Television Lighting: Spring 2013 (Issue 108)

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www.stld.org.uk

Issue 108: Spring 2013

Television Lighting

The magazine of the Society of Television Lighting and Design

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Editorial

A little bit from me... now we want to hear from you!

W

e have a variety of articles in this issue, from our committee member Andrew Dixon doing some great work in Zambia (‘STLD lights up Africa’, p18), to highlighting health and safety issues lighting around water (‘Gurdip Mahal makes a Splash!’, p22).

Details of our latest AGM and financials are on page 4.

We are extremely pleased to add a new regular section to the magazine, ‘A View from Across the Pond’ (p29), which offers our readers a perspective of lighting in the USA from one of the industry’s most distinguished designers, Bill Klages.

The next issue of the magazine will be out summer 2013. The deadline for sponsor news is Friday 7 June. Roll on the better weather!

One last thing: we are always interested in news from our members. Any stories or experiences from your work will be of interest and useful to others. I would like to create a page in the magazine for letters from members, and I openly invite you all to put pen to paper, or fingers to keyboard, to write about what you love, what you feel strongly about, what you have done and who you may have worked with. We may even have a bonus for the ‘Letter of the Issue’, as voted by the committee! So, please, get writing!

Emma Thorpe Editor

Contents 4

AGM/Visit: The Cinema Museum

25

Focus on Ambersphere

10

Visit: Strictly Come Dancing

26

Event: BVE

14

Focus on RML

29

A View from Across the Pond

15

Information: Showlight 2013/Farewell to TVC

33

Information: KOI

18

STLD lights up Africa

34

Sponsor News

21

Obituary: David Whitehead

52

Society Sponsors

22

Lighting: Splash!

56

Index of advertisers

TV Lighting and Design is the journal of the Society of Television Lighting and Design and is published three times a year. ISSN 2050-4012 Editor: Emma Thorpe and Bernie Davis E-mail: editor@stld.org.uk Web: www.stld.org.uk Production Editor: Joanne Horne Sponsor News: Emma Thorpe E-mail: sponsornews@stld.org.uk Advertising: John King E-mail: adverts@stld.org.uk Cover photo by: Bernie Davis

Printed by: Andus Print, Brighton

Deadlines for the next issue: Editorial: 7 June 2013 Advertising: 7 June 2013 Advertising is accepted only from sponsor members of the Society © Society of Television Lighting and Design 2013

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STLD visit

A journey back to the reel world Words: Jane Shepherd Photographs: John O’Brien Members attending the STLD’s 39th AGM were welcomed to a tour of The Cinema Museum in Kennington by uniformed commissionaires with familiar faces, and the offer of an oldfashioned goody bag and a carton of popcorn at 1d. a time. Thanks to the organisational skills and attention to detail of Les McCallum, members were invited to journey back to the golden days of cinema, led by museum founder Ronald Grant, whose passion for the medium began as a child in the Forties.

A diary belonging to his mother records taking baby Ronald to the Majestic Cinema in Aberdeen to see Snow White and the Seven Dwarfs.

He has no recollection of the show, and suspects he slept throughout as his behaviour was noted as ‘very good’, but the seed was sown.

As a child, Ronald wheedled film offcuts from the local projectionist, which he then projected on to his bedroom wall with the aid of a magnifying glass and a torch. He graduated to a 9.5mm projector and purchased 30ft and 60ft Mickey Mouse films to show to friends and family. Completely enchanted by the medium, in the early Fifties, at the age of 15, he started a five-year apprenticeship as a projectionist for the Donald Brothers chain of cinemas in Aberdeen for the wage of £1.19s.1d. a week. The four Donald brothers ran 13 of the 16 cinemas in Aberdeen. They ranged from the palatial to the fleapit, but each was visited every night by one of the brothers wearing evening dress.

Ronald rose to be a chief operator before striking out on his own as a travelling projectionist carrying rolls of 35mm film round to village halls in a van. After disqualification for driving without a licence, he continued to operate, carrying the cans on the rural bus service! Sadly, the arrival of Grampian Television broadcasts dealt a fatal blow to his service.

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There is nothing like a new committee member to come up with fresh ideas, and when Designer Les McCallum was asked to help come up with a venue for the 2013 AGM, he suggested somewhere most of us had never heard of: The Cinema Museum in Kennington. Not only was the museum able to host the AGM, they provided some novel and nostalgic entertainment for us.

Moving south to London in the Sixties, Ronald worked for the BFI, later running a bookstall in Portobello Market, which brought him into contact with collections of film stills, which he began to amass. Returning to Aberdeen in 1981 for a holiday, he met one of the Donald brothers in the street and learned that the equipment for the cinema chain was about to be destroyed.

It contained a treasure trove of artefacts and, after taking an extra week’s holiday to sift through the contents, two 40ft lorries headed south bearing the items, which form the basis of The Cinema Museum collection today.

Items typical of cinemas from the Twenties to the Sixties were saved: 100 seats were purchased at £1 each; an organ and the glass lantern slides, which would be projected so audiences could sing along; doors, handrails and carpets; vast quantities of projection equipment; billboards, posters, cinema stills and advertising ephemera; and clocks, light fittings and uniforms... On the basis of this collection of memorabilia, Ronald and Martin Humphries established The Cinema Museum in 1984 and it became a charity in 1986.

The museum moved to the Master’s House, Kennington, part of the Lambeth Workhouse, in 1998. Now the registered charity hopes to purchase the site to secure permanently the location of the collection.

There is a regular calendar of events, with speakers, screenings, talks and special events. The museum, based

on the Donald Brothers collection, also includes impressive archive collections of film stills, posters, original artwork, periodicals and trade magazines dating back to 1907, fan magazines to 1911, sheet music, works on cinema buildings and architecture, a fine collection of back issues of Spotlight and a library of books about the film industry and its practitioners. It welcomes researchers to make use of its material.

There is 17 million ft of safety film on site, although the inflammable archive is kept in the National Film and Television Archive in Warwickshire. Part of the collection includes 80 restored Mitchell and Kenyon films – the company was a pioneer of early commercial movies, made in Blackburn, Lancashire – and these provides an important view of life in Edwardian England. There is a small screening room on site, with 26 of the original Donald Brothers cinema seats for the authentic viewing experience, and a larger audience can be accommodated for viewings in the upper hall.

The Lambeth Workhouse site has a poignant association with a cinema legend in that, in 1898, nine-year-old Charlie Chaplin, his mother and brother were forced to take shelter there. The building opened in 1873 and

Clockwise from top left: STLD members enjoy a journey back to the golden age of cinema; the museum, part of the Lambeth Workhouse, where Charlie Chaplin once stayed; ‘commissionaires’ Andrew Dixon and Jane Shepherd; the upper hall

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AGM/The Cinema Museum

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Commissionaires with familiar faces: Andrew Dixon, Les McCallum, Jane Shepherd and Roger Harris

was intended to house 800 but often had to accommodate as many as 1,400.

The museum is a keen participant in Home Movie Day (13 May this year).

This movement started in America to encourage the preservation of homemovie footage – ideally copied but with the original always preserved. Although Ronald admits that much of the footage is badly shot and, frankly, dull to those not acquainted with the protagonists, there have been electrifying moments, such as the sudden strip tease unwittingly edited into a roll. He told of one 9.5mm reel which showed a less than fascinating series of building related shots – cement mixing, laying of bricks one on top of another – when, after a join, the next scene revealed footage taken the day after the 1936 Crystal Palace fire, completely unexpected and unique shots of the smoking rubble. He also reminded us it was the home-movie footage shot

by Abraham Zapruder that recorded the assassination of JFK in a way which no news cameraman was in a position to do.

The part of the museum that concerned the transition from silent movies to sound revealed the earliest attempts in the early 1900s when the 6

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Hepworth Vitaphone separately recorded singers of popular songs on film and on 10-inch record, and the two would then be played (roughly) simultaneously on a projector and a gramophone. Sound-on-disc technology became more sophisticated so that the reels of film were accompanied by 16inch records on which the soundtrack was recorded utilising a motor with a double-ended shaft connecting the drive to the projector and record player.

Once the film was laced with the word ‘Start’ in the aperture and the phonograph record was cued at its marked starting point, all should have proceeded smoothly, but there was still room for error. The 24 frames-a-second film might be damaged and, unless the number of frames removed were replaced by precisely the same number of frames, the discs would fail to match and, as the film proceeded round the distribution circuit, succeeding projectionists would not know how to correct the mismatch. The only solution was to stop the film and start again on the next reel and disc.

Often records might be broken in transit, or the distributor might send

the wrong records, so that a courtroom drama might have the soundtrack of a cowboy shootout. A 1,000ft reel of film would be matched with one side of a 16-inch phonograph record played at 33 1/3 rpm and lasting 10 minutes.

In order to economise, reel one sound would have reel three sound recorded on the back of the disc to allow the records to be lined up for continuous play. Many early talkies, such as The Jazz Singer (1927), used the Vitaphone system. Prior to the development of the audion tube in the mid-1920s, sound reproduction was mechanical, but by 1930, recording was made directly on to the film strip, pioneered by Lee de Forest, and cinemas had no alternative but to face the expense of wiring for sound, though many were sceptical that this might prove just a passing fad.

One item on display that caused a frisson of nostalgia in some quarters was the sight of a Mercury-Arc Rectifier Bulb for transforming AC to DC current, the cathode made of liquid mercury and therefore self-restoring – this was identical to one at Ealing Studios.

A small collection of fragrance sprays illustrated an entire social history of the

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AGM/The Cinema Museum

period between the Twenties and the Fifties. Cinemas might hold anything up to 1,500 to 2,000 people, many coming from homes with no inside water supply, any bathrooms and only basic laundry facilities. Smoking was widespread and, before the introduction of the National Health Service in 1948, infectious diseases such as tuberculosis were rife.

A hot summer’s night spent in a crowded hall was an exercise fraught with hazard and noxious smells, and cinema staff sprayed the fragrance with germicidal undertones to create at least an illusion of hygiene. Ronald remembers one of his early cinema posts where the commissionaires beat the seats with bamboo sticks to raise the dust and fleas while colleagues followed round with a vacuum cleaner to suck them up. This system was not 100 per cent effective.

Even so, the elegance of ‘Picture Palace’ interiors, as much as the films, offered an escape from the harsh realities of everyday life to many of the audience.

A display of paper stills and lobby cards recalled the queues for tickets – the UK cinema industry no longer uses paper stills, only posters, although they are still widely seen in France, Italy, Germany, Spain and Egypt. There were posters showing films with the nowdefunct ‘H’ for horror category, replaced by the X rating in 1951. Ticketing reflected the system of seating available up to the 1960s to the queuing public: continuous performances of a main feature and second feature, with a threeminute interval between the two, allowed a cinema-goer to slip into an individual seat at any point in the double bill with the aid of the usherette and her torch. There was also a standing ticket, which allowed what was effectively queuing indoors while waiting for a seat to become vacant. The romantically inclined would wait for a pair of adjacent seats, preferably in the back row, where the partition behind shielded them from casual view. Those in the front stalls craned their necks, and prices rose for the seats furthest away from the screen.

The tour ended with choc ices and a selection of short films, including, carefully chosen for its audience, Flash Gordon on a mission to destroy the deadly Nitron Lamp before it destroys Earth – surely an acknowledgement of the power of lighting.

Chairman’s report, 39th AGM, 17 January 2013 After a warm-up act provided by the Saturday morning cinema, it was the turn of the committee and for Stuart Gain to conduct the business of the AGM. “I would like to start by thanking Les McCallum for coming up with the idea for this venue for the AGM. Les joined the committee last year and wasted no time, by promptly setting about suggesting and organising the very successful James Bond meeting. This was the visit to the ‘Designing 007: 50 Years of Bond Style’ exhibition held in London last year. Les came to us through his association with our very own Andrew Dixon, and what a team they are proving to be. Les has some great ideas for meetings and is a great asset to the committee.

Perhaps we should have a meeting sub-committee and call it ‘The Les/Dixon Show’.

“Today is the 30th anniversary of BBC Breakfast. You may notice that this being our 39th AGM, we are entering our 40th year, thus beating them by 10 years. I hope we may find a way to mark this historic event at some point during the year, so watch this space, as they say!

“Our first meeting of last year was the AGM on 27 January, which we held at St Pancras Renaissance London Hotel. Mr Dixon suggested this as a venue and was not sure at the time if it would be suitable. As it turned out, we ended up with a wonderful location for last year’s AGM and a fascinating tour of the building given by an excellent guide, who, it turned out, had been involved in our industry.

“29 February saw a trip to Whitelight arranged by Paul Middleton.

This was a chance to see their enlarged facilities and view a few manufacturer’s products. Although not a hugh turnout, those who attended

had a great day and enjoyed the hospitality. Our thanks go to Whitelight for hosting this event.

“4 April saw the long-awaited trip to Sky to see the new studios and, in particular, the Formula One studio complete with F1 Car! This was well attended and, I think, opened a lot of eyes as to where the leading British broadcaster is really based these days! Our thanks go to the Sky team.

“May Day was the date for a trip to one of our sponsors, Hawthorn, in Leicester. This was preceded by a visit to the nearby Abbey Pumping Station. Both venues were much enjoyed by those who were able to attend and they were rewarded with a trip around the Belvoir Brewery (with samples!) followed by a meal kindly supplied by Hawthorn. Our thanks go to Hawthorn for their hospitality.

“15 May was the date of a visit to the BFI for a preview of a documentary about BBC Television Centre. The event was very well subscribed (about 60) and was followed with drinks and a buffet at the nearby Mulberry Bush.

An excellent evening was had, and thanks go to Ian Hillson for the suggestion and organisation of the event.

“Later that month, 24 May, was a visit to The Voice studio at Elstree.

Studio and theatre trips always draw a good crowd and this was no exception. Our thanks go to Mark Kenyon and his team, and to Bernie Davis for organising our end of things.

“13 and 14 June saw the annual ABTT Theatre Show, held this year at The Old Truman Brewery in the East End of London. This is always an enjoyable exhibition to visit, and last year was no exception.

“The summer proved to be very busy for a lot of us last year (can’t think why!) but we did manage to squeeze in an excellent visit to the James Bond exhibition at the Barbican on 22 August. As previously TV Lighting | Spring 2013

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STLD visit

mentioned, this was organised by Les McCallum and was very well received by all those who attended.

“September is the traditional month for the annual PLASA Exhibition, held for the last time at Earl’s Court, as this year it will be at ExCel in October. The STLD was there as usual (thanks to our King of the Exhibitions, Paul Middleton) and many familiar faces came along to say hello, along with some new ones.

“The KOI awards were held on the Sunday of the exhibition, this time in Battersea Park. The venue seemed very suitable and the STLD were well represented. Thanks go to Paul Middleton for organising our stand at PLASA, and Bernie Davis for organising the KOI nominations. I’m sure Bernie will soon be mentioning about getting nominations in for the 6th KOI Awards in October (see p33 of this issue).

“22 October saw a visit to AC Lighting at their base in High Wycombe. A good turnout was seen from the Society and members were shown a number of products available through AC. This was followed in the afternoon with lunch and a trip to the races, thanks to the hospitality of AC. It was a most enjoyable day and our thanks go to AC Lighting.

“The year finished with an excellent visit to the Strictly Come Dancing studio on 20 December.

Although there was little time to arrange this, about 40 members attended and were given an insight into this very popular programme.

Again, our thanks go to Mark Kenyon and his team for setting this up.

“We have been invited to a number of events during the year, but I would like to mention Peter Phillipson, who invited the STLD to two very good meetings. Firstly there was ‘London’s Legacy: A Celebration in Light’ held on 11 October at The Building Centre, closely followed by ‘Taking Control’, held on 13 December at London Transport Museum. I know a number of members were able to take advantage of these and we do thank Peter for the invitations. Peter also 8

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wrote an excellent article for the magazine about the history of BBC Television Centre (‘A landmark in television history’, issue 106.)

“For those who were not able to attend a meeting last year, all of the above have, or will be, featured in the magazine. One very important part of meetings is that everyone is able to participate through reading the magazine.

“I would like to thank the whole committee for all their work they have put in during the year. The standard of meetings has been excellent and we have managed to get the magazine on a firm footing using professional help to produce it and still managed to save money. We are still able to provide a good-quality diary to our members and this has been produced virtually cost neutral this year.

“I would just like to mention our Secretary Richard Bowles, who has done a great job for the Society over the last few years. I’m pleased to say Richard wishes to stay on the committee looking after web matters with Mr Hillson, but due to his commitments at Sky, he feels no longer able to carry on with his secretarial duties. However, before everyone leaves the room in case I ask for volunteers, I am pleased to say that John O’Brien has stepped up to the plate. This is great news for myself as John and I were colleagues at Thames Television, but I promise we won’t reminisce too much at committee meetings.

“This report would not be complete without, unfortunately, the mention of one of our members who has departed us. We usually get to hear of a passing quite quickly, but this one was only discovered recently. A number of you will recall Geoff Shaw, who was a respected lighting director with the BBC and lifelong supporter of the STLD. We had not heard from him for some time and eventually managed to find out he had in fact passed away a couple of years ago.

Our sympathies go out to his family.

“As well as my usual plea for us all

to recruit more members, I would just like to mention a couple of points, which are starting to become a problem. Firstly, there is the matter of subs. As you are all aware, subscriptions were increased at the last AGM in order to put us back on track financially. We have on a number of occasions asked members to check their standing orders to make sure the correct level of subs is being paid. You would be amazed at the number of members who have not changed their standing orders for years. Not only does this mean they are getting membership at cost price, thus losing the Society money, but it also means all those who are paying the correct amount are subsidising them. Can I please make a plea to everyone to check their standing orders and make sure they are up to date. Standing orders are not the same as direct debit and can only be altered by the account holder.

I would recommend credit card payment as a far better system, which I know the Treasurer is keen on.

“Secondly, we are slowly moving to email communication, which means you will only hear about meetings via email and the website. If you are reading this report in the magazine and wondering why you knew nothing about it, it means we either don’t have an email address for you, or the one we have is incorrect. So please, please check and make sure.

“Ladies and Gentlemen, this is my report and I would move its adoption.”

Stuart Gain Chairman With the AGM over it was time for some refreshments and, after a chance meeting while visiting the museum, Les had arranged for the women from the local Buddhist centre to provide the catering. How many other societies can give you such an entertaining and novel evening as an AGM? Further details of the AGM will be on the STLD website, www.stld.org.uk, soon.

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STLD visit

Strictly at the Centre Words: Martin Kisner Photographs: Martin Christidis & John O’Brien Watching the Strictly Come Dancing final on Saturday 20 December, one couldn’t fail to be impressed by the stunning pictures produced by Mark Kenyon and his team. Two days previously, the STLD had been invited by Mark to visit the set in TC1 at BBC Television Centre. This was to be the last Strictly to be recorded at TVC as BBC TV is vacating the building in March 2013 and future series will be recorded on the George Lucas stage at Elstree Film Studios.

On a cold, damp Thursday evening in December, more then 40 STLD members and their guests arrived at the main entrance to TVC to collect their visitor passes. They were met by Andrew Dixon, who undertook the organisation of this meeting in his usual efficient manner. To those of us who spent most of their working lives in this building, the visit had extra meaning, being probably the last time we would enter BBC Television Centre, a centre of excellence for more than 50 years.

Seated in TC1 amid the familiar hum of a large automated lighting rig in an atmosphere of fine haze produced by a single MDG Atmosphere Hazer, within a TV set familiar to millions, we listened to a very relaxed Mark explaining the lighting rig and his approach to the lighting of the 10th series of Strictly. He was supported by Automated Lighting Op. David Bishop, who runs the automated and LED rig as well as the Hippotizer media servers through his Compulite Vector console. The generic rig and the 10 Robert Juliat Alex tungsten follow-spots are controlled by Darren Lovell, who, unfortunately, couldn’t join us on that evening.

The set, designed by Patrick Doherty, features a specially constructed dance floor comprising a metal frame, within which is a layer of carpet laid over a sprung wooden dance surface. Mark uses six 10,000lumen Panasonic projectors hung from 10

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the rig to project onto the floor to spectacular effect. The use of uplighting and carefully controlled followspot lighting on the dancers allow the floor projections to feature with great clarity. The up-lighting units are RGBW Chauvet LED moving wash lights, allowing complete control over colour, focus and level. These levels are ridden

by Mark on a fader wing connected to the Vector, ensuring they are appropriate to the look of the dance and the position of the dancers. The stage area containing the orchestra and singers, which used to be framed by a proscenium arch, now features a series of receding internally LED ribbon-lit semi-circular arches reminiscent, as Mark suggested, of the Hollywood Bowl. These incorporate LED video wall panels following the line of the arches, with a semi-circular video wall panel at the back of the stage.

Combined with the video controlled LED RGB ribbon-clad stairways and balcony framing the orchestra, they provide a canvas for the wonderful graphic displays that back the dancers.

This year Mark has introduced some new kit into his rig, including the ubiquitous Clay Paky Sharpy: a small moving-head lamp, which packs a powerful punch, replacing the much higher powered and weightier VL 2500s and VL3500s. The Sharpy weighs in at 16kg and is a 190W moving head light that produces a defined parallel beam of light of brightness far greater than many lamps of much higher power. The beams of light produced are almost laser-like, with or without any effects features in the gate, and, according to Mark, require less haze in the air to maintain their definition.

They are used to great effect and add an extra dimension to the overall lighting. Also increasingly used are LED moving head wash lights, which provide the up-lighting for the dancers and the

set. The use of LED units such as these helps the green credentials of the production, though there is no green policy for lighting.

Martin Professional LC screens supplied by Richard Martin Lighting were to be used for the first time on the final show of the series to provide an animated backing for the orchestra.

Mark was concerned that there might be complaints from the musicians, particularly the drummer, about being distracted by the output from these LED units. However, they were used to great effect on transmission, receiving compliments rather than complaints Of the 10 follow spots, four are used to cover the competition numbers and all 10 are used for the major production numbers involving all the dancers. There are also some Source 4s available for further cover if required. Presenters Bruce Forsyth and Tess Daly are keyed by follow spot.

Tungsten VL 1000s are used for the keying and for the change to red on the eliminated couples in the results show.

They also provide keying on the band members and any additional backing artists for guests performing in the opening, closing or results parts of the show. Complementing the VL 1000s in the hung rig are Alpha Beam 300s, Alpha Wash 575s and VL2500s, which are available for use as specials.

Keying on the panel is by Source 4s mounted, for accessibility, on the opposite gantry rail. Mark mentioned that when keying the panel, he had to take into account Bruno Tonioli’s chairstanding antics. An additional key is tightly set on Bruno for these occasions, ensuring less light spill on the audience than by widening a single key.

For this series, the graphic designer, Dave Newton of Potion Pictures, is responsible for producing the graphics used in the LED and projection backgrounds rather than the lighting

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STLD visit

team selecting them from a library. He is based in the lighting gallery, enabling him to respond quickly to production requests for changes in the graphic displays, for which Hippotizer media servers are used. The outputs are modified and controlled by David Bishop via the Compulite Vector.

Most of the automated rig is supplied by Finelight, with RML supplying some of the VL1000s, in addition to the LC screens. PRG supplies the projectors and video walls, with LED Poison supplying the RGB and LED video ribbon. Mark’s company Maxaluna supplies the balance of the equipment, including the Hippotizers, follow spots, Novaflowers and a variety of LED fittings, tungsten and truss extras. The lighting technology is looked after by Technician Mark Newell, and the LED products, along with associated video mapping, are looked after by James Smith.

Mark mentioned that this year the set was left standing, except for the weeks when TC1 is needed for Later... with Jools Holland, his Hootenanny show and Children in Need. On these occasions, the get-in starts on Wednesday to be 12

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ready for Friday rehearsal and recording.

Otherwise, Thursday is spent preparing building blocks and starting points for the looks of the show. Rehearsals start at 9am on Friday, with 15 minutes for each dance. The production numbers are then recorded. Bruce and Tess come in for rehearsal between 3pm and 5pm, followed by the recording of It Takes Two with Zoe Ball.

On Saturday, the main show and the results show are rehearsed from 9am. Dress runs for both shows and the recording of the opening number take place in the afternoon. The main show is transmitted live and the results show is recorded for transmission on Sunday evening.

Q&As followed and the question of crew size was raised. This can vary from as many as it takes to get the rig in, to charge hand plus four on the rehearsal day, which increases to charge hand plus 10 for the transmission day. Mark says he draws his follow spot operators from the crew and was full of praise for their work – most of them worked on previous series. The electricians’ crew is led by the indomitable Dave Cameron.

Following the Q&A we were free

to take a look around the set and take photographs. A popular photo position was the judges’ desk, where the odd shout of ‘severrrrrn’ was heard. In due course we retired to the BBC Club, where Andrew Dixon had arranged an excellent buffet accompanied by some liquid refreshment, with which some of those present perhaps toasted a fond farewell to TV Centre, our home for so many years. We were not alone in this as adjacent to us a party was in full swing, where a slightly younger TV generation to us were giving voice to their last Christmas at BBC TV Centre.

Our thanks to Mark Kenyon for setting up such an insightful meeting, and to David Bishop and Dave Cameron for their contribution to the evening. Special thanks also to David Bishop for his assistance in ensuring the technical accuracy of this article and providing any additional information I had overlooked.

Previous page: The main stage. This page, clockwise from top left: STLD members with Mark Kenyon; the TC1 dimmer room; the Compulite Vector; David Bishop and Mark take on the judges’ role

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Strictly Come Dancing

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Sponsor Highlight

Focus on RML

Richard Martin Lighting recently opened their doors to visitors to show off their latest purchase: the Robe Robin MMX WashBeam (pictured above).

Don’t let the name mislead you: this unit is not a wash light, nor is it a beam light. In fact, it qualifies as both and more. Robe have been inviting lighting designers from the UK to visit them at their Czech Republic headquarters to inspect their premises and try out their latest range of lighting, but these visits are not oneway traffic. They have been quizzing people on what they want from their lighting, and the MMX WashBeam is a product developed from this information.

And I have to say it is very impressive. It fits comfortably into the lighting ‘toys’ category but does more than most. Thanks to the Philips Platinum 35 light source and some very good optics, an 800W unit packs the punch you would expect from a 1,200W mover, giving an excellent beam display, enhanced by some appropriate beam-splitting gobos.

A powerful zoom offers a beam range from 65 to three degrees, and the 14

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beam can be shaped by framing shutters. Snap in the diffuser lens and it changes a spot with gobos into an effective wash light, again with an impressive zoom range from 54 to four degrees. A saturated colour wheel and CYM mixing offer the usual colour options, together with a variable CTO filter. One light does all.

Now to get this straight, the MMX WashBeam can’t do absolutely everything that all movers do – the framing shutters are more accurately described as internal barn doors as they move in straight lines, and only the whole assembly can rotate through 180 degrees. There is only one gobo wheel with six gobos, and the gobos are chosen for beam splitting rather than for imaging, but the combination of all the features makes this the multipurpose tool of lighting toys. The functions are so fast you can snap from effect to effect, jumping from traditional gobos and washes to the narrowest of pencil beams in an instant. Even the shaping shutters can snap in and out in virtually no time, adding to the exciting toolbox of effects this unit can offer. Add to that

a remote hot-spot function that gets the best out of the very narrow beam performance and you have a very versatile lighting instrument. Those were the days when you might alternate spots and washes along a bar; you can line it with these and decide what you want cue by cue.

RML have added the MMX WashBeam to their already extensive stock and I can see them quickly becoming the latest must-have gadget in the lighting rig. For the demonstration, Avolites lent RML a Sapphire Touch – Avolite’s new stage-lighting control console featuring dual touchscreen monitors – operated by RML’s Simon Cox. The Sapphire touch is designed for large-scale arena tours and features 45 motorised faders in a reasonablysized package. The combination of the touchscreens and motorised faders makes for a very sophisticated desk that is ideal for busking or for lighting in a hurry – and who gets enough time these days?

More information can be found at: www.richardmartinlighting.co.uk, www.robe.cz and www.avolites.com Bernie Davis

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Information

It’s show time!

Showlight is one of the most stimulating events in the international lighting calendar. Taking place once every four years, it is unlike any other trade event.

Technically a colloquium – a meeting for discussion – it places emphasis on debate, stimulated by papers from respected industry experts, and provides a gathering ground for like-minded people. Now, with just a couple of months to go to Showlight 2013, this year promises to give us another enthralling three days of talking, listening and learning.

The 2013 programme includes bigbudget spectaculars such as the Opening and Closing Ceremonies of the London 2012 Olympics and the Queen’s Diamond Jubilee Concert, including the 3D mapping of Buckingham Palace, as well as low-budget challenges. When The X Factor went to Iceland, a country of just 350,000 inhabitants, the heads of Icelandic TV expected their version to look just like the UK production.

But did Set and Lighting Designer Alfred Bodvarsson live up to the challenge? Find out at Showlight 2013!

Apart from the London 2012 Olympics, one of the most topical – and probably the most controversial – subjects is LEDs. A panel of experts comprising Jim Tetlow (Theatre Consultant, TV and Theatrical Lighting Designer), Fred Foster (CEO of ETC), Ryan Fletcher (LED Lighting Product Manager, ARRI) and Fabiano Besio (President, LDR) will discuss the many advantages of LEDs, their use and misuse, the colour balance problems with video cameras, and the dangers of specifying them for the wrong reasons.

In the same vein, Frieder Hockheim, President of Kino Flo, will talk about the technical development of filmfriendly fluorescent lights and the future development of LEDs. Wayne Howell of Artistic Licence will outline the various protocols for lighting control, suggest when each is the best choice and look ahead to see what will become available in the next five years. Israeli Lighting Designer AviYona ‘Bambi’ Bueno will tell of lighting three operas at the foot of the Masada Mountains, and Tupas Martir, who has

pioneered the use of automatic moving light tracking in dance, will talk about the lighting of Nierka.

These are just a few of about 25 papers that will be presented and, as speakers stay for the duration of the event, delegates will have the opportunity to discuss their papers, and other subjects, during the many networking opportunities.

Showlight 2013 takes place in a fairytale castle in Cesky Krumlov, a UNESCO Heritage Site in the Czech Republic. Within the castle is a baroque theatre dating back to 1680, to which Peter Perina, Chairman of the theatre’s Foundation, will give an introduction.

As part of the visits programme on the Monday afternoon, delegates will be able to tour the theatre and see its under-stage mechanism.

Other visits that afternoon will include a sample of the local brew, which is always popular. In this case, it’s the original Budweiser, not to be confused with any other! This visit will include a tour round one of the most amazing industrial bottling plants in Europe. Also local is a graphite mine, which, although no longer operational, is open for underground tours. Not for

the claustrophobic, this trip takes you on a little train to the working face of the mine, from where you walk back to the surface looking at the machinery involved in cutting the ore from the rock face. You are issued with overalls and hard hats and you get the chance to continually set and focus your very own miner’s lamp!

As a not-for-profit organisation, Showlight is reliant on its sponsors and about 40 trade stands for income. The 2013 event would not be possible without the huge support it is receiving from Robe, the main sponsor behind the conference dinner and projection equipment for the auditorium. We are also grateful to Clay Paky, the sponsor of the welcome reception on the evening of Saturday 18 May; to Martin Professional, as sponsor of expenses for the speakers; and to White Light, sponsor of the coaches for the Monday afternoon visits programme.

Showlight 2013 takes place from 18 to 21 May 2013, starting with a welcome reception on the evening of 18 May. The registration fee covers everything, including access to all the seminar presentations, the Continued overleaf

Limited offer of free registration for STLD members You can still apply for STLD sponsorship to attend Showlight 2013. The STLD will pay for your registration, normally £265, so all you have to do is pay for your flight and hotel. Most meals are provided so you won’t need to budget much more than that. In return, we ask you to help report back on the range of papers and meetings for the magazine. If you would like to take advantage of this offer, email berniedavis@stld.org.uk. Numbers are limited, but currently there are still places, so if you are interested, please let us know.

For more information, visit www.showlight.org, and keep an eye on www.stld.org.uk for more about our arrangements.

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Showlight/BBC TV Centre

Information

Showlight 2013 continued

trade show, full participation in the visits programme, food and drink throughout the day and a place at the main conference dinner. The only additional costs are travel and accommodation.

For more detailed information about the many activities surrounding Showlight, including availability of stand space in the accompanying exhibition area, visit www.showlight.org. The website also has details of UK flights to the Czech Republic, which are being updated as revised schedules become available, and links to plenty of hotels and pensions within walking distance of the venue. See you there!

Exhibitors:

ADB Lighting Technologies Apollo Design Technology ARRI Lighting Solutions Artistic Licence Engineering Ltd Clay Paky Spa Elation professional B.V. ETC Ltd GDS Green Hippo Ltd Hawthorn HSL James Thomas Engineering Ltd Leader Light

Farewell to TVC Photographs: Don Smith & Bernie Newnham

About 150 tech ops staff reconvened to say goodbye to TVC on 12 March. The get-together was organised by one of the senior cameraman, Bill Jenkin. The group took a nostalgic trip round studios and control rooms and then, after the photocall, retired to the BBC Club for lunch and a drink, with the last pint served enjoyed by Duncan Brown (pictured inset). It was, writes Andrew Dixon, quite a day for us all!

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Lee Filters LSC Luci Della Ribalta LumenRadio AB MA Lighting International GmbH Macostar Hong Kong Ltd Martin Professional A/S Oasis Enterprises LLC Philips Entertainment Rainbow Colour Changers Robe Lighting s.r.o.

Robert Juliat Roscolab Ltd White Light Ltd

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STLD philanthropy

STLD lights up Africa Words & photos: Andrew Dixon It isn’t often we put our heads above the parapet and offer to go somewhere where we know we will be uncomfortable.

I chose to do just that when I went out to Africa to do some maintenance work at St Francis Mission Hospital, Katete, in a remote corner of Zambia, in September last year.

As it happened, most of my fears were unfounded: I was given European food to eat as we were dining with other volunteer European medical staff in the doctors’ mess, and encounters with Africa’s creepy-crawlies were minimal. The people were wonderful – friendly, generous and helpful.

Two other Christian friends and I spent most of our time decorating the new outpatients’ department, which had previously been the children’s ward. The intention was to act as encouragers and as extra pairs of hands working under the instructions of the hospital’s own maintenance staff. None of us found this difficult as their methods were fine for the hospital’s needs, and we enjoyed being supplied with materials and directed what to do. We started as rubbers down and undercoat appliers but later got promoted to glossers and straight-line painters.

LEDs to the rescue

How has this got any connection with lighting? Well, before we went out we knew that good-quality tools were difficult, if not impossible, to find 350 miles from Lusaka, the capital. Most supplies seem to be manufactured in China, so reliability and longevity are somewhat of a problem. We started collecting money from friends and relations to spend on tools and supplies. We asked what was most needed and, after looking at some photos of the wards, I offered to take out some LED replacement lamps for the 100W incandescent bulbs.

As you probably know, there does not yet seem to be a LED replacement for 100W bulbs, but I did manage to find a manufacturer of 7W LED bulbs that were supposed to be equivalent to 80W of incandescent bulb. They came from LED HUT in Winchester. A sample seemed nearly as bright as a 100W lamp, so I bought some and also a few 40W (200W T/H replacements) floodlights, which I thought might be useful outside. Well, I guessed just right. After managing to get the bulbs accepted by BA as safe to go on the plane (they feared they would explode), and through Zambian customs (they feared I was going to sell them – when I said

Clockwise from top left: Andrew’s LED bulbs are gratefully received by the hospital’s maintenance boss; the men’s ward, lit by 12 bare bulbs; Andrew gets to work; St Francis Mission Hospital is in a remote corner of Zambia; a portable X-ray machine, which was donated two years ago but has never worked; the hospital chapel, lit with just four lights; spark Boyd Zumbi wearing an STLD polo shirt; a mouse takes up residence in the broken X-ray machine; Katete parish church, with the new church being built around it

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Andrew Dixon in Zambia

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STLD philanthropy

they were gifts for a hospital, they waved me through), the bulbs got an amazing reception from the hospital’s maintenance boss. What was even more rewarding was the speed at which the lamps were installed. Life is somewhat slow in Zambia so I quite expected the bulbs to languish in the stores for ages. Imagine my surprise when, after a few days, I found the LED stock all used up and even most of the compact fluorescent bulbs that I’d also brought out gone (a cheaper alternative to LEDs but they last a lot longer than incandescent bulbs).

The LED floods replaced rusting, cheap 40W flori tube fittings. Forty-Watt LEDs are sufficiently bright, but by our standards they would be considered dim for the large areas they were lighting. Consider the alternative though: pitch blackness. Or that’s what it seemed to me, but then, when out at night brandishing a torch, how was it that the locals whizzed by on unlit bikes and there were obviously many others walking about quite happily in the darkness? It’s worth saying that the wards are provided with battery back-up power for when the mains fails, which is most days. The main back-up generator takes time to get going and uses up expensive diesel fuel. The LEDs will do their bit to reduce the load.

See in the dark? No complaints

The locals’ ability to go about their business in the darkness was also true of the sparks installing new wiring in the roofs of the wards. I’d pop my head up through an access hole in the ceiling and call “Anyone there?” into the black void.

“Yes,” came the distant reply. “Can you see what you are doing?” “Not very well.” “Would you like a torch?” “Oh, yes please!” Bang goes another of the head torches we’d taken ‘just in case’. We brought very little home apart from the clothes we stood up in!

Intensive care – dark corners

After being at the hospital for a few days, the paediatrician (on sabbatical from Leeds Hospital) asked if I could have a look at improving the lighting in the intensive care bay of the new children’s ward. There were four high beds where really sick babies were laid. When the sun, reflected off a nearby white wall, ceased to pour into the area, it got too dark to be able to see clearly. I thought, “A simple 20W CF would do the trick.” It was quite fun sourcing good-quality ceiling roses and pull-cord switches. A Leicester-born Indian who ran a shop ‘in town’ seemed to be able to get anything from illegal mice poison to decent-quality ladders. Small talk about Liverpool United seemed to oil the wheels of commerce, too! We got the kit we needed within a couple of days.

X-rays for mice

I suppose X-ray machines are a sort of light device. Here’s another story... I fancied trying to apply some of my engineering skills to the long list of bits of kit that we had been told no longer worked. There seemed to be plenty of funding for big projects, such as the building of new wards, but no provision for long-term maintenance. A portable X-ray machine had been donated two years ago but had never worked. I had little idea what was wrong but I thought it was worth looking at, 20

TV Lighting | Spring 2013

Clockwise from above: Andrew was asked to improve the lighting in the new children’s ward; the old children’s ward before it became the new outpatients’ department (inset); the LED floodlight in place over the hospital’s sign

especially when I heard the orthopaedic surgeon saying, “If only that machine was working, we could be of so much more use to the patients.” The outcome of my efforts with the maintenance guide, and then trying to get an expert out from South Africa, have, sadly, so far come to nought. How can you compete with local mice who take up residence when you are not looking? When you shoo them away, they dash straight into the sterile area of the operating theatre that you, as a mere dirty human being, are not allowed to enter!

The four-lamp church

Lighting churches is one of my sidelines, but contributing such skills in Zambia is slightly difficult. Katete parish church is unlikely to be used at night – a waterproof roof would come before lights. The new church, which is being built around the present one, will probably by blessed by yet more florescent tubes, unless I’m around at the right time to suggest something a bit better!

The hospital has a chapel, lit with just four lights, including one behind the chancel arch and a single bare bulb over the rear of the congregation. Another one lights the reading desk. When two of those ceased to work, little notice seemed to be taken by the enthusiastic congregation.

Complaining just does not seem to enter the Zambian behaviour; they will gladly wait hours and sometimes days to be seen by the hospital doctors without any obvious complaint. However, the offer to replace the dud lamps was greeted with delight. I can now add Katete Hospital chapel to my list of ecclesiastical triumphs!

STLD in Zambia

Before leaving the UK we were asked to take out all sorts of unusual items, from thermometers to T-shirts, and sugarlevel monitors to pencils. Do you remember the STLD sweatshirts and polo shirts we started selling years ago? The logo design changed recently and the new polo shirts reflect this change. As a result, the STLD committee very kindly donated the spare old stock to be distributed in Katete.

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Andrew Dixon in Zambia

In memorium

David Whitehead, 1953 –2013

I struck up a friendship with Boyd Zumbi, one of the keenest sparks I have ever met, and he is now a proud advocate of the STLD in Zambia.

My thanks go to those STLD members who responded to my personal appeals for funding to buy the items that I took out in September. Since returning home I’ve managed to send out more LEDs. I have also heard that, for several months, the Zambian Government has not paid the grant promised to fund half of the hospital’s work. Meanwhile, in these economic hard times, the charities that also provide funds are reducing their aid. Any enlightening help we can provide will still be gratefully accepted. andrew@adlight.co.uk

David Whitehead, founder and majority shareholder of Stage Electrics, passed away suddenly on Monday 18 February after a courageous fight against cancer.

David was diagnosed with cancer 15 months ago and met the challenge of his illness with the same blend of determination and optimism that was his hallmark in business. Since stepping down as Managing Director of Stage Electrics, he had devoted time to ensuring a secure future for his company and its employees. His majority ownership passes to his family. However, David has made sure that Stage Electrics is in safe hands, with strong management in place led by Managing Director Dan Aldridge and Chairman Trevor Smallwood.

David founded Stage Electrics in Exeter in 1979 and built the company into the nationwide multi-discipline organisation it is today. Leading the company as managing director and owner for more than 30 years, he built the company’s reputation into one of the country’s largest and most experienced suppliers of entertainment technology.

Our deepest sympathies go to his wife, Caroline, and his children, Simon, Pollyanna, Jacob and Alexander, and to his friends and work colleagues.

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Lighting

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Splash!

Gurdip Mahal makes a winning Splash!

Photographs: Andrew Dec Splash! is a new reality TV competition presented by Gabby Logan and Vernon Kay, and featuring Team GB Olympic Bronze Medal-winning diver Tom Daley. Broadcast by ITV on Saturday nights between 5 January and 2 February, and due to return for a second series in 2014, the programme follows celebrities as they try to master the art of diving.

Each week they perform in front of a panel of judges and a live audience in an Olympic-size swimming pool, and the public then vote for their favourite. Sounds simple enough, right? The concept might be straightforward. Implementation, however, was a massive production challenge.

Lighting Director Gurdip Mahal was appointed by production company TwoFourTV. His brief was to light the Inspire: Luton Sports Village pool as a ‘real space’ rather than as a light entertainment studio. “They wanted it to feel like an actual event,” said Gurdip. “The show capitalises on the successful swimming and diving events televised during the recent Olympics, so my brief was to bring that energy and excitement into a poolside venue. Being a prime-time Saturday night show, there also had to be some glitz and glamour.”

But Gurdip was faced with some major obstacles. The £26m state-of-the-art sports and leisure centre had only just been opened by Luton Borough Council, and the authority was understandably nervous about all the health and safety implications. They had fears about mixing electricity and water, the extra weight loading on the roof, not to mention the potential for negative publicity should anything go wrong. The pool was also required to be open on weekdays in between shows so that the local community could use the facility.

Health and safety first

Working in a public space is always going to be limiting and there must be 2.5m separation between any electrical item and the water, so the whole process to plan and implement the show was very slow and painstaking for the production team.

Gurdip was told that if a lamp were to blow and any glass went into the water, the pool would have to be shut for up to three weeks while it was drained and the filters were cleared and set up again. The medical dangers of any swimmers ingesting glass are very serious indeed.

“I knew I needed lighting above the pool,” said Gurdip, “but I wasn’t sure how to go about it as we couldn’t bring in cherry pickers or get near to the roof.” He turned to ELP and to Project Manager Barry Denison to come up with a solution.

With only two weeks’ notice before the pilot, it’s fair to say they were ‘highly focused’ on finding a solution for Gurdip. ELP assembled a team headed by Barry, together with Head Rigger Steven ‘Nipper’ Finch and ELP Gaffer Justin Denchfield. After some initial CAD illustrations, and numerous meetings with the council and its architects, the

solution arrived in the form of a 22m, fully-enclosed transparent platform bridge (pictured opposite, middle left).

It was made from ELP’s stock of James Thomas Supertruss, hung and lifted into position using Lodestar one-ton motors.

Barry managed to source some PVC sheeting – the kind used in marquees – and had this custom-made to enclose the entire bridge. It was all tested prior to arriving on site and eliminated the potential of any glass getting into the pool. Weighing in at 2.5 tonnes, the bridge safely contained 20 moving lights and 20 Source4 profile spots.

The council insisted the leisure centre opened during the day, so the crew worked three night shifts to install all the equipment, working around pool opening hours. The plan was to use as many moving lights as possible as these could be focused remotely from the desk.

Once installed, all the lighting equipment hung over the pool or above the spectator seating remained installed throughout the entire five-week series. The rig was left powered but faded down when not in use so that the current generated a little bit of heat, helping to prevent moisture and pool condensation building up on the circuit boards.

Lighting above and below the water

“It’s the first time I’ve ever done anything like this over water,” said Gurdip, “and I’ve discovered a lot through the process. All the safety rules make you think differently about how you go about things. You focus on what you really need.

Creatively, you need to think about how light behaves below the water as well as above it. When a dive takes place, for at least half the time, cameras are filming under water. It was interesting to see how different beams behaved below the surface. For example, the Clay Paky Sharpys worked really well under water as they are so punchy.”

Clay Paky Alphaspot HPE 1500s were used as key lights, while VL 3500 wash lights were used to colour-wash the set and throw coloured light on to the diving boards. The Sharpys provided texture and gobo patterns on the water, which were visible to cameras above and below the water line. Martin Mac 2000E wash lights were used as uplighters to light the walls behind the diving boards, while the boards themselves had Mac 2000E Performance lights beaming directly on to them, and Mac Auras surrounded a giant video screen. The lighting fixtures came from ELP and from Aurora Lighting.

Three Robert Juliat follow spots were positioned around the arena to light the contestants as they walked around the water’s edge and up on to the diving boards; the follow spot team was headed by Dave Scrivens.

ELP’s range of battery-powered hand-held Lite Panels were the ‘hand basher’ of choice because of their excellent battery life. Also, with consideration to safety, this meant that anything TV Lighting | Spring 2013

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Lighting

Splash!

Above: VL 3500 wash lights were used to colour-wash the set and throw coloured light on to the diving boards, adding drama to the contestants’ big dive.

Inset: The Sharpys provided texture and gobo patterns on the water, which were visible to cameras above and below the water line

working close to water was running only on battery power.

A linear LED ribbon product supplied by LED Creative was used to decorate the handrails of the diving boards, the edge of the pool and parts of the judges’ table. The company also supplied submersible low-voltage LEDs for the floating pontoon.

Jes Smith was the board operator for generics, key lights and follow spots, while Ross Williams looked after the moving lights and LEDs. The time of the year and scheduling of the show meant that Ross and Jes were programming rehearsals during daylight hours and broadcasting in evening darkness, and as the venue was one large greenhouse it meant that some guesswork was inevitable before final corrections could be achieved once it got dark.

Power, crew and extra space requirements

The venue didn’t have the required space for production offices or a lighting gallery so ELP offered another solution in the form of one of their mobile production office suites.

These units are furnished, carpeted and air-conditioned.

Panoramic windows let in lots of light and provide an excellent viewing position. Their rapid on-site deployment made them a perfect solution for this job, both as a lighting 24

TV Lighting | Spring 2013

production hub and meeting space for the crew.

ELP’s 400kW twinset generator powered all broadcast departments for the show, including cameras, scanner, lighting, sound, video, dressing rooms and production offices. Colin Goodacre and Paul Helm were ELP’s generator technicians.

All of the distribution cables and any equipment on the ground had to be removed at the end of each broadcast so that the pool could reopen to the public the next morning.

It was a busy shift for the ELP crew, who included Justin Denchfield (gaffer), James Tinsley and Richard Shout (technology), and Ian Mulcahy, Lidz Milheiras, Paul Tibbles and Toby Phillpott (electricians).

“I think the lighting inventory we chose gave us a good balance and plenty of flexibility,” concluded Gurdip. “On the one hand we had special acrobatic diving and high-energy dance performances, which needed to look fun and dynamic – a bit like a pop promo. Conversely, we needed to create a still, dramatic scene during the contestants’ big dive and make sure there was plenty of light at the very top of the diving boards. I’m really pleased with the way the show looked and want to thank Barry and the ELP crew for all their support and innovation.”

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Sponsor Highlight

Focus on Ambersphere

Clockwise from above: The Clay Paky LED range; Ambersphere’s well-equipped maintenance area; MA2 onPC Command Wing

Date: 19 December 2013 Location: Ambersphere HQ, West Acton, London Occasion: Christmas party!

Although Ambersphere has been around a while now, this was the first time I have been to visit its premises – a business unit just off the A40 near Park Royal, West London, writes Bernie Davis. The location was very familiar to me as it is directly opposite where my old BBC office used to be when I left in 2001. The building has since been redeveloped, leaving the strange sight of a really familiar road with a totally unfamiliar building. But I hadn’t come to stir old ghosts; I wanted to learn exactly what Ambersphere is about, and I suspect that a few STLD members know even less about them than I do.

Philip Norfolk explained: “It is very simple: we represent product support in the UK for MA Lighting and Clay Paky. That is it, no more and no less.

Both companies are based abroad: MA Lighting in Germany and Clay Paky

in Italy, and both have products that are making a large impact on the UK lighting scene. It is much easier for the manufacturers and for the customers to deal through Ambersphere.”

Phillip gave an example of a problem with an MA desk on a tour in Ireland recently. Although the lighting designer had a back-up system, Phillip was able to look up transport to the next location and get a replacement desk there in time for the next stop on the tour.

The business unit is not large but is big enough to house a good demo space, product training, more than enough office space, and warehouse and maintenance areas. Clay Paky

fixtures coming in from Italy travel to Ambersphere first to be checked again before moving on to the customer. Ambersphere knows that the Clay Paky factory make exhaustive checks on everything before it leaves, but this gives the company peace of mind before passing goods on to their customers.

A new addition to the MA range is the MA onPC Command Wing.

A much more portable version of the familiar MA desk, it is a control panel that just connects to a PC to become a fully-functioning desk with all the buttons and wheels you would expect.

Just load the free software on to the PC and the networking ability of the MA easily joins the two. Any show programmed on the full version of the MA range can be run on this light version, so you can programme on the big desk and travel with the small one.

And if you need more faders, there is also an onPC Fader Wing offering a further 15 playbacks.

To find out more, visit www.ambersphere.co.uk TV Lighting | Spring 2013

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Event

Figure one

Figure two

BVE ExCels itself Words & photos: Bernie Davis Concerns that BVE’s move to London’s ExCel in February would reduce the number of people attending proved unfounded, with stands being busy from start to finish.

By far the majority of exhibitors at BVE are not lighting companies; most cover the vast spread of technical suppliers servicing the TV industry in its ever-widening form, catering from the near amateur to the high-end film business. However, a few lighting companies braved the trip to deepest East London and were rewarded with plenty of interest in their products.

I went to see what was new and what 26

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might interest readers of TV Lighting, and I found a few gems.

White Light have only been exhibiting at BVE for a few years and are keen to let the world know that their trade extends beyond theatre. With careful thought to their stand they brought along a range of products aimed at the TV world, including a good-quality LED panel from Galaxia, better known for their large LED screens. Available in 60cm x 60cm or 60cm x 30cm sizes, both just 40mm thick, the colour temperature can be adjusted from 2,700K to 6,500K, and both offer a high colour rendering index of 90–95. Also on display was a soft light

from PR Lighting, the PR 3305 (Figure two), available in daylight or tungsten colour temperature. The flexible structure of the light allows it to be shaped to suit and to be folded away for transportation.

The Cirro Lite stand was always busy, but I managed to talk briefly to David Morphy about the developments in two of their core products. The Kino Flo Celeb (Figure one) shows how Kino Flo’s dedication to high-quality light generation can be applied to LED technology, resulting in a superb soft light consuming just one amp. The Dedolight range (Figure three) keeps expanding, too,

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BVE

Figure six Figure four

Figure five

Figure three

Clockwise from far left: The Kino Flo Celeb; this year’s event was held at ExCel London; the Cineo Lighting TruColor; the Highlight 440 with Cyclorama hood; a Mole Richardson LED; Square One; the Dedolight range; PR Lighting’s PR 3305

with a family of little LED lights coming in 20W, 40W and 90W sizes, all featuring the famous Dedo optics. David has been actively involved with new developments in the assessment of colour rendition in cameras with LED lighting, and we hope that STLD members will soon be invited to a prestigious meeting to look further into this subject.

A.C. Entertainment Technology had their latest acquisitions on display, most of which have been reported in past editions of TV Lighting, but my eye was caught by a very traditional-looking unit from Mole Richardson. Their famous tungsten fresnels have been seen on film sets for years, maintaining their comforting retro-style. Unknown to me, they, too, have been moving into the ever-expanding LED market, and A.C. Entertainment were showing their latest offering in this range: a 600W-equivalent LED fresnel consuming just 115W (Figure seven). You have to look carefully to see it is not a traditional tungsten fixture, and

indeed the LED source can even be retro-fitted to existing units. Apart from a dimmer and DMX socket, the only other features are spot and flood, and barn doors – just as you would want.

Although still a prototype, it will soon be available in 900W and 1,800W sizes – also with pole-operation option – and, at a very competitive price, this could well be a popular choice in the future.

Nick Shapley at LCA has again shown his knack for finding interesting products, this time in the shape of the Cineo Lighting TruColor (Figure four).

It uses the remote phosphor technology by which a panel containing the phosphors is inserted in the front of the unit, and high-power blue LEDs behind excite the phosphors to produce the light at the colour temperature you choose. The power of the TruColor is impressive – they claim to be the equivalent of a 1.2 HMI and I would say, if anything, it looked brighter. What’s more, you can plug eight of them into

Figure seven

a 13A socket. Much research has gone into measuring colour performance of LED units with cameras, and these units perform very well, giving a near-perfect response with the tungsten phosphors in particular. A range of accessories, including a foldable soft egg-crate and a soft-box, help to make this a light you really ought to try for yourself.

The ARRI stand was always crowded, with a lot of interest being shown in the L7-C, which combines the expected high quality of ARRI engineering with an LED light source in a fresnel body. Delivering up to 240 lux at 5m, and with a CT range from 2,800K to 10,000K, this otherwise traditional fresnel also has full RGB + W mixing and a 50,000-hour LED life.

Photon Beard had a selection from their range, which included their versatile Highlight Fluorescent units. These are good business-like lights that come with accessories such as barn doors and intensifiers, but the one that caught my eye was the Highlight 440, sporting TV Lighting | Spring 2013

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BVE

Event

a Cyclorama hood (Figure six, previous page). This reflector hood enabled the fixture to be hung at the top of a sixmetre cyc and to light it evenly top to bottom, within a photometric spread of just 160 lux. Another new product was a prototype to be launched soon: a square soft light again with a fluorescent light source, to be named The Square One (Figure five, previous page). As they rather tongue-in-cheekily put it, it was their answer to people who had tried square LED sources and might want to go back to Square One! The Doughty stand (pictured right) packed in hundreds of their specialist range of well-made gadgets and

accessories, though this was probably only a small selection from the full catalogue, and it was good to drop in on TMB, who were featuring their video server products from their catalogue.

BVE is aimed broadly at the broadcast market, and the spread of products is wide, from storage discs to OB vehicles, and from location services to edit suites. Some of the stands I looked at and could not even work out what they did, but I am sure they were useful to someone. Despite the low number of lighting companies exhibiting, it was well worth the visit, and I think everyone agreed that the move to ExCel was more successful than expected.

LED-ing the way in research into television lighting consistency You might have heard that Alan Roberts, of BBC Research and Development Department, has been looking into the measurement of the performance of LED lighting with cameras and has developed a new test procedure that can more accurately predict television lighting consistency with a TLCI rating that has now been approved by the EBU. We are hoping we will soon be inviting STLD members to a meeting at which Alan will talk about his research and how he hopes it will help to assess new lighting equipment in a way that is more realistic to camera performance. Keep looking at the STLD website at www.stld.org.uk for more information on this and other STLD meetings.

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Lighting

Politics and lighting as usual Words and images: Bill Klages The following article was first published at TVTechnology.com, for whom Bill writes a regular column, on 1 February 2012.

The majority of the time we are discussing good lighting, but what about ‘bad’ lighting? It has occurred to me that much would be gained if we were to illustrate examples of bad lighting. A casual internet search through the intensive media coverage of the Iowa presidential caucus provided me with plenty of examples. Bad lighting can cover a broad field, but I have limited my choice to the most important topic: the lighting of people. We shall use the definition of bad lighting as proposed by Gerald Millerson in his definitive Lighting for Television and Film – ie, lighting that makes people ‘unattractive’ – and one example for each of the candidates.

Ladies first

a perfect example of the prevalent use of two cross-key lighting: one light of equal intensity on each side of the camera. Supposedly, this is a ‘safe’ approach.

This is right up there on the ‘bad lighting’ list. In my example, Governor Rick Perry (above) displays two symmetrical, unbecoming cheek shadows that look like misplaced mustaches and give him a funny, cross-eyed look.

Also, in this method (if you can call it that), the absence of an eye light reflection is sorely missed. The kick from a person’s eye from the main light is desirable as this spark seems to make the viewer feel more contact with the subject.

Turn off the sun

The close-up of Michele Bachmann (pictured above) is quite tight and, as is true for its size, would require a deft and sensitive touch to the lighting. Instead, she has been placed in an extremely unattractive lighting situation: a cross light with disturbing highlights of portions of her face.

In my opinion, the starting point for finding the most flattering direction of a face light (for women, particularly) is always on the centre line of camera and subject, and with not too much elevation. Initially, it doesn’t matter whether the light is hard or soft, but that initial direction is probably going to yield an attractive result. Of course, the example has one additional flaw: a back light, which might have been OK if it weren’t for the fact that it has a rather blue tint. It has another shortcoming that deserves a demerit for bad practice – a highlight on Ms Bachmann’s cheek as well as on her nose.

A studio set-up

Finding bad lighting examples of location shooting is simple when the realities of actual conditions are considered – realities best described as ‘guerilla’ shooting. My second example has no such excuse as it is a studio set-up. It is

In the next example (below), Mitt Romney is caught in the late afternoon (or morning) sun. This effect, familiar in TV episodics, is usually confined to areas below chest level.

The light gets Romney right in the eyes. Yes, there will be great eye reflection, but the picture is so unbalanced that in no way can the camera hold this range of brightness.

To duplicate this effect in a studio would require a complicated set-up and some time to achieve it. When you view this segment in its entirety, you find yourself squirming as Mitt goes in and out of the patch of sunlight as he moves about. Very unattractive.

TV Lighting | Spring 2013

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Lighting

Backgrounds and balance

The choice of backgrounds is directly related to the lighting and is always an important issue. In the ideal world, there is a physical separation between the subject and the background, so that both can be lit separately and the relationships between the values are under the lighting man’s control. That perfect world is more the exception than the rule.

Rick Santorum’s example (above) looks like an early TV colour test, maybe best described as the ‘can’t see the forest for the trees’ syndrome. Further complicating this busy, but striking, visual mess, the candidate isn’t lit too carefully; he’s in some sort of top light and has no predominant front light.

The three-point lighting may exist here, but the three points chosen are certainly not appropriate.

Background II

The second example about backgrounds (right) does have a flattering, centre-line front light, but it’s to no avail as the background is so bright as to put

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TV Lighting | Spring 2013

A View from Across the Pond

Mr Gingrich in silhouette. To emphasise this situation, I have removed the colour from the captured image. The ‘Iowa Faith Freedom Coalition’ requires some coalition concerning the consideration of the balance between the values of the foreground and background. Very unattractive.

And the winner is...

But the hands down winner is Ron Paul.

Saying that the direction and intensity of the down light has made Mr Paul unattractive is an understatement.

There is a double whammy here because of the choice of a very wide-angle camera lens that horridly distorts the candidate’s head size in relation to the rest of his body.

This distortion, coupled with the atrocious lighting, make this the clear-cut winner.

Bill Klages has won seven national Emmy Awards for TV lighting design and and has received 28 Emmy, Monitor and Ace awards and nominations. In 2012, he was inducted into the Television Academy of Arts and Sciences Hall of Fame – the only Lighting Director to receive this honour. We would like to thank Bill for allowing us to reprint his column here and he invites readers to share your thoughts with him at billklages@roadrunner.com.

For more of Bill’s articles, visit newklages.com

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www.knight-of-illumination.com

6Knight of Illumination th

Awards

“...The only Awards exclusively dedicated to professional Lighting Designers...”

LONDON, October 2013

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Proudly supp supported ported by:

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STLD Spring 2013:TL 85 Spring 2005 27/03/2013 19:54 Page 33

Information

The Knight of Illumination Awards 2013 has just been launched, and there are a few changes this year.

First of all: a new date. In the past, the KOI Awards have been set on the opening day of Plasa to take advantage of the number of lighting people likely to be in London, and with Plasa moving to ExCel this year, the date has moved to October. Confirmation of the date and location will follow soon.

The other change is that there is now a new category in the TV section: Video Graphic Display. There has been an enormous increase in the use of projection and graphic display in recent years, not just in television but also in theatre, concerts and live events. The KOI committee have decided to add a new category to each of the sections to recognise the fantastic creative

work that is increasingly appearing.

As before, anyone can nominate any programme or programmes, either your own or someone else’s – you don’t have to have worked on them.

They just have to have been first shown in the UK between 1 June 2012 and 30 June 2013. We already have some nominations for the TV section but we need more, so please send in your nominations now. As a reminder, the categories are: Drama Light Entertainment Small Studio Events Video Graphic Display Please note that a nomination can only be judged if we receive a copy of the

programme or section of a programme, but in some circumstances, we can try to help to get a copy if you can’t get one.

Some shows do not obviously fit any of the categories, but don’t let that stop you sending in a nomination. The most important thing is to get your nomination and a DVD in before 30 June. Full details can be found at www.knight-of-illumination.com and, if you have any queries, contact a member of the STLD committee.

Now in its sixth year, the Knight of Illumination Awards is maturing into a prestigious event that forges links across the different lighting disciplines of television, theatre, opera and ballet, and concert and live event, and the STLD is pleased to be part of this great event.

What’s in your wallet? Perhaps you’d like one of these...

A new STLD credit card-style membership card is now available. However, we are aware that, although some people like to have a card, there are many who don’t feel the need.

Therefore, the committee has decided to send cards only to members who request one, to try to avoid waste.

If you would like a new membership card, please contact the Membership Secretary and one will be sent out to you.

Email Robert Horne at members@stld.org.uk, call or text 07762 562434 or write to him at Membership Secretary, April Cottage, Church Road, Scaynes Hill, West Sussex RH17 7NY. TV Lighting | Spring 2013

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Sponsor news

Sponsors: don’t miss out on being featured here.

Email your news to sponsornews@stld.org.uk for inclusion in the next issue of TV Lighting.

AC-ET AC-ET appoints Peter Butler to board of directors

A.C. Entertainment Technologies (AC-ET) Ltd are pleased to announce that Peter Butler has been appointed to their Board of Directors as Audio Visual Director.

Joining the company in 2003 as Audio Sales Manager, Peter has been instrumental in driving forward and helping to establish the dedicated Audio Division, forging many new associations and relationships with manufacturers and customers along the way.

In 2011 Peter was appointed as Acting Video Sales Manager for AC-ET’s Video Division, taking on a range of additional challenges and responsibilities.

Since then, Peter has played a key role in the expansion of the Video Division, bringing on board many new and exciting video technologies and opening new business opportunities in the fast-moving world of show and entertainment ‘visuals’.

In his new appointment as Audio Visual Director, Peter will continue to oversee the further growth and development of both the Audio and Video divisions from board level. Maintaining his proactive involvement in ACET’s marketing and brand activation campaigns, Peter will become increasingly involved in this area of the business.

AC-ET appointed as exclusive UK LedGo Distributor at PLASA 2012

AC-ET’s Video division have been officially appointed as the exclusive UK distributor for LedGo’s range of modular LED video solutions, recently unveiling the innovative product range on the company’s stand at PLASA 2012.

Netherlands based LedGo BV have been providing the theatre and television production industry with a variety of LED video screens and innovative solutions for a number of years. Recent applications include a range of popular TV talent shows, news broadcast studios and large-scale political events.

Brilliantly engineered and incorporating high-quality hardware and components, LedGo video panels deliver incredible video performance at an economical price. The combination of high brightness and lightweight design makes LedGo the perfect choice for multi-purpose entertainment applications, including on and off stage, car shows, tradeshows, concerts, festivals, nightclubs and indoor venues.

LedGo’s EQ HR range is the ideal solution for highresolution video at an economical price. Available in 5, 6, 7.6 and 10mm panels, the EQ HR range features an asymmetric design suitable for seamless horizontal and vertical 34

TV Lighting | Spring 2013

applications with no visible wires or frames. The flagship product is the EQ HR Blackface Line: LedGo’s ideal solution for creating high contrast and visual depth.

The LedGo EQ Stripline range is the ideal solution for medium-resolution video at an economical price. The 15mm and 20mm panels feature a rugged-yet-lightweight aluminium, ergonomical design that allows the system to be used for a wide range of indoor and outdoor rental applications.

ANNA VALLEY BBC Studio C on air

January saw the next studio go live from the new Broadcasting House. Programmes transmitted from the new studio include World News Today, BBC World News America, Business Edition and HARDtalk.

Anna Valley Displays have provided all the displays technology for the new studio. Display technology used includes Toshiba 6mm LED panels, Panasonic 103-inch plasma screens and Sharp 60-inch LCD screens.

Working closely with the BBC’s chosen designers, BDA, and the BBC’s news presentation teams during the development phase we were able to provide the technical design and implementation of the creative concept into reality.

West One is a new 10-storey building, with three basement levels, from which all the BBC’s news, current affairs and World Service output will be broadcast. The accommodation includes radio and television studios, production offices, catering areas, reception, public areas, and all necessary support facilities. The newsroom will be one of the largest in the world.

Pokerstars’ Caribbean Adventure

Pokerstars.com chose Anna Valley’s LED displays for the 2013 Pokerstars Caribbean Adventure (PCA) in The Bahamas.

The event was streamed live throughout the world from the Atlantis Paradise Island Resort, Nassau.

Production Designer Andrew Gates produced an attractive and practical TV show-style of set within the enormous function suites inside the giant Atlantis Hotel.

This featured a concave curved backdrop screen in Duo12, 12mm LED, flanked at each end with curved Toshiba 6mm screens. Additional Duo12 displays were set in a custombuilt convex curve facing outwards, and MiSTRIP was added for extra decorative effect. All of the LED displays were supplied with custom video graphics. Andrew added a screen diffuser material to the 12mm LED to aid photography and on-camera close-ups. The end result was extremely successful.

We even managed to persuade our AV crews to leave dear old England in January for a two-week spell in Nassau.

Indeed, no shortage of volunteers on this one!

ARCHITAINMENT Architainment Lighting is launching a newsletter and we want to invite the cream of the lighting crop (that’s you!) to subscribe.

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Compiled by Emma Thorpe – sponsornews@stld.org.uk

What to expect...

Unlike many company newsletters, ours won’t just be about us! Of course, we will be sharing exclusive news and photos with you about the latest architectural and entertainment projects we have completed, but we are lighting and design enthusiasts just like you and so we’ll be sharing news and views on the industry as a whole.

Nice to meet you...

Some of you will know us through working with us, but for those who don’t: we’re a specialist lighting solutions provider and responsible for illuminating landmarks such as the London Eye, Westfield London, and the award-winning Platform 5 in Sunderland Station. We have supported entertainment lighting designers with tours and productions for the likes of George Michael, Radiohead, Pink and ITV’s X Factor. We work closely with designers, manufacturers, specifiers and contractors with one common goal: to use light to transform the ordinary.

Visit eepurl.com/pYNAP and provide a few details, and, in turn, we’ll provide you with lighting news every fortnight.

Your details will be stored securely and we won’t be sharing them, at all, ever. One last thing – thank you!

ARRI ARRI awarded Technical Engineering Achievement

by TV Academy

The National Academy of Television Arts & Sciences honoured Arnold & Richter Cine Technik (ARRI) with a 2012 Technical Engineering Achievement Award on 10 January in Las Vegas at a ceremony during the Consumer Electronics Show.

Taking note of the ARRI ALEXA camera’s high performance and prevalent use in broadcast television, the achievement regognised ‘improvements to large-format CMOS imagers for use in high-definition broadcast video cameras’.

Many feature film and TV productions shot with ALEXA, such as Game of Thrones, Downton Abbey and Mad Men, have also been recognised with awards. The past weekend, at the Producers Guild Awards, Modern Family, Homeland and Game Change took home top prizes – all were shot with ALEXA. Earlier this month at the Golden Globes, Homeland won Best TV Series in Dramatic, and Best TV Series Comedy/Musical went to Girls, which was also shot with ALEXA. Franz Kraus, ARRI’s Managing Director, accepted the award on behalf of Arnold & Richter Cine Technik. When accepting the award, Mr Kraus specifically thanked two of the company’s long-term imaging technology partners, ON Semiconductor and Tower Jazz, for their contributions. Bob Klosterboer, SVP at ON Semiconductor, and Michael Cieslinski, technical lead of ARRI´s digital imaging group, accompanied Franz on stage to accept the Emmy.

“The National Academy’s Technology and Engineering Achievement Committee is pleased to honour technology companies and individuals whose innovation and vision have materially affected the way the audience views television and have set the standard for technological excellence in the industry,” said committee Chairman Robert P. Seidel, Vice President of CBS Engineering and Advanced Technology.

ARTISTIC LICENCE ENGINEERING Artistic Licence Engineering presents ‘Controlling Interest – The Future of Lighting Control’ to the Society of Light and Lighting

Artistic Licence Engineering’s ongoing commitment to industry education saw company founder Wayne Howell present a seminar to the Society of Light and Lighting entitled ‘Controlling Interest – The Future of Lighting Control’.

Taking place in mid-December at the London Transport Museum, the ‘Taking Control’ evening was the final event in the Society of Light and Lighting’s current programme to inform and educate participants about trends in lighting, providing a forum for debate.

Lighting designer and chairman of the society’s London events committee, Peter Phillipson, introduced Howell as the inventor of the lighting protocol Art-Net: a method of distributing DMX512 over Ethernet. Howell’s company, Artistic Licence Engineering, makes control devices that use many lighting protocols and is a world leader in DMX512.

Howell compared and contrasted the major control protocols in current use, explaining the respective advantages and disadvantages of DMX512, DALI and Ethernet, including Art-Net, sACN and KiNet. He delivered a useful potted history of how each protocol came about, and the context in which they are designed to be used, emphasising the message that there are no ‘good’ and ‘bad’ protocols, but only suitable and unsuitable applications for each. DALI, for example, is acknowledged as too slow to be suitable for real-time effects but provides an economical, contractor-friendly solution for simple lighting installations.

An illuminating Q&A session followed, with a high degree of audience engagement. Important (but not widely known) facts came to light, such as when Howell clarified that cat5 cable – familiar to all electricians – is approved for carrying DMX512 up to 300m. This simple fact confirms there is no reason why this protocol should not become much more widely used in sectors other than the entertainment industry.

Post-seminar discussions also revealed that the challenge of retrofit LED dimming is a major emerging theme.

Howell was joined at the event by Brian Cuthbertson, who spoke on the latest state-of-the-art analogue systems, and by Richard Perry, who explored recent improvements in photo-electric controls.

AURORA Aurora brings in the New Year!

TV Lighting specialists Aurora Lighting Hire were left fighting over the remote control on New Year’s Eve. Aurora signed off a phenomenal December by supplying lighting facilities to multiple shows across BBC One, BBC Two and Channel 4.

First up for Aurora was C4’s Alan Carr’s New Year Specstacular: a high-energy show where Carr ends up ‘running riot’ with special guests as they welcome in 2013. Aurora supplied LD Chris Rigby with moving lights, set LED and crew. Warming up for the midnight hour, Rigby was back in TV Lighting | Spring 2013

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Sponsor news

broadcast lighting company, the Sharpy currently has a presence on most TV channels. Mahal has recently introduced them to Channel 4’s Friday night gameshow Baggage, Rigby highlights them on Sky 1’s A League Of Their Own and Channel 4’s Alan Carr: Chatty Man, while Aurora has supplied Oli Richards, who features them on ITV1’s The Jonathan Ross Show.

AVOLITES BBC radio theatre

action for the BBC’s The Graham Norton Show, and Aurora were again on hand, providing moving lights and crew.

Completing a trio for Rigby, New Year’s Eve finished for him with the end of an era. Aurora supplied an extensive moving light rig to the BBC’s Jools’ Annual Hootenanny – the last time this show will be recorded at BBC Television Centre.

Finishing off the festivities was C4’s House Party: a unique TV event in which international DJs broadcast live into thousands of viewers’ front rooms across the UK. Filmed from Three Mills Studios in East London, Aurora supplied indemand TV Lighting Director Gurdip Mahal with full TV lighting facilities. The show was broadcast uninterrupted through the night until 6am.

“New Year’s Eve capped off a fantastic December for the business,” said Aurora’s Managing Director Nick Edwards.

“On a peak day we found ourselves servicing up to five different studio productions.”

Mahal and Aurora hit the ground running in January 2013, with Mahal supplying designs to two new primetime shows: the BBC’s Britain’s Brightest and ITV’s Splash!

When the BBC radio theatre upgraded its lighting rig to include LED pars and moving heads, it was decided that its Pearl 2008 console needed an upgrade, too.

The Titan Expert Pro with touch wing was chosen because it combines many new programming tools – such as key profiles, pixel mapping and subfixture control – with a large, fast and intuitive control surface. The 20 submasters and 60 preset faders, which in turn can be used as playbacks, are very useful for instant access.

Sales Engineer Stephen Baird-Smith conducted a one-day training session with Mark Diamond on site, which allowed the team to benefit from features such as the new quicksketch labels, cue-list tracking modes and assignable speed masters, which would be used regularly.

We joined Mike Le Fevre and his operator Clive Painter at a shoot for the Royal Television Society to see the console in action (pictured below). Avolites’ Sales Director Koy Neminathan said: “It is great to see more and more users moving from the Classic software platform to Titan.

The ever-increasing list of features in Titan V6 allows every Titan console to deliver what our users desire.”

Aurora expands its Clay Paky horizons

It’s exciting times in the TV lighting world with the news that Chris Rigby, Gurdip Mahal, Ross Williams and Nick Edwards have joined forces to create Aurora Lighting Associates Ltd. And the expanded company has extended its broadcast lighting influence with a string of popular TV programmes featuring on the busy autumn TV schedules.

In order to fulfil commitments to the increasing number of shows and broadcast channels the company is supplying, the Aurora team have made a significant investment in the company inventory.

Top of the list of significant purchases have been more than 80 Clay Paky Sharpys. They are the first Clay Paky purchases Chris Rigby, founding owner of Aurora, has made for considerable time – he still, on occasion, goes out with his trusty Goldenscans, which can often be seen on Later... with Jools Holland!

“As a new venture we needed to make sure our stock levels were up to scratch,” says Nick Edwards, Managing Director of Aurora Lighting Associates. “A key strategy was to increase investment in our equipment to meet the needs of our existing commitments – and beyond. We need to consider our own projects, as well as the increased dry-hire demands of the new company.”

With Aurora Lighting’s reputation as a specialist TV and 36

TV Lighting | Spring 2013

Book now for Avolites 2013 Titan roadshow

Are you looking for the latest tools Titan has to offer?

Avolites are rolling out yet another set of free Titan roadshow dates for 2013 so you can make the most of version Titan 6.1.

Learn from the ground up what Titan V6.1 is, how it can optimise your creative visions and how it can accelerate your workflow. The UK training roadshow features insights and suggestions from the Avolites training and sales team, so you will have access to the most up-to-date information to

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explore how you can drive your designs forward using Titan V6.1, featuring: Patch View; Fixture View; Cue List – move in dark; Theatre Syntax; Pixel Mapper and Assignable Masters.

With limited spaces available, we are offering you the chance to confirm your place by emailing us with your contact number, chosen date and location.

Whether you’re new to Avolites consoles and our Titan operating system or just want to find out all the latest features Titan has to offer, come and join us. All seminars are held from 10.30am to 4pm and remember, it’s free, so why wait! Dates for these sessions are as follows: 19 March – Sheffield; 21 March – Leicester; 16 April – Belfast; 18 Aril – Dublin; 28 May – Brighton; 30 May – Wimbledon; 18 June – Bath; and 20 June – Oxford.

CIRRO LITE Cirro Lite are proud to present the eagerly-awaited Celeb® 200 LED from Kino Flo Lighting Systems.

The Celeb® 200 is the LED that lighting professionals have been waiting for: an LED with colour and light quality that Kino Flo’s are known for.

The Celeb boasts technical innovations that make it an ideal professional imaging tool: a dial-in variable colour temperature control, full-range dimming and programmable 2,700K to 5,500K presets.

The trim, lightweight fixture operates on AC power, 100VAC to 240VAC, and needs only one amp to produce more lumens than a 750W tungsten soft light.

The Celeb 200 LED can also be powered by 24VDC battery, and cost savings from low energy and long lamp life continues Kino Flo’s reputation as an environmentallyfriendly lighting company.

Features include: five Kelvin presets and custom dial-in settings between 2,700–5,500K; no colour shift while dimming; universal input 100VAC–240VAC or 24VDCE; energy efficient – draws less than 1A, 120VAC; full-range onboard dimming; flicker-free, dead-quiet operation; all-inone metal alloy design with built-in electronics; centre mount; accessory moulded corners also used for four-point rope hanging; honeycomb louver; and gel frame.

The Celeb was developed using the latest technology to conform to Kino Flo’s highest standards – cool, colourcorrect, flicker-free and dead quiet, which is what sets the Celeb apart from all other LEDs. The push-button Kelvin presets can be fine-tuned to custom settings from 2,700K to 5,500K with a turn of a dial. Light levels do not change when selecting Kelvin settings. The Celeb’s slim profile is lightweight and mounts onto a baby stand or can be hung from a grid with a baby pipe clamp.

With its soft, beautiful light and compact, sturdy design, the Celeb makes a great tool for rigorous everyday use in any studio environment or on location.

The Celeb 200’s compact design is only five inches in depth and is comprised of a rugged metal alloyed fixture with built-in electronics. It includes a built-in reflector, removable gel frame and 90-degree honeycomb louver.

The centre mount has a baby receiver lollipop with

unrestricted mounting, which mounts directly onto a stand or hangs easily from a grid. The moulded accessory holders hold the gel frame and louver and also allow for a four-point rope-hang.

The Kino Flo Celeb® 200 is now available. For more information, please email b.starkin@cirrolite.com

CLAY PAKY

Clay Paky Sharpys add drama to Skyfall James Bond premiere party

A squad of Clay Paky Sharpys proved the must-have gadgets for Lighting Designer Nick Gray at the latest Bond film premiere party at London’s iconic Tate Modern (pictured above).

Gray, of London-based lighting creator Renegade, specified 24 pure-beam Sharpys to create a high-impact welcome for 1,600 A-list guests at the Turbine Hall party to celebrate the release of Director Sam Mendes’s James Bond film Skyfall.

Gray specified a further 14 Sharpys to liven up the far end of the Turbine Hall, which worked alongside 14 Clay Paky Alpha Wash 1500s. To dazzle the exterior of the main building, Gray rigged six Alpha Beam 1500s – the most powerful luminaire belonging to the special category of fully automated ACL fixtures – generating a solid, super-concentrated parallel beam for very long-throw projections. Alpha Beam 1500 can also become a spotlight for long-distance focused projections and perform as a good narrow-angle washlight.

TV Lighting | Spring 2013

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Sponsor news

Daniel Craig, Rachel Weisz, Penelope Cruz and Dame Judi Dench were just a handful of the stars living it up at the party on London’s South Bank.

Clay Paky Sharpys sing on NBC’s The Voice

LD Oscar Dominguez has added Clay Paky Sharpy fixtures to the extensive lighting complement he deploys for NBC’s reality talent show, The Voice. The series, which is heading into season three, is executive produced by reality guru Mark Burnett.

The Voice has three components: Blind Auditions, Battle Rounds and the Live competition. Dominguez, who has done other programmes with Burnett, has said he’s always challenged to create ‘a very crafted, very unique, individual look’ for each series. With The Voice, the different components within the show have distinctive looks as well.

Clay Paky Sharpy is a 189W moving head with an unprecedented brightness, usually achievable only with far greater wattages. Tipping the scales at just 16kg, Sharpy produces a perfectly parallel, laser-like beam with an incredible output of 5,100 footcandles at 65ft. It is also groundbreaking in the purity of its beam, which is sharply defined and free of any halo or discolouration around the edges. It offers an interchangeable colour wheel with 14 fixed colours, and an interchangeable gobo wheel with 17 fixed gobos, allowing users to change the shape of the beam and create an array of spectacular mid-air effects.

Dominguez uses about 48 Sharpys for each of the show’s three components, some placed on the floor and some hung among other fixtures. He also reports that ‘they are performing very well’ as the show prepares for a new season.

ELP As part of on-going expansion in LED equipment and systems, ELP are now supplying the latest ARRI L7c fresnels.

If reports are to be believed, the arrival of the latest ARRI L-series heralds a new era of high-performance, energyefficient studio and location lighting. ELP have bought into that vision in a big way by becoming one of the first lightinghire suppliers in the UK to offer this new fixture to LDs. No sooner had the first batch of units arrived, LDs Dave 38

TV Lighting | Spring 2013

Evans and Stuart Gain nabbed them for The One Show – the BBC’s flagship studio-based, live magazine programme.

“Producers here at The One Show are very environmentally aware; they’re continually looking to do things more efficiently,” explains Lighting Director Stuart Gain (pictured above, right).

“We must be one of the most environmentally-friendly midsized studios. Other than some newsroom studios, I can’t think of any that would pull less power.”

The ELP lighting team on The One Show, headed up by Chris Rand, and including electricians Andy Stacey and Saul Harris, made the studio upgrade for the show’s return to screens in January 2013.

Strictly Come Dancing decamped to Wembley Arena for the second year running during Children In Need weekend. Last time round Crew Chief Joe Sherno and his six-man team performed miracles to have all the lighting set up in under two days. This time they had an extra couple of days on site and also spent several days prepping gear at ELP’s main distribution warehouse in Alconburry before load-in. Joe worked closely with ELP Project Manager Barry Denison on the technical drawings, specifying a vast amount of ELP truss for the job. “There were 850 lighting fixtures on this year’s Wembley show – that’s about 50 more than last time round,” says LD Mark Kenyon.

ELP supplied Mark with 130 Sharpys, which completely encircled the giant Wembley dancefloor from above.

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Compiled by Emma Thorpe – sponsornews@stld.org.uk

ELP Manchester have visited some unusual locations with LD Dave Evans recently, providing lighting for a new BBC Two science series called Genius of Invention. Drax Power Station in North Yorkshire and the Rolls-Royce aero-engine factory in Derby are just two examples. ELP Pixel Pars, chroma floods and HMIs made up the travelling rig.

LD Carol Sadler took an assortment of ELP Manchester kit into the Pie Factory at Media City for a recent CBeebies production of Show Me Show Me. “The show is aimed at the pre-school market but the look was quite grown up,” according to ELP’s Darren Fletcher. There were certainly a lot of ELP’s big toys on display, including all the rigging, trussing, motors and dimming for an assortment of 5Ks, 2Ks, Mac 700s, Mac 2K performances and LED ChromaFloods.

The set contained more than 100 ELP ChromaHearts.

BBC Dumbarton, just outside Glasgow, was the location for filming of Channel 4’s quiz show Face the Clock. The ELP Manchester team provided LD Will Charles with a ground support truss, Mac 2K performances and VL 1000s.

At the same location, LD Joe Breslin had the ELP Manchester crew install a largely generic rig, including ARRI 650s, 2Ks, 5Ks and Source Fours, for a Children’s BBC production of Incredible Edibles.

The ELP Manchester crew spent Christmas night lighting the Midnight Mass broadcast from Leeds Cathedral with LD Carol Sadler. Christmas morning was again spent in church with LD John Penny Williams down in Bristol for the Christmas morning broadcast. ELP twin set generators powered a predominantly Par Can rig in both cases.

The festive period also saw the team work with LD Nigel Catmur on an S4C carol concert show in in Llandudno.

A wide range of ELP’s moving lights were specified, including Clay Paky Sharpys, Alpha Spot HPE 1500s, VL 1000s, Mac 700s, Mac TWIs and Mac 500s.

Nigel also worked with the ELP Manchester crew at The BBC Radio 2 Folk Awards 2013, which took place in January at the Glasgow Royal Concert Hall. ELP’s Alpha Beam 700s, Alpha Spot 1500s and TWIs made up the core of the awards rig.

LD Lee Allen has worked with ELP Manchester on two children’s shows recently. DareDevils was shot at the Pie Factory at Media City in Salford with a predominantly generic rig of 650s, 1Ks, 2Ks and Source 4s. Lee also specified Alpha Beams and Mac 301s for this show. Mr Bloom’s Nursery was shot in Doc 10 at Media City with an assortment of ELP’s generics, space lights, Iris 4s, pixel pars and chromafloods.

ETC ETC Source Four LED spotlight wins respect for LEDs

Lee Rose, of Design Partners, Burbank, California, has specified Source Four LEDs for a popular American cable TV chatshow’s move to Universal Studios in Hollywood. As the lighting designer, he was charged with updating the lighting for the show to include green technology. After a long process of testing on various fixtures, Rose’s design for the new studio includes more than 80 ETC Source Four LED Tungsten fixtures and two dozen Source Four LED Lustr+ fixtures.

“The show is a mix of hard and soft lighting,” says Rose.

“The various lens options have always made them a flexible product to fill various needs. Testing proved that I could get the best combination of intensity and colour temperature from the Source Four LED Tungsten, so I incorporated those into the talent key lights, the back lights and the audience down light. I have spec’d additional fixtures for a second show being put on the same stage at Universal.”

Other recent Source Four LED TV/broadcast applications have included the mobile studio of France TV Sport in London; the rig at the Republican National Convention in Tampa, Florida, in August 2012; and WWL-TV in New Orleans.

Depending on the model, ETC’s Source Four LED fixtures achieve from 30 to more than 40 lumens per watt.

In acknowledgement of that ‘green’ technical achievement, PLASA 2012 tradeshow judges recently recognised the Source Four LED with their Award for Sustainability.

Seven colour capabilities: In introducing the Source Four LED, ETC took on the market demand for an LED-based Source Four. The fixture marries the respected functionality of ETC’s Source Four conventional spotlight with the sevencolour capabilities of the ETC Selador Desire LED fixture line. The result is not only a high-efficacy stage, studio and architectural-use LED fixture but also a high quality of light.

Engineered to complement incandescent and other-source fixtures, the Source Four LED offers a new value of light while maximising the flexibility and range of a lighting rig.

Diverse users: The Source Four LED is being employed in numerous other stage-lighting applications, including the upgraded rig at the Lee Theater at Eastern Arizona College; the touring rig of the National Theatre of Scotland; and the large permanent rig at Kennedy Center in Washington DC. Source Four LED end users are diverse. Nightclubs such as Broadway’s 54 Below are also benefitting from the fixtures’ technology in their specialised lighting rigs.

At the ABTT tradeshow in London, the Source Four LED won the Product of the Year Award. The fixture line was also on display at ETC’s Layer of Light theatre-style stand at LDI in Las Vegas.

UK sales surge for ETC Gio lighting control desk

ETC’s latest lighting control console, Gio, has seen a surge in sales since it was introduced just a few months ago, with many of the company’s UK-based dealers buying them for TV Lighting | Spring 2013

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sales and hire stocks.

The first Scottish delivery was to the Dundee Rep Theatre, supplied by Blacklight, where Deputy Chief LX Alastair Phillips specified the lighting control console for its 450-seat performance space.

Gio is one of four current lighting consoles in the Eos family, each with the same application software and operational syntax but with different packaging and physical controls. The largest and most powerful of the four is Eos, followed by Gio, Ion and Element.

The first Welsh user was the Wales Millennium Centre, while the first university user was the Liverpool Institute for Performing Arts. In Northern Ireland, the first Gio user was the Waterfront in Belfast, and the first English theatre to buy a Gio was Bristol Old Vic. Several ETC dealers have also bought the consoles for their own hire stock, including White Light and Blacklight.

FLASHLIGHT David Manister joins Flashlight Ltd

Flashlight Ltd has announced the appointment of David Manister (right) to spearhead its Business Development plans.

David brings with him nearly 14 years of experience within the professional lighting industry.

“Flashlight are extremely pleased to have someone of David’s calibre joining the company,” said Flashlight’s owners, Andrew Dodd and Rob Williamson. “He won’t be the only addition in 2013 as we continue to grow the business.”

They added: “David will have a major role in developing sales and introducing new products to our core business.”

GREEN HIPPO Hippotizer software version 3.2 released

Green Hippo is pleased to announce the launch of Hippotizer version 3.2 software available for download from the Green Hippo website.

After many months of developing and listening to user feedback, version 3.2 sees one of the largest builds ever produced by the growing team at Hippo HQ. With more than seven new features, and 100+ enhancements also included, V3.2 takes what many call the easiest server and makes it even easier.

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Version 3.2 is available free of charge from the Green Hippo website and is suitable for installation on HippoCritter, GrassHopper, HippoPortamus and HD models.

Responding to the demand for V3.2 training, Green Hippo has increased the frequency of its acclaimed HippoSchool sessions to 30 per year. The training department has also introduced HippoSchool online webinars every week from its London HQ. For details, visit www.green-hippo.com/hippo-school.

Goodbye and good luck, Nick!

Green Hippo’s Nick Charalampidis is moving on to pastures new after five years of top-class service at the company.

Over the last two years Nick has enjoyed working onsite supporting Hippotizer projects such as Eurovision and Jay-Z and has decided to do more ‘hands-on’ work with the system. From January, Nick will be joining our good friends and heavy Hippotizer users Fix8Group, integrating their fleet of Green Hippo servers on projects worldwide.

Nick has Green Hippo’s full blessing for this move. He is taking his extensive Hippotizer knowledge out into the field and will continue to be an ambassador for the company’s products.

As the company moves into 2013 the whole team will be strengthened by recruiting more staff to the product department. In the meantime, Nick’s role will be shared among the current team here at Green Hippo HQ. Affectionately known to us all as Nick the Greek, he joined Green Hippo straight from college and rapidly became an expert at support and integration of Hippotizer products. His warm and welcoming character has made him hugely popular with staff and customers alike. We’re going to miss him!

HSL HSL supplies lighting for S4C TV shows at NEP Cymru

Leading UK lighting and visuals rental company HSL supplied nearly 300 moving and LED lightsources, and more than 100 generics, to a series of Welsh-language channel S4C Light Entertainment programmes recorded in a 10-day block at Studio 1 of the NEP Cymru (ITV Wales) facility at Culverhouse Cross, Cardiff.

These were specified by Cardiff and London-based Lighting Designer Steffan Jones, who designed lighting and video for the raft of programmes, many featuring live artists.

He was working for production companies Boomerang PLC in association with Alfresco TV and Apollo TV, and coproducers Mr Producer.

NEPC is the largest OB and studio facilities company in Wales, and the batch recording session included the creation of popular programmes such as Noson and Carolau Gobaith.

Flexibility was the key to the lighting design, and so the rig was based on offering numerous options for Jones. He had to embrace and light a plethora of music and performance genres – from classical to pop, urban and rap – plus radically different daily set-ups and formats across the 10 intensive days.

He also had to consider a heterogeneity of ideas from artists, managements, creative, choreographers – as well as

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Above: HSL supplied nearly 300 moving and LED lightsources, and more than 100 generics, to a series of S4C Light Entertainment programmes

his own – and incorporate all into a coherent look, feel and signature ambience for each of the specific shows being recorded. This was all in a very short timescale and often with limited rehearsals!

It was a question of thinking rapidly, often out of the box and having real confidence in the design and set-up for Jones and his programming team of Bill Peachment (moving lights and LED) and Chris Barroccu (generics), who both used Compulite Vector consoles.

While the overhead lighting rig had to be ultimately versatile, the floor elements were swapped daily, together with the LED screens, to help keep the visuality for each show different and unique.

HSL supplied a selection of moving lights from all the major manufacturers: Vari*Lite VL 3000 Spots and 3500 Washes; Robe ROBIN 600 LEDWashes, Robe ROBIN 600E Washes, 300 Beams, ColorWash 2500E ATs and ColorSpot 700E ATs; Martin MAC III Performances and eight of the new MAC Viper Spots; Clay Paky Sharpies; Chauvet 230SR Legends; GLP Impressions and four Nova Flowers. These were deployed in the air and on the floor.

HSL also delivered PixelPARs and PixelLine 1044 LED battens, together with standard single PAR 64s and bars-ofsix PARs, more than 20 Studio 5Ks and nearly 50 ETC Source Fours.

Seventy-four Pulsar ChromaStrip 900s from HSL were ensconced into the set pieces designed by Phil Williams, which also changed every day, and the lighting department

also controlled LED strip-lighting on the set steps.

Atmospheric effects were created with the combination of three different types of machine: Glaciator Dry Icers, Jem K1 Hazers for the classical shows and DF50 diffusion hazers for the pop and rock shows. HSL also supplied Robert Juliat Alex follow spots.

The video content was controlled and played back via a Hippotizer media server.

Sometimes gauzes were added to vary the look again, creating more layers and bringing a slightly different dimension to the studio floor.

Jones’s gaffer was Noel ‘Roly’ Smith and the systems/ LED tech was Chris Banks. The series director was Ronw Protheroe.

More flash floods of colour with Enter Shikari

HSL continued its energetic working relationship with Lighting/Visuals Designer Steve Bewley and the band Enter Shikari, supplying lighting and video equipment to the latest shows on their ‘Flash Flood of Colour’ world tour.

Bewley has worked for Enter Shikari for the last five years. They are among the hardest working artists on the live circuit, bringing their unique, highly adrenalised electrometal sounds and stage performances to a loyal and enthusiastic international fanbase.

Playing academy sized venues – two nights in each – Bewley also created a practical and adaptable structural backbone for the stage based around three four-metre-high TV Lighting | Spring 2013

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triangular shaped pods, each clad in Martin EC20 LED screen.

The LED was supported by a custom trussing framework designed and built by HSL, complete with special floor-mount bases. Each pod featured two legs of EC20 down each side, each with a video panel at the top, kicking forward making a Y-shape either side. A front-facing 3D triangular shape – also angled forward – was made up from three Chroma-Q Color Block DB4 LED battens at the top of each tower.

For moving lights Bewley chose 12 Clay Paky 1500W Shotlight Washes: four on the back and four on the mid truss, with the remaining four on the floor. They were combined with the house spot moving lights and Moles at each venue.

Ten Chroma-Q Color Force 12 LED fixtures were tucked in around the edges of the stage, providing subtle band facial lights, which fitted the bill perfectly for the desired low-lit front environment.

Bewley worked alongside his tech, Tim Spillman, on the tour, which was a massive success and concluded another hectic year of touring for Enter Shikari, which is set to continue in 2013.

LCA – LIGHTS CAMERA ACTION LCA sole UK distributors for BB&S’s high-end LED lighting

LCA – Lights, Camera, Action – are delighted to announce they are to be the sole UK distributors of the innovative LED lighting products from Brother, Brother & Sons (BB&S).

Danish company BB&S are at the cutting edge of LED and remote phosphor technology, developing and producing highend LED lighting for video, theatre and movie productions.

They harness technical and design skills to deliver innovative, high-quality and cost-effective products. LCA looks forward to introducing these products to the British market.

The range of lighting from BB&S includes: Area 48 Soft: Area 48 Soft is characterised by an unprecedented light quality and its compact size, with the surface area of A4 paper. Forty-eight blue diodes behind a remote polycarbonate phosporised diffuser ensure a very even light and an exceptionally soft shadow. In 2012 Area 48 was awarded Best of IBC 2012 by TVB Europe.

Aledin 2: The Aledin 2 is the successor for the undefeated, proprietary Aledin 1, developed in 2009–10 by Brother, Brother & Sons for the Juliat 600 series zoom spots. You can upgrade your tungsten Juliat spot to LED in two minutes.

Force V: This is the most powerful LED ‘FORCE’ ever: a complete LED Retrofit Kit for third-part optics that sets new standards for white light LED but still with a very low power consumption.

Ledheimer: A LED beamlight made for key, fill and backlighting in television, and different purposes in exhibitions and architectural expos where a powerful single source is needed. Ledheimer is available in two versions comparable to tungsten (warm) and discharge (cold).

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Aledin-AR: The Aledin-AR LED retrofit kit is a new powerful back-end light engine designed for mounting in ARRI ST1.

It gives a stunning performance by up to 80-degree flood and a very smooth output. Combined with a remarkably low power consumption and the eco-friendly reuse of the ARRI Fresnel, Aledin-AR is a superior choice for broadcast studios, photo shoots, film production, etc.

Ledonardo 1 and 2: Bring new life to your Leonardo fresnel by replacing the old power-inefficient tungsten lamp with LED technology. With Ledonardo 1 or 2 you can still cut clean with barndoors, make smooth fades and retain the crisp contrast created by a true single shadow.

MARTIN PROFESSIONAL HARMAN International Industries Inc acquires Martin Professional A/S

We are pleased to inform you that Schouw & Co, parent company of Martin Professional, has entered into an agreement with the global infotainment and audio company HARMAN International Industries to sell Martin to HARMAN. The transaction is subject to customary closing conditions, including regulatory approvals, and is expected to close in Q1 2013.

Through this new combination of two worldwide industry leaders, HARMAN and Martin are convinced that their comprehensive offering of audio, lighting and video solutions for the live stage and events, as well as permanent venues and installations, will provide new, exciting opportunities and will take customer satisfaction to even higher levels.

This transaction will create a one-stop shop for the professional entertainment market. Adding Martin to HARMAN’s USD $4.4 billion organisation and combining two of the largest R&D budgets in the audio and entertainment lighting industry will enable the companies to grow and improve the lighting and video product offering to the benefit of all existing and new customers.

The companies are confident that not only will they cement their respective positions in their industries, but will additionally, and not least, make their customers more successful by providing new, innovative and improved

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Above: The 2012 Danish Music Awards, lit by LD Kasper Langes, were one of the first shows in Denmark to use Martin’s new 1,000W MAC Viper

products, services and solutions in the future.

Blake Augsburger, Executive Vice President and President of the HARMAN Professional Division, is looking forward to welcoming Martin to HARMAN. He says: “Martin product lines are an excellent complement to our professional audio business. After the transaction closes, we will be able to offer a full line-up of audio, lighting and video solutions for the live stage as well as permanent venues and installations.”

Christian Engsted, CEO of Martin Professional, adds: “We very much look forward to exploring the mutual benefits this change in ownership offers and continuing to develop our business relationship with our customers and partners across the globe.”

Martin Professional will continue as an independent business unit within the HARMAN Professional Division, with the existing points of contact.

Opposite page, pictured from left: Christian Engsted (Martin), Blake Augsburger (HARMAN) and Jens Bjerg Sørensen (Schouw & Co.)

New Martin MAC Viper, MAC rig light 2012 Danish Music Awards

On Saturday 10 November, Lighting Designer Kasper Lange turned to a large Martin MAC rig, which included Martin Professional’s new MAC Viper Profile™, for the 2012 Danish Music Awards at Forum in Copenhagen.

The event, broadcast live on Danish station TV2, honoured Denmark’s top musical names of the year, with

performances from Nephew, Outlandish and many others beneath a mix of Martin LED and HID sources.

The lighting set-up, which also included 150 compact MAC 101s™ used as audience lighting, along with other MAC luminaires, was one of the first shows in Denmark to use Martin’s new 1,000W MAC Viper, which Kasper integrated as background light for the presenter podium.

PANALUX Panalux announces the appointment of Kenny Smith as Managing Director of its South African operations

Kenny is a long-standing, highly regarded member of the Panalux senior management team and his appointment as Managing Director is a natural progression following many years of dedicated service, loyalty and the undoubted ability he has demonstrated during his time with the company.

Steve Smith, Managing Director, Panalux Worldwide, says: “I am delighted to announce Kenny’s appointment and am certain that he will provide the kind of motivational management and direction that will ensure Panalux continues to deliver the very best in service, equipment and technology to our clients across Southern Africa.”

On accepting his promotion, Kenny said: “I am extremely proud and excited to be given this opportunity. I have always taken great pride and satisfaction in the service and facilities we at Panalux provide. I know that, with the support of the

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fantastic team I have around me, we can progress to even greater levels of excellence in the future. I look forward to the challenges ahead and working with my colleagues throughout the industry to ensure South Africa continues to receive the recognition it deserves as a world-class filming destination.”

PHILIPS VARI-LITE VL 3000 Spots light the Nobel Peace Concert

Norway – This year’s electrifying Nobel Peace Prize Concert saw Philips Vari-Lite VL 3000 Spot luminaires, supplied by Norway’s AVAB CAC, star as the power luminaire of choice for respected Lighting Director Nick Collier.

“The main challenge in lighting this particular show is the variety of performers,” explains Collier, who has taken over lighting design duties from original designer Al Gurdon.

“The design has to bring out the best in Peter Bingemann’s excellent set and allow us the ability to deliver a unique look to each of the tracks.”

American actress Sarah Jessica Parker and Scottish actor Gerard Butler hosted the annual event held at the Spektrum Arena, Oslo, while performances came from Kylie Minogue, Jennifer Hudson and Seal, among others.

The set, which comprises three circular stages, each featuring an equally sized, lampshade-style projection surface above, hosts the 10 unique acts along with the centrally positioned Norwegian Radio Orchestra, conducted by Nick Davies.

Collier, who was assisted by PRG’s Head of Event Services, Richard Gorrod, Programmer Alex Passmore and Catalyst and Content Programmer Nev Bull, certainly had his work cut out.

Not only did Collier need to create uniquely appropriate looks for each act, but he also had to impress the near 7,000-capacity live audience while satisfying the millions of TV-watching public in more than 100 countries worldwide.

The VL 3000 Spot features 6:1 zoom optics, CYM colour mixing, variable CTO colour temperature correction, a sixposition colour wheel, three gobo/effects wheels, a beam size iris and separate dimmer, and ultra-fast strobe mechanisms. A standard pallet of gobos, effects and colours is provided with the unit. Custom gobos, effects and colour are available.

Philips Vari-Lite VLX Wash in vogue at Clothes Show Live in Birmingham

UK – Philips Vari-Lite VLX Wash luminaires are proving to be a fashion must-have as they worked the catwalk at this year’s Clothes Show Live in Birmingham.

ELP supplied the VLX fixtures to Lighting Designer Nigel Catmur, who is well known for his work on major awards ceremonies such as the Barclaycard Mercury Music Prize, The Royal Variety and the West End and global touring smash hit Thriller Live. Catmur says he specified the VARILITE VLX due to their stunning colours and intensity, which can hold their own amid the LED walls and projections.

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a 45-minute catwalk performance featuring the latest fashion collections, which packed in 350 outfits, eight scene changes and dozens of models and dancers. With scenes ranging from ‘beach’, ‘office’, ‘high street’, ‘Sicily’, ‘music video’ and ‘after-show party’, each change provided an opportunity for a different lighting look and, of course, an accompanying clothing collection.

The event featured a LED floor and wall, projections and the VLX Wash luminaires, which are becoming widely respected for their smooth, natural colour mixing, free of colour shadowing effects associated with other LED fixtures.

Additionally, the VLX wash offers a dynamic CRI adjustment, a continuously adjustable colour temperature white range between approximately 3,000 and 9,000 Kelvin, and seamless colour mixing that all combine to create a single source that behaves like familiar arc or tungsten luminaires without the associated costs and inefficiencies inherent in those systems.

PLASA With only four stands remaining, exhibitors need to act now to secure a presence at the fifth annual PLASA Focus: Leeds 2013, taking place at the Royal Armouries on Tuesday 30 April and Wednesday 1 May. Following record attendance in 2012, the premier entertainment technology trade show in the North has attracted even more companies that are keen to access the 50 per cent of visitors who do not attend any other trade show during the year.

Mark Priestley, Project Manager at Unusual Rigging, explains the rationale behind its decision to book for the first time: “Although a committed supporter of PLASA, 2013 will see Unusual Rigging making its exhibitor debut at PLASA Focus. We have completed a lot of projects in the north of England and Scotland, but we believe we will be able to introduce our range of services to new customers at Leeds.

When we visited the show last year we liked the more intimate atmosphere, which gives real time to talk to people and understand their needs.”

Another company making its debut at PLASA Focus: Leeds is HD Pro Audio. “We see this as an ideal opportunity to expand our customer base. It is renowned for being small and friendly – that and the comparatively low cost makes it good value,” says Sales Manager Andy Huffer.

Also new to PLASA Focus in 2013 will be Pearce Hire.

Managing Director Shaun Pearce explains: “Exhibiting at PLASA Focus: Leeds 2013 is part of our company strategy to expand our rental operation more into the northern market. There is no other regional exhibition servicing the live touring and outdoor event industry that offers us this opportunity.”

PLASA Focus: Leeds 2013 is the only event in the North that provides a platform to unveil and demonstrate the very latest in entertainment and installation technology. With returning exhibitors including Robe, Yamaha, Stage Electrics, Audio-Technica, Electro-Voice, Midas, Chauvet and more, PLASA Focus: Leeds 2013 provides a singular opportunity

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to connect with the industry’s major players in a uniquely informal and relaxed atmosphere. To access more information and book your exhibitor stand before the venue is sold out, visit www.plasafocus.com/leeds/exhibitors now.

PRG PRG at The British Comedy Awards 2012

PRG supplied the British Comedy Awards: the premier accolade for all comedy programmes, performers and producers across the UK television industry since 1990.

Hosted by Jonathan Ross, the results of the British Comedy Awards 2012 were announced live on Channel 4 during a ceremony on Wednesday 12 December at Fountain Studios, Wembley.

For the second consecutive year, PRG’s Jeff Bailey and Andrew Strachan worked with Peter Pearson, Line Producer at Unique TV and CPL Productions, on a comprehensive screen, lighting and rigging package.

Working with Production Set Designer Richard Drew, Bailey supplied two 3.2m x 2m Barco C5 5mm LED screens, a 4m x 4m PRG P30 LED screen and five plasma screens.

The two 5mm LED screens were a key feature of the production design and were used for awards graphics and video playouts. These screens are new to the PRG rental stock and were selected for this show by the production due to the benefits of being high-resolution black-faced LED that has a lightweight slim profile and requires less power than comparable screens.

The low-resolution 30mm, 4m x 4m LED screen acted as a video effects backing to the stage entrance. This stage entrance was formed from the mouth of a large clown’s head, which was a major element of the set design. All the LED screens were flown in the studio using PRG truss and motors. The plasma screens were for autocue, audience relay screens and hospitality areas.

Working with Lighting Designer Chris Kempton, PRG supplied a selection of Clay Paky Alpha Beam 300s/Alpha Spot 700s/VL 2000s and GLP impressions to illuminate the stage and performers. These fixtures were used to enhance the set and provide effects for the audience, in turn complementing the generic lighting fixtures provided by the studio.

The show was project managed by PRG’s Ian Phillips, with Gerry Mott as Crew Chief. The lighting was programmed by David Bishop.

Sadly the show’s creator Michael Hurll passed away in September this year. Hurll launched the British Comedy Awards to raise the profile of home-grown comedy talent, produced by his own independent production company for ITV and latterly Channel 4.

PRG Mbox® Studio now available for purchase

PRG is pleased to announce that Mbox® Studio, a softwareonly media server application, is now available for purchase.

A compact version of the popular Mbox media server, this product can be easily installed and operated on a usersupplied Intel-based Apple Mac® computer (Intel processor,

OSX 10.6.7 and higher).

Mbox Studio, with fewer parameters and less complex operations, offers substantial functionality and versatility.

It operates identically to the full Mbox in both movie playback, effects and in transition functions. Designed primarily for playback of SD content, it can also handle HD content. It offers eight playback layers and a fully functional pixel mapping toolset. A free demo content library, available as a separate download, can be used as a starting point for content creation with Mbox Studio.

Mbox Studio Version 3.6 is the first public release of the Mbox Studio software and retails for an affordable $999.00 (about £665). Users of Mbox Studio may also download Mbox Director, a graphical user interface (GUI) control application, at no charge. Director provides control of all aspects of Mbox Studio content and playback directly, eliminating the requirement for a lighting control console.

Alternatively, a moving light console can be used to control Mbox Studio, and fixture profiles exist for popular consoles.

RML Richard Hammond’s Secret Service

It’s great to know that a new year is going to bring new series, and here is the first one that Richard Martin Lighting (RML) is involved in: Richard Hammond’s Secret Service.

Filmed at BBC White City, and aired on Saturday nights on BBC One, the entertainment show for all of the family is packed full of big stunts designed to fool the nation.

It’s essentially a hidden-camera series where Richard sends out his ‘agents’, aka actors and comedians, to set up funny situations involving unsuspecting members of the public.

Roger Williams designed the lighting rig, which comprises Mac Auras, Chroma Flood RGB, VL 1000TS and GLP Impressions. The lights enhance the very exciting lab set.

Although Richard does not feature in any of the gags, he presents the show brilliantly, with bags of enthusiasm.

Everything is in place for it to be another fabulously funny TV show and we are very excited to be a part of it.

The Alan Titchmarsh Show

Get the kettle on, put your feet up and have your favourite biscuits at the ready: The Alan Titchmarsh Show is back for a new series.

After working as a professional gardener and a garden journalist, Titchmarsh has established himself as a media personality through appearances on gardening programmes, and since 2007, he has hosted his own ITV teatime chat show.

Roger Williams designed the lighting show, which is provided by RML. To enhance the warm and homely feel of the set, Williams’ specification consists of Alpha Spot 575, Alpha Spot 300, Mac Aura, Pixel Par 90s and LED Parcans.

Each daily episode, Alan approaches topical news and debates. He also cooks delicious meals with resident and celebrity chefs, chats to celebrity guests and enjoys music numbers. No wonder he is now a firm favourite in many living rooms!

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You can’t argue with logic

Not only is Irish comedian Dara O’Briain charming and funny, it would appear he is also very clever. Perhaps it is his enthusiasm for things, or our constant desire to learn more, but it would seem that something ‘adds up’, as comedy game show School of Hard Sums is back for a new series.

Dara is joined each episode by some of his funny friends to beat the realms of logic and solve various conundrums.

Alongside him is co-presenter Marcus du Sautoy – Professor of Maths at Oxford University and President of the Mathematical Association – meaning you are guaranteed to get the correct answer and learn something... even if it is through the haze of quick-witted banter!

RML provide the lights for the show, which is designed

by LD Michael Sutcliffe, aka Sooty. The rig comprises of Pixel Par 90s, Chroma Floods, Alpha Beam 300s and 900mm Chroma Strips. The simple-yet-effective look ensures that you keep your mind focused on the job in hand.

And no good maths class would be complete without your homework! Each episode, Dara sets a piece of homework for the viewers, which they are free to complete and submit to the show’s website. Genius!

School of Hard Sums is the last show to be filmed in TC4 of the iconic BBC Studios in London’s White City before it closes. It is scheduled to be aired in April on Dave.

ROBE Robe adds its voice to German talent competition Nearly 200 Robe moving lights added glamour, sparkle and dynamics to the lighting design by Manuel da Costa for The Voice of Germany 2012 (TVOG).

The hugely popular talent show was produced by Schwartzkopff TV Productions GmbH & Co KG and Talpa Distribution BV, and recorded in Am Studio 20 of Studio Berlin.

Da Costa lit the first TVOG series in 2011, for which he also used Robe fixtures at the heart of his design. He had a relatively open brief on lighting this one and had to fulfil all the main criteria of a high-profile TV show, being flexible enough to give each artist an individual look for their different performances and to ensure it worked well on camera and looked good to the studio audiences.

The full Robe count was 98 ColorSpot 2500E ATs, 62 ColorWash 2500E ATs, 26 ColorWash 1200E ATs and two ColorBeam 2500E ATs. Seventy-four of the ColorSpot 2500E ATs were rigged in the trussing system above the stage and the other 24 were hung on a matrix of towers behind the stage and around the central video wall. All 88 of the ColorWash 2500 and 1200E AT fixtures were also in the roof.

For The Voice of Germany 2012, Da Costa worked with a programming team of three, all using grandMA consoles.

Michael Baganz controlled all the Robes and moving lights, white lights were operated by Uli Weiss, and video was run

by Bjoerge Block. Video content was produced by Falk Rosenthal from Gravity.

The Robes were supplied to the show by rental company MLS Magic Light + Sound GmbH from Koln, whose Lighting Production Manager was Klaus Wedig.

The Voice of Germany 2012 was won by British singer/ songwriter Nick Howard with his song ‘Unbreakable’.

Kevin Loretto joins Robe Lighting Inc

Robe Lighting Inc announces the appointment of Kevin Loretto as Eastern Business Development Manager.

This is the latest expansion in Robe’s US operation, which has enjoyed steady growth and extremely strong trading in the last two years.

Kevin has previously worked as Director of Sales for Creative Stage Lighting, managing their regional sales managers and sales support group. In the process he’s forged good relationships with a broad client base, representing premium brands, including Robe, as a distributor. He also runs his own business handling executive recruitment for IT companies.

Kevin will be based in the New York area, important strategically as the home of Broadway and some of the finest theatre shows in the country, and a great location in which to keep a finger on the pulse, and will also work nationwide for Robe Inc. Robe Lighting Inc has recently moved to bigger, better, brighter HQ premises in Florida and all the signs are that 2013 will be a busy and buoyant year for the Czech Republic-based moving light manufacturer.

ROSCO Colour filter ranges and colours continue to grow, so Rosco have designed an online tool, myColor, to put all our colour ranges – Supergel, E-Colour+, Cinegel and Permacolor dichroic – in one place.

Colours may be called up by range, numeric, name or chromatically, and in groups of colour family such as pink/magenta or lavender/purple, etc.

By a single click, the physical sizes, transmission data and CIE curve can be called up, giving you the ability to compare subtle differences in hue and saturation.

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Perhaps the most powerful features are My Palette and My Show. My Palette is like having your own custom swatchbook, and you can add your own notes. You can call up filters for LED, or a diversity of application such as candlelight, fire, historical, and see appropriate colours. They can serve as inventory for touring or repeat shows, or set out the sequence of gel scrolls. My Palette can be stored or exported as a pdf. There are still more features, so it’s worth a browse: search online for myColor Rosco.

Some lighting designers’ work is worth sharing: one is Patrick Latronica, who had good professional comments, plus audience buzz and reaction (Patrick himself claims he heard sobs in the audience at Madame Butterfly in Calabria!).

Patrick used the cyan that Vittorio Storaro helped us develop in Cinegel, and the pure CC30 blue in the CalColor range of stepped primaries and secondaries, to light the black scrim from behind, making a background to silhouette the waiting figures on stage, with the addition of a few ‘streak’ effect gobos.

Patrick says: “The blue made a ‘dull’ white light so thick that you could cut it with a knife and it held the attention in the finale of Act Two.” There are so many Rosco Diffusion products – many are unique to us – so we share the use of one, Moonlight Grid Cloth, in a lighting set by Ian Pack, a US video lighting specialist.

Grid cloths, with nylon reinforcement, are ideal for sewing into any size overhead or back cloth for large areas of lighting. This ‘silent’ version was developed for truly quiet operation in outdoor situations, and there are three dyed products – this is the moonlight version (pictured above).

The sodium streetlight behind the figure is from the use of the Urban Vapour filter 3152, which creates a visual reddish-orange look of high-pressure sodium lights, but without the green content of actual HP5 lamps.

Victoria Coeln, the Lighting Designer in Vienna, has featured in Sponsor News before, and she continues to light some of Vienna’s architectural treasures and has achieved high

prestige as a designer.

She recently gave a talk with St Stephen’s Cathedral Rector Toni Faber to discuss the mystical qualities of colour and light, with the pair sharing their personal insights on the subject.

Victoria will be presenting at Showlight in May.

STAGE ELECTRICS Stage Electrics completes Bristol Old Vic installation

The Bristol Old Vic, one of Britain’s most historic theatres, which was founded in 1766 by 50 merchants, lawyers and politicians, has been given a spectacular £12.26m makeover in the first phase of a major redevelopment.

Originally designed by the Bristol architect James Saunderson, the theatre is believed to be the oldest working theatre in the UK. Stage Electrics was awarded the contract to design and install a completely new technical infrastructure and production lighting, audio and communications systems. The project has been headed by consultants Charcoalblue, with design by John Stevens and project management by John Woodley, architect Andrzej Blonski and builders Galliford Try. The refurbishment includes the raising of the stalls and gallery to dramatically improve sightlines throughout the Georgian auditorium; a new, flexible-thrust stage format; conversion of the paintshop and sidestage into new, fullyfunctioning performance spaces; adding new rehearsal spaces and a backstage lift, and other improvements – all designed to make the building, in the theatre’s words, ‘a safer, greener space’.

In 1946, the newly formed Arts Council formed the first regional subsidised company by sending a group of actors from the London Old Vic to set up home in Bristol – hence its name, Bristol Old Vic, which was also given to the Bristol Old Vic Theatre School, opened by Laurence Olivier at the same time.

In the 1970s, a massive redevelopment saw the magnificent Coopers’ Hall incorporated as a new foyer space, also adding a 150-seat studio theatre. Money then ran out until the fundraising that saw the latest redevelopment commence in March 2011.

For Stage Electrics, the project has been heavily infrastructure based, with the bulk of the overall budget aimed at getting the building right. Work has involved the fitout of a new production lighting system based around ETC Sensor dimmers, with 465 dim and non-dim channels.

All of the outputs appear on stage lighting output boxes, accompanied by a number of custom-made internally wired bars to match the curve of the auditorium.

A major element is the control supplied by a custom Stage Electrics-designed and fabricated stage management desk, complete with the latest Interspace cue-light system – a feature that Stage Electrics has added, depending on customer requirements, to its latest stage management desks. The Bristol Old Vic’s desk was configured in conjunction with the theatre’s stage management team, and then rigorously tested to ensure the client was completely happy with the design.

There’s also a system-wide ETC Unison control system TV Lighting | Spring 2013

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Sponsor news

Splitter DMX/RDM splitters; and RMT remote media transceivers (coming soon). ProPlex professional control cables include DMX, CAT5e, and now Fibre – the world’s most durable data cables!

Lighting Designer for the Ryder Cup ceremonies was Patrick Chan of TLC. With offices in Chicago and Orlando, TLC has offered full-service production lighting and design for theatre, concerts, tradeshows, corporate events and permanent installation since 1986.

Chameleon Touring lights Brisbane Festival with LumenRadio

with a series of integrated touch panels in the stage area and a large number of location-specific push-button panels throughout the building, offering local control over house lights and backstage work lights. A DMX distribution system throughout the stage and audience areas completes the stage lighting package.

The company’s work also includes sound communications and AV systems, with a combination of video and digital tie lines serving the auditorium, stage and paint shop areas. All these facilities appear on bespoke audio visual boxes, colour-coded

by Stage Electrics to match the architects’ specifications.

The call and show management paging system, meanwhile, is designed to integrate with further works – the next phase in the Bristol Old Vic’s regeneration – which will commence at a later date. It features a BSS Soundweb Blue processor, with RCF amplification and Penton loudspeakers for paging in backstage areas, the box office and other areas.

TMB Theatrical Lighting Connection lights PGA Ryder Cup with ProPlex Data Distribution

At the 2012 biennial Ryder Cup golf tournament, a team of USA all-stars challenged the European Cup-holders at the private 640-acre Medinah Country Club in Illinois. Lighting for the event ceremonies was provided by Theatrical Lighting Connection (TLC) of Chicago.

The lighting rig included 100 Martin and 55 Color Kinetics fixtures. Control data from two Martin consoles was transmitted via 2,000ft of ProPlex Fibre Cable to two ProPlex GBS 10-port, dual-fibre, managed GigaBit Switches, and then via ProPlex Ethernet cables and ArtNet converters to four ProPlex Opto-Splitter 2x8 units, linked to the fixtures via ProPlex DMX cables.

ProPlex offers a truly integrated, complete solution.

ProPlex Devices multiple-format, copper/fibre data distribution systems, intended for all portable entertainment production and staging applications, are truly ‘built for the road’. The growing product range includes: GBS gigabit Ethernet switches; IQ Ethernet-DMX converters; Opto48

TV Lighting | Spring 2013

To celebrate Australia’s annual 30-night Brisbane Festival last fall, 3,000sqm of brilliant lighting, visible for more than 10km, lit up downtown Brisbane’s business district. Sponsored by Santos GLNG City of Lights and designed by John Rayment, the festival’s spectacular lighting was provided and installed

by Chameleon Touring Systems of Sydney and Brisbane.

The urban venue of three skyscrapers, a 20m x 50m floating barge and a freeway overpass constituted three distinct lighting and control domains. Eighteen Panther 7K searchlights blazed from the tallest buildings. The barge and freeway systems featured 18 additional searchlights and 210 moving lights.

A LumenRadio system, recommended and supplied to Chameleon by TMB, distributed control data wirelessly to all lighting elements of the event. A lighting controller located on the barge linked to four Dual Universe RDM Transmitters broadcasting to eight LumenRadio Outdoor Slim Receivers controlling the moving lights. An additional universe in the wireless system controlled Syncrolites under the freeway overpass. FOH wireless was also transmitted 339m to a Single Universe Outdoor Flex atop the Brisbane Square building. A Dual Universe RDM Transmitter then relayed the signals another 288m to two RDM Indoor Receivers located in the Casino Towers and Mineral House buildings.

TMB is the exclusive distributor for LumenRadio in North America and the UK.

UNUSUAL RIGGING Sports Personality of the Year gets the Unusual Rigging treatment

UK – TV and live arena spectacular, Sports Personality of the Year, saw Unusual Rigging apply its technical expertise to a complex and demanding set-up. Both a TV show and a live event, this year for the first time, it was broadcast live from London’s ExCel Arena.

Hired by Unspun, whose role encompassed creative consultation, event design and implementation, as well as technical production and schedule management, Unusual Rigging not only took care of the rigging needs for the arena itself but also for a hospitality event in The Capital Hall.

On winning the project, Unspun’s Project Manager, Alex Clayton-Black, and Technical Production Manager Gary White set about putting the key supply services out to tender. They needed to be confident not only in the rigging company’s equipment and project management skills, but also in its collaborative spirit, as Unspun was procuring

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Above: Unusual Rigging bid for and won the contract to supply and install the rig for Sports Personality of the Year, whose set felt more like a live music event

infrastructure for its client’s appointed lighting and sound suppliers as well as its own, and proactive problem solving.

Unusual Rigging bid for and won the contract to supply and install the show rigging, project managed by Unusual Rigging’s Steve Porter. One of the key selling points was the CAD skill of Jim Dugan, who Unspun soon adopted to produce the detailed and multifarious technical drawings for the entire event. In the role of Onsite Production Manager for Unspun, Dugan also provided invaluable support to White.

The set, designed by Simon Kimmel, looked and felt more like a live music event than an awards ceremony. Featuring three substantial stages, it enabled presenters to talk to camera while musicians and performers, such as Emeli Sande, set up to play. The dazzling stage, built by Stage One, incorporated LED screens (supplied by Creative Technology), flying setpieces, and a considerable hang of stage and audience lighting and sound.

Unusual Rigging supplied a mixture of general-purpose 500mm square box truss together with Prolyte’s H40V and H30V truss, supported by Liftket two-tonne, one-tonne and half-tonne hoists. The company also designed and installed a small and discrete trussing system to support lighting for the red-carpet area.

WHITELIGHT White Light welcomes Sarah Cox as European Divisional Sales Manager

Entertainment lighting specialist White Light is pleased to announce that Sarah Cox has recently joined its Sales team as European Divisional Sales Manager. A well-known face within the industry, Sarah brings to the role more than 10 years of experience working with stage entertainment technology, having previously held positions with Roland Hemming and TMB. Most recently, Sarah worked as Business Development Manager for Stage Electrics.

“I am delighted to welcome Sarah to the White Light team” said Peter Threadgold, Sales Director at White Light.

“I have known Sarah since her early days in our industry and have seen her knowledge and business acumen develop over the years. I look forward to working together as White Light continues to take up new opportunities for growth.”

White Light has been supplying equipment and solutions to the entertainment lighting industry for more than 40 years and is the exclusive UK distributor for 18 lighting technology manufacturers. In her new role, Sarah will focus on delivering White Light’s innovative products and quality service to customers throughout the UK and European markets.

White Light exhibit at BVE London and showcase their latest LED products for film and TV

White Light showcased the latest lighting and effects solutions for film and television at the BVE Expo, which moved to ExCel London for this year’s event in February.

Exhibiting for the third consecutive year, White Light saw the BVE Expo as the perfect opportunity to bring its comprehensive selection of products and services to the broadcast and TV industries.

White Light displayed products from Altman, ARRI, Coemar, CORE Lighting, Galaxia Electronics, Look Solutions, PR Lighting, Prism Projection, Robert Juliat and Rosco.

Making its debut to the show was the PR Lighting Studio LED 3300, featuring a soft and uniform light output, stable colour temperature, and high colour rendering index. The Studio LED 3300 is available in either 3,200K or 5,600K TV Lighting | Spring 2013

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Sponsor news

colour temperature.

The Galaxia Electronics KLA600 studio light was also on display. This soft light produces uniform light with minimised glare and no flickering – and is available with a barn door accessory. White Light also showed the ROSCO LitePad HO+: a slim profile, edge-lit LED light source.

Visitors to the White Light stand got an in-person view of the Altman Spectra Cyc, the buzz-worthy LED cyclorama fixture. The Spectra Cyc uses a patented LED lens to blend colours, reducing pixilation from direct view. This allows the benefit of a bright energy-efficient source without compromising the fixture’s aesthetics. Also joining the lineup is the LED Studio.3 Fresnel from Prism Projection. The new Studio.3 features high lumen output and TrueSource® colour management technology.

ARRI fixtures were in full force, with White Light showcasing the ARRI True Blue ST1, the evolution of the studio fixtures that have been popular workhorses for over two decades; the ARRILITE 750; and the new and improved incarnation of ARRI’s traditional open-faced light, the ARRILITE 800/1000.

White Light also brought visitors the Coemar LEDko P profile fixture, the latest in the LEDko range, and CORE Lighting’s Point30 tunable white wireless uplighter, the perfect solution for adjustable white light with a quick and easy set-up.

XL EVENTS XL Events supply super bright projection at the BBC

When BBC One’s The One Show was chosen to launch the BBC One Christmas line-up, they commissioned arts and technology collective seeper to produce a large-scale projection on to the front of the BBC. The projection was used to map seeper’s speciallyproduced promo film of the BBC’s upcoming Christmas shows on to the building in Wood Lane, west London.

In the weeks running up to the launch, seeper brought in XL Events to specify and supply the projection element of the project. Several meetings and site visits were required to select the most effective placement for the projectors.

With companies such as Network Rail and Marks & Spencer in close vicinity, great consideration was taken as to how the rigging of the projectors would affect the neighbours of the chosen location, The Ugli Building.

The decision was taken to rig via The Ugli Building’s car park. Impact Productions provided a weather-proof structure on which the projectors were stacked. Hewden supplied a large crane, which transported the projectors, each weighing 250kg, up to the platform at the top of the building.

To satisfy the requirement for a very high Lux output, XL Events specified the newest, brightest Barco projectors to achieve the 150m throw to the BBC building. Five Barco HDQ-2K40 units, each supplying 40,000 lumens of brightness, were used to project the image, which was more than 35m wide.

Line-up and content tests on the evenings prior to the launch were very successful, with the full brightness on view.

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On the evening of the live broadcast, a blanket of fog appeared across west London and gave the projection a cloudy diffusion, which reduced some of the clarity of the image. The high brightness levels of the Barco 40K units, however, meant that the images were still fully visible on camera.

XL Events supply National Television Awards

XL Events supplied video production – including highpowered projection system, control, screen management and crew – for the 2013 National Television Awards, broadcast live on ITV from London’s O2 Arena.

Working for producers Indigo Television, the event was project managed for XL by Paul Wood. XL has been involved in the event – this was its 13th year – since 2005, in which time the production video elements have expanded significantly.

This year, the stage and set was designed by Wieder Design from Munich, well known for their work on German Idol, X-Factor and a myriad of other high-profile TV extravaganzas.

It consisted of a large upstage projection screen measuring 11m by 6m, surrounded by four smaller screens: two at 6m by 3m and two at 5m by 3m.

The large screen used four of XL’s new Barco HDF W26 26K projectors. Each of the outer screens was fed by a pair of Barco HDF W26s.

Four front-projected live relay repeater screens were located around the O2, ensuring that everyone had a clear view of all the onstage action and excitement, and each of these was fed by Barco SLM12 12K projectors.

For Show Playback, XL supplied three Catalyst media servers, two Grass Valley Turbo2 hard drives and a laptop running Keynote. The event’s video content was uploaded and stored primarily on the Catalysts, which were programmed and operated by Jonathan Bond.

All the video sources were switched and output to screen via a six-output Barco Encore screen management system.

The get-in schedule and tight rehearsal timeframe was the main challenge for XL’s crew, who worked in two shifts – day and night – to be ready for the first rehearsals.

All ran very smoothly and the event once again proved a major success, honouring the public’s favourite choices of programmes and personalities appearing on British TV throughout the year.

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Society Committee

Chairman Stuart Gain 07774 161 996

chairman@stld.org.uk

Treasurer Mike Le Fevre

Secretary John O’Brien

07956 305 662

07717 170 288

Magazine Editor, Sponsor News + Assistant Sponsor Liaison

Emma Thorpe 07850 709 210

johnobrien@stld.org.uk

treasurer@stld.org.uk

Membership Robert Horne

Sponsors Liaison Bernie Davis

07762 562 434

07860 662 736

sponsors@stld.org.uk

editor@stld.org.uk

Exhibitions Paul Middleton 07720 446 921

members@stld.org.uk

Publicity Andrew Harris

Iain Davidson 07811 256 283

07973 745 583

paulmiddleton@stld.org.uk

Advertising Sales John King 07860 759 294

publicity@stld.org.uk

iaindavidson@stld.org.uk

Diary Lee Allen

Website Ian Hillson

07711 088 964

johnking@stld.org.uk

Website Richard Bowles 07973 152 682

Picture courtesy of Chris Capstick

leeallen@stld.org.uk

Les McCallum 07940 280 268

lesmccallum@stld.org.uk

ianhillson@stld.org.uk

Rick Dines

07780 707 169

rickdines@stld.org.uk

richardbowles@stld.org.uk

Jonathan Taylor

07774 698 847

jonathantaylor@stld.org.uk TV Lighting | Spring 2013

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Society sponsors

A.C. Entertainment Technologies Ltd (Gordon Smith) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ E-Mail: gordon.smith@ac-et.com ~ Web: www.aclighting.com

Ambersphere Solutions Ltd now incorporating MA Lighting (Glyn O’Donoghue) Unit 3 Alliance Court, Alliance Road, Park Royal, London W3 0RB Tel: 020 8992 6369 ~ E-Mail: glyn@amberspere.co.uk ~ Web: www.ambersphere.co.uk

Anna Valley (Part of Shooting Partners group) (Mark Holdway, Doug Hammond) Unit J12 Brooklands Close, Windmill Road, Sunbury-On-Thames, Middlesex TW16 7DX Tel: 020 8941 4500 ~ Fax: +44(0)1932 761 591 ~ Web: www.annavalley.co.uk

Architainment Lighting Ltd (Nic Tolkein) Unit 6 Premacto Business Estate, Queensmead Road, High Wycombe, Buckinghamshire HP10 9XA Tel: 01494 471 340 ~ Fax: 01494 442 627 ~ E-Mail: nic@architainment.co.uk

ARRI (GB) Ltd (Andy Barnett, Siobhan Daly, Martin Carnell) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01895 457 000 ~ Fax: 01895 457 001 ~ E-Mail: sales@arri-gb.com ~ Web: www.arri.com

ARRI Lighting Rental Ltd (Tommy Moran, Mike O’Hara) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX ~ Tel: 01895 457 200 ~ Fax: 01895 457 201 Manchester 0161 736 8034 (Jimmy Reeves) ~ E-Mail: mohara@arrirental.com ~ Web: www.arri.com

Artistic Licence Engineering Ltd (Simon Hobday, Wayne Howell) 24 Forward Drive, Christchurch Industrial Estate, Harrow, Middlesex HA3 8NT Tel: 020 8863 4515 ~ Fax: 020 8426 0551 ~ E-Mail: sales@artisticlicence.com ~ Web: www.artisticlicence.com

Aurora Lighting Hire Ltd (Nick Edwards) Unit 4, Bristol Road, Metropolitan Estate, Greenford UB6 8UW Tel: 020 8813 2777 ~ Mobile: 07710 261 838 ~ E-Mail: nick.edwards@auroratv.co.uk ~ Web: www.auroratv.co.uk

Avolites (Phil Blue) 184 Park Avenue, Park Royal, London NW10 7XL Tel: 020 8965 8522 ~ Fax: 020 8965 0290 ~ E-Mail: steve@avolites.com ~ Web: www.avolites.com

Barbizon Europe Ltd (Tom McGrath) Unit 5 Saracen Industrial Area, Mark Road, Hemel Hempsted, Hertfordshire HP2 7BJ ~ Tel: 01442 260 600 ~ Fax: 01442 261 611 E-Mail: tmcgrath@barbizon.com ~ Web: www.barbizon.com

BBC Studios and Post Production Ltd (Danny Popkin) Room 001, The Hub, BBC Television Centre, Wood Lane, London W12 7RJ Tel: 020 8576 7666~ Fax: 020 8965 8806 ~ E-Mail: danny.popkin@bbc.co.uk ~ Web: www.bbcresources.co.uk

BBC Training and Development (Tim Wallbank) Wood Norton, Evesham, Worcestershire WR11 4YB www.bbctraining.com

Broadcast Video Forum/Emap (Charlotte Bowskill) Emap Media,Greater London House, Hampstead Road, London NW1 7EJ

Chris James & Co. Ltd (Barry Frankling) 43 Colville Road, Acton, London W3 8BL Tel: 020 8896 1772 ~ Fax: 020 8896 1773 ~ E-Mail: info@chrisjamesfilter.com ~ Web: www.chrisjamesfilter.com

Cirro Lite (Europe) Ltd (John Coppen, David Morphy, Frieder Hockheim) 3 Barrett’s Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ E-Mail: mail@cirrolite.com ~ Web: www.cirrolite.com

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Please mention Television Lighting and Design when contacting sponsors

Clay Paky S p A (Davide Barbetta) via Pastrengo 3/B, 24068 Seriate (BG), Italy Tel: +39 335 72.333.75 ~ Fax: +39 035.30.18.76 ~E-Mail: davide.barbetta@claypaky.it ~ Web: www.claypaky.it

Doughty Engineering Ltd (Julian Chiverton, Mervyn Lister, Stephen Wright) Crow Arch Lane, Ringwood, Hampshire BH24 1NZ ~ Tel: 01425 478 961 ~ Fax: 01425 474 481 E-Mail: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk

ELP (Ronan Willson, Tony Slee, John Singer, Darren Fletcher) 15 North Gate, Alconbury Airfield, Huntingdon, Cambridgeshire PE28 4WX Tel: 01480 443 800 ~ Fax: 01480 443 888 ~ E-Mail: info@elp.tv ~ Web: www.elp.tv Elstree Office 020 8324 2100 Manchester Office 0161 300 2922

ETC Europe Ltd (Mark White, Jeremy Roberts) Unit 26-28, Victoria Industrial Estate, Victoria Road, London W3 6UU Tel: 020 8896 1000 ~ Fax: 020 8896 2000 ~ E-Mail: mwhite@etceurope.com ~ Web: www.etcconnect.com

Film & TV Services Ltd (Julie Fegan, Eddie Fegan) Unit 3, Matrix Park, Coronation Road, Park Royal, London NW10 7PH Tel: 020 8961 0090 ~ Fax: 020 8961 8635 ~ E-Mail: mail@ftvs.co.uk ~ Web: www.ftvs.co.uk

Finelight Ltd (Simon Perrott) 708B, Tudor Industrial Estate, Abbey Road, Park Royal, London NW10 7UY Tel: 020 8453 0049 ~ Mobile: 07968 581 440 ~ E-Mail: simon@finelight.co.uk ~ Web: www.finelight.co.uk

Flashlight Ltd (Andy Dodd, Rob Williamson) Unit A3, Axis Point, Hill Top Road, Heywood, Greater Manchester OL10 2RQ Tel: 01706 625 866 ~ Fax: 01706 620 756 ~ E-Mail: sales@flash-light.org.uk ~ Web: www.flash-light.org.uk

Fountain Studios (Mariana Spater) The Fountain studios, 128 Wembley Park Drive, Wembley HA9 8HP Tel: 020 8900 5800 ~ E-Mail: Mariana.spater@ftv.co.uk ~ Web: www.ftv.co.uk

Gekko Technology (Ian Muir) Units 3–4, Cotton Drive, Dalehouse Lane, Kenilworth CV8 2UE Tel: +44 (0) 844 800 5326 ~ E-Mail: ian@gekkotechnology.com ~ Web: www.gekkotechnology.com

Green Hippo (Samantha Bailey) Unit 307 Parma House, Clarendon Road, Wood Green N22 6UL Tel: +44 (0)203 301 4561 ~ E-Mail: sam@green-hippo.com ~ Web: www.green-hippo.com

Havells-Sylvania Ltd (Ian Major) Havells-Sylvania Ltd, Avis Way, Newhaven BN9 0ED E-Mail: ian.major@havells-sylvania.com ~ Web: www.havells-sylvania.com

Hawthorn Lighting (Dave Slater, May Lee) Head Office 01664 821111 - London Office 020 8955 6900 info@hawthorns.uk.com - www.hawthorns.uk.com

HSL Group Holdings LTD (Simon Stuart, Mike Oates) Unit E&F, Glenfield Park, Philips Road, Blackburn, Lancashire BB1 5PF Tel: 01254 698 808 ~ Fax: 01254 698 835 ~ E-Mail: hire@hslgroup.com ~ Web: www.hslgroup.com

James Thomas Engineering Ltd (Paul Young) Navigation Complex, Navigation Road, Digilis Trading Estate, Worcestershire WR5 3DE Tel: 01905 363 600~ Fax: 01905 363 601 ~ E-Mail: pauly@jamesthomas.co.uk ~ Web: www.jamesthomas.co.uk

Key Light Hire Ltd (Alex Hambi) Unit 24, Sovereign Park, Coronation Road, Park Royal NW10 7QP Tel: 020 8963 9931 ~ Fax: 020 8961 236 ~ Mobile: 07949 686 802 ~ E-Mail: alex@keylight.tv ~ Web: www.keylight.tv

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Society sponsors

Lights Camera Action (Nick Shapley) Unit 30, 8 Taunton Road, The Metropolitan Centre, Greenford, Middlesex UB6 8UQ Tel: 020 8833 7600 ~ Fax: 020 8575 8219 ~ Web: www.lcauk.com

Lee Filters Ltd (Eddie Ruffell, Paul Topliss, Ralph Young) Central Way, Walworth Industrial Estate, Andover, Hampshire SP10 5AN Tel: 01264 366 245 ~ Fax: 01264 355 058 ~ E-Mail: ecruffell@leefilters.com ~ Web: www.leefilters.com

Lightfactor Sales Ltd (Peter Coles) 20 Greenhill Crescent, Watford Business Park, Watford, Hertfordshire WD18 8JA Tel: 01923 698 080 ~ Fax: 01923 698 081 ~ E-Mail: info@lightfactor.co.uk ~ Web: www.lightfactor.co.uk

Lighting Logic Ltd (Mick Cocker, Matt Miles) The Hopkilns Building, Goblands Farm Business Centre, Cemetery Lane, Hadlow, Kent T11 0LT Tel: 0845 260 0540 ~ Fax: 0845 260 0541 ~ E-Mail: mick@lightinglogic.co.uk ~ Web: www.lightinglogic.co.uk

LSI Projects (Russell Dunsire, Nick Mobsby) 15, Woking Business Park, Albert Drive, Woking, Surrey GU21 5JY Tel: 01483 764 646 ~ Fax: 01483 769 955 ~ E-Mail: nickM@lsiprojects.com ~ Web: www.lsiprojects.com

Martin Professional Plc ( Mike Walker) Martin Professional PLC, 7.G.2, The Leathermarket, 11–13 Weston Street, London SE1 3ER Tel: 020 3207 2975 E-Mail: michael.walker@martin.dk ~ Web: www.martinpro.co.uk

MEMS Power Generation (Mark Diffey) Beechings Way, Gillingham, Kent ME8 6PS Tel: 08452 230 400 ~ Fax: 01634 263666 ~ E-Mail: sales@mems.com~ Web: www.mems.com

MGC Lighting Group (James Greig) 1 Sovereign Centre, Farthing Road, Ipswich, Suffolk IP1 5AP Tel: 01473 466 300 ~ Fax: 01473 240 081 E-Mail: uksales@mgc-lighting.com~ Web: www.mgc-lighting.com

OSRAM Ltd (Terri Pearson) OSRAM House, Waterside Drive, Langley, Berkshire SL3 6EZ Tel: 01753 484 275 ~ Fax: 01753 484 165 ~ E-Mail: displayoptic@osram.co.uk ~ Web: www.osram.com

Panalux Limited (Ed Pagett, Simon Roose) Unit 21, The Metropolitan Centre, Derby Road, Greenford, London UB6 8UJ Tel: 020 8832 4800 ~ Fax: 020 8832 4811 ~ E-Mail: info@panalux.biz ~ Web: www.panalux.biz

Philips Entertainment BV. (Mike Goldberg) Marssteden 152, Enschede 7547 TD, the Netherlands Tel: +44 (0)7974 752646

Philips Lighting UK Ltd (Sharon Banting) Philips Centre, Guildford Business Park, Guildford, Surrey GU2 8XH Tel: 07774 122 735 ~ Fax: 01296 670 956 E-Mail: sharon.banting@philips.com ~ Web: www.lighting.philips.com

Photon Beard Ltd (Peter Daffarn, Mike Perry, Simon Larn) Unit K3, Cherry Court Way, Stanbridge Road, Leighton Buzzard, Bedfordshire LU7 8UH Tel: 01525 850 911 ~ Fax: 01525 850 922 ~ E-Mail: info@photonbeard.com ~ Web: www.photonbeard.com

Pinewood Group (Simon Honey – Head of Studio Ops, Peter Lawes – Production Lighting Manager, Paul Darbyshire – Operations Director) Pinewood Road, Iver Heath, Buckinghamshire SL0 0NH Tel: 01753 785 200 ~ Fax: 01753 656 103 E-Mail: simon.honey@pinewoodshepperton.com ~ Web: www.pinewoodshepperton.com

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Please mention Television Lighting and Design when contacting sponsors

PLASA (Norah Phillips) The Professional Lighting and Sound Association is a trade association representing companies and individuals who work in the TV, film, entertainment, installation and leisure industries. Its aim is to develop and promote all aspects of the industry on a worldwide basis, acting in the common interests of its membership.

Redoubt House, 1 Edward Street, Eastbourne, Sussex BN23 8AS Tel: 01323 524 120 ~ Fax: 01323 524 121 ~ E-Mail: norah.phillips@plasa.org ~ Web: www.plasa.org

Production Resource Group (Mick Healey,Kelly Cornfield, Martin Locket) The Hoover Building, Western Avenue, Perivale UB6 8DW The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT Tel: 0845 470 6400 ~ Fax: 0845 470 6401 ~ E-Mail: prglighting@prg.com ~ Web: www.prglighting.co.uk

Projected Image UK Ltd (Jim Douglas) Unit 17, Hoults Estate, Walker Road, Newcastle-Upon-Tyne NE6 2HL. Tel: 0191 265 9832 ~ Fax: 0191 265 8742 ~ E-Mail: gobo@projectedimage.com ~ Web: www.projectedimage.com

Pulsar Light Of Cambridge Ltd (Andy Graves, Paul Mardon, Snowy Johnson) 3 Coldham’s Business Park, Norman Way, Cambridge CB1 3LH Tel: 01223 403 500 ~ Fax: 01223 403 501 ~ E-Mail: andy@pulsarlight.com ~ Web: www.pulsarlight.com

Richard Martin Lighting Ltd (Richard Martin, Steve Wells, Amy Helps) Unit 24, Sovereign Park, Coronation Road, Park Royal NW10 7QP Tel: 020 8965 3209 Fax: 020 8965 5562 ~ E-Mail: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Gloucestershire GL56 0LW

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 ~ E-Mail: info@robeuk.com ~ Web: www.robeuk.com

Roscolab Ltd (Denise Piguet) Blanchard Works, Kangley Bridge Road, Sydenham, London SE26 5AQ Tel: 020 8659 2300 ~ Fax: 020 8659 3153 ~ E-Mail: marketing@rosco-europe.com~ Web: www.rosco.com

Schnick-Schnack-Systems GmbH (Thomas Werr) Mathias-Bruggen-Strasse 79, 50829, Germany E-Mail: thomas.werr@schnickschnacksystems.com ~ Web: english.schnickschnacksystems.com

Sony UK Ltd (Daniel Robb) The Heights, Brooklands, Weybridge, Surrey KT13 0XW Tel: 01932 816 368 ~ Fax: 01932 817 014 ~ Neil: 07774 142 724 ~ E-Mail: Jane.Green@eu.sony.com ~ Web: sonybiz.net/uk

Specialz Ltd (Dave Smith) Unit 2, Kingston Industrial Estate, 81-86 Glover Street, Birmingham B9 4EN Tel: 0121 766 7100 & 7110 ~ Fax: 0121 766 7113 ~ E-Mail: info@specialz.co.uk ~ Web: www.specialz.co.uk

Stage Electrics Ltd (Mark Burnett, Adrian Searle) Third Way, Avonmouth, Bristol BS11 9YL ~ Tel: 0117 938 4000 ~ Tel Mark: 07890 271 535 ~ Tel Adrian: 07836 540 421 Fax: 0117 916 2828 ~ E-Mail: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk

The Hospital Club Studios (Samantha Dunlop) 4 Endell Street, London WC2H 9HQ Tel: 020 7170 9112 ~ Fax: 020 7170 9102 ~ E-Mail: samd@thehospitalclub.com ~ Web: www.thehospital.co.uk

The London Studios (Dave Stevens) Upper Ground, London SE1 9LT Tel: 020 7157 5555 ~ Fax: 020 7157 5757 ~ E-Mail: dave.stevens@londonstudios.co.uk ~ Web: www.londonstudios.co.uk

TMB (Paul Hartley, Bill Anderson) 21 Armstrong Way, Southall UB2 4SD Tel: 020 8574 9700 ~ Fax: 020 8574 9701 ~ E-Mail: tmb-info@tmb.com ~ Web: www.tmb.com

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Please mention Television Lighting and Design when contacting sponsors

TSL Teknique Systems Ltd PO Box 3587, Glasgow G73 9DX Tel: 07860 290 637 ~ Web: www.tekniquesystems.com

Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ E-Mail: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk

VectorWorks (Martyn Horne) Computers Unlimited, The Technology Park, Colindeep Lane, London NW9 6BX Tel: 020 8200 8282 ~ Fax: 020 8358 9479 ~ E-Mail: 3ddesign@unlimited.com ~ Web: www.vectorworks.uk.com

White Light Ltd (Bryan Raven, John Simpson, Jason Larcombe) 20 Merton Industrial Park, Jubilee Way, London SW19 3WL Tel: 020 8254 4800 ~ Fax: 020 8254 4801 ~ E-Mail: info@WhiteLight.Ltd.uk ~ Web: www.WhiteLight.Ltd.uk HireTel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841

XL Video Ltd (Malcolm Whittall) 2 Eastman Way, Hemel Hempstead, Hertfordshire HP2 7DU Tel: 01442 849 400 ~ Fax: 01442 849 401 ~ E-Mail: info@xlvideo.tv ~ Web: www.xlvideo.com

XTBA (Chris Cook, Fiona Fehilly, Simon Peers) 35 Fernleigh Road, London N21 3AN Tel: 020 8882 0100 ~ Fax: 020 8882 9326 ~ E-Mail: dmx@xtba.demon.co.uk ~ Web: www.xtba.demon.co.uk

SPONSORS DIRECTORY

Zero 88 Lighting Ltd (Ken Bereen) Head Office: Usk House, Llantarnam Park, Cwmbran, Gwent NP44 3HD Tel: 01633 838 088 ~ Fax: 01633 867 880 ~ E-Mail: sales@zero88.com ~ Web: www.zero88.com

The STLD interactive Sponsors Directory has been available for sponsors’ use for over a year now. It is proving a very useful tool for the STLD and, we hope, for those of our sponsors who now use it. Its main advantages are that it enables the STLD to display up-to-date and accurate information about your company on its website.

In doing so, it also helps us update our records and ensure 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 can now enable companies to be searched for by category and area.

Bernie Davis – STLD Sponsor Liaison

Index of advertisers ARRI Clay Paky Doughty 56

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17 32 13

ELP ETC Lee Filters

IBC 28 IFC

Martin Plasa Unusual Rigging

BC 31 30

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