Set & Light Issue 139 by STLD_Magazine

From the Society of Television Lighting and Design Winter 2023 | Issue 139

Inside | PLASA 2023 Review page 12 | Tunnel Lighting Project page 18

INNOVATIVE TECHNOLOGY FOR CREATIVITY WITHOUT COMPROMISE.

lighting

rigging

power

BROADCAST - FILM - THEATRE - EVENTS

VOLTPAX

| 18

MAGAZINE 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: Bernie Davis Design by: Originate Design Printed by: Gemini Print Deadlines for the next issue: Editorial: 16th February 2024 Advertising: 16th February 2024 Advertising is accepted only from sponsor members of the Society

WELCOME to the Winter issue... It has been a tough year for many, busy with a lot of ups and downs. We have lost colleagues and loved ones, gained new friends and workmates, as well as being kept busy with both work and play! Articles in this issue include our visit to the BBC Casualty studios, a submarine base tunnel lighting project, a sponsor focus celebrating 45 years of Film & TV Services, amazing contributions to charity and our annual PLASA review. 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 Our next issue will be out in the spring next year, deadline is 16th February 2024. For now, we wish you all a very Merry Christmas and a happy, healthy and prosperous 2024. Emma Thorpe Editor, Set & Light

Contents 04 STLD EGM Report

| Below:

Plasa 2023 Review

| 12

06 New Website 07 Member Offer 08 Sponsor Focus 12 Plasa 2023 Review 16 Lumolist 18 Tunnel Lighting Project 22 Casualty Set Visit 30 Charity News 32 Obituaries 34 Sponsor News

Set & Light | Winter 2023

| Chairman’s Note

STLD EGM Report An update from Chairman Bernie Davis on changes to our Student Memberships You should have heard that we recently had an EGM to deal with a rule change, and I would like to report back on why and on what happened.

Why I am still keen to get more students to join the STLD. We have had a student membership category for some time but it has never attracted many people to join. We discussed this at committee meetings and the general view was that at £50 per year it was still a considerable outlay for someone who does not even know if they want a career in TV, or even lighting for that matter. Some past initiatives have seen sponsored student membership for limited numbers, but they mostly left after graduation, or to be more accurate we lost contact with them. It occurred to me that we invite students to some of our meetings anyway, so why not make student membership free? The biggest cost per member to the society is the cost of the magazine by the time you take into account printing and postage, but we are now able to distribute the magazine via virtual publishing making the cost of additional magazines zero if distributed that way. So the only cost to the society if we give free membership to students would be if any attended the meetings not usually offered to students, and that is very minimal.

The Details When students graduate their free membership would end, but again if you see that from a student’s perspective you finish full-time education with a mountain of debt and no job, and the STLD start charging £75 to stay a member. To help that we plan to offer a graded subscription to lead up to full rate while they get started in the industry, so £15 for the first year after graduation, £35 for the second, £55 for the third, rising to the usual full rate of £75 after that.

We also want to sign them up to Direct Debit from the start, with our usual DD promise that they will be notified in advance of how much and when any payment will be debited, that they can question any debit even after the money has been taken and we will respond quickly and fairly, and they can choose to end their membership at any point, even before a single payment has been taken. We hope this will help to get around a common problem here people change their address and we lose contact. Students usually have email addresses associated with their place of education which they lose on graduation.

The EGM To get this plan started meant a rule change, that can’t be made on the committee’s decision alone, it needs approval of the membership, hence the EGM. And we held it when we did, to mean that we could start to offer the new rate at PLASA.

However… The wording of the rules meant that this was not entirely correct procedure, as we realised at the EGM, so the change will still need to be ratified at the next AGM, so that will be added to the agenda in the new year. It will also give us a chance to tidy up other things, such as the name of the society not being correct in the rules – how that got missed in the past I can’t imagine, and it seems no-one on or off noticed that error! The proposed amended rules will be distributed in advance to allow for any concerns to be passed on before the AGM. In the meantime, I do not believe that anyone disagrees with the change of rates, so we plan to continue offering them in advance of approval at the AGM. Bernie Davis Chairman

Set & Light | Winter 2023

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| STLD News

The New STLD

Website Our new STLD website for 2023 revealed...

It feels like years since we announced we were designing a new website, and indeed it has taken years, far longer than any of us anticipated. The old website has done good work for many years but I am afraid it now looks dated compared to others, and it was time to move on, but not without a vote of thanks to John Bowling who designed it and kept it running for us over many years. John was a guest at an STLD meeting years ago when he gave a talk about website design, and he ended up building our first site. John has now reached a point where his personal circumstances mean that he no longer wishes to host our site

“We encourage you to log in and enter your own details, and to pass on any comments about the site.”

nor to build a replacement, which is why we had look elsewhere. We invited three companies to tender for the job, and we received a Goldilocks result: one bid was very elaborate but very expensive, one was far cheaper but did not fill us with confidence, and the third seemed to deliver what we wanted at a fair price. The people we met were enthusiastic and interested to hear what we wanted, and that is where we settled. The new company Morphsites worked through our brief which was prepared by the committee with help from Deputy Chair David Bishop, and then set up working models to demonstrate the work flow and design strategy of the new site. Needless to say there were bugs to be fixed, and details we did not like once we saw them, and so there have been many meetings and exchanges of views over so many months, and deadlines kept being pushed back. We reached a point where we knew

that whatever we agreed there would still be corrections needed in the future, many of which would only be apparent once it was launched, so the decision was reached to launch this autumn, right or wrong, and then accumulate a list of changes for a year’s time. The last essential detail we have been holding out for is integration with our accounts software Xero, enabling membership to be accepted directly from the website, and streamlining our membership process. However, things have now come to a head as John Bowling had to set a finish date for his hosting at 31st October which means the old website will no longer be available after that. Morphsites planned to complete the Xero integration by that day, but they had to put up an ‘Under Construction’ page to bridge the gap. We hope that by the time you read this the www.stld.org.uk address will take you to the first version of the new site. We encourage you to log in and enter your own details, and to pass on any comments about the site. Set & Light | Winter 2023

| Member Offer

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Accessories Set & Light | Winter 2023

| Sponsor Focus

Film and TV Services 45 years of Film and TV Services and a celebration of Eddie Fegan

In September Film and TV Services held an open day at their premises in Slough to celebrate their 45th year in the broadcast power and lighting hire business. Not everyone celebrates this slightly unusual anniversary, the company had far more to celebrate, including that the international power company Aggreko had just bought the company. In 2020 during lock down we reported that the legendary Eddie Fegan, the charismatic founder of FTVS had died and that a celebration of his life would follow in the future; well this was the occasion. Bill Morris, Unit Manager with EMG has had a close association with FTVS and with Eddie for many years, and he was invited to present a tribute to this legend of the industry. Bill has given the STLD permission to reproduce his warm and personal tribute.

Richardson. In the 1970’s it was all about the lighting, with both Film and Television. Eddie set up Film and TV with his business partner John Page, which is where the JP comes from in the original company name JPF & TVS. The original partners in the company were Eddie, his wife Julie, Phil his son’ and when John left the company his long-suffering Financial Director, the wonderful Joy Brennan.” “Business in the late seventies was good, predominantly with BBC News on location in every corner of the country, including many operations during the Northern Ireland troubles. The company grew and grew, branching out into Drama such as the long running series ‘Howard’s Way’.” “Eddie’s biggest and, we would all agree, best decision came in

1980 when he decided to build his first Silent Generator. This was a game-changer for all of us, and the dynamic of location television changed forever. The company built more and more sets, and in 1995, Film & TV launched their first Silent Twin unit. The OB industry demand was meteoric and the building regime continued. Eddie would occasionally raise his eyes and confide in me over a glass of wine ‘She’s building another bloody generator’ referring to Julie his business powerhouse and ever faithful wife. And my goodness, look at the fleet now, over 30 Generators and such a resource of lighting, distro and support kit.” “But it’s not all about kit, it’s about service and the people that deliver it day after day. Eddie Julie and Joy were and are so proud of their loyal crew and to all of us whether Client, Contractor or staff Eddie was ‘The

“Eddie Fegan, a name that is still familiar throughout our industry, started his media career firstly with Rank and later with Mole

| Right: Bill Morris

| Above: Joy Brennan and crew

Set & Light | Winter 2023

Boss’ His word was his bond, and his handshake his contract. It is this ethos that has elevated Film & TV to its market-leading position today. In our industry people choose to work with who they want to work with, and trust those who consistently deliver, you guys fulfil both.

later ten cases of 20 bulbs arrived with his and Julie’s compliments, twenty years on we are still using the same stock and we bless Eddie every time we change one! It is a significant indicator in life that the decision makers at the top of the tree know you by your Christian name. Politicians, leaders of industry, broadcasters, high ranking government officers, holders of high civil and military rank. They all knew and respected Eddie and more important, listened to what he had to say. I have witnessed certain unnamed junior crew members not listening to him and that never went well.”

Whether it’s royal births, deaths, coronations, commemorations, or marriages, The highest level of every genre of sport and entertainment, the most popular continuing series Film & TV are there as our Green Rock.” “Aggreko’s arrival is a great opportunity for the company that we all love and admire. Their trust in the company will allow it to grow, and to flourish root and branch. The combination of global resource and reputation, combined with continued investment not only secures Film and TV for the future but allows the company to expand into technologies and opportunities as yet largely untapped.” “Let’s take a moment to reminisce about Eddie, the most extraordinary founder of this company: Eddie was very much a father figure to me and ever since the first day I met him he took me under his wing as both a friend and honoured colleague. I use the word ‘honoured’ deliberately as Eddie had the ability to make you feel comfortable and relevant regardless of your rank or station in life. As a young 22 year old trainee Unit Manager he guided me through the minefield of location operations, illustrating both the pitfalls and benefits in equal measure. Never slow to point out the failings of any plan, Eddie had the ability to shut down any argument if he thought he was in the right, annoyingly he usually was right and on the rare occasions when he was wrong he still made you believe he was right!” “Eddie taught me the art of the TV Lunch. Whether we were dining alone or with clients he always made you feel you were the most important person in the room. Our first lunch was at Elena’s L’Etoile in Charlotte St. I will always remember it – it was the early 80’s and the staff were wearing burgundy serving jackets. Eddie always ate the same thing; melon with prosciutto (Always eating the melon and leaving the Set & Light | Winter 2023

prosciutto!), dover sole (He would always have it taken off the bone at the table and eat only one of the 4 fillets) and the sliced caramelized oranges from the trolley that Elena would wheel over at the end of the meal. The late Elena Salvoni was the matriarchal Maître D of L’Etoile and she adored Ed and made a point of learning the names and details of every customer he ever took there. Having learned my dining craft from Ed I continued to wine and dine clients there for the next 30 years, always telling each the story of how I had been introduced to the place, I am sure that Eddie was on at least a 10% commission!” “The whole industry adored Eddie, he was the elder statesman of OB’s a position that he retained until his last day. Both Julie and Eddie became an industry institution. Consummate logisticians, generous to a fault and the most giving and supportive friends and colleagues one could ever wish for. Eddie became a lifelong friend to both myself and my wife and family. Both he and Julie attended important milestones in our life and always supported our numerous charitable pursuits. As recently as November 2019 through Eddie’s generosity we were able to stage an ambitious Son et Lumiere at a local Church raising £50,000 for Noah’s Ark Children’s Hospice and the Rebuilding of a community centre. Some twenty years ago I asked Ed if he could help source a particular type of lightbulb for the Church lighting system, he said how many do you need, I said 10 should do it and he said he would try. A week

| Above: Eddie Fegan

“I will take the following anecdote to my grave; Eddie and I were on a Boxing recce in Manchester, I was representing the American Broadcaster and there was a fresh faced, eager, young Unit Manager from another OB outfit representing the Domestic Broadcaster. This youngster clearly had Rolls Royce ambition but was saddled with a Skoda Budget. Not knowing Eddie from Adam and having ridden Eddies clutch for a good hour with a series of far-fetched requests he addressed the governor ‘’ So Eddie, what do you think?’’ Eddie ever the true Gentleman quietly replied ‘You’re not going to get any of it. And, by the way it’s Mr Fegan to you! There was a pause, everyone was silent and then he smiled that Eddie smile and winked.” “I, like all of you who had the good fortune to know Eddie miss him greatly; his calls to check on my wife Katie’s progress, or to check how I was (code for a state of the nation discussion about the industry) and our lunches that sadly became less frequent as his health gradually failed.” “Eddie was one of the few people in life that I counted as a true friend, he was a mentor, a statesman a loving husband and father, but above all he was the one and only Eddie. When Eddie passed a light went out in the industry that we love, and the world is poorer without him. We will never forget him, but we can take solace from the fact that he is now united in heaven with those that he loved and cherished. But still despairing about the number of generators that you keep building!”

| Sponsor Focus

| Below: Solar Panels and Battery Pack

The open day was also a chance to tell us more about FTVS’s new business arrangement with the international power company Aggreko. This well-known international power company has been around for sixty years and has been a familiar sight at the bigger outdoor events for many years, and in a recent business move Aggreko has now bought Film and TV Services. Jono Rose, General Manager of Aggreko Events was keen to point out that the plan was to let Film and TV Services continue working exactly as they have been in the past, but now with fresh investment from the new parent company. FTVS has become well-known as a leading supplier of location power with their extensive range of generators seen at major events and sporting occasions throughout the UK and over Europe. They had led the way in developing silent generators and twin-set generators which were so important for the film and TV industry.

The experience and contacts of these two companies will be something to watch in the future, but it was interesting to see at this open day where their new developments have already been going. We all know that sustainability is now a major concern, and it was good to see the creativity that was leading some new developments, including their Stage V compliant generators. Stage V represents a significant step up in the regulation of non-road mobile machinery, with tighter controls on emissions from non-road mobile machinery. For example, stage V restricts carbon monoxide, hydrocarbons,

and nitrogen oxides and limits the permitted emissions of particulate matter. This new development has made a significant improvement in the carbon footprint of power generation, but a limitation to their value is that to keep the exhaust system up to the required temperature to work the set has to run at or above 20% capacity. While the event is running the OB trucks and the lighting would usually ensure this, but the problem comes when you shut down at night, as so often there are essential services that need to stay on, such as site security and perhaps production offices. Local supplies might be able to service these needs, but now battery packs | Below: Battery Hybrids

Aggreko has provided site power for large-scale occasions such as Glastonbury for many years, but their scale has also seen them providing generators for sporting events, manufacturing sites, and even whole cities; they claim to have a generator fleet with close to 10 GW capacity.

Set & Light | Winter 2023

| Left: 300 kVA Battery Pack

can be used. These come in a range of capacities, and on display were two rated at 45 kVA and 90kVA. For the open day a solar panel array had been rigged which fed DC directly to the battery pack, so trickle-charging the battery during the hours of daylight. If the drain on the battery is expected to be more than the battery capacity a generator can be placed alongside, and a trigger signal from the battery pack would automatically start the generator to top up the charge if the charge

| Right: HPU Unit

gets below a danger level. But with good weather and suitable capacity you can power a security office overnight every night and remain completely carbon-neutral. FTVS has invested in these battery packs and the solar panels, whereas Aggreko had a slightly different approach in that, as they said, the smaller size units were affordable enough for other power companies to have bought them, meaning that there was significant competition over prices. They decided instead to concentrate on the larger ones, and on display was a 300kVA battery pack, costing around quarter of a million pounds.

| Above: Twin Inverters

Set & Light | Winter 2023

FTVS now stock many UPS racks to meet an increasing demand. They have also put together an experimental unit – a trailer with a battery array that can act as back-up power for a TV truck. They identified that the weak point with this arrangement is that the inverter can fail whereas multiple batteries won’t all fail. To get around this they have two inverters acting much like a twinset generator, so both run at half capacity but if one fails the supply is unaffected. A three-phase supply feeds the battery charging

through a transformer so isolating the output supply from the mains at the venue, and this has proved useful in a different way. At one venue the mains supply was notoriously dirty with spikes and harmonics that trouble IP scanners. This unit effectively cleaned up the mains while at the same time providing back-up power should the local mains fail. In trials the unit was able to power a smaller OB unit for half a football match just through its battery capacity, and it still had enough charge to cover the other half if it had been wanted. I like the idea that FTVS built this unit as a trial and will be learning from it. We all need to be as sustainable as possible, not just to meet Albert requirements that productions ask for, but for the future of our environment. These battery units may not be big enough to replace conventional generators but they are offering new ways of reducing our carbon footprint. The lighting equipment that was on show – moving lights and LED products as well as the regular fresnels, spots and panels demonstrated that TVFS are still investing for the future, and we wish them luck for the next 45 years!

| PLASA

PLASA 2023 Review Product Innovations for 2023 | Words by Bernie Davis | Images by Martin Christidis and Bernie Davis

I am sure I have been here before: PLASA comes around once a year (twice if you include PLASA Focus in Leeds) and the lighting business moves on just a little each time. Don’t get me wrong, I really enjoy going to PLASA and love catching up with colleagues many of whom I have not seen since the last PLASA, and of course it is interesting to see the products on show, even if many of them – let’s be brutally honest – are a little bit brighter and a little bit more waterproof than before, and of course many of them look more than a bit like other products made by competitors. But great work has been put into all the product development, and there is always more to learn if you take the trouble to dig deeper, and if you look for the innovations.

| Below: Ovation Rêve E-3 IP

Here are a few things I noted that caught my attention, and my apologies for everything I have missed. Chauvet Professional had entered their Ovation Rêve E-3 IP for an Innovations Award, an IP65 LED profile spot that comes with all the lenses and accessories you could hope for, and although it is worth considering if you are buying this sort of fixture it does join a crowded market, and I thought they had more innovative products to offer, for instance the COLORado PXL Bar 12 Curve, a 12-head tilting head batten which when used as a scenic element

“...there is always more to learn if you take the trouble to dig deeper, and if you look for the innovations.” will not see the latest submersible laser-powered light source, but you will see just some of the vast range of clamps and gadgets that make our work possible. | Above: Ovation Rêve P-3 IP

offers effects you really need to see to appreciate. It looked good on the stand but even better examples are available on YouTube of course, so do have a look there.

Two of their newer products were a truss adapter geared at making the hanging of LED screens easier, and also a boom-arm that comes with a simple wall-plate for permanent installations, and if they are what you need, you now know where they can be found.

To partner the Ovation Rêve E-3 IP is the Ovation Rêve P-3 IP, an outdoor RGBAM LED par giving high CRI through a range of lenses: Narrow, Medium, Wide and Very Wide. Adjustable PWM (Pulse Width Modulation) on both flavours of Ovation Rêve helps avoid camera flicker, so making them wellsuited for TV work. The Doughty Engineering stand is always worth a visit for all the right reasons. Their quality engineering has helped them develop so many of the gadgets that make the lighting business work, reacting to needs where they find them. You Set & Light | Winter 2023

I really thought the Clay Paky stand had a fresh feel about it. It was not as big as some others, but it had a good pre-programmed display to show off many new products, and I thought a refreshing buzz came from the Clay Paky team I met there. Talking further I learned that Clay Paky is now owned by ARRI who are keen for Clay Paky to continue to develop and deliver high-quality lighting in the way they have before. They have gone back to finding local suppliers for their out-sourced manufacturing, and to look after UK and Ireland product sales and support they have created a partnership with a company called CP Wave based in Burnley. The big newcomer on the stand was the Skylos, a fresh approach to a searchlight-type of fixture. Using a 300W white laser source and a 0.5° to 5° zoom it punches out a beam that will cut through the air even with rich colours from its colour-wheel, and if you add the two prisms and the fixed gobo it even gives you the old moonflower effect. Claypaky’s Midi-B FX washlight brings an attractive unit to the stage - 19 x 40W RGBW LEDs give plenty of light power, but five rings of RGB LED strips, each independently controllable, dress the outside of an interesting top hat with designer slots cut into it. The combination makes this fixture as useful as set dressing as it is a lighting tool. The top-hat can be replaced with conventional solid one if the fixture is not being used as eye-candy. The Sinfonya Profile 600 is a low noise LED source fixture, developed for the theatre market but ideal for

TV use too. The Accuframe system claims to deliver shutter focusing 40 times more precise than traditional framing systems, through an impressive 5° to 60° Zoom lens. The five-color LED Light engine (RGBAL) and a new process of Calibration-Syncing helps matching the color temperatures to other fixtures, and the Absolute Position for the advanced pan & tilt control avoids all that end-stop finding on switch on, whilst ensuring accurate cue-to-cue positioning, and a new frost system using two pairs of blades makes the progressive frost even over the whole field. The Sinfonya Profile 600 really is a grown-up moving light equally at home in TV studios and theatres. Their Volero Wave is an LED bar is a unit that is a lot of fun - it is made up of a system of 8 independent moving bodies giving 220° of tilt to each RGBW unit. Arrange them in lines to get three-dimensional wave patterns to animate your stage. It is a bit of a one-trick fixture but that trick is very good, and worth a look! I was surprised to see in their data that the Synfonya, as well as several other products, claimed 24 bit resolution dimming, and when I looked further the fixtures still only used two DMX channels, so 16 bit control. I asked about this and it was explained that they achieve a 24-bit precision through a proprietary interpolation algorithm implemented in their firmware. This algorithm is being incorporated into all their products utilising SSL technology. The key advantage is exceptional precision, even at low dimming percentages. They pointed out that this level of precision is achievable only if the hardware

| Above: Clay Paky Skylos

is both compatible and sufficiently powerful to perform the required calculations. Rosco has a new member of their luminaire family, the Rosco DMG Lion. This powerful, 13-inch, allweather fresnel comes with the ability to easily change the LED engine between a full-colour option using their familiar MIX technology, or else with a brighter bi-colour option. As you would expect the Lion boasts the high build quality of other Rosco DMG products and of course is suitable for use in all weathers. Ayrton launched their Argo 6 wash and Argo 6 FX, powered by 19 40w LEDs each mixing RGBW. As their first weather-sealed fixture the new design has reduced the weight to 23.2 kG despite whilst still achieving IP65-rating. It is a nicelooking fixture jostling for its space in a crowded market. Alongside this was the bigger Zonda 9, as well as many established popular fixtures such as the Eurus, the more compact Diablo and the fiercely bright laser-sourced Cobra. Vectorworks Spotlight is their version of CAD software aimed at the entertainment lighting market. They came to PLASA to promote their new version, which recently won an award for its Vectorworks Embodied Carbon Calculator (VECC), recognized for

Set & Light | Winter 2023

| PLASA

weather conditions such rain, snow, sand or ice with close to zero impact on the fixture’s size or weight, and it clearly impressed the PLASA judges who recognized it with one of their Innovations Awards. ETC were featuring their Spot V profile, with its five-color array that includes red, green, blue, indigo, and lime; it aims at customers wanting ETC quality at a more affordable price. ETC were of course showing their new top of the Eos range consoles, the Apex. These beautiful-looking desks come in three sizes to suit different needs: The Apex 5, Apex 10 and Apex 20 depending on how much desk space you have and how many faders encoders and screens you want. All run the same software driving 24,576 output channels from up to 32,768 control channels. For some years now ETC have been featuring in theatres and TV studios, and I have no doubt this new head of the Eos family will prove just as popular.

| Above: GLP products on show

its innovation and achievements in sustainability. | Below: Vectorworks stand

Possibly the award for neatest stand goes to GLP whose uncluttered display showed off their range of

products in the X5 family, all using the same 40W RGBL source but in different numbers and arrays. GLP has earned a good reputation for bright high-quality fixtures, and the X5 range continues this progression.

Astera have made waves with their expanding range of products since their Titan Tubes were introduced a few years ago; their very high quality of light output made them equally at home in the toolkit of entertainment lighters and DoPs. They have continued to build on their success and at PLASA were showing their new fresnels, the Leo (1k equivalent) and the Pluto (equivalent of 300w). As with their AX par range, the fresnels come with well thought out accessories and the option of battery working, using the Titan LED engine familiar to anyone who has used their products.

Martin Professional have a LED par that looked good – the ELP Par IP, and although the IP rating is just 20 so not making it an outdoor fixture, not everyone works in fields. Powered by 7 x 40W RGBW LEDs the CRI quoted is >70 with a TLCI quoted as 61 so more a decorative picture than a key light. But with a very useful 4.2° - 58° zoom lens this fixed par is another quality fixture for their catalogue. Martin’s ubiquitous LED Wash Lights now include a new top-ofthe-range model, the MAC Aura XIP, which is the first one suitable for out-door use. They claim it is designed to be fully waterproof for

| Above: Martin ELP Par Set & Light | Winter 2023

| Below: ETC stand

Cast Group have their tried and tested BlackTrax real-time tracking system that allows moving lights and media servers to follow artists or objects, but they have now introduced The BT-1, a scaled down version of the established BlackTrax system specifically designed for small to medium-sized projects in theatre, studios, and other venues. I asked what the difference was, and the answer in simple terms was that it was half the size and a third the price! Robe Lighting UK of course had the biggest and most eye-catching stand at PLASA, with a spectacular aerial acrobatics display where their lighting rig played the leading role. Newly launched was the iFORTE® LTX WB, a long throw LED wash beam for all environments, developed for stadium shows, and big locations. The unit is powered by Robe’s IP65-rated white LED transferable engine. The lightshow also featured more of Robe’s new repertoire of moving light and LED products including iPAINTES, iESPRITES, Tetra2s and

TetraXs, Spikie+s, iBeam350s, and the popular RoboSpot remote follow system. But of all things I was drawn to the Footsie LED footlight unit, coming in a low-profile housing and employing 24 x 4W tunable white or 3W RGBW Single Chip LEDs. Included in the design is a cable-management tray for tidy installation, and low-level stage marker lights and performer line-up lights. This new product did not only impress me, the PLASA judges gave it one of their Innovations Awards. They also awarded the iForte LTX, so a win-win situation for Robe!

| Above: Robe Lighting

behind the product is that this one fixture can avoid the need for a whole collection of accessories, and I have to say it looked the business. Obsidion is a brand that comes under the Elation umbrella, and their Netron range of data distribution equipment seems to have escaped my notice up to now, but up against all the glamorous products entered for the PLASA Innovations Awards 2023 their EN6 IP took the prize. When everyone else was IP-rating their fixtures Obsidion developed an Ethernet to DMX gateway with six RDM compatible ports in a rugged IP65 rated chassis. Perfect for live productions, film sets, and outdoor installations, it is also useful for interior use offering protection from humidity, dust and haze deposits. Netron’s range of nodes and gigaswitches is well-worth a browse.

Elation Lighting were showing their new KL Profile FC, an interesting step between a profile moving light and a simple profile spot. The unit is not a moving head, hanging on its conventional stirrup and 28mm spigot, with manual zoom / iris / framing shutters / focus. The zoom has a useful range of 6° to 50° and the light source is a RGBMA LED engine claiming 93.5 CRI. It includes a designer gobo set with 10 glass gobos and also has an integrated rotating gobo slot with indexing and rotating speed control. The concept | Left: Elation stand

My congratulations go to all the Innovation Awards winners, and to all the companies that have pushed the boundaries a little further. I know I did not see everything, there’s only so much you can do in a couple of days, but there was more than enough to top up my enthusiasm for another year.

| Above: Bernie Davis and Alan Luxford supporting our STLD stand Set & Light | Winter 2023

| Lumolist

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planning and execution processes. Whether you’re orchestrating complex lighting arrangements, managing rigging solutions, or fine-tuning data and distribution, Lumolist’s list-making tool elevates these tasks to an art form. Imagine the convenience of having thousands of products at your fingertips, thoughtfully organised and accessible across all your

devices. Lumolist’s cross-device compatibility ensures that your lists are always within reach, whether you’re in the studio with your iPad or on location with your iPhone. Moreover, Lumolist’s offline functionality guarantees access to essential information even in areas with limited connectivity. Lumolist is tailored to a diverse audience within the television lighting design industry, ranging from seasoned professionals to emerging talent. We take pride in our commitment to supporting newcomers by providing a userfriendly platform that accelerates their understanding of equipment and its diverse applications. Join Lumolist on its remarkable journey into the world of lighting, where technology converges with precision and equipment management becomes a strategic advantage. It’s more than an app; it’s your gateway to streamlined tech management, ensuring that every on-screen moment shines brightly.

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Set & Light | Winter 2023

Photo credit: Lightpower/Lucio Silva

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| Tunnel Lighting Project

Olavsern Submarine Base

Tunnel Lighting Project Lighting the Grand Tour within the Arctic Circle | By Chris Rand Photo credit: Chris Rand

Location: Tromsø Norway Job: The Grand Tour – series 5 episode 1 Timeframe: 2 days to rig, RX one day with 1 day for de-rig You may wonder what our initial thoughts were when we got the brief for this project from Grand Tour Production. It requested us to come up with a bespoke lighting effect which was to be set in a Submarine base…140 miles within the Arctic Circle! Well, it seemed an exciting task with lots of challenges to boot given the remote location and extreme weather. Could we do it...absolutely! Further discussions with the production team and myself led to a more comprehensive brief from the lighting side. The plan would involve Luminosity Lighting Services

replacing the existing lighting within a tunnel in an underground ex-military base. The main focal point of filming was an identified 310-metre-long tunnel. It was very narrow and was cut within the solid stonework of the terrain. This would set the foundations of an editorially exciting challenge for the three presenters to undertake. The aim was to see who could obtain the fastest recorded speed. They would be driving into complete darkness and this is where our design and challenge started. Production requested a system and design that a lighting rig could

be placed in the tunnel and have the lights come on banks as the cars drive underneath. Giving the presenters a certain amount of light ahead of them. This meant firstly we had to come up with a lighting fixture that would operate and withstand extreme minus conditions. Secondly, we had to create a trigger system that could be controlled by a lighting console enabling timings that could be set and tested. Safety was of paramount concern, given there was a stone wall ahead of them. With this in mind production Set & Light | Winter 2023

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| Tunnel Lighting Project Lights – Production wanted the keep the look of the house lights whilst maintaining the industrial look of the tunnel. The best solution was to use the Astera Titan Tubes imitating the ceiling lights along the whole length of the tunnel. It was decided that 100 tubes would be placed at equal distances. Chris reached out to Ambersphere and together they researched into cold weather operating temperatures. It was decided that although the filming segment was of a limited time all lights would have to be hard-wired in banks. Rather than relying on the batteries within the lights which could be affected by the cold temperatures.

and the safety team decided that the final stopping section would have to be illuminated and triggered well in advance to guarantee the presenter’s safety. The next step was to pull together a team to undertake this job which comprised of the following people: Crew: • Chris Rand (Lighting Gaffer) • Daniel Neagle (Lighting Technician) • Mark Ninnim (Lighting Console Operator) • Mathew Button (Lighting Trigger Technician) • Leigh Paget (Driver and Electrician) With Chris leading this team, it was a welcome break for him to get out of the office. This is where we then set about the research and design of a bespoke trigger system.

This comprised of two main parts: sensors and lighting. Sensors – Matt Button was a key participant in the design as he had involvement in similar projects in the past. We set about designing and building sensors that would have the ability to trigger the lighting desk. The choice of sensors had to be mindful of the temperatures operating in. The appropriate sensor of choice was an infrared beam paired with reflecting pads. We set about the task of transferring the analogue signal into a digital DMX protocol to trigger the lighting desk. The long three-pin control cables from each of the sensors then were run along the side of the tunnel into a custom-built interface box prior to feeding this information into the desk. When deciding on a lighting desk that could meet all the requirements while also being lightweight and portable enough to make the journey north, it was decided that the Chamsys MQ70 was the desk of choice. Eight sensors would be the optimal choice, each one triggering a bank of lights. The first of these was placed 10Mtr at the entrance to the tunnel. The last sensor would turn the final bank of lights including the two Arri Skypanels S60’s to red to alert the driver. It was decided that there would permanently be two bulkhead lights installed at the side of the tunnel at a set distance which would consistently stay on and be backed up by a UPS (uninterruptible power supply) unit in case of total electrical failure, giving the drivers an indication of final distances.

The Testing process – Next came the proof of concept with a demo day on a smaller scale with the use of radio-controlled cars and prototype sensors. This was tested in the warehouse and it was discovered that we also had to figure out the correct height for the sensors as we found it had to trigger on the main body of the car. The cars chosen for this episode were a Subaru Impreza, Mitsubishi Lancer and Audi RS4, driven by Jeremy Clarkson, James May and Richard Hammond. Definitely a bit more meatier than our RC car. In the process, it was also decided that although the Titan Tubes all had wireless control capabilities, in this situation we decided a safer option would be to use hardwired DMX cabling from each of the boxes. To avoid any signal dropout. With the concept and R&D in place, the next challenge was to source a budget-efficient form of transport, so far north in Norway at the Olavsvern Submarine Base Tunnel. Quotations were obtained by specialist companies for long-haul transport but in the end, the most cost-efficient way was to have one of the sparks on the job make the 5200-mile round trip in a commercial Land Rover Discovery. Once in rural Sweden most of the roads became snow and ice. This was the most extreme delivery of equipment that Luminosity have made to date. Leigh transported the equipment through Europe, up through Denmark and into Copenhagen, past Stockholm and onto Tromsø during the winter months. The journey was scenic although having the Abba album on repeat for the 41 hours pushed even the best of a driver’s tolerance. The stops were carefully planned due to Set & Light | Winter 2023

sporadic hotel locations. The equipment was removed from its flight cases and carefully packed to fit it in the back of the 4x4. We all had our fingers crossed that customs did not require a full offload and search as the pack was very intricate and precise. We worked closely with our favourite international logistics team Rockit Global to obtain all of the correct documentation and carnets for this journey. Now everything was prepped, tested, checked out and ready for the journey ahead. It was time for the crew to enter the Arctic Circle and make this concept a reality. Upon arriving onsite, our first thoughts were how stark and remote the location was with staggering views across the Icy Fjords. The crew met with base officials and were escorted through a maze of tunnels. Upon reaching the tunnel chosen for filming there was a scissor lift ready for the team to begin. Given a limited two-day time frame to rig with the following day in full test mode with the use of the show’s professional drivers. Testing the full system for its timing, Mark made alterations accordingly. The Grand Tour Production Team arrived with professional drivers to test the concept and approve the process on camera. Making sure that we accurately had the lighting sequences as the car accelerated. This consisted of six cues programmed into the lighting desk to turn the lights on in their zones that were triggered by the sensors automatically as the car was travelling at speed down the tunnel.

Although a variety of colour options were offered by the lighting team, green and red were chosen following the production meeting with the Director, who wanted to use green lighting with red marking the finish. The crew enjoyed the ex-military surroundings and hot food served in the Sergeant Mess which mainly consisted of high-carb buffet meals.

RX On the day of recording all the lighting systems worked precisely as per the design. The lighting team there early slowly testing it with their hire car. Whilst waiting for the filming crew to arrive at lunchtime, from their morning of filming. Everyone’s first impressions of the tunnel were daunting yet impressive and even more so when they started to walk the track and the lights would trigger as they walked abyss of black. Filming was going well but what unfolded next was a wholly unexpected turn... a ‘bombshell’ if you please. James May (aka Captain Slow) took his position at the start line to make his run. He put the pedal to metal and produced an impressive top speed in the tunnel. We do wonder if he had too much coffee or maybe he wanted to shake his name’s sake by driving with such enthusiasm and conviction. He misjudged his surroundings and ran short of breaking room at the end of the tunnel. Resulting in a rather nasty crash into the stone wall. Which could be heard from the starting line when the radio lit up notifying the start line crew of the accident. The whole filming team at the start of the run then made the dash by foot

with cameras and lighting in hand. The whole 310-metre run proved to be a test of endurance for all those involved. With safety protocols in place, James was attended to medically straight away and the site was made safe by all the emergency services. It was requested for all lights to be switched to white which was a simple click for Mark Ninnim the desk op. He had been operating his desk from a layby midway down the tunnel, tucked in out of shot in a small nook. After the collision of James May’s car impacting the wall, Mark commented it was not something he would like to experience again as the tunnel was deafening in its reverberation of the impact. Obviously, everyone from the lighting team was in shock. Thankfully James was not seriously injured. It was a relief that all of the planning, lighting and triggering had gone seamlessly.

The Grand Tour Scandinavian special was transmitted on Amazon Prime. Again, acknowledging what privileged opportunities our industry can provide. Luminosity Lighting Services were proud to be part of the ongoing support to the show. With the Icy conditions over and all crew safe and sound back in sunny Blighty. Our next mission was briefed and it was again an extreme temperature challenge for both kit and crew. However, the crew were to swap their thermals for shorts with temperatures exceeding 40 degrees Celsius! and so the next project for Luminosity began... Set & Light | Winter 2023

| Casualty + Pobol y Cwm Set Visit

Drama

in the city

STLD visit to BBC Roath Lock Studios | By Paul Middleton Photo credit: Paul Middleton & Mike Baker

Anyone involved in the TV Industry will be aware that historically BBC studio based continuing Drama was (with a few exceptions) almost exclusively produced from London. There were some regionally produced productions – such as River City in Glasgow (which started in 2002) along with the South Wales based Welsh Soap Opera – ‘Pobol y Cwm’ (which started in 1974) and the Birmingham based ‘Doctors’ (which started in 2000, but will regrettably cease production in 2024).

| Above: L-R Pobol y Cwm Exec Producer Dafydd Llewelyn, Series Gaffer Richie Stevens, STLD Chairman Bernie Davis

Opportunities to visit Continuing Drama Production (better known as Soap Operas) Studios are limited for many obvious reasons, but after the lifting of COVID restrictions, I had been determined to get an official visit to the BBC Roath Lock Studios in Cardiff, to follow on from the visit to the Eastenders Studios at Elstree a few weeks earlier. So here

is a bit of background to the two productions we visited on Tuesday 15th August at the BBC Roath Lock Studios. Back in the dim and distant past, when there were only 3 TV channels to watch every night, the BBC commissioned a Welsh Language Drama Series to be titled ‘Pobol y Cwm’ or ‘People of the Valley’ in 1974. Set in the fictional village of Cwmderi it followed the lives of a close-knit community. This was before the days of Welsh TV channel S4C and the episodes were recorded in the old BBC Broadway Studios with a 30 minute slot. Episodes were transmitted on BBC Cymru (later BBC 1 Wales) on a Wednesday night at 19:10 and then repeated the following day at 12:25 on the National BBC 1 channel. The broadcasts were classified as a ‘Serial play’ and followed that night’s edition of ‘Heddiw’ (Today)

the daily Welsh Language News programme. 12 years later a new TV series ‘Casualty’ popped onto the screens of BBC One on 6th September 1986. Originally planned as a short run of 15 episodes, about the night shift in a Hospital Emergency Department, its success has led to a continuing series which soon evolved to cover the whole day to day events of the staff and patients in the fictional Holby City Hospital in a district of a city that later looked very similar to Bristol, and which also led to the creation of the spin-off series, ‘Holby City’, in 1999. The first episodes of ‘Casualty’ were primarily recorded in London, with around 20 minutes of each 50 minute episode also filmed on location in Bristol for the night time exterior shots. The original story line followed the characters of Ewart, Charlie, Kuba, Clive and Duffy, who soon became household names. Set & Light | Winter 2023

Charlie Fairhead (played by Derek Thompson) has since become the second longest serving BBC TV Soap Opera character, only slightly beaten by Ian Beale (played by Adam Woodyat) on ‘Eastenders’. The success of the first series of ‘Casualty’, led to the commissioning of further episodes for which the BBC decided to establish a location filming base at warehouses in the Kingsland Trading Estate in Bristol, so that actors and crew could be based there full time, with the Casualty Emergency Ward interior being a standing set. In 2002 the production expanded over into the Lawrence Hill Industrial Estate, before production finally moved to Cardiff in 2011. The BBC had announced in April 1987 that the Bristol warehouses were to be considered as ‘something between the fully equipped studio or stage and some faraway, drafty, noisy barn’ and that the base would be available to both BBC producers and external customers. With great foresight of future changes BBC Bristol’s manager of programme services Stuart Williams stated that: “There is a lot of demand for drive-in, drive out facilities, with the minimum of facilities. The warehouses are not studios, or stages. They are flexible, economic spaces with very little of the expense of a full fitted studio. Experience shows most film dramas, at some time, need a warehouse or something like one.” It was estimated that the warehouses

‘Doctor Who’, ‘Wizards vs Aliens’, ‘The Sarah Jane Adventures’ and ‘Upstairs Downstairs’ before Doctor Who moved to the nearby Bad Wolf Studios following the takeover by Sony Pictures Television of Bad Wolf Productions who are co-producers with the BBC of the upcoming 14th series, which will also be streamed Worldwide (outside of the UK) on Disney+.

would bring significant savings for all-location drama productions, possibly as much as £300 a day (which was quite a saving at that time, when a typical budget for TV Production on CH4 was just over £3,200 per hour!) It should be pointed out that at this time the BBC in Bristol were spending out considerably on a new building at Whiteladies Road to house postproduction, library, restaurant and new reception area, along with a dedicated studio for BBC Points West. Jump on nearly 25 years to 2011 and production of Casualty moved to the custom built BBC Roath Lock Drama Village complex in Cardiff Bay. The Roath Lock complex consists of 9 Studios constructed in a record build time of just 14 months. Studios 1-4, (which vary in size from 5,000 – 12,000 sq ft), are available for outside hire and were until the summer of 2022 used for BBC programmes such as

| Above: L-R Steve ‘Slogger’ Slocombe of PKE Lighting and ‘Casualty’ Series Gaffer Richie Stevens discuss the history of Casualty which they both originally worked on in Bristol.

| Below: The Daleks used to keep a close eye on activities in the Roath Lock Studios from their previous home in the Doctor Who Experience before they were banished by Cardiff Council.

Studios 5 & 6 are both home to ‘Pobol y Cwm’ and Studios 7-9 are the location of the “Casualty” sets. Both productions also feature permanent outdoor street sets and some of the interiors of the outside sets are actually fully practical buildings that can be filmed within, whilst other building fronts are just facades, or have doors that hide Fire Exits that lead out from the main studios. The entire Roath Lock complex covers 175,000 sq ft and was constructed at a cost of some £25M. The cost of fitting out the studios and constructing sets is not included in that cost. Just across the road from 2012 to 2017 was the Doctor Who Experience, and as a memory to the exhibition Cardiff Council have kindly left Daleks on various road signs throughout the city. Production of ‘Casualty’ uses 2 concurrent production units, and there is usually two weeks to shoot each 50 minute episode. Behind the sceens though there are 3 Design Teams (Red, Green and Blue) with one team in prep, whilst the other two are actually shooting. Post production takes place within the Roath Lock complex. Whilst most drama series have their own signature look some, such as the “Waking the Dead” sets always used yellow backlights through all windows in the Cold Case Unit offices. Most viewers may not notice it but in comparison ‘Casualty’ as its trademark look avoids the use of the colour Red throughout the production. The only time Red is seen is in the Emergency Telephone on the wall of the ED Reception area, and in the 15 different colours of fake blood that are used to precisely match their real-life equivalents. After nearly 12 years in Cardiff the lighting technology has moved on considerably and plans are underway to start of fully embrace LED technology. In what may seem an unusual financial move PKE Lighting purchased all the equipment for studio, and the location elements outright at the start of

Set & Light | Winter 2023

| Casualty + Pobol y Cwm Set Visit

the contract. This represented a major investment, and has meant that the BBC has a fixed contract amount going out each 19 weeks, and production has an easier job in budgeting for lighting for each episode. The only real variables are potentially extra staff for any big outside stunts or locations. Our group of 20 STLD and GTC members finally got visit the studios where ‘Casualty’ Series Gaffer / Lighting Director Richard ‘Richie’ Stevens and ‘Pobol y Cwm’ Series Producer Dafydd Llewelyn were to be our hosts. Richie has a full-time BBC staff crew of 3 x Gaffers and 7 x Sparks. The Best Boys are usually Freelance, and on occasions there can be up to 15 Sparks at work each day. There are also crew who are usually dedicated to being Console Operators / Vision Engineers in the main available studios 7 & 8. Along with a member of crew to operate the basic PC control when in the Ambulance Station Garage in Studio 9. We first met Richie in Studio 7, where work was progressing to assemble all the PKE kit ready for its annual testing. After nearly 12 years in Cardiff the lighting technology has moved on considerably and plans are underway to start of fully embrace LED technology. Due to reduced power demands for LED lighting fixtures plans are afoot for a new lower capacity Generator very soon, and it is likely that the 18K HMIs will be retired. Due to Social Distancing rules during COVID it was not possible to use an 18K, as it needed two staff to work close together, which was not allowed. In what may seem an unusual financial move PKE Lighting purchased all the equipment for studio, and the location elements outright at the start of the contract. This represented a very major investment, and has meant that the

“... the production became energy efficient by moving over to Kino-Flos, Imaras, Lite Pads and mixture of Daylight and Tungsten LEDs behind the windows.” 24

| Above: Console Op/Vision Engineer Phil has ETC Ion control desk 2 DMX universes with control of around 900 units of ceiling panels, window backlights (tungsten and daylight), desk lights all dimmable by Zero 88 chilli dimmer racks. 4 Zones of control with dimmers etc in each zone. Lighting control gets Terradeck feed to monitors and via matrix to feed to BBC Intranet for monitoring in other BBC Centres. | Below: Night and Day are not much difference within the hospital for lighting, only the colour temperature of the light outside the windows changes.

BBC has a fixed contract amount going out each 19 weeks, and production has an easier job in budgeting for lighting for each episode. The only real variables are potentially extra staff for any big outside stunts or locations. The Standard working week is Monday – Friday 8.00 am – 7.00 pm with an hour for lunch. There is an excellent payable Canteen at Roath Lock and when on location Breakfast and Lunch are provided Free of Charge. Generator drivers get paid overtime for travel to locations. Shooting is done on Alexa Mini with 2 or sometimes 3 crews active each day. Richie explained that the biggest challenge for the production has been to be the first Albert certified production. Originally lit with 5Ks through the roof, with 2Ks and 800W Jokerbugs through windows the production became energy efficient by moving over

to Kino-Flos, Imaras, Lite Pads and a mixture of Daylight and Tungsten LEDs behind the windows. Dimmable Fluorescent tubes are the main overhead lights in each room, and Richie has geared up for the next 3 years or so of operation by buying up a large stock of tubes, but within the next few years there will have be a full move to LED as new tubes will no longer be obtainable. There is a contrast in the shooting methods between the two productions in that whilst ‘Casualty’ shoots to recording cards on the Alexa cameras, which are then uploaded to servers, Pobol y Cwm records straight to the Avid servers, such that editing can commence immediately. Back in the 80’s ‘Pobol y Cwm’ was mostly shot and edited all in one day, with a small section at the end of each episode inserted to include topical references to that days’ news events. Set & Light | Winter 2023

| Above: IThe exterior of much of the hospital is just dressing with fake windows stuck onto the walls that mask the parking lot and Ambulance station street behind. | Left: Inside one of the houses opposite the entrance to the Ambulance station. Originally used as a working set, but now consigned to a bicycle store. | Below (right): The Pobol y Cwm custom ‘Natch’ fixture consisting of an Arri 800W ‘Redhead’ on a C-Stand with a 2’ x 2’ poly reflector. On many sets, the fixed overhead rig, will be supplemented with just a couple of ‘Natches’ to simulate light through windows or practical lights in a room. The name came from a Sparks / LD joke about “can you just move the stand over a natch” meaning – move it a bit.

Set & Light | Winter 2023

| Casualty + Pobol y Cwm Set Visit

kit. Richie relocated from Bristol to Cardiff and started to recruit local freelance crew. The plans for Casualty revolved around having a permanent indoor 2 storey hospital set in Studio 8 and led out into the studio backlot where an accurate reproduction of the exterior area of the last location shoot of the ED entrance in Bristol was re-created. The difference now was that the action could follow all the way from an Ambulance arriving in the Holby City Emergency Unit entrance with patients being taken through the entrance though into reception and then on into the required unit.

| Above: The picture above on the wall in the entrance shows the supposed layout of the entire Holby City NHS Trust buildings. Whilst the layout of the Emergency Department interior generally matches the studio layout, the rest of the site doesn’t quite explain where the Neptune House tower block building at BBC Elstree (which housed “Holby City”) until March 2022 fitted into the site design?

The Lighting colour temperature for ‘Casualty’ is set in all studios at around 6,000 K so that entrances can be made from outdoors in real daylight and then enter into the Emergency Department with no need to rack the cameras to a different Colour temperature inside. Whilst shooting on both ‘Casualty’ and ‘Pobol y Cwm’ each craft crew member, such as costume, camera and makeup has an iPad with the cameras linked into a Terradeck Wif-Fi Transmission system so anyone with the right software and password is able to watch each camera. Whilst scenes are usually planned for single camera on ‘Casualty’ there is often a B camera on set and ‘Pobol y Cwm’ always shoots with 2 cameras. The expected production schedule is :Casualty: 1 x 50 minutes episode per week shooting for 50 weeks a year. Pobol y Cwm: 3 x 25 minute episodes per week now planning to shoot for just 9 months per year. Richie explained that scheduling is an issue as to how long each scene will take to setup and shoot and the only usual problems are down to weather conditions or actors availability or illness requiring scene shooting to be revised at the last minute. An example of planning ahead is that when the weather may indicate potential rain during a night shoot, design may decide to hose down a road so that it avoids

any continuity issues between shots if it really did rain during the shoot. After a break we gathered in the ‘Green Room’ area between Studios 7 and 8 where Richie was joined by Steve ‘Slogger’ Slocombe from Lighting Equipment provider PKE Lighting. Richie and Steve had previously worked together on ‘Casualty’ in Bristol as Electricians employed by Panalux. When the announcement was made that production was to move to Cardiff, it seemed it should be a simple procedure, but when PKE Lighting were awarded the contract to supply all the lighting kit for both the studios and location shooting of ‘Casualty’ there was one small problem - PKE are solely an equipment hire business and don’t offer a crewing option for their

The practical design of the Holby City hospital layout meant that the whole ground floor of the Hospital couldn’t be fitted within Studio 8 and so Studio 7 contains an extension of the reception area with fake doors in Studio 8 leading into the matching corridor in Studio 7. Studio 7 only houses a single storey set, whereas Studio 8 contains a full sized 2 storey set. We then moved on to the ‘Pobol y Cwm’ backlot to examine some of the houses and shops on ‘Alexander Street’ along with Studios 5 & 6 that are permanently occupied by ‘Pobol y Cwm’. In the ‘Pobol y Cwm’ studios all lighting equipment is BBC owned and nearly all units are still Tungsten or Fluorescent based inside the studios whilst the active shops on the backlot are lit with a mixture of HMI and Flourescent. Lighting a typical flat or house set might only use 3 or 4 grid mounted 1.2K or 2.5K’s usually bounced off white sheets hung on the walls on the top of the set.

| Above: Colour codes on stands and fixtures to make sure stuff goes back to the right storage areas. Set & Light | Winter 2023

| Above: Executive Producer Dafydd Lewellyn explains the operation of ‘Pobol y Cwm’ shooting to STLD visit organiser Paul Middleton and the the other vistors. The lighting here shows the issues here with the need to balance outdoor sunlit scenes, with areas in the shadow of the buildings.

| Above: In the ‘Pobol y Cwm’ studios all lighting equipment is BBC owned and nearly all units are still Tungsten or Fluorescent based inside the studios whilst the active shops on the backlot are lit with a mixture of HMI and Flourescent. Lighting a typical flat or house set might only use 3 or 4 grid mounted 1.2K or 2.5K’s usually bounced off white sheets hung on the walls on the top of the set.

| Above: Lighting Vision Control Area for Pobol y Cwm inside Studio 6.

| Above: Inside a typical shop on the Pobol y Cwm backlot with a mixture of HMI and Daylight Fluorescent fixtures needed to balance against the level of the real daylight coming through the windows.

| Above: Two views of the famous ‘Deri Arms’ pub set in the fictional village of Cwmderi in the ‘Pobol y Cwm’ studio 5. Set & Light | Winter 2023

| Above: Inside Studio 6 - Pobol y Cwm

| Casualty + Pobol y Cwm Set Visit

| Above: Production looks to ensure that every dummy on Casualty gets a fair chance to return to the screen again.

| Above: Question: How do you avoid reflections from large windows in rooms? Answer: None of the windows have glass in them – just blinds that make it look like there is glass.

| Above: A scene being rehearsed on Pobol y Cwm with two “Natches’ providing floor light. The speed of production on Pobol is such that quite long scenes, cut live during recording, are the common way of shooting. Set & Light | Winter 2023

| Above: The ground floor plan for the Emergency Department. | Left: A list of the typical equipment at each of the lighting storage areas in Studio 8.

| Above: The visitors from the STLD, GTC and STLD Sponsors “Litepanels” standing outside the fake entrance to the famous “Pobol y Cwm” Deri Arms Freehouse on the backlot at Roath Lock Studios. (picture by Pobol Exec Producer Dafydd Llewelyn). Set & Light | Winter 2023

| Charity News

Update

Charity News The Parish of Backup’s Village Fete raises an incredible £50,000 Newly named and twice as much fun, KartFest evolves and raises more money to help the industry than ever before Eight years ago, 11 teams turned up, had a bit of fun and raised a small amount of money driving some karts for the live events industry. Fast forward to 2023 and The Parish of Backup delivered the Village Fete, its biggest and most successful event to date. the day was set against the backdrop of a traditional British Fete, 350 members of the live events industry came together to have the best of British days out. With CHAUVET Professional once again taking up the headline sponsor slot, and first-time main sponsor 5 Star Cases joining them and providing a colourful selection of flight cases for the Flight Case Challenge, over 40 companies, along with many individuals, descended on Daytona Sandown Park. Outside of the traditional award shows and trade shows calendar, this event has become one of the biggest fun days out for the live events industry. “Raising the bar every year has always been the challenge,” says Lee Dennison -Vice Chair or Backup and Mayor of the Parish Fete. “As an events industry we are the first to critique, so we always want to keep everyone guessing and engaged on a yearly basis.” The kart teams sold out within a week of the event being announced, the Parish Council kicked into action with the Village Fete plan. The idea to host bake offs, best activity and best-looking fete stall was not lost on the live events community, who seized it with both hands. “We all know the live events industry is full of very talented and

skilful individuals, but the moment bake off was mentioned a whole new eco system emerged from the back stage areas of festivals and theatres!,” Lee continues. “A specialist judging team was needed and was led by Backup Trustee, Peter Heath, who, along with the editors of TPi, LSi and AAA worked their way around the stalls sampling the cakes, playing the games and measuring the bunting. Whilst there was a spring in their step at first, after cake slice no 23 things naturally started to slow down…” “We were seriously impressed by the standard and number of cakes presented at KartFest. From lemon drizzle, to chocolate, from multi-layered rainbow sponge, to cardamom and almond, the

bakers went all-out to impress us – I think I speak for all judges when I say we ate our year’s quota in one afternoon!,” says LSi editor, Claire Beeson. “But of course, there could only be one winner, and a delicious strawberry and lemonade cake by Event Cycle ultimately received the Backup equivalent of the famous ‘Hollywood Handshake’! Well done to all bakers who took part – I can’t wait to see what next year’s entries are like!” The new Wellbeing Hub showcased the services and support available for the industry and proved a popular space to share stories and initiatives. Over in the ‘Orchard’ learning space Backup was joined by Music Support, Music Industry Therapists Community (MITC) and Set & Light | Winter 2023

The Lions Barbers Collective to look at how the live events industry is working together to support mental health and what individuals and companies can do to help and support each other. Backup also launched its new campaign, Are You OK?, to signpost easy, confidential, and sensitive access to both urgent and non-urgent mental health support. Working with industry suppliers and venues, Backup will provide a single point of access for the technical industry’s crew members and freelancers by utilising industry equipment, noticeboards, and venues to place prominent campaign posters with information and QR code providing direct access to support resources. Next generation engagement was another highlight of the Village Fete, with sponsors Yutree insurance working closely with The Power of Events and Backup to welcome in newly graduated students and give them a taste of the industry. “Each student was given an industry mentor for the day and then took part in a speed networking session in the afternoon,” says Lee. “It not only challenged the students but also the industry to actually try and remember why they got into live events in the first place!” The karting teams battled it out in the background, the food stalls flowed, craft drinks were quaffed, and raffle tickets sold. When the chequered flag cane down and the laps were counted, the ‘Simpson Flyer’ trophy (in honour of Backups late chairman – John Simpson) was presented to freelance team Faster than a Camera Op to Catering. How fitting they were the team to win it last year - John would have been laughing all the way and celebrating that the freelancers had beaten the rental companies and manufactures again. “What a great community feel event for such a great cause,” recalls Ajay Parekh, Project Director/ Executive Producer enthuses. “Really loved the village fete theme, being able to mix amongst legendary suppliers from across the industry, and what a great turnout for cakes, fancy dress, fete games and at Kabuki Productions of course the gokarts. It was our first Kartfest and certainly not the last, just name the date and location and consider us booked.” At the end of the proceedings, and just before the mayor closed the Fete for this year, the newly named Church Roof Appeal had hit and absolutely astounding £50,0000, which will all be used in Backup’s continuing efforts to support the live events industry. With the sun going down, The Village Fete had carved itself a permanent space in the live events calendar with networking, fun, thrills, spills, beard trims, bake offs and bunting very much part of the July event. A huge thank you to all the sponsors and partners that helped deliver this fantastic day, and to all of the parishioners who took part. Backup looks forward to welcoming everyone back and to many more Parish of Backups annual Village Fetes, the next edition of which is planned for Thursday 11th July 2024. Set & Light | Winter 2023

| Obituary

Obituary: John Pomphrey | Words by Bernie Davis We were deeply saddened to hear that Lighting Director John Pomphrey passed away at the end of October. John was a staff LD at BBC Manchester and in the course of a career spanning four decades, gained credits such as Jossy’s Giants, 8:15 From Manchester, Filthy Rich & Catflap, The Mrs Merton Show, This Is Your Life, Red Dwarf, Total Wipeout and Pointless. Stuart Gain remembers: “He was an excellent LD as well as a thoroughly lovely guy. We used to Dep for each other a fair bit. He took over ‘This is Your Life’ after it had gone through a few others after I stopped doing it from the Thames TV days. I did Dep for him on that a couple of times, and I remember calling him to find out what had changed. He responded by saying “Why are you asking me, it’s your plot anyway!” which made me smile. When we did meet up we always exchanged a few stories over a pint.” Having lit Red Dwarf from the beginning he was respected for having developed the original style that went on to win the programme awards. He didn’t return to the show for Series VII onwards, but he kept on working well into the 2010s. David Bishop remembers working with John when he stood in for Mark Kenyon occasionally. “I remember him telling me a great story to do with Red Dwarf. Apparently, when the script for Red Dwarf was delivered to the lighting department at Granada (?) it was handed to the senior LDs first.

“John went on to light up our universe. A truly lovely man and a great lighting director.” 32

They all looked at the cast list and noted “Rimmer – A Hologram”. This apparently alarmed them as the idea of lighting a sitcom combined with a hologram struck them as very difficult indeed. As John told it, the script was quickly kicked down through the ranks until it landed with the most junior – himself. Much fun was had at the senior LDs expense when it was revealed that, as we all know, rather than an actual hologram, the ‘challenging’ character was in fact just Chris Barrie with an ‘H’ stuck on his forehead. The Red Dwarf website www. ganymede.tv posted their own memories of him: “A staffer at BBC Manchester, he took on the task of injecting drama and depth to those original grey sets, and stayed with the team throughout the show’s golden era, seeing through such changes as the Series III revamp, and indeed the move to Shepperton from Series IV onwards. Whether on location or in studio, John was there to bring vibrancy to Red Dwarf‘s world – the cast fondly remember his proclivity for a good gel to tint each and every shot. He was every bit as integral as the likes of Paul Montague, Mel Bibby, Rocket and Ed Bye in establishing

and developing the look and feel of our favourite show. And he truly gave his all to his craft, including the time he, in his own words, “fell arse over tit into the lake” whilst shooting ‘Terrorform’. “John left one last gift to Red Dwarf fandom in recent years, when he visited the set of Series XII and chatted on camera to his modern day counterpart Ed Moore. The two men were clearly huge fans of each other, their camaraderie and mutual respect making for perhaps the most wholesome and heart-warming DVD feature of the Dave era. John was a man of great knowledge, experience and warmth, who made the world a brighter place in every possible sense.” Doug Naylor, Red Dwarf’s script writer wrote: “So sad to hear Red Dwarf’s brilliant lighting director John Pomphrey has passed away. John only got the job because no one else in the lighting dept. at BBC Manchester wanted it. John went on to light up our universe. A truly lovely man and a great lighting director.” The STLD thanks Ganymede & Titan for use of their tribute, more can be found at www.ganymede.tv and our sympathies go to his wife Linda. Set & Light | Winter 2023

Obituary: John O’Brien | Words by Bernie Davis Only weeks ago we heard the sad news of the death of John O’Brien. John had been under treatment for cancer for some time, yet was still an active member of the STLD to the end. His last email to me was that he was going back into hospital so might not make the next two meetings.

N E T I E K EL V TA E L X A TO THE M T

John had been a staff Lighting Director for ITV where he earned great respect, not only for his talents in lighting, but also for his generosity and humility. John worked on ‘The Bill’ for years, and even organised a memorable STLD meeting to look around Sun Hill and to hear how they lit the live episode. John joined the STLD committee many years ago, and played a very active part in helping to run the society, and although he left the committee a few years back we kept him on our internal mailing list so he could keep across the society management, and his sound advice on matters was always valued. John was a skillful photographer, and his photographs illustrated many of our articles. He came to as many meetings as he could, and you could count on him bringing his camera. He was in many ways the ideal STLD member, always curious about everyone’s work, and always happy to pass on help and advice where he could. Tributes are coming in from his friends and colleagues, and we hope to pass these on in the next issue of Set & Light so do please send us your personal tributes and anecdotes if you would like to share them. John’s wife Carol often accompanied John to STLD events, and our deepest respects and condolences go to her and to their family.

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www.elationlighting.eu Set & Light | Winter 2023

| Sponsor News ARRI

wide-aperture soft light, powerful hard light, or intense open-face light. Multiple units can be combined via the X Modular Yoke, featuring ARRI’s quick-lock system.

ARRI introduces game-changing, modular SkyPanel X

SkyPanel X offers vast possibilities for control and connectivity, including built-in wireless control, two Ethernet ports, LumenRadio CRMX2, and Bluetooth 5.0. The IP66 rating also applies to the ALL-WEATHER Control Panel.

ARRI announces the launch of SkyPanel X—the new, game-changing, all-weather LED luminaire and latest addition to the SkyPanel family. Introduced as a modular system and configurable into different sizes, SkyPanel X now offers native soft, native hard, and openface lighting. This state-of-the-art LED light sets new standards in terms of dimming, color rendition, output, and beam quality, making it the perfect lighting solution.

The new ARRI LiCo app will support direct remote communication via Bluetooth between SkyPanel X and mobile devices. The lighting settings can be directly adjusted via phone or tablet, just like the ALL-WEATHER Control Panel of the fixture. The app is free for iOS and Android devices and available soon at the App Store and Google Play Store.

ARRI’s SkyPanel X connects advanced LED technology with unmatched flexibility, broadening possibilities for diverse applications and all existing workflows, addressing the extensive needs of studios, rental houses, and corporate clients. With a variety of innovative features, SkyPanel X is tailored to the requirements and working dynamics of DPs, gaffers, console operators, lighting designers, and broadcast technicians.

The use of SkyPanel X ranges from film and broadcast to fashion, beauty, product shoots, and lifestyle scenarios. For larger applications requiring throw, like big spaces, night exteriors, or when simulating sunlight, etc., SkyPanel X offers excellent, flexible lighting. Using the same fixture for multiple purposes will help users with color consistency and simplified control. As a result, SkyPanel X offers to owners and users a higher return on investment, more technical freedom, improved quality standards, and a lower cost of ownership.

SkyPanel X provides superior low-end dimming with flicker-free operation from 100 to zero percent for direct, close-distance key lighting. With a dynamic CCT range from 1,500 to 20,000 K, the luminaire can emulate the characteristics of sodium lamps or cloudy sunlight. The RGBACL full-spectrum light engine features the best ARRI lighting color science to date, enhancing skin tones and achieving deep color reproduction. Eight pixel zones per LED panel meet the requirements of advanced console programming, visual effects, and virtual production environments. Engineered for maximum endurance and reliability, SkyPanel X is fully protected from rain, storms, or high-pressure jet cleaning, certified with IP66 rating for all weather conditions. This dramatically reduces the maintenance procedures and extends the lamphead’s lifecycle. SkyPanel X offers wireless control, advanced networking possibilities, and integrated power supply. SkyPanel X is configurable into different formats (landscape, square, vertical), capable of generating

Michael Huelskemper joins ARRI as Vice President Product Management Business Unit Lighting As of October 1, 2023, Michael Huelskemper joins ARRI as Vice President Product Management Business Unit Lighting. In this role, he is responsible for further developing, improving, and broadening the product portfolio of the lighting division. His focus is on developing compelling, value-driven, future-proof products and solutions in a dynamic market. In doing so, even greater customer involvement in the product definition and development process will ensure increased attractiveness and competitiveness of the products. | Below: ARRI skypanel X hyper optic

Michael Huelskemper has more than 15 years of experience in the development and product management of LED luminaires and luminaire components in an international environment. With a degree in electrical engineering, he spent several years in management positions at global players such as OSRAM and Philips Lighting. Most recently, as Head of Regional Product Management EMEA at TE Connectivity, a leading global supplier of electronic components for industrial applications, he was responsible for building a downstream product management team. In addition to successfully bringing new lighting products to market, he has a proven track record of portfolio transformation and managing cross-regional teams. Dr. Matthias Erb, Chairman of the ARRI Executive Board, explains: “I am very pleased that Michael Huelskemper, a proven expert in the field of portfolio management for LED lighting products, has joined our ranks. With this important new addition to the team, we are driving forward the realignment of ARRI Lighting. I wish him a good start at ARRI and much success in his strategically important role.” Michael Huelskemper, new Vice President Product Management Business Unit Lighting at ARRI, adds, “It is

Set & Light | Winter 2023

| Left: ARRI Michael Huelskemper Vice President product management business unit lighting

Bespoke Entertainment Solutions, which has an outstanding knowledge of the South African entertainment market at grass roots level, and longstanding experience of the Ayrton product range through its technical director, Suren Lutchman, will provide support services to Planetworld in a partnership that ensures Ayrton’s opportunities are maximized across Sub-Saharan Africa.

a great honor and pleasure for me to continue the story of this iconic brand with exceptional lighting products together with the ARRI team. In the field of innovative, connected, and sustainable LED lighting, there is still a lot of development potential that we can leverage together with our customers.”

“It has been - and will continue to be - a great pleasure and an awesome experience working with the Ayrton team in establishing the brand in South Africa, especially post-Covid,” says Lutchman. “The partnership with Planetworld will be an exciting new endeavour and we look forward to working closely with the team to carry the Ayrton brand forward.”

AYRTON Planetworld and Bespoke Entertainment Solutions join forces to promote Ayrton in South Africa.

“To combine Suren’s sure-fire competence in the field and his service expertise, with the incredible team and infrastructure offered by Planetworld is such an exciting prospect,” says Michael Althaus, Ayrton’s Global Sales Director. “Not only will the new partnership strengthen the Ayrton presence exponentially in the South African entertainment sector, but it also offers huge potential to the install vertical.”

Ayrton is excited to announce a new distribution partner for South Africa -Planetworld. Planetworld will be closely supported by current distributor, Bespoke Entertainment Solutions to ensure Ayrton’s current and prospective customers receive the very best in products, service and support. Planetworld, already a well-established company in the consumer audio market, and familiar to the entertainment industry through its distribution of leading audio brands, recently launched its new Pro Division. The Planetworld Pro Team - formally Wild and Marr - is responsible for supplying both technical design and equipment into the Pro AV Systems and Live Entertainment markets. Ayrton will become the second major LED brand to strengthen its product portfolio, complementing its Leyard LED screen representation.

“The entire team at Planetworld and I are beyond excited to be adding Ayrton to our growing portfolio of world class brands. Ayrton’s rich history of producing classleading lighting solutions combined with Planetworld’s distribution, marketing and sales capabilities gives us the ability to truly amplify experiences across the entertainment industry in Africa,” states Planetworld CEO, Maurice van Heerden.

| Below: AYRTON SBC Credit Joel Stanners sml

Ayrton takes to the stage at the Royal Shakespeare Company The Royal Shakespeare Company with its permanent home in Stratford-upon-Avon needs little introduction. Its main house, the 1018-seat Royal Shakespeare Theatre underwent an enormous rebuild and refurbishment between 2007-2010, and its smaller Swan Theatre (469 capacity) has recently reopened in April 2023 after a year-long post-pandemic refurbishment. Both houses have had Ayrton fixtures installed for the first time, replacing failing lighting stock with Ayrton Diablo and Eurus fixtures specified by the RSC head of lighting, Kevin Sleep. “Those most urgently in need of replacement were some of the moving heads in the Royal Shakespeare Theatre (RST) which we replaced with Ayrton Eurus S in May 2022,” explains Sleep. “We needed a bright LED replacement so chose 9 Eurus S for their extra punch. The S models have slightly paler shades but we wanted their extra power in these positions to give lighting designers the option to punch over the top of standard lighting states. We also liked the gobo mix, and the ability to morph them together was an added bonus that gave us lots of effects.” Sleep was familiar with Ayrton from his previous position as head of lighting at the English National Opera in London, having thoroughly researched the range with the aid of Paul Roughton of Stage Electrics. “Pre-pandemic, the RSC team had also looked at the Ayrton range as possible options,” he says. “We contacted Paul who arranged further demos at the RSC, and we all agreed

Set & Light | Winter 2023

| Sponsor News its great colour temperature. All in all, it’s a very useable unit. I would happily - and probably will be - using them again soon.”

that, in comparisons with other manufacturers, Ayrton had the edge for our purposes.” A second tranche of investment came in March 2023, focusing on the Swan Theatre: “As the Swan work was underway, we looked next at what could be achieved with available budgets. A priority was to replace our 100+ noisy, elderly colour scrollers with something that would give a wider a range of design opportunities, and as flexible a rig as possible.

| Right: AYRTON RSC 349958_ Cymbeline production photos_ 2023_2023 Photo by Ellie Kurttz (c) RSC sml

“We therefore chose to increase the number of moving heads and purchased 15 Eurus TC (True Colour) and 8 of the smaller siblings, Diablo TC, as dedicated Swan fixtures. These are now the mainstay of the Swan’s movers and are rigged in optimum positions as front, side, back and top light. “We chose the TC versions for their superb colour rendering; with a shorter throw distance in the Swan than the RST, this was more important than the extra power, but the Diablo especially is very punchy and fits into all the small spaces. “The rotation of the framing system module of +/- 60deg is also a bonus and big help on awkward angles.

Claire Gerrens, the programmer for Lee Curran’s lighting of Julius Caesar in the RST in from 18 March – 8 April 2023, and re-lighter of its nine-date tour of England, had plenty of opportunity to get to know the Eurus and Diablo fixtures on tour: “Both Eurus and Diablo were really reliable week after week, working straight out of the box and returning to their preset positions well, including remembering their shutter cuts. The Eurus S is super bright, and the nice fat 170mm lens on the front gives a pleasingly good beam of light in haze. They also give nice clean shadows. “I found the dual frost – light and heavy – very useful when relighting each week in very different size and shaped venues. Some weeks I opted to use the light frost to tidy up on legs and borders to control flare rather than the heavy frost. “The Diablo S on tour were really bright for the size of unit, and perfect for rigging in small awkward FOH positions, or on circle bars with low safe working limit – some less than 50kg – but at 22kg Diablo proved no problem. It was also easy to safely boom arm off a proscenium boom for the perfect shot. The quiet fans and quiet, quick resets were excellent for FOH positions close to the audience, and the zoom range and intensity were great for giving me a choice of rigging positions in the different auditoriums – I never ran out of zoom, or brightness, no matter how close, or far, the throw distances were from week to week.” Sleep also comments that the new Ayrton units are user-friendly. “The interior of the unit is compact and clearly visible, with tight but simple access to sections, and shares the same common layout across all models, which is a good feature,” he says. “The newer approach to cooling means very little dust is drawn into the body of the unit, so much less cleaning is required and less time is spent having to access or dismantle the unit.

“Both Eurus and Diablo are also very quiet. We run them on Quiet Mode, but when the head of sound passed comment on the quietness of the Swan auditorium, that was a true tribute to the noise levels!

“We’ve received excellent service from Stage Electrics and Ambersphere (Ayrton’s exclusive distributor in the UK), and Briony (Berning) has been our very knowledgeable and helpful point of contact at Ambersphere. I’ve had a long relationship with Stage Electrics (which supplied all the lighting equipment and accessories for the refurbishment) and Paul, both here and at the ENO. He has always been open, reliable and an excellent communicator and puts a lot of work into making everything work for us.”

The Eurus TC fixtures are hung on the overhead truss bars and, while larger than Diablo, are “still smaller than many others in their class,” says Sleep. “The result is a versatile rig that gives us all we wanted, plus added capability, in a vast improvement on what we had before. Across both houses, Ayrton is starting to give us huge savings with vastly reduced reliance colour gel strings that the colour scrollers needed, in addition to the energy savings and low maintenance costs afforded by the LED sources,” confirms Sleep. With money still left in the budget, the lighting team then invested in a further 6 Eurus TC fixtures for the RST. “The feedback from lighting designers and programmers on all the Ayrton fixtures has been very good,” says Sleep. “In general they have commented on the punchiness of the Eurus S and found the units to be very responsive, quiet and reliable in returning to position.” Johanna Town, chair of the ALPD and LD for The Tempest which ran in the RST from January-March 2023, says, “I loved the Eurus’ big, bright, superb flat field, and

| Right: AYRTON The team at Planetworld Set & Light | Winter 2023

Ayrton is distributed exclusively in the UK by Ambersphere Solutions. www.ambersphere.com Photos: Richard III and Cymbeline photos: Lighting design by Matt Daw. Photo by Ellie Kurttz © RSC Southbank Centre expands Ayrton investment with Mistral for the Royal Festival Hall’s Clore Ballroom London’s Southbank Centre has expanded its inventory of Ayrton LED moving head fixtures with the addition of 12 Ayrton Mistral S spots to its permanent rig over the Royal Festival Hall’s Clore Ballroom. The Clore Ballroom is an adaptable open space in the main foyer of the iconic 1950s building which turns its hand to many uses including musical performances, art installations, graduation ceremonies and other community events. This summer, as part of Christine and the Queens’ Meltdown, it played host to the immersive dance work of BitterSuite, while other events have ranged from club nights to a rehearsal space for youth music group, Kinetika Bloco, one of the Southbank Centre’s Creative Engagement Partners. Mistral is Ayrton’s highly compact, lightweight, powerful 300W LED spot fixture designed for scenic applications. Mistral S delivers powerful metallic white light with a record-breaking output of 18,000 lumens and a colour temperature of 7000K. It has a 6.7 ° - 53° zoom range and a uniform flat beam that can render images

perfectly in all conditions and at any beam angle. Mistral is also available as a TC version, devised for applications requiring perfect colour reproduction, which has a native CRI greater than 90, extremely high TM30 readings and a colour temperature of 6000K. “We chose Mistral S as part of our ongoing transformation to LED lighting because we were so impressed with our Ayrton Diablo and Ghibli fixtures which have behaved perfectly since we installed them,” says the Southbank Centre’s technical manager of 13 years, Roger Hennigan. The Southbank Centre was an early adopter of Ayrton Ghibli with 10 purchased for the Queen Elizabeth Hall in 2018, followed by 16 more in 2019 for the Royal Festival Hall, and further Ayrton investment with Diablo fixtures for the Purcell Room in 2020. “When we looked to replace the discharge fixtures in the Clore Ballroom, we knew we didn’t need all the features of Diablo so chose Mistral, which is very similar to Diablo but without framing shutters,” says Hennigan. “There’s very little out there that can match the attributes of Mistral.” Last year, a further 6 Diablo were purchased for the Southbank Centre’s floating stock to augment the standard rigs across all venues and foyer events, and as the newest addition to its rock and roll floor packages for on stage gigs. “It’s been an easy choice because the Ayrton fixtures’ performance has been so impressive and they’ve given

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| Sponsor News us so few problems,” confirms Hennigan. “The Mistrals have continued this trend - they are reliable, they do everything we expect them to do and we have had no issues with them whatsoever since they were installed in January. Plus, there’s an element of continuity in having lights from the same manufacturer, both in maintenance and performance terms. They are our workhorse moving lights.

The beam produced from either a 19° or 36° tube lens, is uniformly and bright without any colour splitting. The G3 features a high-CRI white light output of 200k-10,000k, 8 and 16-bit colour modes, CCTRGBW etc., DMX-Control as well as IP-X5 Rating Water Resistance.

“Ayrton also aligns with our sustainability and environmental aims. We had the Mistrals delivered without SIPs, in cardboard packaging, and without the wireless technology which was superfluous to our needs on this occasion. Flight case inserts are very useful if you are touring, but ours went straight into the rig so we didn’t need them. Having those kinds of options is an excellent way of cutting down on packaging and disposal.”

Industry Kudos for MIMIK 120 Kino Flo Lighting Systems today announced that its MIMIK 120 full-spectrum, image-based video lighting tile has been honoured with a 2023 Hollywood Professionals Association Award for Engineering Excellence. Previously this year, the MIMIK 120 also received the Best of Show Award at the Euro Cine Expo and a Product of the Year Award in the “Location/Studio Lighting” category at the 2023 NAB Show.

The Ayrton Mistral S fixtures were supplied by Paul Fielder of Stage Electrics and are maintained annually by White Light.

The HPA Awards for Engineering Excellence are a coveted honour, denoting outstanding technical and creative ingenuity in media, content production, finishing, distribution, and archiving. A distinguished panel of industry judges review materials and video presentations to determine the shortlist of finalists. The finalists then appear before the panel to answer in-depth questions about their submitted solution. The panel then votes on the top technologies, with the MIMIK 120 chosen as a winner based on the innovation and advancement it delivers for the media and entertainment industry.

The G3 will soon be available for release this winter where the launch date is to be confirmed.

CIRROLITE Dedolight, known for its revolutionary Lighting Systems, have recently confirmed a new range to their distinguished collection; The Dedo Colorist. Ideal for photographers, videographers, filmmakers, content creators and interviews, the Dedo Colorist is designed for the modern trend of social media, allowing creators to achieve the perfect balance between fullcolour control, creating a specialised studio setting whilst being very affordable.

“The MIMIK 120 is designed to create a full spectrum colour correct lighting environment on virtual sets that perfectly mirrors the LED wall volume via the video signal, ensuring unprecedented realism for every shot,” said Frieder Hochheim, founder of Kino Flo Lighting Systems. “We believe its capabilities are a game- changer for virtual production, and it’s extremely gratifying to have our efforts acknowledged with these three prestigious awards.”

The Dedo Colorist has a 60w RGBWY LED Soft Light panel, consisting of 576 LED beads with an adjustable Bi-Colour temperature from 2700K – 10,000K. RGB can be adjusted from 0° to 360° with saturation going from 0.00% to 100.00%. All this can be controlled via a smartphone using the ‘LIGHT LINK’ app. The exciting brand Fiilex, have returned with a new LED Ellipsoidal Light The G3 Color-LR is a cinema-grade 90w full-colour ellipsoidal with razor sharp cuts and a unique 360-degree rotating barrel, complete with LumenRadio.

| Below: Cirrolite G3-K1

Optimised for virtual production environments, the 7,200-pixel MIMIK 120 mirrors video content while applying a higher tonal and colour rendering range, delivering extended spectral bandwidth and cinematic colour fidelity when lighting talent and set elements. The patented Kino Flo algorithm converts the incoming RGB video wall signal into four or more individual emitters — RGB-WW-CW for the MIMIK 120 — generating synchronised foreground lighting that delivers the utmost realism on virtual sets. Featuring a lightweight carbon fibre frame, the adaptable MIMIK 120 is designed to be stacked like a video wall, flown as a ceiling, or put on traditional lighting rigs. The lighting system is controlled by the Megapixel VR HELIOS LED processor — which provides a level of control that would be limiting if performed through a traditional DMX — and delivers 10,000-nits brightness, along with the ability to shoot as high as 900 frames per second and offer as many as 30 Alpha channels at 30 frames per second. A single processor can control up to 2,100 panels — that’s over 15 million pixels with zero latency — which can also be fully synchronised up to 30 kHz to eliminate flickering and support advanced VR technologies.

Set & Light | Winter 2023

The highly innovative Skylos and Arolla Aqua fixtures were chosen to achieve this with their unique high-quality effects and beam power.

CLAYPAKY

The Claypaky Skylos – part of the IP66 Shield Family – is an ultra-versatile, weatherproof light with a solid dense beam. Its ever-increasing light output is much appreciated by lighting designers in the touring industry. It fits a customized 300W white light laser source, which provides an extremely parallel, uniform beam. Considering its light output and the size of its front lens, the body of this unit is lightweight and compact. This means it may be moved with relative ease to any surroundings and fitted on trusses for use on tours. The fixture is IP66-rated and marine grade. So, it works in any weather conditions and in environments with high marine salinity and a high risk of corrosion. Its sophisticated internal heating system, specially designed for this light, means it can even operate at very low temperatures (as low as -40°). The Arolla Aqua – also from the IP66 Shield Family – is Claypaky’s top of the range weather resistant light.

24 SKYLOS AND 48 AROLLA AQUA LIGHTS FROM CLAYPAKY ILLUMINATE THE ARENA IN VERONA FOR A NIGHT OF SPORT More than seventy Claypaky units were used to light the inaugural Eurovolley match at the Verona Arena. The lighting design was conceived by Mequadro service’s LD Andrea Coppini and owner Emanuele Mazzi, with the support of Claypaky product specialist Alessandro Melegaro. The event marked the return of world-level sport to the temple of Italian opera, which was transformed into an open-air sports arena in less than 24 hours. The installation had to create a spectacular show-like effect since, besides illuminating the playing field, it needed to light the stalls and the audience with beams that were visible from afar to give the Arena an imposing, distinctive appearance. “To create these effects, we chose the Skylos and the Arolla Aqua,” Andrea Coppini explained. “We saw these fixtures at Claypaky’s headquarters, and we were immediately impressed by their innovative features, perfect for creating a unique, memorable event.” “It is an honour for Claypaky to be present at this event,” Claypaky product specialist Alessandro Melegaro underlined. “It was a challenge to install our products at this prestigious venue, which will definitely bring out their unique features in terms of quality of effects and beam power.”

Set & Light | Winter 2023

The challenge was principally to design a high-power, high-brightness fixture with top-level performance while at the same time limiting weight and size. The dimensions are indeed remarkable: less than 750 mm (30 in) in height and only 38,5 kg (85.3 lbs) in weights, thus enabling fast pan and tilt movements. It fits a 900 W (7000 K) white LED light source capable of delivering 40,000 lumens. | Below: CLAYPAKY Skylos

From high-power to medium-power ranges, Arolla Aqua shines as a versatile solution. Its remarkable dimensions

| Sponsor News hold unmatched potential, making it the go-to choice for the professionals seeking for compact, powerful and reliable lighting, without breaking the bank. CLAYPAKY NEW PRODUCTS AT PLASA 2023 The Midi-B FX stems from the innovative idea of adding some fancy lighting effects to a moving head washlight to get a fixture that can do both RGBW wash lighting and be used as part of the set design. To do this, Claypaky has placed a long top hat on the body of a Claypaky Midi-B, and fit five parallel rings of LEDs around it, each of which can be controlled separately for a wide range of colours. This patent-pending technology allows dynamic, attractive plays on colour, which are perfect for TV studio set designs and very useful for corporate and tour lighting. As a washlight, the Midi-B FX has the same features as the Midi-B - with which it is fully compatible - including the optimized HD optical system, which provides a highly efficient, bright output. Its 4° to 50° zoom means it can be used in a wide variety of situations, and its 24-bit electronic dimmer provides five dimmer curves, which keep the colours balanced throughout the whole dimming range. ADB’s Actoris Profile FC is a 6-color ellipsoidal with advanced features, incorporating state-of-the-art software which gives it top-notch performance, especially in terms of colour control. The light source is based on an RGBAL + royal blue system, which means any desired shade of colour can be produced, including an incredible array of pastel hues, with a CRI of up to 97. It has variable colour temperature correction from 2500 K to 8000 K, and perfect Planck-curve CCT. The algorithm that regulates the colour control system is perfectly comparable to that of the Claypaky Sinfonya Profile, with advanced, standard, white, and singlechannel modes. The Actoris Profile FC is a practical, smart, modular tool: you can select the optical unit you prefer to match the light fixture: you can choose from a 15°-30° zoom, a 25°-50° zoom, and seven fixed lenses (5°, 10°, 14°, 19°, 26°, 36° and 50°). The system is also compatible with ETC optical units. The SKYLOS is an ultra-versatile and weather-resistant fixture, with incredible light output and outstanding construction features: much more than just a classic searchlight! The Skylos will certainly also be appreciated in the touring sector, where LDs are constantly on the look-out for dense, solid beams of light and evergreater light output. It fits a custom 300W white light laser source, which provides an extremely parallel, uniform beam. If you consider its light output and the size of the front lens, the body of this remarkable light is lightweight and compact. This allows the unit both to be moved with relative ease in any environment, and to be rigged on trusses for use on tours. Its body is IP66 protection rated and marine grade. So, it is capable of working in any weather conditions and in environments with high marine salinity and a high risk of corrosion. A sophisticated internal heating system designed specifically for this product means it can even work at very low temperatures (as low as -40°). The AROLLA AQUA is Claypaky’s top-of-the-range weather-resistant light. It is a true workhorse with IP66 rating and technical and construction features which were once unimaginable for this kind of light. The Arolla Aqua fits a white 900 W (7000 K) LED light source, capable of a 40,000-lumen output. This means it can

compete with both high-power-range lights (given its output) and medium-power-range lights (given its small size and weight). Its uniform light beam is another key feature. The high quality of the beam, its density, and the total absence of spurious lights can be appreciated with the naked eye, and its zoom can be adjusted over a linear 5.5°-50° range (9:1). The Arolla Aqua sets a new benchmark for professionals who are looking for a highpower IP66 light which is compact, reliable and complete in every aspect, with top performance. The SHARPY-X-SPOT is a simplified Sharpy-X-Frame model, with all the same lighting, optical and construction features that have made this fixture so successful. First of all, it fits a powerful 550-Watt arc lamp, which makes this fixture extremely bright and produces deep, vivid, uniform colours, including an unparalleled deep red. If needed, the “beam shaper” module - provided as an accessory - can be added, thus turning the Sharpy-XSpot into a fully-fledged Sharpy-X-Frame! The module is automatically recognized by the product firmware. The Sharpy-X-Spot is ideal for those who want a light with excellent performance and a cost/performance ratio without equal on the market. The BUDDYLIGHT is Claypaky’s brand new remote followspot system. It follows performers and speakers automatically, in a quick and easy way. The Buddylight can be used either in an Art-Net or DMX network - by setting up control priority management with the console - or in standalone mode, where it really comes into its element! The Buddylight marks a further step towards ever greater entertainment light automation. It is perfect for theatres, auditoriums and conference rooms. The MINI-B AQUA was created to meet the huge demand from lighting professionals for a weather resistant, lightweight, compact, agile mini-washlight. It is IP66 protection rated, making it suitable for all kinds of outdoor use. However, it is also ideal for indoor installation since it does not require the same levels of maintenance as ordinary IP20 fixtures thanks to the total protection of its internal components against dust. The MINI-B SPOT is not only the perfect complement to the Claypaky Mini-B and Mini-B Aqua, but it also has innovative, exclusive features that will make it every lighting designer’s favourite choice! The light source is based on a 70W white LED engine, capable of delivering 3500 Lumen, but with a power consumption of only 150W. Claypaky has also developed a proprietary optical unit that optimizes light intensity and light output. Mini-B Spot is bound to become extremely popular also in the installation and cruise ship markets, where versatile, small fixtures with a big punch are sought after. The VOLERO WAVE is an amazing LED bar with original and innovative features. It is made up of a system of eight moving heads, each one independently capable of a 220° tilt, thus producing never-seen-before threedimensional volumetric projections. Each of these heads contains a brand-new mirror-based optical system combined with 40W RGBW LEDs. Their synchronized movement produces an impressive wave of light, all the more overwhelming the more Volero Wave units you seamlessly connect to each other. The TAMBORA LINEAR 60 is a compact, 60mm static LED pixel bar designed for versatile lighting effects and Set & Light | Winter 2023

Steve concluded: “We have a very happy customer who is very pleased with the Doughty gear – and with the final result as a whole. After a four decade wait, their patience has paid off and we’re delighted that The Studio lives up to their long awaited expectations.” www.doughty-engineering.co.uk

artistic set decorations. It offers all the features of the Tambora Linear LED bar range and is particularly suitable for applications in narrow environments.

DOUGHTY Audio Light Systems chooses Doughty for Pitlochry Festival Theatre When Audio Light Systems was contracted as specialist theatre systems installation contractors, to deliver The Studio at Pitlochry Festival Theatre, Doughty Engineering was the supplier of choice for the facility panels and production light boxes that the venue would need.

ELATION | Above: ELATION Koy Neminathan

Elation Professional is extremely pleased to announce that Koy Neminathan has joined the company as Director of Business Development. The accomplished industry veteran comes to Elation from lighting console manufacturer Avolites, where he worked for over 23 years in sales and business development, the last decade as Sales Director.

The Studio – a home for new expressive art, opened its doors earlier this summer – more than 40 years after it was originally planned. Although a smaller performance place was part of the original 1970’s design of the site at Port-Na-Craig, financial restrictions meant that this particular ambition could not be realised at the time. The dream remained, however, and the designated space was held (and used as a set store) until it became a reality.

Koy will work closely with designers to keep them abreast of Elation’s growing line of innovative lighting products while communicating market insight to the Elation product team. His extensive experience includes growing and managing a large distributor network, achieved through strong relationship building and an understanding of the needs and requirements of different global markets. Those qualities will serve him well in his new position at Elation.

Steve Aitchson, project engineer at Audio Light Systems said: “The space, whilst fairly small, seating 172 over two levels at full capacity), required a huge number of facility panels and production lighting boxes. We needed peace of mind that they were going to be good quality, robust items with a reliable process for delivery.”

“Koy is a well-respected professional with a deep understanding of our industry and we are excited to have him join our team as a representative for the Elation brand,” stated Marc Librecht, Elation Sales & Marketing Director Europe. “The collaborative relationships he will continue to build across the industry will be a great benefit and important asset as we continue to grow globally.”

Working to a specification from consultants, Theaterplan, Doughty initially supplied manufacturing drawings for client approvals, before producing the bespoke items that the space required. “Dan Phillips is always very helpful and accommodating, delivering the drawings and sorting labelling changes quickly. Doughty really are the experts and are always confident in suggesting improved designs for cost saving and functionality improvements, if they are identified”, said Steve. The finished project is an intimate and atmospheric space – so immersive, in fact, that those sitting in the front row will have their feet on the stage itself. With removable seats it can be reconfigured too, making it an ideal venue for private events.

Lighting veteran Koy Neminathan joins Elation as new Director of Business Development.

| Below: Doughty: Pitlochry Festival Theatre

Based in London, Koy started in his new role on May 9 and will be travelling frequently abroad to visit Elation distributors and customers. He stated, “I have always stood back and closely monitored Elation’s progress over the years, from products to personnel, and was impressed how they have done it whilst earning the respect from the market. I am overjoyed to be joining a strong team and looking forward to contributing heavily to grow all of the brands, which sit under the group’s umbrella.” Koy is highly engaged in the industry. He currently serves as a Manufacturer’s Representative for PLASA, where he advocates for the interests of manufacturers across all sectors, and is a Trustee for the industry charity Backup. He also led the international wing for the WeMakeEvents campaign during the pandemic and still serves on its steering committee. Obsidian’s ground-breaking NETRON IP65 data distribution wins PLASA Award for Innovation. Obsidian Control Systems has fulfilled the need for IP65rated data distribution products in the entertainment industry and was rewarded for that effort at the recent PLASA tradeshow in London. The NETRON EN6 IP™, one of three devices in Obsidian’s new IP65 range of signal distribution, won a PLASA Award for Innovation September 4 at the 2023 exhibition.

Set & Light | Winter 2023

| Sponsor News | Left: ELATION Obsidian EN6 IP PLASA Award

offers up to 6 universes with full support for the industrystandard streaming sACN and Art-Net protocols. It even features up to 99 internal cues that can be set up to play in the event of data loss, ensuring audience and performer safety, or providing a dedicated scene even when the control system is offline. A removable metal cover protects the display from impact, and the boxes are easily stackable via a simple and elegant internal magnetic alignment. M10 or M12 clamp positions round out the chassis, and daisy chaining of power and gigabit Ethernet ensures fast and efficient deployment in the field. For added convenience, the EN 6IP can be powered by POE Ethernet. Elation’s Proteus Hybrid MAX™: The New Torchbearer of Hybrid Lighting Innovation. Elation Professional proudly presents the Proteus Hybrid MAX™, an absolute game-changer that takes everything you loved about the pioneering Proteus Hybrid™ and cranks it up to MAXIMUM power! Say goodbye to choosing between cumbersome beam and spot modes and welcome a real beam/spot/wash hybrid capable of true linear zoom in any configuration. Create wide ranges of powerful effects from a 1.8° shaft of light to a best-in-class 45° wide beam, and everything in between. In fact, the ultra-fast zoom offers the most extensive range among all hybrids available in the market. An added frost softens light allowing the unit to be used as a precision wash unit at any angle from the extra-large 170mm front aperture lens.

The PLASA Award judges recognized the EN6 IP as a “device that brings lighting control distribution and format conversion to the outdoors at an accessible price point.” The 6-port EN6 IP EtherDMX node, along with a 6-port RDM Splitter (RDM6 IP) and an 8-port managed POE switch (NS8 IP), is ground-breaking innovation. Despite the tremendous increase in outdoor performances and the immense amount of IP-rated entertainment technology on the market, until now, there has been no IP data distribution devices to provide the required infrastructure for shows and events.

Powered by the innovative Philips™ MSD Platinum FLEX 500 lamp with lamp life of up to 4,000 hours, and boasting a category-best 22,000 lumens of brilliance, the Proteus Hybrid MAX produces vividly potent beams, precise gobos, and vibrant washes, making it a flexible fixture for any application.

The NETRON IP65 range blends the proven chassis and connector technology of Elation Professional’s market-leading IP65 Proteus range of lighting fixtures with the NETRON data platform. Utilizing a customdesigned die-cast body, impact resistant paint, IP ports and touch controls, the NETRON IP65 range provides data distribution for any location that requires dust and moisture protection. No longer does the lighting technician need to add questionable custom enclosures to ensure the integrity of the lighting system in adverse environments.

The advanced optical system with auto-focus is also incredibly efficient. The lamp offers variable operation for power savings and increased efficiency, while still delivering output comparable to large format Xenon

“I’m incredibly proud of our team’s tireless work and relentless pursuit of innovation as we continue to push the boundaries in entertainment controls,” stated Matthias Hinrichs, product manager at Obsidian Control Systems and Elation Professional. “The NETRON EN6 IP, along with the entire IP65 range, represents a significant step forward in addressing the needs of the entertainment industry. A rugged IP-rated lighting data node that aligns with our leading Proteus range has been truly missing from the market and now lighting professionals can operate with greater confidence in any environment.” Easy to configure via display, web interface or the NETRON CLU app through simple presets or when required a detailed configuration of features, the EN6 IP

| Right: ELATION Proteus Hybrid MAX

Set & Light | Winter 2023

“The Proteus Hybrid MAX is not just about power; it’s also about speed and precision.”

fixtures but with a significantly smaller footprint. The Platinum lamp is dimmable for even more savings and a Hibernation Mode reduces power to the lamp when not in use. The lower internal heat produced extends the life of not only the lamp but all internal components of the fixture. The Proteus Hybrid MAX is not just about power; it’s also about speed and precision. Speed moves to the forefront with the speed of virtually all attributes of the Proteus Hybrid MAX enhanced (pan/tilt, zoom, color, etc.), allowing it to perform faster than any previous automated luminaire and with precise accuracy. A revamped CMY color mixing system with 16-position color wheel offers virtually unlimited color options and is lightning fast for immediate, seamless transitions and instant color bumps. CTO color correction ensures you get the exact balance and hues you desire. Break from visual norms and repetitive cueing with a massive toolbox of visual FX. The Proteus Hybrid MAX is an artist’s dream with eight rotating replaceable glass gobos, 16 static-fixed metal gobos, and a host of animation options. Three animation surfaces with multiple motion tracks add organic and natural motion or fresh explosive visuals to craft the most spectacular concerts and stage shows. Additionally, four prisms divided between dual overlapping planes split beams of light in virtually unlimited combinations of lighting projections or stunning aerials. The comprehensive FX package includes a speedy iris for beam control and high-speed shutter/strobe, right at your fingertips. Creative options abound with the Proteus Hybrid MAX so when the moment calls for that extra flair, the fixture can pan continuously while ensuring that the other fixtures in the rig are in perfect synchronicity. The tracking functionality allows rotation of the head in a continuous 360° pan and guarantees that fixtures match rotation in perfect synchronous motion. The Proteus Hybrid MAX includes Elation’s innovative Sky Motion system, which transforms the luminaire into a mesmerizing searchlight and skytracker, without the need for a dedicated lighting controller. The Sky Motion system allows standalone operation and is easy to set up and adjust directly from the fixture display, even for non-lighting users, expanding the usability of the fixture beyond traditional show lighting applications. Multiple fixtures can be interconnected and with the simple assignment of IDs, the fixture provides immediate access to a variety of movement patterns that are easily adjustable in size, speed, and color directly from the display.

Set & Light | Winter 2023

| Above: ETC Eos Apex at La Monnaie1

With DMX, Art-Net, sACN, and RDM support, and internal program macros for quick programming, the Proteus Hybrid MAX gives you total control. It’s also Elation’s first fixture to feature NFC (Near Field Communication) and Aria X2 (wireless DMX), expanded wireless control that makes for more convenient and faster setup. NFC allows you to setup and test fixtures from your phone while Aria XR is the next-generation wireless DMX control offering more reliable, configurable and expanded range coverage.

ETC Spain’s Lekuona Fabrika Cultural Center upgrades with ETC Stage Machinery ETC distributor Stonex selected ETC stage machinery and lighting to complete the Lekuona Fabrika Cultural Center in northern Spain. Prodigy P2 hoists, QuickTouch+ controls as well as ETC luminaires were selected for the project. Based in Errenteria near the north coast of Spain, the Lekuona Fabrika is a multifunctional cultural venue which frequently hosts exhibitions, festivals, productions and more. The venue is a 613 m² open-plan flexible space that can be divided into 3 rooms offering up to 6 different configurations using movable walls and retractable seating bleachers.

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Due to coastal laws the Lekuona Fabrika has a height restriction as it is located next to the river. In addition to this, its technical director and creator of the project Javier Cruz explains: “There is also the issue that we lose even more height because of the movable walls that close and compartmentalise it into three rooms. This means that the motors could not go on the walls, they had to go on the ceiling.” The complex design of the space required a versatile approach in the upgrade to meet the various programming needs of the events that the Lekuona holds. Stonex worked on the project with the venue and specified ETC technology to meet the requirements and adapt to the different configurations of its main hall: Sorlekua. As well as 13 Vortek NXT hoists, six Prodigy P2 motors with compression tube technology were installed – compression tube allows the system to be installed in places other hoists can’t as they require fewer mounting points and allow the drop pulleys to be mounted anywhere. This system also cancels the lateral forces that are commonly created in traditional rigging systems minimising stress on the building. Stonex’s ETC Brand Manager Juan Carlos Pascual comments: “Thanks to ETC’s Prodigy P2 technology, it is easy to install in

| Above: ETC Stage Machinery Lekuona1

locations that are not designed for stage machinery.” Three ETC QuickTouch+ controllers were also installed to manage the hoists. They were configured to allow for the use of the room as a whole or individually for the different areas. The user-friendly controllers are ideal for control of set-up hoists in small theatres and auditoriums. The LCD display provides real-time position and load information, and easy-to-read status messages giving users an incredible level of feedback for a controller of

| Right: FTVS Open Day Joy Brennan MD with Guests & Team Set & Light | Winter 2023

“It gave me the opportunity to familiarise myself with the console in advance and in great detail.” its size. Javier Cruz explains why ETC’s QuickTouch+ was chosen, commenting that they wanted “a simple control that anyone can understand. It’s easy to select 1, 2, 3, 4 or 5 motors to move up or down, and it lets you record and recall 5 different positions and also monitor the loads you’re carrying on the hoists at all times.” This allows the team at Lekuona to have easy control of a complex and ever-changing space, fulfilling the project’s objectives of requiring a versatile system. Photographs: Stonex S.L. Eos Apex takes control at the La Monnaie / De Munt Theatre in Belgium The prestigious Royal Theatre of La Monnaie / De Munt in Brussels has selected ETC’s Eos Apex consoles to upgrade the control of the lighting in its iconic 1,150 seated space. ETC dealer, Controllux specified the lighting for the Muntschouwburg venue which showcases a variety of performances from opera and classical music concerts to dance shows and more. Following positive reviews and feedback from international lighting designers, the lighting team at the theatre wanted to see which console would best meet their needs and invited – amongst others – Controllux’s Kris Noerens to demo ETC’s Eos Apex. Lighting Operator Julien Bier – who brings decades of experience in the industry – describes why Apex was the preferred choice (so much so that they selected two Apex 10 consoles): “Eos software is extremely flexible, making it particularly well-suited to the type of venue that we are in. We were able to quickly create groups, presets, and palettes to build a familiar programming interface which ensured minimal changes or disruption to our workflow.” “The philosophy behind Eos is that you can start programming quickly and intuitively, without the need for a complex setup and configuration. The structure and workflow can also be tailored to suit specific production requirements, offering a granularity and ease of access to detailed control parameters, particularly when it comes to color control. Eos Apex is very flexible and can be customized to your needs but still operates in a very structured way. Therefore, a show programmed on Eos remains visible for other operators of the team at all times – so if there is an unexpected change in the team, it’s fairly easy to adapt the console layout from another operator.” Head of Lighting Koen Raes adds that “The overall capacity of the console is very extensive; all of the lighting systems at the Muntschouwburg, including the house lights, are controlled on Eos Apex.” Julien also appreciates the wealth of product Set & Light | Winter 2023

information, tutorials, and training material, which is available online from ETC: “It gave me the opportunity to familiarise myself with the console in advance and in great detail. Finding the information and examining the show file is very straightforward. I really like that the console’s display provides a level of clarity to both programmer and designer. It streamlines the programming process and facilitates more efficient communication between the operator and the lighting designer.” ETC Field Project Coordinator Robbi Nassi comments: “It was an absolute pleasure to see the venue, meet the team and give them the overview of the powerful hardware features and award-winning Eos software that Apex offers. Seeing the potential that this console would bring to the programming of their future shows was greatly received by the team who were very excited and enthusiastic to get going. I thank Koen Raes, Hadrien Lefaure, Julien Bier, Nicolas Rivière and the whole team for their time, learning efforts and for being all round amazing throughout this project.” The lighting team at La Monnaie / De Munt continue to explore the powerful tools of Eos Apex and are currently enjoying discovering the power of ETC’s Augment3d software. The 3D programming environment allows users to program moving fixtures with unprecedented speed and ease, and now with ETC’s new Augment3d Scanner app – users can also import ready-to-use room models from a phone or tablet directly into Eos family consoles. Kris Noerens says: “The Munt Theatre chose a solution that is considered the standard worldwide in major operas: Eos Apex.” FILM & TELEVISION SERVICES Open Day Film & TV Services (FTVS) held their first-ever Open Day at their Slough premises. The special guests included clients, partners, suppliers and staff. In a relaxed & informal setting it gave everyone a chance to catch-up and pay a long overdue tribute, (owing to Covid), to our late founder Eddie Fegan. FTVS also wanted to celebrate 45 years in broadcasting and introduce in person their new partner, Aggreko. In the official welcome from Joy Brennan, FTVS’s Managing Director, Joy said it was a fitting occasion to honour Eddie Fegan, the founder of the company 45 years ago. Eddie’s vision and dedication played a pivotal role in shaping our company into what it has become today. The company and guests were all delighted that Bill Morris of EMG led the tribute to Eddie. Bill’s personal recollection of important events, special moments and anecdotes, highlighted why Eddie was a rare and unique person who had a major impact on the broadcasting services industry. Another highlight at our Open Day was that guests and partners helped celebrate FTVS 45 years. A video of FTVS showed the breadth of work in the UK and internationally that their teams have been involved in over the years. This showed not only how far the

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“We have always really liked GLP’s build quality and reliability and, all-in-all, it just felt like a really solid well-engineered bit of kit.”

| Right: GLP Craig Gravett, Greg Westwood Nigel Bennett

company has come but also how it is forward looking to the future. The company showcased a range of products for hire that are paving the way towards a greener future. This included the Agile, the fully electric zero-emission twin-set generator and the twin set power broadcast generator powered by Green D+ HVO fuel. LED energysaving lighting equipment and controls were also on show.

• Providing lighting design and LED energy saving lighting equipment for Sky Sports presenters studio. Big Brother Big Brother, the iconic reality TV show is back after five years off. FTVS are honoured to again be involved in the 2023 reality TV production. The company is providing the Big Brother house with broadcast lighting and crew.

Joy Brennan also introduced Jono Rose, General Manager at Aggreko Events. Jono talked about the exciting new partnership between Aggreko and Film & TV Services. Aggreko, a leading global provider of mobile modular temporary power solutions, demonstrated their solar power energy generation and battery storage solutions on the day. The solar panel modules powered up the mobile coffee bar, a converted vintage horse box trailer, which served guests with drinks.

GLP Paul Fielder appointed GLP UK’s new key account manager Coming from a theatre lighting background, he was previously technical sales consultant at Stage Electrics after leaving the Royal Opera House, where he was lighting systems assistant manager. He also worked in a series of London theatres for the Really Useful Group, gaining much experience in various technical lighting roles.

Ryder Cup (Aggreko solar power & FTVS lighting & distro) Film & TV Services proudly supported coverage of the 44th Ryder Cup golf tournament, from the Marco Simone Golf & Country Club, Rome Italy. It was the first time Italy have hosted the Ryder Cup, one of the most significant sporting events in the world. The Europe v USA super challenge took place over 3 days. FTVS provided a wide range of services. This included lighting and crew for Sky Sports, The Golf Channel and NBC. We also supplied power distribution and crew for the broadcast compound.

The move to GLP will enable Paul to broaden his scope. “Part of my remit is to expand my reach from London, which was my primary interest at Stage Electrics, to nationwide – and also to take me further from technical theatre into the concert touring rental market,” he says. Paul is already familiar with both GLP’s rapidly expanding product range and the personnel at GLP UK. “I have known Simon, Kerry and Greg for some time as a customer, so although I hadn’t been looking to move, when this offer came up it was too good to turn down,” he explains. “GLP has an excellent product range, and it’s a lovely team to be joining.”

BMW PGA Golf – Zero Emission FTVS is delighted to have provided Zero-Emission services to the BMW PGA Championship, Rolex Series Golf Tournament, Wentworth in September. Our teams worked hard for this year’s televised BMW PGA Championship. At the famous West Course, Wentworth Golf Club in Surrey we supported our clients and partners DP world Tour, Sky Sports Golf and IMG with the coverage of one of Tour’s flagship Rolex Series tournaments. Our Zero Emission services included: • Commissioning or management of uninterrupted power generation from hydrogen generators, (the first-ever Sports TV production to be solely powered by hydrogen) • Fully electric battery back-up generator (HPU Agile) • FTVS own fully electric EV support vehicle • Operational management and implementation of power distribution equipment to OB units in the compound

He adds that his main focus will be on supporting the existing customer base: “It’s about making sure they are happy, while at the same time I will be engaging in business development.” GLP UK general manager Simon Barrett adds his welcome. “We are fortunate to have been able to recruit Paul, whom we already knew well. He will bring valuable experience to the team, adding much needed sales support at a time when the company is growing faster than ever.”

| Above: GLP Paul Fielder

Paul Fielder can be contacted at p.fielder@glp.de or on his mobile: +44 7843 841733.

Set & Light | Winter 2023

Sparks Theatrical provides impression X5 wash lights to trio of top designers Paule Constable leads the charge on Guys and Dolls Three leading West End/Broadway theatre lighting designers are using GLP’s new impression X5 Wash – all supplied by Paul Anderson at Sparks Theatrical Hire – to light current or upcoming shows. Leading the charge was Paule Constable, who originally requested them for Guys and Dolls at London’s Bridge Theatre. This has been followed by Tim Lutkin, who is responsible for lighting The Crucible at the Gielgud Theatre, and Paul Pyant, who is in production for Noises Off at the Theatre Royal Haymarket. “These are three highly respected designers,” observes Anderson, himself a premier theatre lighting design specialist. “Early on in the [Guys and Dolls] process we approached Paule to see what equipment she would desire. As she had just lit a show on Broadway where she used the impression X5s, she requested them.” Sparks ordered the 30 units well in advance, knowing there was a global component shortage, as Anderson himself was also keen to put them through their paces: “We knew the impression X4 Washes and obviously we have tons of impression X4 Bar 20 battens in our rental stock. But in the end the X5s were only in the warehouse for two days, for barcoding and testing, before going straight out onto the show.” However, that was all he needed to test drive the next generation Wash, with its innovative iQ.Gamut algorithm and lime chip representing a huge step Set & Light | Winter 2023

| Above: Guys & Dolls Credit Manuel Harlan

forward. The chassis also contains 19 powerful 40W LEDs to provide enormous power output and provides a superfast zoom. “I put them through their paces, comparing them with other models we have, and felt they were more like the Audi of wash lights, whereas others were just functional like a Ford Escort. This was clearly a next level up. They are a very beautiful light – the subtle hues we were getting from some of the more delicate pastel colours was really amazing to see… that lime chip really makes a difference. “I also thought the dimming was really beautiful, particularly the bottom end, which with LED fixtures is quite important in theatre – that really subtle fading out and fading in. I loved the way it moved, with no jumps, no steps. We have always really liked GLP’s build quality and reliability and, all-in-all, it just felt like a really solid, well-engineered bit of kit.” But, he adds, none of the latest wizardry is worth investing in if there is no-one there to support it. “Simon [Barrett] and his team run such a brilliant after sales service – they understand how it works on our side of the industry and that’s really important.” Sparks appears to have nailed its colours to the mast. “Having purchased 30, we are about to buy some more [for Noises Off],” says Anderson, adding that he believes the impression X5 is a product worth investing in. Although that investment will be recouped by the length of Guys and Dolls’ run alone, Paul Anderson is highly

| Sponsor News discerning when it comes to purchases: “Having been in the industry since I was 14 and been around the block, I’m quite fussy. The ethos of Sparks is about quality – everyone that works here has worked on the other side of the industry, so know what it’s like when you get shabby kit. I would rather save and buy one light that’s the best we can afford than two of a cheaper model. GLP was already a brand we trusted and I was further reassured by the support I knew we would get. Therefore, on the back of Paule’s recommendation and me having looked at them, there was no issue really.”

we have the leading tech team in the industry – no one else has that skill base. We also welcomed our new key account man, Paul Fielder, who worked incredibly hard throughout the show, alongside the ever-present Kerry [Tymms].” GLP UK also had international support in the shape of Kasper Gissel and Michael Feldmann from the parent company in Germany, and Mark Ravenhill, president of GLP US. And it was the international aspect that most pleased Simon Barrett. “Although PLASA is no longer truly an international show, there was nevertheless a great turnout from overseas,” he concludes. “In fact, overall it was the strongest PLASA we’ve had in a long time, with more visitors than previous years.”

The impression X5 is already finding its way into different types of live show, but did Anderson consider that it met all the requirements for theatre? He has no doubts: “GLP have certainly thought about all the parameters that we would require in a theatrical environment: pastel, subtle shades, dimming are all paramount for theatre.” “In fact it’s a really lovely, sexy unit and everyone here is very impressed with it,” he concludes.

GREEN HIPPO Hippotizer Nevis+ drives multiple screens for Colombian reality show tvONE’s Green Hippo brand of Hippotizer Media Servers have been installed at Colombia’s Caracol Televisión studios as part of a set upgrade for the popular singing competition Yo me Llamo (My Name Is).

Photo credit: Guys and Dolls (Manuel Harlan) GLP’s sophisticated impression X5 Family integration reaps rich rewards at PLASA Show. GLP reported its best PLASA Show footfall for a number of years. According to the head of GLP UK, Simon Barrett, this was partly because of its unmissable stand – immediately inside the entrance – but also because it placed a clear focus on promoting the new impression X5 product family integration – and the quality and integrity of light emanating from its new colour engine. But equal focus was placed on GLP’s highly professional, and ever-expanding, technical and customer support team.

The network is one of the biggest clients for AV equipment supplier and production design company Visual in Motion, which regularly deploys LED screens, lighting fixtures and Media Servers to set. For the latest season of Yo me Llamo – where contestants mimic famous singers in live performances to be crowned winner – Visual in Motion collaborated with the network to design a set concept and specify LED screens, lighting, control, content and Media Server systems. The result was a decadent, classic theatre set complete with red velvet drapes, chandeliers and gold-framed LED screens driven by a Hippotizer Nevis+.

The sophistication was manifest in Andrew ‘Twiggy’ King’s choreographed lightshow, which demonstrated the entire impression X5 Family. This included the impression X5 Wash, impression X5 Compact, X5 IP Bar, X5 IP Maxx and impression X5 Bar 1000 – the last two being shown in the UK for the first time. This was played out to Ludovico Einaudi’s haunting and beautiful ‘Divenire’ on a purpose-designed stand for which GLP’s German set builders were used for the first time. The serious business, of course, was dressed in the aspic of fun. This year GLP separated its hospitality area, where many visitors indulged in the ‘Stein of Fortune’, a play on the ‘Wheel of Fortune’ and an opportunity to keep the lime green theme going. Another popular and ever-present co-opted member of the team for the past five years has been Henry the Barista. Flamboyant and a real ambassador of the arabica bean, it’s highly improbable that any other stand could have served better. “We always book the coffee on the proviso that Henry comes with it,” smiles Simon Barrett – acknowledging a high-class wet hire in every sense of the word.

“The main challenge that we encountered were the amount of pixels, the different shapes of the LED screens, and the precision in the cues,” explains Alvaro Fuentes, CEO of Visual in Motion. “This was all easily handled by Hippotizer Nevis+. We have been using Hippotizers since the beginning of the company, when we conducted deep research to find the best available solution in the market. Since my background is lighting, I wanted to have video control via my lighting desk, and Hippotizer with the use of DMX does the job perfectly.” | Below: GREEN HIPPO 1002 Park row

Inside the studio, the team installed a large LED screen central to the backdrop of each performance, with

As to the lightshow, he explains: “Twiggy was tasked with showing the beauty of the impression X5 and integration of the family members… and so to illustrate this we took a beautiful piece of music far removed from the usual EDM.” And as for his support team, Barrett says: “In Greg Westwood, Nigel Bennett and Craig Gravett we believe

Set & Light | Winter 2023

further LED screens along each side of a catwalk. There were also three LED screens behind the judging panel, displaying content to liven up the background. Finally, there were also four screens on the sides, acting like ‘big paintings’ as part of the design.

| Right: GREEN HIPPO Colombia TV 4

“The compact chassis of the Hippotizer Nevis+ enabled us to place them in different locations, sometimes to get closer to something,” says Fuentes. “In this set we used 4K outputs, with some of them feeding through a splitter to get more outputs. If I have to choose one reason to always use Hippotizer, I would certainly say that it has never failed me in twelve years of running my business. It’s really impressive that I can rely on this machine every single time.” Visual in Motion designed much of the video content at their in-house studio, which ranged from live footage, abstract visuals, and comedic graphics as required.

The projectors and Hippotizer Mayon+ MK2 Media Servers, with AJA SDI cards, will be an ongoing fixture inside the Park Row cocktail bar. “This means that other brands hiring out the area can have their own animations around the walls, with ease,” adds Harris. “As Hippotizer is our server of choice, we know they’ll be reliable and need minimal support from us.

The Yo me Llama show has won multiple Colombian TVyNovelas Awards during its nine seasons. Hippotizer packs projectors with action for immersive DC Universe game launch London, UK – London’s Gotham City-inspired Park Row ‘theatrical restaurant’ has been installed with visual infrastructure by creative projection specialist Motion Mapping, to enable the venue to host immersive events. At the heart of the setup is a Green Hippo Hippotizer Mayon+ MK2 Media Server, which is driving image and video content, including for a DC Universe game launch which saw a 280-degree projection of pre-programmed custom graphics onto four surfaces that enveloped the space, using seven Optoma ZH406ST projectors.

“The Motion Mapping team is exceptionally proud of playing a key role in the London launch of this awesome game. Our mapped visuals provided a stunning backdrop to the experience at the heart of the capital, and it was a night for all to remember,” Harris concludes.

LIMELITE Lighting Up Don’t Look Down For Channel 4’s Stand Up to Cancer Don’t Look Down was the latest Channel 4 reality show in aid of Stand Up to Cancer that followed nine celebrities as they took part in six weeks of vertigo-inducing high wire training. In their sights was the ultimate high wire challenge – to complete a tightrope relay, 100ft high and 650ft across the iconic London Stadium.

Motion Mapping was tasked with specifying a permanent projection and video manipulation solution for the prestigious venue, and designing a touch screen GUI interface that would allow simple operation of the content via the Hippotizer Mayon+ MK2 - Green Hippo’s two HDMI output Hippotizer system designed for smaller live events and installations. “At our initial installation of the visual set up, we created a custom GUI to allow for simple touch screen control and content playback,” explains Motion Mapping’s Stuart Harris. “We utilised Hippotizer’s SHAPE software feature to navigate the 3D space and secure the desired coverage from the projectors, which were rigged from the ceiling and customised with black coverings, masking their original white casing.”

| Below: LIMELITE Don’t Look Down

The show commenced with host, Paddy McGuiness, welcoming nine nervous celebrities to the Austrian Alps

The first event after completion was the DC universe video game launch, heralding the arrival of one of the most eagerly anticipated games of the year. The DC-inspired projection-mapped content provided gamers with the mystique and ‘dark’ edge required as they experienced the title for the very first time. The visuals created included a night-lit skyline from Gotham City which, when projected via the Mayon+ MK2 into the immersive space, made visitors feel like they were transported into the environment. “The venue proved to be a challenging space, with low ceilings incorporating lots of pipes and ducting which restricted projector locations,” says Harris, “but using the Mayon+ MK2 and the advanced Hippotizer software features made the challenge achievable.” Set & Light | Winter 2023

| Sponsor News for a series of physically and mentally demanding challenges designed to conquer their fear of heights. Each with their own personal stories of how cancer has impacted their lives, the contestants felt emotionally compelled to raise significant sums for cancer research by giving every challenge their all. Among the brave contestants were soap legend Beverley Callard; footballer Anton Ferdinand; presenter and Pussycat Doll Kimberly Wyatt; sports presenter and Love Island finalist Chris Hughes; French football icon David Ginola; motoring expert Charley Boorman; TikTok star GK Barry; content creator and comedian Fats Timbo; and Olympic champion cyclist Victoria Pendleton. After a gruelling six-week training schedule, and only three weeks to practice the high wire, the celebrities were ready for their final challenge at the London Stadium - home of the 2012 Olympic Games. Supporting the show’s location shoot in the Austrian Alps, the final studio training period, and bringing dynamic showmanship to the grand finale was Lighting Designer, David Bishop, who was supported by Limelite Lighting with kit and crew. David and the team at Limelite have established a close working relationship over the years. Together, they have undertaken a wide range of royal engagements and broadcast productions. Knowing the team’s dedication to delivering high quality kit, attention to detail and their exemplary crew, David confidently handed the reigns for the delivery of his stadium specification to Limelite’s Gaffer, Matthew Mountier. “During the planning stages our main priority for the lighting scheme and specification was to ensure that we gave the tightrope challenge the grand finale it deserved,” explained Bishop. “Working with Matthew and the wider team at Limelite, we needed to address three key factors. The first being the immense size of the stadium; the second was the height of the tightrope; and the third was that we were filming overnight during autumn, when the weather is very unpredictable.” The choice of the main key light fixture played a critical role in ensuring Bishop and Limelite could achieve an even light across the high wire and transform the stadium from sports venue into a setting for an entertainment show. “The space was undoubtedly our biggest challenge,” explained Matthew. “With a seating capacity of 80,000, the London Stadium is not your average filming location! “The tightrope itself spanned the full length of the stadium and it was important to convey the full scale on camera, while capturing the expressions of the contestants. Therefore, nowhere could be in darkness.” To evenly light the tightrope and contestants at 100ft above the ground, Bishop needed a luminaire with a powerful zoom, framing system and exceptional optics. Working with Limelite, the team’s final fixture of choice was the Ayrton Domino Profile S.

“It’s great for all outdoor conditions, including the unpredictable autumn weather,” said Matthew. “Plus, the powerful white light has an output of 51,000 lumens at 7000K colour temperature. In total, we installed 80 units, which proved enough to evenly light the full span of the tightrope.” To ensure the contestants expressions were accurately captured as they were lifted from the ground and transferred, mid-air to the high wire, Limelite mounted Astera Helios tubes to all edges of the cherry picker baskets that transported them. Throughout the stadium’s grandstands and around the pitch, Limelite also installed 152 Showtec Helix S5000 LED and 24 SGM P5 floods. While the trusty Cream Source Vortex8 provided a soft light when filming links-tocamera at different locations around the stadium. Undoubtedly, the pièce de résistance for the lighting scheme - and one of Bishop’s favourite fixtures for largescale outdoor events - was Limelite’s latest investment of 56 Ayrton Cobras. This luminaire delivers a speckle free laser source with incredible definition. Positioned around the pitch, the Ayrton Cobras were coupled with MDG ATMe haze generators to provide intense aerial beams from the stadium floor to high above the canopy. “Ensuring all the equipment ran efficiently, we positioned six Stage Smart 72 Way distros and a Luminex fibre network around the entire stadium. We also linked into the stadium house rig (installed by Stadium FX). Controlling the full system was Adam Marshall, using a GrandMA3 Light,” concluded Matthew. On completion, Bishop said, “I chose Limelite for this job based on their existing good relationship with South Shore (the production company), but also for their outstanding track record in delivering large-scale events to the highest standard. They didn’t disappoint, providing me with a one-stop-shop for project management, kit hire, and staffing - they were always on the ball. The patience and professionalism of the team during some testing hours was also hugely appreciated.” Overall, the production was a huge success and most importantly, the celebrities accomplished their once-in-alifetime challenge. In doing so, they managed to raise a significant sum for Stand Up to Cancer.

MARTIN PROFESSIONAL Martin MAC Encore and VDO Atomic Dots see the Wizard in the West End Photo: The Wizard of Oz at The London Palladium, lit by Ben Cracknell. Photo by Marc Brenner. The spectacular production of The Wizard of Oz, directed by Nikolai Foster and with Lighting Design by Ben Cracknell, transferred from Leicester’s Curve Theatre to the London Palladium in the West End for a summer run. With Martin MAC Encores and VDO Atomic Dots specified in the original design, the rig at the Palladium was expanded with additional MAC Encores and with over 50 Martin VDO Atomic Dots after the compact, high Set & Light | Winter 2023

output, super-versatile fixtures were described by the LD as being “a revelation” at the Curve. For the West End production, the previously specified MAC Encore Performance CLD fixtures were joined by additional MAC Encore WRM fixtures, positioned both overhead and on side ladders. “The MAC Encore Performance CLD is my go-to,” stated LD Ben Cracknell, “and by swapping out [a competitor fixture] to the MAC Encore WRMs we had just one type of fixture which was much cleaner, and with the consistency of the same colour palette. It also of course made life easier for programmer Dan Street.” The LD classes the versatility of the MAC Encore Performance with its heavy frost option as a key factor in its success. “Although some additional washes were used on Oz, for me the spot/wash traditional fixture line-up is now not always needed. In a workhorse rig I would generally just use MAC Encore Performance with heavy frost thanks to that versatility, capable of everything from washes to mega sharp gobo looks.” And whilst the MAC Encore has been his tried-andtested fixture, the Martin VDO Atomic Dot fixture was a fixture the LD trialled for the first time at Leicester’s Curve. The Atomic Dot is a hybrid lighting and video fixture that can act as a small blinder, compact strobe, video-pixel and small spotlight. The fixtures’ compact design also gives the ability to place VDO Atomic Dots just about Set & Light | Winter 2023

| Above: MARTIN Wizard of Oz

anywhere and deploy them in larger quantities. “We had so many great comments from Leicester regarding the Atomic Dots that I knew we needed to expand their use in the West End.” he explained. Consequently, 50 fixtures were distributed in the London Palladium on the pros arch and out into the audience space where they were positioned around boxes and up to Royal Box level. “The Dots are so small but packed an unbelievable punch, creating big impact and real wow moments,” Cracknell confirmed. “They were used in all kinds of ways, from use as a strobe and blinder for lightning effects, to bringing the green glow of the Emerald City out into the audience. They brought a real immersive element to the production.” Sound Technology Ltd appoints Sadie Naylor as Lighting Division’s Key Account Manager Sound Technology Ltd, UK distributor of Martin Professional, Robert Juliat and Macula Systems, is pleased to announce the appointment of Sadie Naylor as Key Account Manager in an expansion of the company’s Professional Lighting Division. Sadie joins from Encore, where she began her career in 2008, gaining knowledge working in various departments before spending the last 8 years in product sales and becoming Product Sales Manager. She has gained vast knowledge in most disciplines across the events industry but always favouring the lighting element. Sadie will be responsible for the management of key

| Sponsor News Crook, Technical Manager to his renowned exacting standards. The Campus made up of The Old Grain Store, Mill & Mix and Unit 8 has been secured on a long-term lease with Yattendon Estates. Sam: “The fact we are heavily investing in our infrastructure is a statement to our long-term commitment to enhance every aspect of the Version 2 service.” Version 2 Realigns Management Team TV, broadcast and event lighting rental specialists, Version 2 Lights announced a management realignment to support its continued growth. Day-to-day operational responsibilities will be assumed by Technical Manager Sam Crook, Warehouse Manager Darren Gale, General Manager Emma Gale and Rental Manager Joe Marter. This will form the Version 2 senior management team, who will take on ownership of daily operations at V2 HQ. customer accounts within Sound Technology Ltd’s Lighting Division. “I am super excited to be part of the team and getting the great lighting brands Sound Technology work with out there in front of more customers.” said Sadie. Steve Fay, Sound Technology Ltd, Managing Director commented, “We’re delighted to welcome Sadie to our brilliant lighting team. As we continue to grow our presence in the lighting sector we are pleased to expand the team to provide an exceptional level of service for our customers and the brands we represent.” Sadie will join the lighting sales team headed by Sales Manager Joshua Wakley, working alongside Sound Technology’s technical lighting sales team of Chris Walker, Avril Cook and Rob Clews. Sadie can be contacted on 07775 416929, sadie. naylor@soundtech.co.uk Sound Technology Ltd, a Midwich Group company, offers specialist brand representation for the UK Professional Lighting, Professional Audio and MI Retail industries. For more information please visit www. soundtech.co.uk

VERSION2 Version 2 Campus Expansion The Company with support from Yattendon Estates have taken on, and fitted out a second warehouse facility (Mill & Mix), and an additional office space (Unit 8).The Childs Court Farm Campus will allow the Company to exponentially grow over the coming years with increased storage space, a new logistics office and a dedicated prep space for pre-production. The facility has already been tested by the production crews of Strictly Come Dancing and Britain’s Got Talent respectively.

| Above: MARTIN Sadie

Crook and Marter have been well-known industry figures, and long-term trusted collaborators for nearly two decades both at Version 2 and the previous blueprints Aurora Lighting and London Light. The company is also delighted to report that Emma Gale has recently accepted the responsibilities of Company Secretary. Founder, Nick Edwards will return to a key account role, project managing and supporting LDs, Producers and Production Managers who will draw upon his unrivalled experience and indefatigable work ethic. Edwards will work in tangent with Marter’s Rental Team comprising of Simon Perrott, Ollie Perry and recent recruit Stamatula Malfas. The Version 2 roster reads as a ‘who’s who’ of TV lighting including leading LDs such as: - David Bishop, Peter Canning, Matt Carter, Nigel Catmur, Andy Cottey, Bernie Davis, Gemma O’Sullivan, Oli Richards, Tim Routledge, Daryl Thornton, James Tinsley and Roger Williams. Edwards will continue to lead the strategic vision for the Company, which continues to benefit from the long-term support of its main shareholders Nick Edwards and Nigel Wray ‘Britain’s Warren Buffett’, both of whom have made significant capital investments in the company by way of share capital and directors’ loans. An enthused Edwards comments “Our commitment is to the UK TV, broadcast and event market. In so I’m a firm believer in David Hieatt’s coined phrase “Do One Thing

“With a reputation built not just on service and equipment, but on relationships and trust. The Version 2 team is committed to supporting their clients and friends throughout every stage of the production cycle.”

The fit out, now completed, was overseen by Sam

Set & Light | Winter 2023

sees its audience members board a London doubledecker bus which then travels to different parts of the city, as well as back and forth through time. So how did Chris approach such a unique production? She explains: “Whilst this show is incredibly ambitious, I was actually given quite a practical brief. The priority was for the various sections of the bus along with the locations we visited to have enough light and coverage so that the audience could see the action as it took place across the ever-darkening evening. The various locations include the bus stop, Well Hall Road, General Gordon Square as well as the actual bus itself so we also had to ensure each location felt distinct. One of the biggest factors I knew I’d have to face was how I could practically light these various places; in regards to what fixtures would work, how these would be rigged and how we would be able to control them”. | Above: VERSION2 Office

| Left: VERSION2 Unit Campus sign

Well. It’s Enough”. Having built the company into a market leader in just six short years, and with a trusted management team in place, the time is now right for me to concentrate fully on supporting our customers. This is my focus. ”With a reputation built not just on service and equipment, but on relationships and trust. The Version 2 team is committed to supporting their clients and friends throughout every stage of the production cycle.

WHITELIGHT White Light Helps Build The Architect The Architect is a celebratory and stirring immersive theatrical experience, taking place entirely on a London bus. Commemorating the murder of teenager Stephen Lawrence 30 years on, and inspired by his ambition to become an architect, the show uses performance, music and spectacle to explore the lives of Black Londoners, imagining the potential of uninterrupted Black lives and the hopes, ambitions and dreams that accompany this. The lighting for this special project was designed by Chris McDonnell, who approached White Light, a d&b solutions company, to supply her lighting equipment. Unlike more traditional pieces of theatre, The Architect Set & Light | Winter 2023

This was something Chris would discover following discussions with her fellow creative team as well as during the rehearsal process when the piece started to come to life. She comments: “For this show, it was that classic outdoor lighting issue of only being able to see your work once it got to dusk. There was also the logistical issue of wanting to light several areas that are all about a half hour drive from each other, and figuring out how and when to set everything up. A lot of what we had to create was so different from the normal theatre lighting I have an instinct for that I wasn’t sure how any of it would work until it was all actually in place. For example, at the starting bus stop, I was attaching lights to a park fence and didn’t know how these would look until they were up and the performers were in place! She adds: “I also had to take into consideration the fact that everything needed to be rigged outdoors, which meant a large emphasis on battery-powered equipment, as well as fixtures that could be easily set-up and packed away quickly after every performance”. It was during this time that Chris approached the WL Hire team to draw on the fixtures she requited. She explains: “To light the bus stop, I used the Astera AX3 little LED Spots. These are small and incredibly discrete so blended into the aesthetics. They are also magnetic which meant I could use the fence as a rigging position, as opposed to having to put up some truss which would be immediately noticeable and take the audience out of the immersive journey they’re on. On the bus itself, we were limited to what we could use so settled on using the gel on the internal lighting, which allowed for more texture yet actually kept that authentic feel of travelling on the night bus. For the stage at General Gordon Square, I drew on some Chauvet IP65 rated kit; due to their reliability when used outdoors. This included the COLORado Panel Q40s along with the Ovation Profiles. Specifically, these were used to light a steel pan band on the outdoor stage, as well the final speech and final backdrop image”. Of course, a project as ambitious as this is not without its challenges. Chris comments: “As expected, we were given several safety parameters by the bus company, which, if broken, could have impacted on the company’s license to operate buses in London. As such, these had to be respected and upheld by all of the creative team. One of these was no directional lighting on the bus, which obviously impacted my initial design. That said, and as I mentioned previously with the gel-usage, this actually helped us recreate the immersive atmosphere of being on

| Sponsor News Niamh Cusack. It also features a lighting design by Jamie Platt who approached White Light (WL) to supply his lighting equipment.

a regular London bus – which was obviously one of the project’s main aims”. The Architect ran last month to audience and critical acclaim, achieving a five-star Guardian review which labelled the show as a ‘deeply moving ride’. Andrew Smaje, Executive Director & Joint CEO of Actors Touring Company who produced the show, comments:

That Face tells the story of Mia who is on the verge of being expelled from boarding school and returns home to her alcoholic, disinterested mother Martha as well as her increasingly unstable brother Henry. The imminent return of her father Hugh from Hong Kong, who’s promised to sort everything out, serves to push the family beyond its limits… On his approach to the show, Jamie explains: “I’d worked with director Josh Seymour and designer Eleanor Bull earlier this year on a wonderful production of Suddenly Last Summer in Frankfurt so had a good understanding of their processes and what to expect when I was asked to light That Face. Eleanor’s design put a rotating bed front and centre in the Orange Tree space, and I knew that it would be important for me to be able to focus in light to that bed in any orientation, as well as expanding into the wider space. There were also two large floating circles, mirroring the painted circles on the floor, and I wanted to use those to represent the breakdown of the family’s cohesion; something I would ultimately do by placing pixel tape inside, which would decay over the course of the play”. With the play being performed within the Orange Tree, this marked the first time that Jamie had lit a production ‘in-the-round’. He comments: “Orange Tree is the most wonderful theatre space though I’ve always previously had some form of ‘upstage’ to pack full of PARcan backlight! With this show, it was important for me to give the audience the same experience no matter where they sat, which reinforced my plan to have a central cone of light above the stage as the primary light source”.

“The Architect was an immensely complex project involving many moving parts – quite literally in terms of the London bus! – with indoor and outdoor sites, a range of public spaces, a variety of moving vehicles, and a large cast and crew. The response of audiences and participants has been so gratifying, and it’s clear that the event meant a great deal to people. We’re continuing to direct those interested in the project to discover more about Stephen Lawrence Day Foundation, a charity that stands against discrimination, working towards a more hopeful tomorrow.” Photo courtesy of David Levene.

Another important aspect of Jamie’s design was the environmental impact both this and the overall production had. He explains: “I was very keen to use a local hire company, to reduce the transportation impact, and I’m so glad that WL, in particular Louise Houlihan, was able to make the hire work for this show; given the theatre and their warehouse are just seven miles apart! I’m also aware of WL’s status as a B Corp and their commitment to sustainability”.

White Light Supplies That Face at Orange Tree Theatre First performed to critical acclaim in 2007, That Face is a hard-hitting, explosive play that explores the secret lives of the rich with anarchic humour. It’s now making a highly-anticipated revival at the Orange Tree Theatre in a production directed by Josh Seymour and starring

Regarding his actual design, Jamie details: “The primary feature was a Martin MAC Viper Wash DX unit, which was hung centrally. In fact, we never use the pan or tilt during the show – it always points straight down! I was very keen for a fixture that could be super intense, and allow me to shutter into the rotating bed in any orientation when desired. The Viper Wash DX was perfect in that regard, with its bright arc source and rotatable internal barn doors. I was also very keen for the optics of a single large glass lens, given the visibility of the rig to the audience.

He continues: “I am often disappointed with the frosts in moving head fixtures (give me a Rosco 119 internal frost any day!) so the super soft diffused edge of the wash light beam was exactly what I was after; for the central bright cone of light to fade off gently at the edges. I also hired twenty-four birdies to sit on the circle front, which gave me a brilliant, uninterrupted low shot that managed to get into the eyes of the cast, while not being too dazzling for the audience sat opposite”. That Face has now opened to critical acclaim, with

Set & Light | Winter 2023

reviewers calling it a “stunning revival that will tear right through you” (The Guardian) and “magnetic” (The Times). It runs until 7th October 2023. Photos courtesy of Johan Persson.

With a show this ambitious, it naturally meant that Rory had to achieve a significant amount with his lighting design. He comments: “I know this may seem like a stock answer but I really do mean this: there are SO many locations within the show. We start in Bagend, go to Rivendale, Bree, Mordor, Fangorn Forest, Moria, Lothlórien... I could go on! Oh, and there are numerous epic battles chucked in throughout! My main requirement was then to dress and continually re-shape Simon Kenny’s wonderful set. I do this in close collaboration with the fabulous video designer George Reeve – which was a bit of a task for a non-stop three-hour epic! I spent a lot of time trying to crack what those different locations and ‘worlds’ felt like - and not necessarily what people just assume they would be because of the huge film franchise”.

White Light Goes on a Quest for The Lord of the Rings In what’s regarded as one of the most epic fantasy stories ever written, J. R. R. Tolkien’s The Lord of the Rings is a sweeping saga, centred around a hobbit named Frodo, who must undertake a treacherous mission though middle Earth to destroy an evil, magic ring. The literary masterpiece has been reinterpreted numerous times over the years, from cartoons to films to even a West End musical. First performed at Theatre Royal Drury Lane in 2007, the musical was recently revived and reimagined at The Watermill Theatre in Berkshire. The lighting designer for this new production is Rory Beaton who approached White Light (WL) to supply his lighting equipment.

Given his brief, Rory knew that flexibility was going to be a key factor when it came to his rig. He also had to build something that fitted in with The Watermill’s specific layout. He explains: “The Watermill’s fixed grid sits at about 5m from the venue’s floor. Our stage is raised by +300mm or so to allow for various revolves and lifts, etc. With that comes a requirement for fixtures to not hang too low, not obstruct sightlines, not be too noisy and go wide enough to toplight the revolve with one singular unit…. So just a few requirements to consider!”.

The Lord of the Rings is a story which is undoubtedly familiar to so many. With this in mind, Rory and the rest of the show’s creative team wanted to make their version as unique as possible. He explains: “We were very conscious that, as the first ever non-replica production of the original musical, we wanted to bring something new to the table. As such, we have created a brand new and unique production that takes place both inside the actual theatre itself as well as outside in the beautiful grounds. Our version is about celebrating ‘The Shire’, the story, the phenomenal music and, of course, the beautiful Watermill Theatre. Our aim was to prove you can do big things on the small scale!”.

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All of these factors were raised when Rory approached the WL Customer Service team to discuss his rig and what fixtures he could potentially draw on. He comments: “A vital fixture on this production is the Ayrton Diablo. They were the only theatrical unit I knew of which was compact enough, quiet enough, bright enough and even

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Set & Light | Winter 2023

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| Below: WHITELIGHT The Lord of the Rings Musical (2) (C) Pamela Raith

has shutters! It was my first time using them so I felt like I was taking a slight risk, but they turned out to be a complete triumph and something I will be calling upon time and time again. They do everything from the big one-source key looks in the show to the delicate tungsten-eque front-of-house specials that illuminate people’s faces. I used these in conjunction with the venue’s existing stock of Martin MAC Auras, various LED Pars, ColorSource Profiles and a smattering of conventionals. We also have some Robe 150s hidden in the venue’s slips positions to do all the show’s sidelight”. Alongside lighting the traditional theatre space, Rory also had to light the venue’s grounds which are part of the show. He explains: “The outdoor element of the production means lighting the beautiful exterior, numerous catering options, a huge circular stage, band-stands, trees, hedges, and a few paths too! For this, I used lots of Chauvet ColorDash IP LED Pars, WL’s outdoor stock of ETC Source Fours, various Parcans and hundreds of meters of festoon”. Rory also drew on four Viper smoke machines, tens of metres of ducting, a vertical fogger, an MVS Hazer, two micro foggers and a handheld mini-mist. He comments: “What was interesting about this show is that every single fixture seemed to constantly be in use! If the Diablos are off for a split second, they are then marking for the next cue or the next effect. Also, every unit is multi-purpose - everything works hard for its place in the rig. Whether it’s the domestic warmth of Bagend or the intense red fires of Mount Doom, all the units need to be able to do subtlety and ferocious output in equal measure. To put into context, there’s only 20 moving lights in the rig and between them they use 596 channel focusses!”.

With a show this ambitious, it obviously wasn’t without its obstacles. Rory explains: “Fitting a cast of 20 actormusicians onto a 6m wide x 4m deep stage was obviously tricky! As was trying to then isolate those performers, highlight the main moments without any followspots and then create location after location! The thing about The Watermill is; where the cast stand and the marks they hit are centimetre precisions. As such, moving half a metre in The Watermill feels like a full metre anywhere else. The level of precision and consistency is totally crucial - and that’s a joint effort between the cast and the creative team. He continues: “It’s also worth noting that, like so many other venues, during the run-up to this show, The Watermill received a 100% cut in their Arts Council England funding, removing them from the ACE portfolio. That meant our budgets have been stricter than ever – with zero room to run over. With this in mind, WL have just been PHENOMENAL with their help and coming up with alternatives and different solutions to fulfil my design. It’s no exaggeration to say that, without their generosity, this show wouldn’t look half of what it now does”. The Lord of the Rings - The Musical recently opened to critical and audience acclaim. It runs until 15th October 2023 and more information can be found here: www.watermill.org.uk/the-lord-of-the-rings CREDITS Produced by The Watermill Theatre in association with Kevin Wallace for KWL & Middle-earth Enterprises. Lighting Designer – Rory Beaton (www.rorybeaton.co.uk) Programmer – Jack Ryan Production Electrician – Ryan Tate Watermill Venue Team – Them Townsend Production Shots: Pamela Raith Set & Light | Winter 2023

| Society Committee

Set & Light | Winter 2023

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

Membership Secretary Susie Tiller 07786 253 857 members@stld.org.uk

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

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

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

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

Committee Member Matt Maller 07901 724 487 mattmaller@stld.org.uk

Committee Member Nathan Mallalieu 07805 461 162 nathanmallalieu@stld.org.uk

| Sponsor Directory

A.C. Entertainment Technologies Ltd (Jonathan Walters)

Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.ac-et.com/film-tv Anna Valley (Mark Holdway, Tim Oliver) Unit 13, Mount Road Industrial Estate, Feltham, Middlesex TW13 6AR Tel: 020 8941 4500 ~ Fax: +44(0)1932 761 591 ~ Web: www.annavalley.co.uk ARRI CT Ltd (Siobhan Daly, Lee Romney) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01895 457 000 ~ Fax: 01895 457 001 ~ Email: sales@arri-gb.com ~ Web: www.arri.com AYRTON (Matt Hallard) 2 Rue Vitruve, 91140 Villebon sur Yvette, France Tel: +33 1 8375 1200 ~ Mob: +44 7388 014 003 ~ Email: matt.hallard@ayrton.eu ~ Web: www.ayrton.eu B360 (Barry Denison) Gaddesden Home Farm Business Centre, Bridens Camp, Hemel Hempstead HP2 6EZ Tel: 0203 9534 360 ~ Email: info@b360.tv ~ Web: www.b360.tv CAST Group of Companies (Stuart Green) 35 Ripey Avenue, Unit 1. Toronto, Ontario, M6S 3P2, Canada Head Office: +1.416.597.2278 x 237 ~ Email: Stuart.Green@cast-soft.com ~ Web: www.cast-soft.com CHAUVET Professional (Sam Bowden) POD 1, EVO Park, Sherwood Business Park, Little Oak Drive, Annersley, NG15 OEB Tel: 01773 511115 ~ Mob: 07714 487121 ~ Email: sbowden@chauvetlighting.eu ~ Web: www.chauvetprofessional.eu Cirro Lite (Europe) Ltd (John Coppen, David Morphy)

3 Barrett’s Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: j.coppen@cirrolite.com ~ Web: www.cirrolite.com

Clay Paky s.r.l (Alessandro Colangelo (Italy), Paddy Stacey (UK) Italy: via Pastrengo, 3/b, 24068, Seriate (BG), Italy. alessandro.colangelo@claypaky.it mob +39 338 5797419 UK: Unit 2, Network 65 Business Park, Kestrel Court, Burnley BB11 5NA paddy@cpwave.co.uk mob +44 (0) 7768 315 145

Dedo Weigert Film GmbH (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE

Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: j.coppen@cirrolite.com ~ Web: www.dedolight.com

DeSisti (Nick Mobsby)

25 Rowtown, Addlestone, Surrey KT15 1EF

Tel: +44 (0) 7785 233073 ~ Email: nick@desistilighting.co.uk ~ Web: www.desisti.it

Doughty Engineering Ltd (Julian Chiverton, Mark Chorley) Crow Arch Lane, Ringwood, Hampshire BH24 1NZ

Tel: 01425 478 961 ~ Fax: 01425 474 481 ~ Email: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk

Elation (Larry Beck, Graham Hill) Elation Professional B.V., Junostraat 2, 6468EW Kerkrade, The Netherlands

Tel: 00 31 45 5468566 ~ Mob: +44 (0) 7495 051413 ~ graham.hill@elationlighting.eu ~ www.elationlighting.com

ELP Broadcast & Events (Darren Fletcher) Unit 3A, Space Studios,Vaughan Street, Manchester, M12 5FQ Tel: +44 (0)161 300 2922 ~ DDI +44 (0)20 8254 4622 ~ Mob +44 (0)7900 055314 ~ Email: info@elp.tv ~ Web: www.WhiteLight.Ltd.uk

ETC (Rory Frazer-Mackenzie, Jeremy Roberts)

Electronic Theatre Controls Ltd, Unit 26-28,Victoria Industrial Estate,Victoria Road, London W3 6UU

Tel: +44 (0)20 8896 1000 ~ Email: uk@etcconnect.com ~ Web: www.etcconnect.com

Set & Light | Winter 2023

| Sponsor Directory

4Wall Entertainment (Adam Artus)

Central Road, Harlow, Essex, CM20 2ST

Tel: +44 (0) 1279 624 840 ~ Mob: +44 (0) 7837 912 798 ~ Email: aartus@4wall.com ~ Web: www.europe.4wall.com

FTVS (Film & TV Services) (Joy Brennan)

86-87 Bestobell Road, Slough, Berkshire, SL1 4SZ Tel: 020 8961 0090 ~ Web: www.ftvs.co.uk

GLP German Light Products UK (Simon Barrett)

Unit 23 The IO Centre, Salbrook Road Industrial Estate, Redhill RH1 5GJ

Tel: 01293 228 660 ~ Email: s.barrett@glp.de ~ Web: germanlightproducts.co

Green Hippo (Tom Etra) Suite 1, 1 Rochester Mews, Camden Town, London, NW1 9JB

Tel: 020 3301 4561 ~ Fax: 020 8889 9826 ~ Email: tom@green-hippo.com ~ Web: www.green-hippo.com

JLLighting (Jack Linaker)

Unit 6 Verda Park, Wallingford, OX10 9SJ

Tel: +44(0)20 3790 7859 ~ Email: team@jl-lighting.com ~ Web: www.jl-lighting.com Kino Flo Lighting Systems (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. kinoflo.com

LCC Lighting (Lee Rickard)

Unit 6,Verda Park, Hithercroft Road, Wallingford, Oxfordshire, OX109SJ

Tel: +44 (0)1483 813 814 ~ Email: lee@lcc.lighting ~ Web: www.lcc.lighting Lee Filters Ltd (Nathan Bailey, Kim Brennan, Emma Sherman) Central Way, Walworth Business Park, Andover, Hampshire SP10 5AN Tel: 01264 366 245 ~ Fax: 01264 355 058 ~ Email: marketing@leefilters.com ~ Web: www.leefilters.com

Limelite Lighting (Ed Railton) Harpers Farm, Summer Hill, Goudhurt, Kent, TN17 1JU

Tel: 01580 239844 ~ Web: www.limelitelighting.co.uk

Litepanels (Kurt Chapman) Videndum Production Solutions, Easlea Road, Moreton Hall Estate, Bury St Edmunds, Suffolk IP32 7BY

Mobile: 07899 953702 ~ Direct Line: 01284 776776 - Email: Kurt.Chapman@Videndum.com

LSI Projects (Russell Dunsire, Richard Bunting) 15 Woking Business Park, Albert Drive, Woking, Surrey GU21 5JY

Tel: 01483 764 646 ~ Fax: 01483 769 955 ~ Email: richardb@lsiprojects.com ~ Web: www.lsiprojects.com

Luminosity Lighting (Chris Rand)

The Vatches, 49 Aylesbury Road, Aston Clinton, Aylesbury, Buckinghamshire, HP22 5AQ Head Office: 020 8432 2255 ~ Email: chris@luminosity.lighting ~ Web: www.luminosity.lighting Martin by Harman (Nick Hansen) Westside Two, London Road, Apsley, Ground Floor, Hemel Hempstead, HP3 9TD Tel: 01462 480 000 ~ Email: nick.hansen@harman.com ~ Web: www.soundtech.co.uk Matthews Studio Equipment, Inc. (John Coppen, David Morphy)

Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. msegrip.com MEMS Power Generation (Mark Diffey) Beechings Way, Gillingham, Kent, ME8 6PS Tel: 08452 230 400 ~ Fax: 01634 263666 ~ Email: mark.diffey@mems.com ~ www.mems.com

Set & Light | Winter 2023

| Sponsor Directory

MULTI-LITE (UK) Limited (Martin Carnell) 15 Airlinks, Spitfire Way, Heston, Middlesex TW5 9NR Tel: +44 (0) 208 561 4501 ~ Mob: +44 (0) 7970 224313 ~ Fax: +44 (0) 20 8561 8041 ~ Email: MCarnell@Multi-Lite.co.uk ~ Web: www.multi-lite.com Panalux Ltd (Mark Furssedonn) 12 Waxlow Road, London, NW10 7NU Tel: 020 8233 7000 ~ Web: www.panalux.biz PLASA (Sonja Walker) Redoubt House, 1 Edward Street, Eastbourne, Sussex BN23 8AS Tel: 01323 524 120 ~ Fax: 01323 524 121 ~ Email: sonja.walker@plasa.org ~ Web: www.plasa.org PRG XL Video (Jeff Bailey, Caroline Kelly) The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT Tel: 0845 470 6400 ~ Email: jbailey@prg.com ~ Web: www.prg.com/uk Richard Martin Lighting Ltd (Steve Wells) Unit 24, Sovereign Park, Coronation Road, Park Royal, London NW10 7QP ~ RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Gloucestershire GL56 0LW Tel: 020 8965 3209 ~ Email: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk Robe UK Ltd (Ashley Lewis, Mick Hannaford, Steve Eastham) 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, Northampton NN3 8RQ Tel: 01604 741 000 ~ Fax: 01604 741 041 ~ Email: info@robeuk.com ~ Web: www.robeuk.com Rosco (Cristian Arroyo) Blanchard Works, Kangley Bridge Road, Sydenham SE26 5AQ Tel: 020 8676 6877 ~ Fax: 020 8659 3151 ~ Email: cristian.arroyo@rosco.com ~ Web: www.rosco.com Stage Electrics Partnership Ltd (Dan Aldridge, Adam Blaxill) Encore House, Unit 3, Britannia Road, Patchway Trading Estate, Patchway, Bristol BS34 5TA Tel: 03330 142100 ~ Fax: 0117 916 2828 ~ Email: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk TMB (Lauren Drinkwater, Tim Obermann) 21 Armstrong Way, Southall UB2 4SD Tel: 020 8574 9700 ~ Fax: 020 8574 9701 ~ Email: tmb-info@tmb.com ~ Web: www.tmb.com Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ Email: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk Vari-Lite / Strand Lighting (Iain Quinn) Strand & Vari-Lite Centre, Unit 24 Sovereign Park, Coronation Road, Park Royal, London NW10 7QP Tel: 07867 536522 ~ Email: ian.quinn@signify.com ~ Web: www.vari-lite.com Vectorworks UK Ltd (Tom White) St. Peter’s House, Oxford Square, Oxford Street, Newbury, Berkshire RG14 1JQ Tel: 01635 580318 ~ Web: www.vectorworks.net Version 2 Lights Ltd (Nick Edwards) Version 2 Lights, The Old Grain Store, Childs Court Farm, Ashampstead Common, Reading, RG8 8QT Tel: 020 3598 6938 ~ Email: info@v2lights.co.uk ~ Web: www.v2lights.co.uk White Light Ltd (Dave Isherwood, Bryan Raven) 20 Merton Industrial Park, Jubilee Way, London SW19 3WL ~ Tel: 020 8254 4800 ~ Fax: 020 8254 4801 ~ Email: info@WhiteLight.Ltd.uk Web: www.WhiteLight.Ltd.uk ~ Hire Tel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841

Set & Light | Winter 2023

| Sponsor Directory

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

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

ADVERTISER INDEX P02 P05 P17 P19 P31 P33 P37 P55 P64

Limelite Lighting Ayrton ROSCO JLL Unusual Elation FTVS GLP ELP

Set & Light | Winter 2023

| Membership Application

Set & Light | Winter 2023

| Membership Application

Set & Light | Winter 2023

Lighting • Rigging • Power

Trusted Experts in Film & TV Lighting Supply Tel: 016 1300 2922 Join the conversation @ELPBroadcastLighting Unit 3A Space Studios Vaughan Steet Manchester M12 5FQ