the show. I was given the task of expressing these subliminal and evocative worlds through light, as well as ensuring that throughout, Sheridan was unquestionably placed at the forefront of the worlds in which she existed”.

As a designer, Lucy likes to attend as many rehearsals as possible; something she believes helps influence her design. She explains: “Seeing the actual reality of a performer in the space and their emotional response inspires me continuously and pushes me in different directions. The kitchen environment in the first half demanded less emotional intensification from the lighting, but the beach in Greece, and its more representative physical set elements, meant that I was creating lighting environments that were responsive and

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one performer addressing the audience for the duration, it did provide a lot of challenges! Not just technically, but also creatively in the marrying up between constructing a believable reality in lighting environments as well as enforcing the emotional context for the play.

It was a tricky balance to strike but one I believe we did and I’m delighted by the response we’ve received from audiences and critics alike”.

Photos courtesy of John Wilson.

White Light Makes Lemons Lemons Lemons Lemons Lemons in the West End Lemons Lemons Lemons Lemons Lemons is a tender and funny rom-com about what we say, how we say it, and what happens when we can’t say anything anymore.

Written by Sam Steiner, it was first performed at the Warwick Arts Centre in 2015 before transferring to the Edinburgh Fringe Festival. It recently made its West End debut at the Harold Pinter Theatre, starring Jenna Coleman and Aidan Turner, and featured a lighting design by Aideen Malone; who approached White Light (WL) to supply her lighting fixtures.

Lemons Lemons Lemons Lemons Lemons focuses on the story of a couple who live in a world where a law is passed enforcing a 140-word limit per day for every person. It also features an incredibly intricate timeline, set over 101 scenes which rarely run in chronological order; something that had a strong influence on Aideen’s design. She explains: “The show is a two-hander and part of my brief was to collaborate with the director Josie Rourke and set designer Rob Jones to create a visual language that gave the impact needed for a West End show without upstaging the play’s integrity and the two performers. We discussed the possibility of creating a storyboard to map our way through the piece, but Josie wisely felt the play’s timeline and concept needed to be explored and discovered in detail during the rehearsal period.

Set & Light | Summer 2023

| Above: Whitelight Lemons Lemons Lemons Lemons Lemons 2 ©Johan Persson

She continues: “We proceeded with the design, creating a palette of options to support the discovery of how to represent the word count limit and its many forms of countdown. Rob’s design had two main components: an elliptical shaped pale performance floor surrounded by an impressive, curved black wall consisting of hundreds of shelves with thousands of props; mostly monochrome with some in colour. The first part of the lighting design was the set electrics to animate the set wall to clearly represent the word limit and the numerous countdowns needed. The second aspect was to have the flexibility to transform the wall and performance space to clearly show the locations in two different timelines: pre word limit and post word limit”.

Given that so much of the show was to be discovered throughout rehearsals, Aideen ensured that she was present during this entire process. She explains: “With any show I work on, I’m a great believer that you should always attend rehearsals. For Lemons in particular, exploring the play helped the whole team understand its complicated structure. It was very clear from even that first week that the visual language we created needed to help the audience know exactly where each scene was in the timeline of the word count as well as the couple’s relationship. The rehearsals also allowed me to see the blocking of the performers, which initially meant I had to keep it fairly flexible; prior to them being in the theatre and solidifying their movement”.

Knowing what she wanted to achieve with her design, Aideen approached the Customer Service team at WL to draw on the necessary fixtures. She comments: “The set electrics, made brilliantly by Electric Foundry, had three elements. The first was individually top lighting each shelf with warm and cool 16-bit LED tape hidden within a profile. The second was controlling several tungsten practicals, whilst the third being creating a hidden grid of RGBCW LED pixel tape. This meant we needed a control system that could manage a lot of channels; ultimately deciding on the ETC Eos control with 24,000! We also

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agreed to previsualise some countdown options so it wouldn’t take up valuable time in tech. The rig for the show needed flexibility with colour and focus and to have as low a carbon footprint as possible. As such, I specified all LED movers and profiles consisting of Martin MAC Encores, Aryton Diablos and ETC Lustr Profiles. With this reliable combination, I knew I had the kit to create a high-quality lighting design.

She adds: “The RGBW pixel tape created what we called ‘Laura Derns’. At the start of each post word limit scene, a moving line of various lengths travelled up the set wall to represent how many words each character had left in their day. The shelf lighting created various scales of space to support the scenes: domestic, outdoor, cityscape. The shelf and grid LEDs animated the wall, whilst options created the various countdowns needed throughout the piece. Sam Ohlsson (our Programmer) and Jess Brigham (our Assistant LD) did an amazing job to create and support this visual language.

The rig also gave the flexibility we needed to solidify the blocking once the performers were on stage and in the space”.

As with any show that transfers to a West End stage, there are often certain obstacles that a designer needs to overcome; with this play being no exception. Aideen explains: “The front-of-house positions at the Harold Pinter Theatre are somewhat limited, being either quite flat or steep. As there was a gauze in front of the set wall, I really wanted to avoid hitting it with any front light. Andy Taylor (our Production Electrician) along with Jack and Ryan at the Pinter did a great job helping to create some much-needed new positions. We used both Encores and Diablos here; the latter being smaller and neater with a similar output. This meant we could fit more units into this valuable space to light the performers and reduce the impact on the gauze”.

Lemons, Lemons, Lemons, Lemons, Lemons ended its critically-acclaimed West End run last month, before embarking on a short tour to Manchester and Brighton.

Aideen concludes: “A huge thanks to WL for being so supportive and providing all the fixtures we needed to make the design flourish within our budget and tight schedule”.

JLLIGHTING

Revolutionising the Film Lighting Industry: Unlocking the Potential of LED Moving Lights Instead of writing a piece about the raft of shows we’ve been supplying or listing the brands and products we’ve added to our inventory since our last article, we thought we would approach this edition’s article differently.

In the world of film and drama, lighting is a fundamental element that sets the tone, enhances visuals, and immerses viewers in captivating storytelling. As technology continues to evolve, we believe that LED lighting has emerged as a game-changer in the film lighting industry. At JLL, our focus on delivering exceptional technical production partnerships has led us to explore the remarkable possibilities of large 500+ moving light rigs in feature films & drama series and we recently delivered such a rig for a dynamic shoot for a

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“As there was a gauze in front of the set wall, I really wanted to avoid hitting it with any front light.”

Netflix feature being released later this year.

LED technology has experienced a significant surge in popularity, reshaping the traditional approaches to film & drama lighting. Innovations like the Arri Skypanel and Creamsource Vortex have propelled the industry forward, equipping designers with enhanced versatility and flexibility. These advanced LED fixtures offer an extensive range of colour temperatures and colour mixing options.

This adaptability empowers Directors of Photography (DOPs) to seamlessly achieve diverse moods and effects without the hassle of physical filters or gels. With the ability to make quick adjustments and achieve seamless transitions within single camera shots, LED fixtures save time and expand creative possibilities in the filmmaking process.

However, the question remains: How can moving lights take this technological revolution even further?

The answer lies in the boundless potential of LED moving lights. By combining the remarkable features of LED technology with the dynamic capabilities of moving lights, filmmakers can unleash a whole new level of creativity. Unlike traditional fixed lights, moving lights can be remotely controlled, allowing for precise positioning and fluid movements. This flexibility opens up infinite possibilities for cinematographers, enabling them to create captivating visual compositions and dynamic lighting sequences within the same tracking shot, providing identical lighting take after take.

In the UK, the albert consortium (led by BAFTA; wearealbert.org) aims to unite the production sector around a strategy to achieve net zero-carbon productions. Whilst albert has made significant strides in raising awareness of sustainable practices and changing behaviour in the television industry, more needs to be done to engage the film production community to achieve their net zero-carbon goals and moving LED fixtures can contribute here by providing extended durability and energy efficiency, making them the right choice for sustainable filmmaking.

Such longevity minimises downtime and reduces maintenance costs, allowing for uninterrupted production schedules. Furthermore, LED technology is inherently energy-efficient by its very nature and can significantly contribute to the sustainability efforts and reduced environmental impacts of film production.

In conclusion, the integration of LED moving lights into the film & drama lighting arena has revolutionised traditional approaches and unlocked a world of possibilities. With their versatility, flexibility, controllability, durability, and energy efficiency, LED moving lights are becoming indispensable tools for filmmakers seeking to push boundaries and create visually stunning experiences.

Set & Light | Summer 2023

| Society Committee

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

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

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

Treasurer John Piper johnpiper@stld.org.uk

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

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

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Student Liaison Georgia ‘Gee’ Elsdon georgia.elsdon@stld.org.uk

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

Student Liaison Aaron Parker aaron.parker@stld.org.uk

Exhibitions Alan Luxford 077867 536 522 alanluxford@stld.org.uk

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

Committee Member Ian Hillson Ian Hillson@stld.org.uk

Website Manager (Co-Opted) Oliver lifely 07977 530 145 oliverlifely@stld.org.uk

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