Set & Light: Summer 2016 (Issue 118) by STLD_Magazine

STLD_118 pp1-??:TL 85 Spring 2005 02/08/2016 21:49 Page 1

www.stld.org.uk

Issue 118: Summer 2016

Set & Light from the Society of Television Lighting and Design

INSIDE: STLD AT STAMFORD BRIDGE | FOCUS ON AURORA | BBC R&D VISIT | BT SPORT REPORT

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Editorial comment

Here we are again, halfway through the year. It’s all gone so quickly; however, we have been busy! The society is in an exciting chapter with the setting up of our Universities and Colleges Membership (see page 24). To this end, I have decided to dedicate a page in the magazine for our student members, who are the future of this industry, and for the bodies and lecturers who teach them, giving them a forum to let us know what they are up to. Our wonderful contributor across the pond, Bill Klages, has hung up his hat in terms of writing, and we thank him for his engaging articles over the last few years. He is going to see if there is someone who can take on the mantle from him – watch this space! In the meantime, you can enjoy his last article on page 26. We’ve had some great visits so far this year at BT Sport and Chelsea FC, and we have planned some great ones for the remainder of the year. Keep an eye out in your inboxes, and if you’re not receiving our invitations, contact Membership Secretary Chris Harris at members@ stld.org.uk so that we can update your details. We look forward to seeing many of you at PLASA this September. The STLD will be on stand V1. The next issue of the magazine will be out in November 2016. The deadlines are 17 October for advertising and 20 October for editorial, which includes Sponsor news.

Emma Thorpe Editor

Contents 4

STLD visit:Chelsea FC

Lighting: A view from across the pond

Sponsor focus: Aurora

Information: KOI 2016

STLD visit: BBC Research & Development

News: ARTS

News: Lighting Logic

In memoriam: Francis Reid

Information: Showlight 2017

Sponsor news

News: RTS event

Society sponsors listing

STLD visit: Sam Wanamaker Playhouse

Education members listing

STLD visit: BT Sport

Index of advertisers

Information: Students

Set & Light is the journal of the Society of Television Lighting and Design and is published three times a year. ISSN 2055-1185 Editor: Emma Thorpe 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: Emma Thorpe E-mail: adverts@stld.org.uk

Cover photo: BT Sport by John O’Brien Printed by: Gemini Print Deadlines for the next issue: Editorial: 20 October 2016 Advertising: 17 October 2016 Advertising is accepted only from sponsor members of the Society © Society of Television Lighting and Design 2016

Set & Light | Summer 2016

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STLD visit

Premier lighting Words: Ian Dow Photos: John O’Brien

Set & Light | Summer 2016

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Chelsea FC

Perhaps 10 March was not the best day to choose for the STLD to view the new LED floodlighting installation at Chelsea’s Stamford Bridge ground: their Champions League dreams had been shattered the previous evening when Paris Saint-Germain had knocked them out of the competition. Our meeting in the Vailli Suite on the third floor of the West Stand was more akin to being in a five-star hotel than to the football grounds I knew from my time on Match of the Day. Coffee and biscuits were served by liveried retainers, and if we fancied a breath of fresh air we could step outside to get a magnificent view of the pitch lit by the Philips ArenaVision LEDs. We were welcomed by Mike Simpson, Global Application Lead from Philips Lighting, and Chris Gleeson, Group Facilities Manager of Chelsea Stadium. Mike explained that Chelsea needed to upgrade their lighting to match the Premier League technical requirements and wanted to find the best solution. The Olympics had shown up the varying standards of sports venue lighting, and a lot had been learnt since. This knowledge was being put to good use in improving the lighting for TV coverage at Premier League grounds. In common with many grounds, Chelsea’s old lighting rig utilised just the two side grandstands to rig lights. But the broadcasters provide a lot of the finance and they wanted improvement in lighting levels for the ‘fifth camera’ – in effect, from behind the goals – and so the Premier League specification now included lighting levels for cameras viewing from all four directions. The Olympics also showed up flicker problems on the pictures, and Mike said they hadn’t realised that the camera shutter speeds were now so much faster, often only opening for less than half a per cent of the time. This was particularly so for the Ultra Slow-Mo cameras, and so Philips did some tests using LEDs and Slo-Mo cameras and now they can say that they haven’t been able to detect any flicker up to 1,500fps. The new lighting system still uses the side grandstands to mount the majority of lights and adds extra fixtures on each end stand (but not directly behind the goal so as not to dazzle the players). To get the best angle for the behind-the-goal cameras, these had to be underslung on the front of the end stands. There are 292 ArenaVision LED floods (pictured below) in the rig: a total of 426kW providing average horizontal lighting levels of 2,257 lux. The vertical pitch illumination to the main camera position was 1,720 lux, exceeding the Premier League specification of 1,600 lux. The Colour Rendering Index is 85, colour temperature 5,500K and flicker less than 0.6 per cent. What an improvement from my time on Match of the Day, when the illumination at the centre of the pitch at Manchester United’s ground was 1,000 lux, while at the goal ends it was 60 lux. A powerful high kick from the centre line would rise gracefully in the air then plunge into darkness as it sank towards the goal mouth if the OB racks engineer wasn’t on the ball (sorry!) to open the iris quickly enough. Back to the present and a voice from the audience asked how many LEDs were in each fixture. The Philips team huddled together looking puzzled – ‘about 100’, they suggested. “It’s actually three groups

Chris Gleeson, Group Facilities Manager of Chelsea Stadium

of 90,” announced STLD member Alan Roberts, ex-BBC Research department, who was so keen he had brought along the Philips data sheet downloaded from the web. He should really be writing this article instead of me; I only came along out of nostalgia – and for the buffet! Another asked Chris the difference in electrical power between the new and old rigs. There was some discussion and juggling with numbers and the final decision was ‘not a lot’. However, the advantage was a brighter pitch, and overall power consumption for a match was now considerably less. The old system of discharge lamps had to be switched on and checked well before the spectators entered, and it was then left running until everybody had left. There were some hot restrikes among the rig so the match could continue more quickly if there was a blip in the power and the lights failed, and the square wave ballast did produce some flicker. The ArenaVisions are controlled by DMX and can be dimmed right down to three per cent, keeping a stable colour temperature and CRI. There had been no complaints or comments from the punters on the quality of the LEDs. Cabled DMX was used throughout as there is a danger with wireless DMX of some nerd in the crowd taking over the rig with his Smartphone! For pitch maintenance, the intensity can be reduced to just 10 per cent; for cleaning the spectator areas, 30 per cent is sufficient, while as the players are warming up, the level can be set at 60 per cent. Then, as kick off approaches, the full 100 per cent will bring an air of excitement to the usually lethargic football supporters! As a bonus, any DMX controller can be used, with each light fitting having a separate address. A recent EUEFA match had broken the mould by having a light show before the match started, which necessitated putting in a full entertainment lighting rig. Chelsea can do this with the existing rig. So, how do you focus 292 lights, each with 270 LED chips, to give an even coverage over the whole ground from all four sides? The answer is: with some difficulty – but a lot of preplanning. Firstly, each wafer of chips is graded for colour temperature during the manufacturing process, and only those within tolerance are used. It then took about two days to set the addresses on all the fixtures. There is a choice of five lenses, from wide to narrow, and each unit is fitted in advance with the correct Set & Light | Summer 2016

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STLD visit

The chase close up

Mike Simpson of Philips Lighting

Pictured from top: the chase; lamps all on; there are no lights above the goals; sodium lights are used during the week to keep the grass in tiptop condition

Set & Light | Summer 2016

combination of lenses, depending on whether they are focused on the nearside or the far end of the pitch. A marker is then placed on the grass and a laser gun sight is bolted to the fixture, which is then aimed accurately and clamped in place. The crew has to be prepared with a good answer before going through airport security while clutching the laser gun sight! Philips has tweaked the feedback loop on the current drivers for maximum output rather than efficiency, which then requires large heat sinks. The operating costs at Chelsea are about £40 per hour at maximum power. The expected life of the LEDs is 40,000 hours, and the club might only use 400h per season, giving a life of 100 seasons – perhaps longer than the life of Chelsea FC! The fixtures just need to be cleaned and the light output checked every year. Looking ahead to the World Cup in Qatar in 2022, with temperatures in the region of 45 degrees, the light output of lights such as the ArenaVisions will have to be reduced rather than trying to add extra cooling units, or the rated life reduced. We were then led in formation round the outside of the ground before triumphantly emerging from the players’ tunnel onto the pitch. But what was this? Astroturf! Apparently,

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Chelsea FC

Lighting Programmer Tom Young

Focusing the fixture

The lamps are aimed with the aid of a gun sight

there is a mixture of real grass with a small addition of Astroturf on the pitch itself, but the surrounding grass where the handheld cameramen rove is all artificial. It looked quite bright, but we were asked to guess the level compared to full up. Most thought about 50 per cent, but to our surprise it was only 10 per cent, and suddenly all hell was let loose and we shielded our eyes from the very impressive full intensity. Tom Young, together with Tim Routeledge, had programmed a 15-minute light show for us. Not as easy as at a Stones concert, perhaps, as the lights don’t move and they don’t change colour – but there were 292 of them! Each fitting has three blocks of 90 LEDs and, if necessary, could in the future be programmed with three addresses. Suddenly a fanfare rang out and heavy rock music filled the stadium. Tom rang the changes from chases round the grandstand balconies to blocks of lights bouncing across the pitch. As the side grandstands have fittings double stacked, one of the most impressive moves was a chase rippling in a wave round the ground. How long will it be before a lighting designer from the world of wrestling is head hunted by the football world? Chelsea already light a strip of the pitch as the players run

Diagram showing the laser aiming plot

out. Perhaps we will see only the goal area at one end of the ground lit for penalties, and if a goal is scored, will Tom’s rippling chase run round the stadium to the accompaniment of We Will Rock You on the PA? Only time will tell! Back to reality and, even today, the key is taken from the lighting control during the match in case the operator is overcome by a touch of devilment! So will the current ArenaVisions be a feature of Stamford Bridge for years to come? Surprisingly, the answer is ‘no’ as the ground is about to be redeveloped in a year’s time to increase capacity. Not by building upwards, which would enrage the residents, but by digging down and dropping the pitch by about three storeys. Luckily the District Line passes just outside the footprint of the ground! When football returns to Stamford Bridge after a break of three years, it is likely that a muchimproved version of the ArenaVisions will be available. We then retired back to the Vialli Suite for an exotic buffet and a cold beer. Thanks very much to Philips and Chelsea FC for their hospitality. Thanks to Mike, Chris, Tom and Tim for all the work they did in preparation, and to Alan Luxford for organising the evening. Set & Light | Summer 2016

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Sponsor focus

Aurora’s evolution Words & photos: Bernie Davis Aurora is well established in the field of lighting rental and, as such, is known to us all. In recent months, the company has joined forces with international equipment rental company VER, which has taken on Aurora in order to augment and extend its European product offering. This has, of course, left many like myself wondering what is next for the Aurora brand? So the STLD decided to investigate, not least because Aurora has been a loyal STLD supporter in the few years it has been a member. I arranged to meet with Aurora’s Office Manager Gemma Oldfield to find out more... Aurora Lighting goes back to 1992, when Chris Rigby formed a company to start trading the lighting equipment he was beginning to collect to furnish shows for MTV, BBC, ITV and Channel 4. Strong industry connections and a steady flow of work allowed the company to expand, with a number of key figures becoming part of the workforce. In 2002, Chris left the original company to form Aurora Lighting Hire, enabling other LDs access to his hire stock. This stock consisted of the studio top-up equipment needed for entertainment series: moving lights, LED lighting, lighting desks, TV extras such as profile spots and Fresnels – the sort of thing that might sit in a studio for weeks while recording the odd show every week. In 2012, LDs Gurdip Mahal and Ross Williams joined Aurora as directors. Continual investment increased the stock and meant that they could hire to other lighting designers – and the name of Aurora slowly spread. Its warehouse in West London soon proved to be too small and the company moved to its current location not far from Greenford Station. Then, in 2015, VER got involved. It was looking to invest in a TV lighting company to complement its video business and Aurora looked right for them. The acquisition was completed in September 2015, but as Gemma explained, VER is not trying to run 8

Set & Light | Summer 2016

New ARRI kit being tested before being added to the hire stock

Aurora; it is happy to let the company continue as it was. However, it is investing in new equipment, which was already apparent as I walked around the warehouse. A delivery of the new super-bright M-series ARRI lighting was out being tested before being added to the hire stock. Gemma explained that they have a rigorous testing routine, and all new stock gets fully checked when it arrives, then checked again when it goes out, and yet again when it returns from

hire. You can tell that the company has been set up by working LDs! At the time of my visit, the rig from the referendum debate in Wembley Arena had just returned and the rig for the Glastonbury TV presentation areas had just left, and I had a sense that I was visiting in a rare lull. The unit was not as large as I expected and, had all the equipment come back at once, it would have been a tight squeeze. Gemma, a good friend of the STLD

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Aurora

Aurora’s current location is not far from Greenford Station

The office team: Gemma Oldfield, Ben Taylor and Joe Marter

from the past, is the latest addition to the small but effective team that runs the company. Her knowledge of the industry and the people in it will be of great value to Aurora in the future. She manages the office for Project Managers Joe Marter and Ben Taylor, both bringing in vast experience from other areas of the lighting industry. The warehouse is run by just four people, all getting involved with everything from technology and maintenance to driving the van. I asked about the range of equipment they keep. I am not going to write a big list of wellknown brand names here – Aurora’s website has all you might want to know – but as well as Vari*Lite 3000 spots and washes in large numbers, and of course Clay Paky Sharpies and Mythos

The warehouse team: Louis Bransgrove, Charlie Smith and Dan Bull

spots, the company has also invested in a large amount of Martin equipment – Auras and Quantums, as well as Vipers. Aurora has also bought ChromaForce LED units and SGM strobes. Quite a few of the chat shows it supplies for have the inevitable band performance at the end, and it proves popular to have some of the newer toys available to let LDs come up with innovative looks. In recent times, Aurora has supplied equipment to quite a few big shows, from The Voice and Fifteen to One to Jonathan Ross and Mock the Week. It also supplied equipment for Robot Wars, which is returning to the BBC. The premises might look small, but the shows certainly are not. Adrian Offord, VER’s European Sales Director, told the STLD: “Since

becoming a part of VER, we’re delighted to have enjoyed a fantastic period of evolution within Aurora. Through investment in people, equipment and systems we’ve been able to introduce some exciting developments and create fresh opportunities across the company. “Of course, service remains our absolute priority. We are proud of our association with some of the world’s leading LDs and crew and the entire Aurora team is more committed than ever to ensuring client expectations continue to be met on every level.” A bit of a mission statement, I know, but Aurora’s future looks positive and we at the STLD wish it every success with this new chapter in its history. For more information about Aurora, go to www.auroratv.co.uk Set & Light | Summer 2016

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LONDON, OLYMPIA | 18-20 SEPTEMBER

Creativity. Design. Technology. PLASA 2016 Re-focused After substantial market research PLASA 2016 is moving back to the heart of the city to London Olympia on 18-20 September. See the very latest live entertainment technology, live product demos, technical workshops and the free to attend seminar sessions.

/PLASAShow

GLASGOW | 18-19 JANUARY, 2017

@PLASAShow

#PLASAShow

LEEDS | 9-10 MAY, 2017

1/5

of audience is international from 70 countries

56%

specify or are final decision makers, that is more than 5,000 key buyers

41%

of PLASA visitors haven’t visited any other show in the past year

£3billion combined purchasing power of visitors registered for 2015

74%

of visitors are more likely to visit now that it has moved to West London

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STLD visit

BBC Research & Development

The lowdown on ultra high definition Words: Bernie Davis If you want in-depth information about what is state of the art with camera technology, where better to go than the BBC Research and Development department? And as we heard that members were curious about 4k, we did just that. Camera and TV manufacturers might be just as well informed, but they are not likely to be as free or as honest with their information. The BBC R&D people have a wellearned reputation, built over the years, having developed such things as transatlantic TV transmission in the 1950s to Ceefax, digital radio, HD-TV and video streaming – all thanks to the BBC’s Royal Charter. This licence-paid research is part of their agreement to be a centre of excellence for research and development in broadcasting and the electronic distribution of audio,

visual and audio-visual material. Their work is not just a remnant of the past glory days of the BBC: the activities of BBC R&D are a constitutional requirement of the BBC Royal Charter and the legal agreement between the BBC and the government. The STLD last visited the lovely people of BBC R&D down in Kingswood Warren, which they sadly had to leave six years ago, and they now they are housed in less-grand buildings spread out in three locations: Salford Quay, Euston and White City, where this meeting was held – a stone’s throw from the changing façade of BBC TV Centre. Our main host, Richard Salmon, started by asking exactly what is 4k? He lightly pointed out that 4K is technically 4 Kelvin, and that the TV standard is 4k.

And we all kept quiet when we noticed the use of both 4K and 4k during the rest of the afternoon. But what exactly is HD? Well, the 405 line standard introduced in 1936 was launched as a High Definition standard, and compared to the 30 line standard it was to replace, it was a massive improvement. It was in the 1960s, when the new 625 line system was introduced, that the next level of improvement was achieved, closely followed by colour TV and then widescreen. But as screens got bigger, the need for higher resolution prompted more research into a new standard. I remember in the 1970s seeing a Cream concert recorded in the Royal Albert Hall being shown in a cinema in Evesham, and it was only the concert itself that made the old EMI 2001 Set & Light | Summer 2016

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STLD visit

cameras and their considerable registration errors even bearable. The BBC collaborated with NHK in Japan and eventually agreed on the new 1920 x 1080 High Definition standard back in the 1990s, although the original analogue standard was almost untransmittable as it used four times the bandwidth of 625 lines, and it was only when MPEG-1 compression was developed in 1993 that HD-TV became a possibility. But, of course, things have not stopped there, and already manufacturers are developing Ultra High Definition cameras and TVs working at 3840 x 2160 (4k) and even 7680 x 4320 (known as 8k). So the BBC R&D team started by asking the question: do we actually need it? They already knew a bit about what size screens were appropriate for what distance of viewing from earlier, fairly limited research, and the formula is pretty well that with normal eyesight, one pixel subtends an angle of one minute at the eye. Any smaller an angle and you won’t see an improvement, and any larger, and you start seeing the screen structure. This roughly equates to a standard definition TV with an upto-28-inch screen viewed from 2.7m away, or High Definition up to 50-inch at the same distance. We noted that the screen size is still in imperial but the distance has gone metric. Very British. We were then introduced to Katy Nolan, another part of the R&D team, who had conducted some research to try to establish whether audience current viewing conditions would actually benefit from UHD. Earlier research into audience viewing habits was limited, with a small sample number chosen from a rather technical cross-section of people – mostly friends and colleagues – but this time they invited a much wider selection of people. Katy pointed out that working on the one minute angle of view per pixel formula meant that for standard definition, the nearest you could view a screen was six times the screen height (6H). For full HD this went to 3H, UHD 1 (4k) was 1.5H and UHD 2 (8k) was 0.75H. Knowing this ratio, they asked viewers what viewing distance they watched TV from, and what size screen they used. They also asked what 12

Set & Light | Summer 2016

size screen they might use if cost was not a consideration. The results showed that about 76 per cent of viewers would have degraded viewing with standard definition TV, and a small number of viewers would indeed benefit from UHD-1. We know that screens are getting bigger, but generally they would be desirable for bigger rooms and longer viewing distances only. But the object of the exercise was to look into all parts of the TV standard to see what might benefit viewers in the future. Richard then continued, quoting that sometimes it is not so important to have more pixels as it is to have better pixels, and he went on to talk about the other areas of improvement in picture quality. First of all, he put interlace pictures firmly in their place. He is clearly not a fan and, as he explained, interlace is really a form of analogue compression. But of course we have all seen the 25 frames per second progressive pictures with their filmic judder, and there is a lot of evidence to show that frame rates need to increase alongside spatial resolution. Tests were made on different frame rates, and although 300 fps offered much improvement, as well as easy conversion to 50 fps and 60 fps, there are not many display devices that can show it. The best compromise was 100 fps progressive, fitting neatly with existing standards and not causing flicker with lighting and screens where there had been none before. A problem that was looked at in this study was the difference between focus of static and moving objects. High definition can offer good improvements for static pictures, but it all goes soft if the object – or the camera – moves. At 50 fps, the dynamic resolution is no different for HD TV than it is for SD TV. This can be improved with careful use of camera shutter, as shown in the diagram above. The combination of higher frame rates and careful shuttering can be shown to add a new realism to TV pictures (pictured above right). We were treated to a display of two monitors showing identical content: one running HD 50 fps interlace and the other HD 100 fps progressive. With a range of content it was clear that the 100 fps had much smoother, less blurred

Dynamic resolution at 50 fps

movement, and to my eyes it felt, if anything, more relaxed. In fact, it gave the impression at first of being slower than the 50 fps monitor, but of course it was not. Richard pointed out that some TVs claim to offer 100 fps already, but this was purely a clever chip which interpolated additional frames and did not give the same definition within movement, which is what is really wanted. Sport producers certainly liked the improved clarity of fast-moving objects and people offered by true 100 fps pictures. However, it was found that the drama people still preferred 25 fps, which didn’t surprise us at all. They also looked at the question of what improvements might be gained by deeper pixels, using 10-bit coding rather than the current 8-bit coding. Manufacturers are reluctant to change this as 8 bits is conveniently a byte of processing. But the improvements are clear, particularly with banding and posterisation – those digital artefacts by which areas of picture that are gently grading in colour or luminance show up bands as the picture switches between quantising layers. Two more

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BBC Research & Development

bits make a significant improvement, and to help with handling the additional data, the BBC R&D department has helped to create a new video compression standard known as High Efficiency Video Coding (HEVC). It was even suggested that in the future, with UHD-TV, pictures should be acquired with 12-bit depth and broadcast with 10-bit depth. For some time, the colour space standard for High Definition television has been ITU Rec.709, using a fairly limited triangle within the familiar chromaticity charts – the curvy and colourful triangle which maps all colours that the human eye can see. But already, other standards have been developed. DCI-P3 has a much wider gamut offering improved performance, particularly in the green and red areas of the chart, and has been adopted for cinemas already. In digital cameras, this might be carried within a CIE XYZ container that holds all the colours the human eye can see. Modern digital cameras are already capable of producing pictures that have a very wide gamut, and we are more limited by the display device used. XYZ is not ideal for broadcast transmission because it contains a far wider range than can ever be displayed; this inefficiency is not a problem for cinema, with the movie being delivered to the cinema on a hard disc. For UHDTV for broadcasting, the ITU.2020 colour space is to be used. Richard’s diagram shows how 709, P3 and 2020colour spaces map onto the visible range of colours, and the diagram also includes Pointer’s gamut of real surface colours, which shows which colours one is likely to be pointing a camera at in the real world (pictured above right). An early recommendation was that any new standard should include Constant Luminance. I would like to think I understood that part of the meeting, but I’m not sure I did! But it involves how we generate luminance out of colour signals, and loss of detail in highly saturated areas of red or blue. Ensuring that the luminance levels are correct can involve some complex and constant calculations, and some contributors to the debate thought this was a step too far considering the

minor improvement to be gained, so the plan was dropped. To finish the meeting we were led to a viewing room to see some footage taking advantage of all these developments, and I have to say they were the most stunning moving pictures I have ever seen. I can only describe them as being up to the standard of high-quality 35mm colour slides shown on a professional projector, but brought to life. The handling of the colour and contrast almost made the pictures look 3D. All we need is programme content to match. BBC’s Andrew Cotton says on their web page: “At BBC R&D, UHDTV is seen as an opportunity for us to do more than just quadruple the resolution. We see it as an opportunity to design a new broadcasting system that’s fit for the future. We want it to deliver a far more immersive audio visual experience and we’d like some of the benefits to also be apparent on smaller screens. So for us and many in our industry, UHDTV is about a range of improvements that, together, will deliver a much more lifelike experience in the home.” When will it arrive? Well, the good news is that BBC R&D is leading or contributing to work in the ITU, SMPTE, MPEG and DVB international standards committees and working

with other broadcasters through the EBU to ensure that UHDTV services can make a real impact when they launch, and NHK plans to have a UHD2 service by the Olympics in 2020. I have attempted to do justice to this fascinating meeting, but I freely admit that some of it is very limited by space and my ability to make notes at speed. All the BBC R&D work is available online (see link, below) so if you want to know more, look there. The STLD would like to sincerely thank all the team at BBC R&D for making us so welcome and for presenting such a fascinating talk and demonstration. In particular, we thank Richard, Katy, Alastair and Manash for giving their time so freely. How good to learn that the future of TV is still being looked after by some of the best people in the industry, and still within the BBC. For more information, visit the BBC R&D’s website at www.bbc.co.uk/rd. This resource contains most of the reports on its research, together with the references for further information. Contained on the site are various white papers on research topics, including WHP 092 – Tests of visual acuity to determine the resolution of a television system, and WHP 169 – High Frame-Rate Television. All images reproduced with permission from BBC R&D department. Set & Light | Summer 2016

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News

Amber Etra demonstrating the Strand desk

Lighting Logic

Roscoe’s Danny Tomlins

Also available in cyc configuration

Stuart Gain

Photon Beard was showing Litepanels

Replacement LED unit for a Quartzcolour 2K

Invitation to an open day Words: Stuart Gain Photos: John O’Brien Earlier this year one of our sponsors, Lighting Logic, held an open day. STLD members were invited to attend and a good number of us came along. Lighting Logic was formed in December 2003 by Matt Miles and Mick Cocker. From humble beginnings, working out of an office at Maidstone Studios, the company has now become a major player, having a staff of 12 doing lighting and sound installations for schools, colleges, theatres and TV studios, as well as being sales agents for many of the large manufacturers. The inaugural Technical Open Day took place on 22 March at The Space – the performing arts hub at Sevenoaks School in Kent. The event boasted a broad mix of attendees from within the broadcast and theatre sectors, and also included a number of the UK’s most revered consultants. Guests presentations from Jeremy Roberts (ETC London), Simon Cox (Chauvet Professional) and Martin Carnell (MultiLite UK) ensured the visitors were kept up to date with the manufacturer’s current and forthcoming technology. A buffet lunch was then served by the school’s catering team. After visitors had taken the opportunity to network, 14

Set & Light | Summer 2016

there was time to peruse the wide range of products on show from a number of Lighting Logic’s technical partners, including Philips Selecon, Philips Strand Lighting, Zero88, City Theatrical, Rosco, Doughty Engineering, Photon Beard and Litepanels, all displayed in the recital room. The final presentation was delivered by Stuart Gain (Chairman of the STLD), where the topic centered on creating three-point lighting with LED in studios. The event was well received and attended and Lighting Logic is exploring a follow-up event to be held towards the latter part of the year, with details to follow in due course. The superb 100-acre Sevenoaks School campus, in the Kent countryside, is just half an hour from Central London and Gatwick Airport. The International Baccalaureate Diploma Programme inspires an inclusive, enriching and global dimension. The Space was designed by Tim Ronalds Architects in 2010 and provides performance, rehearsal and teaching spaces, including a concert hall, theatre, recital room, recording studio and drama studio.

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Information

Showlight 2017

Exhibitor spaces for Showlight selling fast With less than 12 months until the 10th Showlight 2017 lighting quadrennial, over 50 per cent of exhibitor spaces have already been filled. “We are delighted to see Showlight off to such a flying start,” says Showlight chairman John Allen. “It’s hardly surprising as Showlight is a unique, cross-industry showcase and networking opportunity, which offers the chance to spend quality time with designers, manufacturers, practitioners and fellow enthusiasts – many of whom fit into all categories.” Those already signed up to join main sponsor Clay Paky at Florence’s Palazzo dei Congressi from 20 to 23 May 2017 are AC Entertainment Technologies, Ambersphere, Arri, Avolites, Canara Lighting, Coemar, Chauvet, d3 Technologies, DTS, ETC, GDS, GLP, Hawthorns, HSL, Lee Filters, LSC, MA Lighting, RC4, Robe, Robert Juliat, Tait Stage Technologies and White Light. Showlight centres around its famous conference programme, with its compact and highly efficient tradeshow taking place between speaker sessions. The stands close for the duration of the sessions to allow exhibitors to listen to the speakers and to take full advantage of everything this unique colloquium has to offer.

Why exhibit?

Showlight is unlike other conventions and trade shows. Organised by lighting professionals for lighting professionals, Showlight presents a focused, international audience from a broad spectrum of disciplines, from theatre, television, film, concert, event and architectural lighting. High-profile designers rub shoulders with lighting students in a series of social events and networking opportunities, which happen around the main speaker programme and tradeshow. These include receptions, the Gala Dinner and a number of half-day visits to places of cultural interest (and culture comes in many forms!). Exhibitors also host their own company dinner, with guests selected from the delegates, and sponsor one of

40 lighting students, who work with them throughout the four days. Early birds also have further sponsorship opportunities! Contact Jane Cockburn for details at exhibit@showlight.org The exhibition space is kept small and intimate, and the stands themselves are all the same size, so only a few sample products and the personality of the exhibitor are required. This facilitates much closer personal contact with end users, specifiers and designers than your average tradeshow, with more opportunity for discussion, feedback and an exchange of ideas. It also puts minimal strain on an exhibitor’s budget and their busy tradeshow calendar. With a total of 400 delegates, Showlight represents the ideal opportunity to present your products on a one-to-one basis to the most

prominent international personalities from our industries. Mark White from ETC Ltd says: “ETC has exhibited and taken part in each Showlight since 2001. We have always found the conversations fascinating, the presentations really interesting and the people who attend knowledgeable and easy to talk to. If your passion is light and lighting, Showlight is for you.”

Don’t leave it too late!

Exhibitor places are limited to 40 in total and allocated on a first come, first served basis. So if you have been ‘thinking about it’ but not yet acted upon it, do it now before it’s too late! Secure your place in the world’s most popular lighting colloquium by contacting Jane Cockburn at exhibit@showlight.org Set & Light | Summer 2016

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Information

Showlight 2017

Book your ticket for this unique convention Delegate registration for Showlight is now open. This year, Showlight is delighted to welcome Clay Paky as its main sponsor. Tickets will sell out fast, so secure a place now by visiting www.showlight.org. The ‘register’ link will direct you to Showlight’s registration page on the Eventbrite website, where you can choose your tickets. Delegates have a choice of two ticket options: full delegate or papers session-only delegate. Full delegate ticket holders can enjoy the whole event, which, in addition to the papers sessions, includes the Saturday evening reception, the Sunday evening companysponsored dinners, Monday afternoon visits to places of cultural interest and the main Showlight gala dinner. Alternatively, papers session-only tickets give delegates access to attend just the papers sessions on Sunday, Monday morning and Tuesday with lunch, tea and coffee breaks. These tickets can be purchased for all three days of Showlight, or for any single day of the three. All tickets are available online, but papers sessions-pnly tickets can also be obtained from the Showlight registration desk on the day, subject to availability. We hope this will be attractive to local visitors.

The speaker programme at Cesky Krumlov in 2013 was informative, entertaining and diverse, and included papers from Durham Marenghi on Lighting the Diamond Jubilee Concert; Tim Routledge on Inside the Isles of Wonder at the London 2012 Olympics; and Danielle Feinberg’s From Pixels to Pictures: The Cinematography of Pixar’s Films, to name but a few. Bill Klages’ As I Was Saying… continued to regale delegates with hilarious stories of his adventures in lighting US TV spectaculars. The Showlight Papers Committee is currently working its way through an equally entertaining swathe of submissions for 2017 and the signs are that the Florence quadrennial is not

to be missed! Historically, Showlight has always been conducted in English but this year, located in Florence, we look forward to welcoming many local delegates and, for the first time, are offering a simultaneous Italian translation of the Papers. We are indebted to sponsorship from Osram, which has supported this service. Showlight offers the opportunity for a limited number of students on lighting courses to attend free of charge, with places sponsored by one of the exhibitors. To apply for one of these free tickets, contact Rob Dyer at students @showlight.org. In return for sponsored attendance, each student is asked to make themselves available to help their exhibitor with their stand fit-up on Saturday 20 May and de-rig on Tuesday 23 May. All stands are of a modest size, so this is not an onerous task. For those not lucky enough to be allocated a sponsored place, there are a number of reduced-cost student tickets and, once again, Rob is the contact for these. All ticket holders will have full admission to the exhibition of major lighting equipment manufacturers and service providers, which is open between papers sessions.

Join the STLD in Florence If you would like to join us, we are sponsoring a small number of members to attend. In return for free registration, we ask that you write up the event for the magazine. You only have to pay for your travel and hotel and we have already reserved some rooms in a reasonably priced hotel, which will only be released if not taken up very near to the event. If you wish to join us, let a member of the STLD committee know as soon as possible. We will confirm places later this year. If you haven’t registered to come to Florence with the STLD and you haven’t yet booked your hotel room, it is worth doing so now. Florence is a popular destination, and accommodation in May is hard to come by in city centre hotels. To assist delegates with finding accommodation, Showlight has blocked out a substantial number of rooms in hotels close to the Palazzo dei Congressi for the days of Showlight 2017. These can be accessed at www.showlight.org/ why-visit/travel-and-hotels. Preferential rates can be secured by entering the Showlight2017 code found on the booking page. Again, it is advisable to book sooner rather than later. More information on all aspects of Showlight 2017, including the visits, company dinner preferences and papers presentations, will be released over the coming months, and details of new exhibitors are continually updated on the Showlight website and on Facebook (Showlight Quadrennial) and Twitter @Showlight2017. We look forward to seeing you all in Florence next May! Register at www.showlight.org Book your hotel at www.showlight.org/why-visit/travel-and-hotels/ Remember to quote Showlight2017 16

Set & Light | Summer 2016

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News

RTS event

‘Lighting from every angle’ Words: Matthew Bell (reproduced courtesy of the RTS) RTS London threw the spotlight on lighting recently, with an event illuminated by three of the craft’s top practitioners. The panel discussed their careers, current technology and how to say ‘no’ to directors at ‘Lighting from every angle’ at ITV London Studios on 4 May. As a child, Cinematographer Stuart Harris spent his lunch money on Sight & Sound magazine and admission to the latest art film releases. After leaving school he became a mail boy, before working as a runner on Roger Corman’s 1964 film The Masque of the Red Death and then as a clapper loader. Harris established himself as a cinematographer and moved between shooting commercials, music videos and films, including David Hare’s Wetherby. He is currently Acting Head of Cinematography at the National Film and Television School. “My career hasn’t gone feature, feature, feature. I wanted to get into areas where there was more imagination. I’m not putting down feature films, but the thing about a feature is that it locks you into a style,” said Harris. Bernie Davis has been lighting outside broadcasts since 1987, winning RTS awards for two BBC programmes: Masterworks – Six Pieces of Britain: The Tallis Fantasia in 1999 and Songs of Praise in 2005. He now lights The BBC Proms and National Theatre Live – the plays broadcast to cinemas around the world. John Colley worked as an electrician in Canada until moving to the UK. Determined to make it in movies, he helped out on short films before establishing himself as a gaffer. His films include David Cronenberg’s Eastern Promises and Jonathan Glazer’s Under the Skin. Since 2014, Colley has been General Manager at Arri Rental UK. At the event chaired by Digital Producer Muki Kulhan (BBC One’s The Voice UK), Colley discussed Arri’s latest energy-efficient LED lights. “When I was working as a gaffer I didn’t believe LEDs were practical,” he said, “but the virtues of LED light are an absolute game-changer now. They’ve [mastered] a lot of the problems.” The first casualty of the advances in LEDs, said Colley, ‘is going to be the smaller tungsten lights’. Harris, however, argued that although ‘certain LEDS are fantastic, I don’t see that everything else is going to get thrown away just yet. There is a thing called ‘quality of light’. We need to spend a lot of money on LEDs to get them right’. The lighting experts discussed how to persuade directors to accept their advice. “I nag them three times and if after three times it’s ‘no’, then it is ‘no’,” said Harris. “You have to find a way to make [directors] think that it was their idea,” suggested Colley. Davis agreed, adding that, if this fails, ‘make it look good despite their lack of taste’.

The experts also offered advice on how to get started. “Keep at it. Make short films. Watch all the films you can, but don’t think it starts with Star Wars – go way back. And don’t give in,” said Harris. “Immerse yourselves in lighting,” added Davis. “Go to art galleries and look at paintings. [See] the way the Dutch painters used light to convey images and give depth.” Lucky breaks are important, too. Following a wave of BBC redundancies, said Davis, ‘all these experienced people left outside broadcasts, leaving a lot of plum jobs. I became The Proms Lighting Director.” Looking to the future, Davis said: “I get fed up with people telling me that cameras are getting so sensitive that we won’t need lighting soon. It’s so short-sighted because lighting gives mood and direction. If lighting was [only] about illumination, I wouldn’t bother doing it.” ‘Lighting from every angle’ was produced by Rosemary Smith.

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STLD visit

High view to auditorium Stage Manager Fay Powell-Thomas

The candelabra

Side view of the stage

Backstage with an ETC Gio console

An open ‘daylight’ shutter

Lighting up time for Candle Technician Tony Forrester

Set & Light | Summer 2016

Candles and hood

Twenty members and guests of the STLD attended the event

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Sam Wanamaker Playhouse

Top view of the stage

A candlelit tour for 20 Words: Rickie Gauld Photos: John O’Brien Background

Wanamaker founded The Shakespeare Globe Trust to build a replica of the Globe Theatre on London’s South Bank and played a central role in realising the project, eventually raising well over $10 million. According to The New York Times, it became Wanamaker’s ‘great obsession’ to realise an exact copy of the theatre, eventually securing the financial support of philanthropist and fellow Shakespeare lover, Samuel H. Scripps. As in the late 16th and 17th centuries, the 20th century Royal family were supportive. However, British officialdom was far less so: English Heritage, which controlled the site of the real Globe nearby, refused to allow the archaeology Wanamaker requested to ascertain the theatre’s precise dimensions. In May 2014 the BBC showed the playhouse’s version of The Duchess of Malfi, entirely lit by candlelight. It was a superb experience and there is a very good article on BBC Arts but no credit to the crew! Unfortunately, Production Manager Paul Russell was not available for our visit on 1 July but our group of 20 members and guests were given an informative talk and discussion led by Stage Manager Fay Powell-Thomas and Candle Technician Tony Forrester.

The staging

The theatre itself is exquisite: a compact wooden chamber built in pale oak, with pine seating for 320 spectators. Two galleries run snugly round the walls, embracing the pit and stage in a horseshoe. It has a square thrust stage with a musician’s gallery above the three access doorways upstage. There is a pit area where the audience can sit, complete with a vomitorium entrance for use by the cast. From a wonderfully decorated ceiling dangle six chandeliers and within the ceiling are numerous traps where some ETC LED Source Fours hide. Usually only used on musical productions, they were added to the lighting of the play we saw later. However, the production of The Duchess of Malfi used only candlelight.

The lighting

The lighting consists primarily of candles, ‘daylight’ shutters and discrete ETC LED Source Fours. The shutters are spaced around the upper and lower galleries that encircle three sides of the theatre. They are above the audience’s heads and admit artificial daylight from diffused fluorescences in the corridor. Additionally, the doorways are curtained and these can also be adjusted to admit more light. Set & Light | Summer 2016

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STLD visit

Sam Wanamaker Playhouse

The playhouse is experimenting with a real window. When the shutters are closed, the main lighting is provided by six height-adjustable, 20-candle chandeliers. By varying the height of these, either together or independently, control of the brightness on the actors and changes in the feeling of the space is achieved. Lighting is also provided by beeswax candles mounted in sconces: bronze candle holders with reflectors containing three candles, attached to the pillars at the side of the stage. The actors can also carry lights: a simple candlestick, a sconce or a lantern. They have used a lantern all blacked out so that light is only emitted when the lantern door is open – a black out controlled by the actor! And on some shows, the actors have had to extinguish or light the chandeliers. The design incorporated extensive fire precautions, as you can imagine. Here’s a nice touch: candles were used in the first indoor theatres and are thought to have started the division of a play into five acts as the candles had to be trimmed and music would be played in the intervals. A bit like replacing the rods on arc lamps! The candles we saw can burn for three hours. Most of the candles are long, slender and slightly tapered, like the fingers of fashionable gloves in Jacobean portraits. Their wicks have been dipped and dipped again in molten beeswax at Ted Thompson’s Moorland’s Chandlery in Alston, Cumbria. Passed around for us to examine were the various handheld candle lights. To hold one was a bit like doing a selfie!

ETC ColorSource Family

The acoustics

A quote from Dominic Dromgoole, Artistic Director of Shakespeare’s Globe: “The acoustics are bright and dry: very testing but gorgeous for music. Less so for some of the ruder instruments we’ve had in the Globe, such as the cornet or shawm, but fine and light sounds like the violin, lute and harpsichord are exquisite.” The play that evening, The Flying Lovers of Vitebsk, used piano, lute and cello, with the four members of the cast singing. The sound was superb.

And later

Before the play we proceeded to the Pizza Express restaurant across the road, to eat and drink in time for the evening performance. The show was superb, with a mix of dialogue, dance, song and music. A small floor light secreted in the corner of the set and, depending on the mood, subtle use of the ETCs, occasionally on quite brightly for a colour effect, were added to the candlelight. A screen placed behind the centre doorway upon which a colour wash was used from time to time silhouetted the actor’s entrance. Many thanks to Fay and Tony of the Sam Wanamaker Playhouse and to Andrew Dixon for his hard work in arranging the meeting.

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STLD visit

BT Sport

A bespoke studio for BT Sport Words: Bernie Davis Photos: John O’Brien In recent years we have been saddened and angered by the closure of TV studios, all too often for the wrong reasons. BBC TV Centre in White City was probably the highest-profile example, but the much-loved Teddington Studios was a more recent casualty and the closure of Fountain Studios next year has already been announced. But in the East End of London, a new studio complex has emerged to fill the needs of the latest major broadcaster – BT Sport – and it is refreshing to hear the remarkable success story of how this came about. We take you back to as recently as June 2012 when BT Sport outbid ESPN for rights to broadcast Premier League football – a move which surprised everyone as BT Sport was not exactly a big player in broadcasting. It turns out that it had been looking at where the market was heading, and saw the triple offer of telephony, broadband and broadcasting as the way forward. So having bought something it knew people would want to subscribe to, the next step was to work out how to achieve the broadcasting package. BT Sport toured around the known, and dwindling, studio complexes to see what it could get and, of course, there was not much available. One studio complex could offer a big studio every Tuesday, apart from near Christmas when it clashed with another booking, and so on. By this time, BT Sport had already taken on a partnership with experienced production companies, and by chance, one of them was talking to Daniel McDonald of Timeline TV. Now for those who don’t know Daniel, he was an engineer at BBC Outside Broadcasts, and one of the cleverer ones. Since leaving BBC OBs, he had already earned a good reputation for putting together recording and post-production facilities that met the high demands of sport programmes, and when he heard about the need for studio facilities, he suggested that Timeline could turn the

Studio 3 in house lights

International Broadcast Centre at the Olympic Park in Stratford, London, into a new studio complex. The story sounds a bit like Graham Dawbarn’s TV Centre original thinking, quickly sketched on a piece of paper. But no question marks here; Daniel knew exactly what to build,

and who to help him do it. They first looked at the IBC building in October 2012 once the Olympics had moved out. They decided to go with it and, in January 2013, they moved in and started stripping out the infrastructure to allow for two studios and all the Set & Light | Summer 2016

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STLD visit

Simon Littler of Timeline

Backstage

associated support that would allow them to make this their permanent home. And the clock was already ticking as the studios had to be fully functioning by 1 August 2013. Rather than turn to the more regular installation companies, Timeline looked to its known experienced contacts. Graeme Carter is an ex-BBC OBs vision engineer and he was recruited to oversee the vision installation alongside John Caulfield, ex-BBC OBs Sound Supervisor, who planned the sound facilities. He also engaged the help of ex-BBC Engineering Manager Adrian Kingston, who in turn invited ELP to provide the lighting. The plan was to build two studios of a total of about 10,000 sq ft, supported by the usual galleries, dressing rooms, CAR, MCR, VT edit suites, voiceover booths, green room, makeup areas and production offices. From the start it was decided that the complex would be tapeless, and that broadcasts would be digital from OB to air. A massive recording storage area would have to be provided – in fact, two petabytes of digital storage. The resulting studio complex ended up costing about £30m, which is pretty 22

Set & Light | Summer 2016

The gallery

efficient for what they ended up with: a bespoke 21st century broadcast centre. The original plan for the lighting was to install a relatively conventional lighting rig based on what production had said it needed: a large studio with a chat desk. This was to be a purpose-designed truss rig cabled to touring dimmers. There would also be a mezzanine studio for one person to camera for ESPN’s needs. Then Lighting Director Dave Gibson was asked to join the team. Dave soon decided that a bespoke design was not the best solution; as he put it, production were bound to change their minds. He steered the plans towards a more flexible studio grid system, and he was later proved entirely right for doing so, as plans changed fast as the project got under way. They decided that to illustrate events on the pitch, the studio could include a pitch area where presenters and players could explain things with actual demonstrations. But, of course, with more than one sport they needed different line configurations and so they came up with the plan to have a glass floor area the size of a small sports pitch, complete with underfloor lighting providing the lines usually painted on the

Andrew Dixon and Dan Cranfield

pitch. This way they could quickly reconfigure for any line arrangement they decided to have installed. Switching from rugby to football was the press of a switch. You might think this an expensive luxury but, as they discovered, a properly level studio floor doesn’t come cheap and this option was not that much more. With the addition of large graphic display areas, there were more and more areas where presenters and guests might stand, and so a grid structure replaced the original dedicated truss. Pantographs allowed the lights to be adjusted in height, although they stopped short of a full hoist and pantograph system as it was felt this was an unnecessary expense. There was a need for a dedicated dimmer room, and space for this was allocated in the loading bay, not at ground level but at a mezzanine level. We visited the room and were all impressed with the extremely tidy way everything had been wired, with everything tram-lined and cable crossing avoided. But we were even more impressed to learn that the room had been equipped and wired before the floor was built! There wasn’t time to wait for the builders in such a tight build

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BT Sport

Andrew Dixon and Ravensbourne student member Nicole Timpson

Master control

The dimmer room installed by ELP

Dave Gibson and Simon Littler

schedule so ELP built a ground support truss platform at the correct floor height, from which all the dimmers and distribution were installed. Then when the builders were ready, the dimmers were removed, the floor was built and the dimmers reinstalled. And if that wasn’t enough, the power had yet to be connected to the building and all the wiring was conducted under the light of head torches. All lighting power, both hard power and dimmed power, cables back to the dimmer room for patching, and the desk control data from all galleries all gets distributed from there. Two Synology file servers, each configured with RAID 1 mirror, safely store all show files so they can be picked up on any desk as required. The dimmers themselves are the ubiquitous Avolite Art 2000 racks, 12 of them providing 312 10A dimmers and 264 10A hard power feeds. The lighting itself is a mix of tungsten and LED, but with the balance firmly in the direction of LED. ARRI 1K and 2K pole-operated tungsten units are the bulk of the tungsten lighting, but the rest is a mix of LED units, including 80 of ETC’s Studio HD Profiles, 11 ETC Lustres, 60

Chroma Floods and some Chauvet LED pars. And proving to be a great success were more than 100 Martin Aura wash lights. Dave explained they were placed to give a good colour wash over the pitch, but in practice, the colour and light level proved to be good enough to use as key lights. So as production came up with more and more positions, Auras would be borrowed from their original duties and re-tasked to light the presenters. This proved to be so much more flexible than using generics and poles and, of course, easy to adjust from the desk when they move the presenters as, we all know, they so often do. The desk chosen for all the studios was the ETC Congo, as has been the case in a number of other studio complexes now. They all network together, and in the two studios that link together, some lights are allowed to be controlled by either or both desks as one studio can easily be the backing for the other. Three full-size Congos are supported by three more Congo Juniors for programming on the studio floor, and all support 12 DMX universes. Originally, they planned to use all ETC networking to avoid any of

those network issues when brands mix, but since then they have added some Luminex boxes successfully. ELP was only awarded the contract to supply and equip in February 2013 and immediately set about preparing and testing equipment off site. The installation started in April, but not without incident. Dave explained that as the grid went in it became apparent that the floor and the roof did not quite match by about one metre, due to the builders’ plans having a slight error. Equipment was bagged as concrete cutters rectified the situation, but even so, the dust got everywhere and there was a lot of cleaning required after that. Despite that unexpected hitch, the build was completed in six weeks and the studio handed over in May 2013 for two months of rehearsals, leading up to a successful transmission launch in August. The STLD would like to thank all involved in setting up this meeting: Simon Littler of Timeline, who gave the presentation about the studio complex itself; Dave Gibson, who told us more about the lighting design; and to Liz Rodgers and Barry Denison from ELP, who kindly set the meeting up for us. Set & Light | Summer 2016

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Information

Students

A note from the student rep Stuart Gain writes: I’d like to introduce you to our Student Representative, Matt Maller. Matt has been proactive in compiling a list of colleges with lighting courses, and we will be contacting these over the next few months to introduce them to the STLD. We are also hoping to run a lighting course next year, and I’m hoping these initiatives will increase the profile of the society and lead to new members. We need to increase membership, and introducing people to the STLD at the start of their careers is the time to do it. The future of the society has to be in recruiting younger members and I’m pleased to have Matt on the committee to help with this goal. Matt writes: We are in the process of starting a new release of the College and University Membership, which is available to learning institutions everywhere. An important part of the society’s role is to pass on information to students studying lighting and production-related courses, and to make available the various visits and meetings organised by the STLD, from the BBC’s Strictly Come Dancing to a presentation on 4K and UHD camera technologies. The membership includes one professional membership, five student memberships and a magazine subscription sent to the institution. The subscriptions are not assigned to individuals, so any mix of five students and one professional

One of the oldest members, Arthur Piggot (aged 94) with one of the youngest, Matt Maller (aged 20)

from the institution can come along to meetings, making it as flexible as possible. We are also looking at organising summer courses next year, and we hope to do more like this in the future. And we will be giving students the chance to talk about their latest projects, and to report on events going on, in this magazine. If you would like more information on any of this, or if you wish to discuss anything further, contact me at students@stld.org.uk and I would be more than happy to help.

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Pure Creativity.

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Lighting

Lighting a sporting event: an Olympic challenge Words & images: Bill Klages In our area of the entertainment field, we are faced with daily creative challenges. Each project boasts its own set of problems, and it is our continued ability to find effective and imaginative solutions to these problems that results in award-winning productions and critical acclaim for our Guild members. Still, I had never associated the term ‘creative’ or ‘challenging’ with the task of lighting a basketball game. However, this assignment had a set of unique and fascinating challenges all of its own. The problem was a simple one: provide lighting suitable for television broadcast for the gymnastic and basketball Olympic competitions in the Georgia Dome in Atlanta (1996 Summer Olympics). The Georgia Dome was built in 1992 to provide a general-purpose enclosed space large enough for a football game. As with all large arena designs, the most difficult design problem is always the means by which the roof is supported. The Georgia Dome, which seats 71,500 for a football event, or a tractor pull for that matter, is covered with a double layer of a Teflon-coated fabric. The area of the roof is more than 350,000 square feet. The roof is translucent. In the middle of a sunny summer day in Atlanta, the floor of the arena is lighted to 300 foot-candles. An ingenious roof support system was designed by Weidinger Associates: a noted authority on the structural design of cable supported roofs. Utilising a principle called ‘tensigrity’, invented by Kenneth Snelson and championed by the visionary Buckminster Fuller, the roof is composed of three concentric oval cable assemblies: vertical columns in compression held in position by a system of three cable spreaders. These cables transfer the roof’s forces to the outside walls and columns of the 26

Set & Light | Summer 2016

building. This unique roof structure is shown in the photograph (pictured above). Bear in mind that the three oval support cables are actually assemblies of four, four-inch diameter, high-strength cables and actually they have catwalks attached to these assemblies around the entire perimeter of each oval. Because of its design, the roof is quite dynamic and can actually shift its lateral position as much as three feet under a high wind! It is the deformation under non-symmetrical imposed loads that is a major concern of the roof designers. The two most popular events of the summer Olympics for North Americans are gymnastics and basketball. Realising the popularity of these events, the Olympics governing body placed these two events in the largest possible venue, the Georgia Dome. However, since there is some overlap between these two competitions, the arena was divided into two sections by a curtain, about 80 feet high, so that both events could be scheduled during the same day, although not during the same time. The first problem should be apparent. The installed house system for the lighting of the arena is designed for full field events, not for two cross-

wise fields of play. Under this setup, problems are created for all event systems: sound reinforcement, audience handling and so on, as they were designed for one event using the full length of the arena. The need for a new, temporary lighting system for gymnastics and basketball competitions had now been generated. I was contacted by David Crookham of MUSCO Mobile Lighting to act as a lighting consultant for the project. (Yes, they are the same company that supplies the mobile lighting trucks to light those large night-time shots). I suggested two very straightforward systems of aluminium trussing – the type used so universally for concert tours. These two truss systems, one rather extensive since it would provide lighting for the nearly 30,000 square foot gymnastics field of play and the smaller system for basketball, would be suspended from the roof structure at about 80 feet above the floor – this height being necessary to clear audience sight lines. From this truss we would suspend the lighting instruments as well as additional speakers, overhead cameras, a track-mounted camera that travels 250 feet, decorations, flags, additional scoreboards, etc. Another problem arose. During daytime athletic events that have been televised in arenas with translucent roofs, the brightness of the roof has been a serious detriment to the photographic quality, silhouetting the competitors on many of the low camera viewpoints. Examples of this problem were experienced in the gymnastic events from Barcelona and Seoul. In Seoul, the roof was painted. Barcelona had no solution and broadcasters proclaimed: “This will never happen again.” In the case of the Georgia Dome, paint was ruled out early because of damage to the fabric that was used in the roof of the dome.

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A view from across the pond

Blocking the light from within the dome turned out to be the only practical method. This is achieved by using more than 160 triangular pieces of opaque vinyl awning material, inherently lightweight and flameresistant. This is where the plot thickens. The total load that was to be placed upon the dome roof, although not excessive for more conventional structures, was far in excess of what the roof could safely support by a factor of two. There was no turning back at this point. A viable solution had to be determined that would accomplish all the requirements for holding the two competitions, but meet the very restrictive weight limitations imposed by the building’s structure. It became necessary to rethink the original overhead support system. The first thing to be questioned was the use of suspended trusses. At the suggestion of our rigging consultant, we redesigned the rigging method to suspend each element by means of wire cables, thus lowering our weight load. Although this would increase the complexity as well as the cost of installation, it was the only realistic course of action other than moving to another venue, which was not an option. Enter now the places of attachment for the blackout shroud. The manner in which all overhead equipment was suspended in the dome was from the upper ‘nodes’ of the roof, which are at the top of the suspended compression columns. With our proposed hanging method, if we attached to these points alone, we would create a spider web of cable that would be so complex we would never be able to sort it out and install. An appeal to the engineers of the dome resulted in an accommodation that would allow attachment to the oval cables utilising the catwalk structure as the actual attachment point, the only restriction being that we pay particular attention to distribute our applied loads as evenly as possible over the area of the structure. The drawing (pictured above) shows what was to become the acceptable solution. Some of the major elements

that are to be suspended are noted. And now, the lighting plan. The basic lighting unit is a 1,500W metal halide unit manufactured by MUSCO Lighting, the parent organisation of MUSCO Mobile Lighting. Typically, it is a floodlight unit that is available in a range of beam angles to accommodate the lamp throw distance. Since it is a non-lensed instrument, its pattern is soft-edged. The specifications of the Olympic Committee call for 2,000 lux (approximately 200 foot-candles) on the competition areas of gymnastics and 1,400 lux for basketball. These high levels are to accommodate the longer lenses used on the cameras televising these events. Recognising the economics involved in specifying broader spectrum lighting instruments as HMI sources, the colour rendering index of 65 for this lamp type is acceptable. The colour temperature of these lamps is approximately 4,000K. A major consideration is the direction and quality of the lighting. Nearly all competition committees would like a shadowless illumination from directly overhead. This is directly opposed to the lighting preference of the broadcaster, who would also like even illumination, but in the horizontal direction rather than the vertical. In addition, it is desirable that there be as little light on the audience as possible to add to the drama of the foreground. Another major requirement of the competition committees is that there be no lights directly in the eyes of the athletes when positioned for critical tasks – on the uneven bars, rings, and so on. So, positioning and focus of the instruments become quite critical to

satisfy all of these considerations. Compromises from both ends become necessary. Certain aspects, such as competitor’s comfort, take priority over other considerations. Returning to the lighting equipment. For gymnastics, eight of the individual units were mounted in groups of four on two light bars. Even illumination of the field of play for all angles is necessary. A total of 184 units were to be utilised to obtain this illumination. Focus of these units and the resulting distribution of the lighting was done by means of a proprietary computer program used by MUSCO for its permanent lighting installations. Similarly, the basketball setup would use 144 units in groups of 12, which is the standard lighting setup devised by MUSCO and approved by the NBA. Both sets of units will be pre-focused prior to shipment as determined by the computer program. It was expected that only minor adjustment would be necessary after installation. It is interesting to note that it would have been an impossible task to provide the structural engineers the forces on each of our cables without the use of CAD. I was able to easily extract the direction of these forces from a 3D wire frame drawing of which the drawing pictured is a much simplified version. The data is available from the drawing’s database by merely picking the cable and reading the vectorial components. A spreadsheet did the actual calculations. If this information had to be obtained manually it would probably have taken till the next summer Olympics. The next step was installation in June. The final, and most important phase was the actual events. Let’s hope that you never noticed the lighting. If that be the case, our work has been a success. The following article was first published in International Photographer in June 1996. We would like to thank Bill for allowing us to reprint his column here. He would like to extend an invitation to all the lighting people out there to share your thoughts with him at billklages@roadrunner.com Set & Light | Summer 2016

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Information

KOI 2016

New date, new venue The Knight of Illumination Awards (KOI) 2016 has launched and submissions are already coming in for its Television and Concert Touring and Events categories. This year marks the ninth KOI Awards, which celebrate the creative talents of international lighting and digital content designers working in the UK in the sectors of TV, Theatre and Concert Touring & Events. This year’s ceremony will take place at the Eventim Apollo, Hammersmith, on 18 September to coincide with the PLASA London 2016 exhibition. “Eventim Apollo is renowned for celebrating world-class talent of all kinds, so we’re thrilled to be hosting the Knight of Illumination Awards 2016, which champion the exceptional work of the world’s leading lighting designers,” says Sarah Myring, Eventim Apollo Front of House and Corporate Sales Manager. “It’s also fitting that so many of the designers have themselves worked on shows at this iconic venue. This is an excellent opportunity to recognise the talented community of lighting designers that have come through our doors over the years, and we’re delighted to be hosting the awards in our unique event space. Crucially, KOI continues to run as a pan-industry event, sponsored by a broad spectrum of manufacturing and service companies connected to the lighting industry, and kindly supported by important industry organisations and the press. Award-winning Lighting Designer and Co-ordinator of the KOI Awards Durham Marenghi explains: “In nine years, KOI has established itself as a much-coveted lighting and video industry award, respected for truly celebrating the art and creativity of lighting, video and show design. This year we are looking forward to strengthening our partnership with PLASA. We are confident that PLASA London 2016 will be a crucial platform for bringing together lighting industry professionals from all sectors of the industry and all parts of the world.” The KOI Awards was conceived and is organised by lighting manufacturer Clay Paky, along with the STLD, the ALD (Association of Lighting Designers) and Durham and Jennie Marenghi. The event itself is produced, managed and marketed by The Fifth Estate Ltd. Today, the KOI Awards continue to forge ever-closer ties between lighting and video designers – at all stages of their careers – and the lighting and digital content design, service and manufacturing industry as a whole. A panel of industry experts from each sector assesses every entry. The shortlists will be announced in late August. In addition, The Enrico Caironi Lifetime Recognition Award will be presented to an individual whose passion for the industry has gone above and beyond the call of duty, in turn benefiting their colleagues, the industry and the wider world. Last year’s winners included: Lucy Carter, Amy Mae, Alessandro Carletti, Tim Mitchell, Paul Barritt for Theatre; Andy Cottey, John Daly, Nigel Catmur, Gurdip Mahal, David Newton, Alberta Torres, Jessy Wang for Television; Le Roy Bennett, Will Potts, Tom Campbell, Terry Cook and Nina Dunn for Concert Touring and Events. The winner of the Lifetime Recognition award was Fred Foster, CEO of ETC. 28

Set & Light | Summer 2016

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www.knight-of-illumination.com

9 Knight of Illumination th

Awards

“...The only Awards exclusively dedicated to professional Lighting Designers...” 18th September 2016 The Eventim Apollo Hammersmith

Nominate a design here: www.knight-of-illumination.com/categories Find out about the excellent sponsorship opportunities here: NRL #WKH¿IWKHVWDWH FR XN

Organised by:

H dline Sponsors: Headline

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STLD_118 pp1-??:TL 85 Spring 2005 02/08/2016 21:52 Page 30

News

ARTS

Thames Television: Gone but not forgotten

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1992 saw the end of Thames Television with its familiar London skyline logo, and the end of a long line of distinguished programming – Rumpole of the Bailey, Benny Hill, Magpie, This is Your Life, The World at War – to name but a few. Some sitcoms, like Man About the House, can still be seen on ITV3 and Dave, but the staff from Teddington Studios and other Thames sites keep memories alive by belonging to ARTS, the Association of Reunited Thames Staff. ARTS organises day trips, holidays and lunches for its members and publishes a colour magazine, ARTS Quarterly, which reports on events and upcoming activities. ARTS is extending its membership to anyone who worked for Thames Television, ABC Television or AssociatedRediffusion in a freelance capacity or on a long- or shortterm contract – either behind the scenes or in front of the cameras. The yearly membership fee is very reasonable and includes the ARTS Quarterly, and some of the coach trips and lunches are subsidised, making them good value for money. Interested? Contact Alan Cross (ex Engineering, Teddington) at membership@arts-tv.org.uk. For more information, visit www.arts-tv.org.uk

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In memoriam

Francis Reid

‘A theatre maker who did lighting’

Republished from ALD magazine with kind permission from the ALD office: It is with deep regret that we have to announce the death of ALD Fellow Francis Reid. Francis was a founding member of the association, playing a key role in establishing the practice of stage lighting design and the role of lighting designer in the UK. He was 86, and had spent all his working life in and around theatre, but he was also an inspiring teacher and a prolific author, who made lighting and the arts of theatre making come alive for several generations of practitioners, at RADA, at what is now Central St Martins, the Royal Conservatoire Scotland and around the world. But at heart, he was always a theatre maker who did lighting, rather than a lighting man who did theatre. Lighting Designer Jenny Cane, one of many whose early career Francis oversaw, wrote: “Francis was a wonderful man and my mentor for several years. He was always so generous with his time and patience with an ingénue production lx (electrician). It was Francis that gave a young girl her first chance in an industry that heretofore had frowned on women electricians.” Editor John Offord said: “It was a privilege and pleasure to have known Francis and to have worked with him in later years on the publication of the many interesting titles that poured out of a lively mind – and with the help of a crafty pen.” He will be very sorely missed and our thoughts are with his family.

STLD committee member Alan Luxford remembers his experiences with Francis: Francis used to work in the marketing team in the old Strand. He was the person who encouraged me to join the ALD back in 1973 and so I am member 43 (yes, I am that old). Strand used to run lighting courses at Buxton Opera House and I used to assist Francis in running these. Every member of Strand had to go on one of these courses. The course we did is on one of Francis’s many books. Set & Light | Summer 2016

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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 Set & Light.

AC-ET AC-ET showcases leading broadcast lighting technologies at PLASA Focus Leeds 2016 Show

A.C. Entertainment Technologies (AC-ET) Ltd’s dedicated film & TV and other sales divisions recently showcased the latest broadcast lighting and associated technologies from leading brands in the reseller’s extensive portfolio – including Chroma-Q®, Jands, Fiilex, Mole-Richardson, Spotlight, Manfrotto and Avenger – at the PLASA Focus Leeds 2016 Show, Royal Armouries, Leeds. The stand featured the latest award-winning broadcast LED solutions from Chroma-Q® (see Chroma-Q’s Sponsor news listing for details) and the award-winning Jands range of lighting & media control solutions (see Jands’ Sponsor news listing for details). Mole-Richardson’s range of LED-based Fresnels produce comparable outputs to their traditional tungsten source equivalents yet consume up to 80 per cent less power. Models on display included the BabyLED Tungsten 150W fixture. For location work, Fiilex’s hard light source solutions feature a fuller-spectrum, high-quality, colour-tuneable light output, which delivers exceptional colour rendition on camera. All models can run on batteries, come with a versatile accessories kit and range in size to suit different applications. Models showcased included the Q500-AC hard light source LED fixture. Spotlight’s award-winning energy-efficient ‘Green Line’ of warm white LED models were also represented. Models available include the FresnelED 200 UD 200W spotlight with universal dimming; the FresnelED TV 200W with DMX and pole-operated focus control; and the FresnelED Luminaire Compact 100W with DMX. A.C. Film & TV also offer an extensive catalogue of grip equipment, including Manfrotto’s vast choice of lighting support solutions and Avenger range of equipment meeting

Set & Light | Summer 2016

the strictest quality standards and performance criteria demanded by the cine market. Complementary AC-ET services include Cable Express for fast delivery on specialised and custom cable accessories such as Powerlock, BAC, Socapex and Head to Ballast extension cables; Lamp Express for replacement tungsten, discharge and other lamps at competitive prices; and Gel Express for speedy supply of colour effect and lighting correction filters.

Open day features leading brands

A.C. Video, a sales division of A.C. Entertainment Technologies (AC-ET) Ltd, hosted an open day on 26 April at the Grand Theatre, Blackpool, to demonstrate the latest innovations from their portfolio of cutting-edge brands. The informal event showcased the division’s UKexclusive brands at the forefront of video production. These include Green Hippo media servers, ProLights high performance video displays, Just Add Power receivers and Luminex Ethernet switches. Other featured brands included Draper, Christie Digital, Philips Signage Solutions and Aviary. In addition to product overviews and hands-on training sessions, A.C. Video also demonstrated how these complementary technologies together provide versatile video system solutions. Contact the A.C. Video division on +44 (0)113 255 7666 or email video@ac-et.com to book a personal demonstration of these leading technologies.

AMBERSPHERE A Flexible dot2 Solution for Liverpool Philharmonic

The Grade II* listed Liverpool Philharmonic Hall, home of the Royal Liverpool Philharmonic Orchestra, has recently been transformed by a £14.5 million refurbishment. The project has included the construction of a new performance space, Music Room: a 160–250 variable capacity space designed to host a range of concerts and events that complement the programme in the main 1,750-capacity auditorium, as well as being a venue for Liverpool Philharmonic’s extensive learning programme. The major investment in the art deco-style hall has included upgrading the lighting system, with Liverpool Philharmonic opting to install an MA dot2 XL-F console. Head of Production Gail Wroth said: “While looking at the fixtures, fittings and equipment lists for our exciting new Music Room venue, Rob Beamer from Stage Electrics, who were completing the install, offered the dot2 as another desk option, although we were not familiar with MA control, which is distributed and serviced by Ambersphere Solutions. “After exploring the intuitive online software with our team, we settled on XL-F version. It offers a great balance between physical faders and assignable buttons, providing just the level of flexibility we were looking for. The desk provides short reminders for most of the operations while the onboard help is always there if you need more assistance.” The console is now used in both performance spaces at

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

Liverpool Philharmonic Hall, along with front-of-house (FoH) spaces with differing lighting rigs. The main auditorium contains a selection of LED fixtures for orchestral lighting. From time to time, Liverpool Philharmonic also hires in supplementary lighting rigs for incoming shows in liaison with promoters and tours management. On using the dot2, Gail Wroth adds: “The dot2 is used right across our diverse programme of 300-plus concerts and events, including more than 60 concerts annually by the Royal Liverpool Philharmonic Orchestra. For the orchestra’s annual Christmas concerts, we chose to use the dot2 due to a small FoH position and the small footprint of the console. These concerts featured our standard hall orchestral fixtures, augmented with a truss of moving lights and a selection of LED washes up-lighting the walls, spread over four universes of DMX output via ACN, all programmed into a comprehensive cue stack.” Liverpool Philharmonic’s Production Team continues to explore the MA dot2’s capabilities. Production Technician Steffi Warner explains: “While not having the power of a full-sized MA, it still holds the same values. It’s perfect for both of our venues. It’s a great desk for operators who aren’t familiar with the MA system or who don’t use lighting desks every day with its handy step-by-step information. It’s simple and straightforward, with the most recent update opening a lot of new doors and added potential. And finally, the ‘Magic’ button works!”

The impressive two-level set for BBC Election studio was designed by Chris Webster, who incorporated several LED screens at multiple locations. The studio gallery was able to relay to these LED screens from 120 outside broadcast sources, plus custom-made graphics. Emily’s results analysis screen required the utmost resolution and on-camera clarity due to the complexity of information and highly detailed graphics. Anna Valley’s 2.5mm screens passed all previous testing with flying colours and was the number one choice for this purpose. In addition to AV2 2.5nn LED, other screens throughout the Election studio included Anna Valley AV4 4mm, Toshiba 6mm and Duo12 12mm.

ARRI New ARRI High-Speed Ballast EB 2.5/4 HS AutoScan

An MA dot2 XL-F in the Music Room, operated by Technical Manager Richard Curtis

ANNA VALLEY The BBC chose Anna Valley to supply all the LED screens for May’s local election coverage on BBC One throughout the England regions. The Election 2016 studio broadcast live continuously over two days from the BBC Elstree site north of London. Presenters included David Dimbleby, Huw Edwards, Laura Kuenssberg, Andrew Neil, Sophie Raworth, Nick Robinson and Jeremy Vine. Emily Maitlis monitored the exit polls and all the results as they arrived using a 6m touch screen comprising Anna Valley’s new 2.5mm super-highresolution LED panels and processing.

ARRI is complementing its latest generation of high-speed ballasts with the new EB 2.5/4 HS AutoScan. Designed for the ARRI M40 and other 2.5kW or 4kW daylight fixtures, it incorporates innovative features and allows filming speeds of more than 1,000 fps. Three different modes are available for high-speed operation: AutoScan (fully automatic), Man (manual frequency control) or AutoMan (combining manual frequency setting with automatic frequency control). Using the AutoScan mode requires no further interaction by an operator. After a two-stage scan, the lamp frequency is selected and set by the ballast; all parameters are continuously monitored and adjusted automatically if required. In addition, the lamp can be operated at 50 or 60 Hz if noise needs to be minimised or at 75Hz for standard frame rates. The new EB 2.5/4 HS AutoScan includes key features such as Active Line Filter (ALF) and Compensation for Cable Losses (CCL), delivering maximum light quality with efficient supply and wiring. The ballast can be switched on and off remotely, and the dimming level set, via DMX control. For maximum ease of use, indicators on the ballast’s front panel display the lamp wattage, DMX channel, operation mode and selected lamp frequency. When combined with the popular M-Series M40 lamphead, the EB 2.5/4 HS AutoScan ballast enables a faster and simpler way of working on set – at any frame rate The EB 2.5/4 HS AutoScan ballast is now available. Set & Light | Summer 2016

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Sponsor news

New mechanical accessories for ALEXA Mini

ARRI is pleased to announce two new Pro Camera accessories dedicated to the successful ALEXA Mini camera: a broadcast plate and a low bracket for shoulder operation. These products were recently presented as early production models at the BSC Expo in London and the Micro Salon in Paris, where they were enthusiastically received by industry professionals.

n Broadcast Plate for ALEXA Mini: The ARRI Broadcast Plate for ALEXA Mini is an adjustable base plate designed for documentary-style filming. Featuring an advanced shoulder pad adjustment, the broadcast plate permits precise balancing on the shoulder without any need to disturb configurations that include components mounted to accessory rods. The broadcast plate’s compatibility with VCT-style tripod adapters such as the ARRI Quick Release Plate QRP-1 allows swift transition from shoulder to tripod. n Low Bracket for Camera Shoulder Pad CSP-1: The ARRI Low Bracket for CSP-1 is specifically designed for the Mini Adapter Plate MAP-2. When fitted to the Camera Shoulder Pad CSP-1, this low bracket makes handheld operating easier by lowering the ALEXA Mini on the shoulder by 15 mm.

ARRI SkyPanel capabilities expand with free firmware

From the outset, part of the promise of the SkyPanel included firmware developments that would enhance the feature-set after purchase. SkyPanel Firmware 2.0 is the first release to deliver on this pledge, bringing 10 exciting new features and several refinements: n Rosco/Lee Gel Libraries: Already able to create a vast number of colours, the SkyPanel with Firmware 2.0 can now emulate a wide variety of well-known lighting gels. The SkyPanel’s calibrated light engine reproduces colour filters more accurately than a lighting console and enables users to select familiar gels in 34

Set & Light | Summer 2016

seconds via the on-board controls or through a new DMX protocol. SkyPanel gel libraries comprise Rosco and Lee filter categories, which include colour corrections, party colours, Rosco CalColor, Storaro Selection and many more. n Low End Mode: SkyPanel is known for its impressive output, but with camera sensors becoming more sensitive, the ability to produce good-quality low-light levels is also important. Low End Mode enables SkyPanel to generate accurate CCTs with high colour rendition and smooth dimming at very low light levels. Finer control over the entire dimming range expands SkyPanels applications even further. n Tungsten Mode n DMX Fan Control n Dimming Curves n Remote Device Management (RDM) Implementation n Art-Net Implementation n Save Error Logs to USB n Save/Load Presets via USB n Save/Load Settings via USB The innovative features provide an added level of control making the latest SkyPanel seem like a new fixture – and this is just the beginning. For SkyPanels predating manufacture dates of 18 April 2016, installation of Firmware 2.0 is quick and easy. This update is now available free of charge at www.arri.com/lightingsoftware

AURORA Aurora expands management team

Television and entertainment lighting rental specialists Aurora are pleased to announce the appointment of Gemma Oldfield to the position of Office Manager at their West London operation. Gemma brings with her a wealth of knowledge and understanding, built through time spent working with some of the industry’s most respected brands. Graduating with a degree in business and marketing, Gemma began her career at Neg Earth, where she quickly settled into the world of lighting, gaining invaluable experience in all aspects of the business. She says: “During my time with Neg Earth, with amazing projects and a fantastic team of people, lighting became more of a lifestyle than a job.” Moving to the role of Marketing Co-ordinator at Richard Martin Lighting, Gemma became a well-known face of the company, further extending her knowledge, customer and colleague base to encompass the world of television. Having accepted the position of Office Manager at Aurora, Gemma is now perfectly placed to make full use of her considerable industry experience. As a key member

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

of a growing team, Gemma is ‘first contact’ at the company and has responsibility for not only the effective running of the office but also helping shape the business as it moves forward through the next stage in its evolution. Gemma says: “I was extremely flattered to be asked to join the Aurora team. With their fantastic reputation and recent acquisition by industry giants VER, now seems like the perfect time to join the company. I am very excited to be a part of it all.” VER European Sales Director Adrian Offord adds: “We are extremely fortunate to have someone of Gemma’s calibre join the Aurora team. We’re all extremely excited about the future of the company and are delighted to have Gemma on board.” Aurora Lighting Hire are delighted to once again be supporting LD Chris Rigby on the latest series of Later... with Jools Holland. Making a welcome return to Maidstone Studios, Chris, who picked up the Royal Television Society’s Lighting for Multicamera Award for his work lighting Later, is once again adding some creative illumination to the wonderfully eclectic blend of performances featured in this, the 48th season of the BBC flagship music show. Aurora Project Manager Ben Taylor says: “Later is an exciting project to be involved with; it’s a show that is serious about music and Chris is an LD that is serious about lighting. The brief is to complement rather than overshadow the performances and creativity paramount throughout.” The main installation features over 100 automated fixtures, primarily Vari Lite VL3000 and Martin MAC 575 heads. which help maximise versatility and movement while providing the ability to quickly phase in different looks between the four stages and interview areas. Aurora have supplied a broad selection of LED fixtures, including Martin MAC Aura Washes and Rush PAR 2s for enhanced flexibility in illuminating the floating ‘monolith’ set pieces that flank the performers. The addition of the Martin MAC Quantum Wash, with its stunning wash and tightly focused beam abilities, to the mix of LEDs also allows Aurora to help deliver energy-efficient solutions without compromising any aspect of creativity. Chris says: “Once again I have enjoyed the reliability, personality and back up of the Aurora service, which, following the recent integration with VER, now includes access to the enhanced inventory and logistics of a global leader in equipment hire.” Ben adds: “The equipment package delivered to Later needs to span every genre of music, from rock to folk and everything in between. We’re extremely proud to be supporting Chris on the show; it’s a real pleasure to see the gear being used so cleverly and so precisely to perfectly match the mood to the music every time.”

Aurora proudly supporting Sport Relief 2016

Aurora Lighting Hire are extremely proud to have supported Sport Relief with an extensive lighting package for the live broadcast from the Copper Box Arena at the Queen Elizabeth Olympic Park. Working with Lighting Director Gurdip Mahal, Gaffer James Tinsley and team kitted out the arena with a range of automated fixtures, which allowed the LD the maximum flexibility to easily switch between introductions highlighting the important nature of the show and the diverse array of sketches and live performances staged throughout the evening. A host of Martin Viper AirFX fixtures were combined with GLP XL X4s to provide deep colour within the cavernous sports arena, dissected by Clay Paky Sharpy and Mythos heads added for their superior spotting abilities. Aurora also provided a number of powerful Nova Flowers for their intense beam capablity, perfect for creating dramatic ‘searchlight’ effects across the set. To keep the audience suitably illuminated, the LD used a mix of PAR 36 Lite Blinders and a selection of Fresnel heads – simple to use and easy to control, particularly useful for those wide sweeping crowd shots. Finally, for pin-point accuracy, the team also employed a number of Robert Juliat ‘Alex’ Follow Spots to make sure the on-stage action remained clear and precise. Aurora Lighting Managing Director Nick Edwards said: “The spontaneous nature of live broadcasts such as Sport Relief can sometimes throw up a few logistical challenges. I’m happy to report that Gurdip and Team were well equipped to handle whatever came their way, but more importantly, huge congratulations to the entire Sport Relief team on such an incredible fundraising achievement.”

Aurora head to Belfast’s historic Titanic Quarter for new BBC Saturday evening entertainment

Filmed at Belfast’s vast T13 Urban Sports Park and Event Space, Can’t Touch This is new, fast-paced entertainment from the BBC. Hosted by Zoe Ball and Ashley Banjo, the show pits contestants against each other as they navigate their way through a huge assault course in the hope of ‘touching’ the ultimate prize. Working with LD Gurdip Mahal and Gaffer James Tinsley, Aurora shipped an extensive equipment package to the historic former shipyard to ensure the team had exactly what they needed to spotlight all the action. With over 60 Spacelights, plus a variety of tungsten heads being hung to provide fill throughout the former warehouse, the venue had an almost film set feel. However, the LD soon added plenty of automated fixtures to get things moving. Seventy-two GLP X4 fixtures provided the main wash to the set with Martin Viper Performance, Rush PARs and SGM P5s used to highlight the venue’s architectural detail. High Set & Light | Summer 2016

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Sponsor news

End Show Guns and Vari Lite VL3000 Wash were also added, their high-power abilities helping to fill the large space with colour. On stage, Set Designer Julian Healey used a selection of Chromastrips and Leader Light LEDs to enhance the look, with six Lamp Bars creating the grid around the car: the show’s main prize. Elsewhere, 42 5kW heads were integrated as key lighting, with 15/30 Source Four and 87 Source Four Pars being used both for fill and as eye candy around the edges of the arena. Created and produced by Northern Ireland-based independent Stellify Media for the BBC, Aurora delivered four expertly loaded artics of equipment to the show, making it one of the largest projects the company has undertaken to date.

CHAUVET CHAUVET Professional fixtures anchor new lighting system at historic Worcester City Hall, USA

History resonates throughout Worcester City Hall and the surrounding common area. It was from this spot on 14 July 1776 that the Declaration of Independence was first read in New England. Tradition has clearly enriched this ornate granite building, which is on the National Register of Historic Places, but at times, it has also created special challenges. Such was the case recently, when Worcester wanted to build a City Hall broadcast studio. Unable to expand the size of their historic structure outwardly, city leaders were forced to turn inward, creating their new studio in the building’s basement. They did this in spectacular fashion, thanks to a skillful design by Jonathan Lipsy that drew on the performance features of CHAUVET Professional LED fixtures. “The basement wasn’t the first option, but it turned out to be the only option for the studio,” said Lipsy, who is Manager of Broadcast & Lighting for the Integrated Solutions Group. “When the city team brought me in, they were asking many questions about whether or not the basement would be a viable solution. Once I explained how wonderful we could make the room look and function, they agreed and moved forward with the project.” That project involved creating an 18ft wide by 25ft long studio divided into two sets: one for interviews and news shows, the other for standing podium speeches and two-seat ‘pub-height’ one-on-ones. Running over the entire studio is a 10ft pipe grid with a 9ft curtain track. The low ceiling and the dual set arrangement in a confined area made it essential to have tightly focused lights with no spill. “Because of the limitations of the size of the room, the dual set layout and the height of the pipe grid, I needed to be very aware of my space and how the fixtures were positioned,” said Lipsy. “If I was slightly off with my positioning or angle of illumination, one fixture would begin to obstruct the illumination of another fixture.” Using 12-inch and 18-inch drop-down arms, Lipsy created separate and distinct lighting levels for each of the two sets. The lighting for the left (news) set passes over or around the lighting for the right (podium) set, which was 36

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positioned at a lower level. “If we did not vary levels of the fixtures, the lighting would have been at too great an angle, causing extended shadows. If this happened, the talent would look... well, let’s say not as beautiful as they should,” said Lipsy. “Of course to make this setup work effectively, we needed fixtures that provided exacting beam angle control.” The fixtures Lipsy selected for this task included eight Ovation F-95WW LED Fresnels for the front key lights and eight COLORado Batten 144 Tour LED units for uplighting, as well as a collection of LED studio lights and fluorescent key lights for the news/interview set. In the podium set, he used four COLORdash Par-Quad 18 par style fixtures for a front wash and eight COLORdash Par-Quad 7 fixtures for hair/separation lighting, accent lighting and curtain washing. “I looked at a variety of fixtures, but the CHAUVETs offered the control I wanted and the correct amount of illumination for the grid height I was working with,” he said. “Since the sets were slightly closer together than I’m normally used to, I also wanted the CHAUVET fixtures because they had a harder cut off on the edges and didn’t allow the light to bleed into other areas. With other fixtures in the past, I’ve had to use modifiers such as scrims and flags to control the light. With the CHAUVET units, I did not need these things, which was good because I would not have been able to use them in my design since the grid is so tight with fixtures and obstacles.” Among the obstacles that Lipsy faced was dealing with the brick and mortar vaulted ceiling, which was prone to crumbling if not treated properly. This presented a difficult challenge in hanging the pipe grid, power distribution and curtain system. Also, many of the building’s gas, power and water lines run along the basement’s ceiling, which created something of an obstacle course that had to be worked around. The largest challenge, however, was encouraging the city to keep the room’s granite wall. “They were planning on installing sheet rock to cover up the wall, but I was able to convince them that the granite wall would be beautiful once it was cleaned up,” said Lipsy. “After the wall was sandblasted and covered with a clear protective coating, it became an artistic background. Once we added the CHAUVET COLORado Batten 144s on the floor for uplights, the wall came alive even more and everyone was mesmerised by its beauty. The granite wall has to be one of the best features I have seen in a studio. Many of my other customers now want to copy this look, but Worcester City Hall has the real deal in their studio and they are very pleased to have it.”

ChromaQ New Space Force LED wins Best Lighting Product at Cine Gear Expo Technical Awards

Chroma-Q® has won the prestigious Lighting Award category for its new Space Force™ LED fixture – the next frontier in space lighting – at the 2016 Cine Gear Expo Technical Awards in Hollywood, Los Angeles, California. The award-winners, which were selected by a panel of

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industry experts with an eye toward the latest in technology, were chosen after reviewing and evaluating nearly 100 of the newest technologies submitted and presented at this year’s Cine Gear Expo. Receiving its US West Coast debut at the exhibition, the Space Force is a cutting-edge variable white LED Space Light and a modern replacement for conventional space lights or soft light sources commonly used in film and TV studios around the world. Drawing upon Chroma-Q’s decade of experience designing and building premium performance LED solutions to exacting standards in North America, the fixture utilises advanced technologies in every area of its design, while still retaining the best characteristics of conventional white lighting sources. The Space Force provides a highly efficient, lightweight, lowheat, low-maintenance, variable white fixture lighting solution, which is CCT tuneable between 2,800K and 6,500K. The unit’s LED source requires a fraction of the power and maintenance compared with conventional fixtures, while delivering all of the performance users require, providing a high CRI and TLCI output of up to 26,700 lumens, comparable to a traditional 6kW fixture. The fixture uses convection cooling to keep its weight low (8kg/17.6lb) and provides totally silent running due to fan-less operation. Theatrical grade dimming provides an extremely smooth dimming curve, ensuring there is no stepping on the output. In addition, the Space Force features adjustable PWM frequencies to provide flicker-free operation on even the most demanding shoots. Control of colour temperature and intensity is available via DMX wired, the optional LumenRadio CRMX wireless or locally via the onboard encoders. The Space Force features multiple rigging options and has an extensive range of optional accessories.

Chroma-Q showcases latest broadcast technologies at PLASA Focus Leeds 2016

At the recent PLASA Focus Leeds 2016 show, Chroma-Q® showcased their latest premium performance broadcast, studio and film lighting solutions. Designed and built to exacting standards in North America, the award-winning range has been adopted by

many leading designers and specifiers for some of today’s most demanding and prestigious lighting applications. In addition to showcasing the new award-winning Space Force™ LED space light fixture (see separate Cine Gear Expo story for details), other highlights included the Studio One 100™ PAR, which features a fully homogenised output for above PAR performance; the award-winning Studio Force Phosphor™ remote phosphor, which is a beautifully soft, even light source; and the Studio Force™ extreme output range. Colour-mixing LED solutions showcased included the Color One 100™, Color Force™ and award-winning Inspire™ house light.

CLAY PAKY Clay Paky dazzles millions on Eurovision 2016

Award-winning Lighting Designer Fredrik Jönsson applied a vast number of Clay Paky Mythos, Sharpy, Sharpy Wash 330 and new Scenius to create the broadcast-ready glittering extravaganza that was the Eurovision Song Contest 2016. Now in its 61st year and themed ‘Come Together’, Eurovision was sponsored by OSRAM, hosted by last year’s victor Sweden at Stockholm’s Globe Arena and watched by millions around the world. Jönsson, who was the lighting designer for Eurovision 2013 and created the visual look of Swedish winner Måns Zelmerlöf’s performance at last year’s contest, specified 120 Mythos, 308 Sharpys, 166 Sharpy Wash 330s and 58 Scenius to create each delegation’s uniquely spectacular visual story. “Clay Paky’s new Scenius was the main profile workhorse of the rig,” explains Jönsson. “We were really impressed with its sharp optics and new OSRAM lamp, which offers fantastic colour rendering – the white is actually white and not tinged blue or green. For a designer like me who works a lot on large televised events, this high CRI light source is a real game-changer.” Official technical supplier for the event [LITE]COM supplied the extensive package of Clay Paky fixtures with partners AED Distribution and Woodlite. Working with Eurovision’s technical and creative teams, Jönsson arranged the Scenius above the stage on straight truss. From here, the fixtures worked with the Mythos, Sharpy and Sharpy Wash 330S to complement the ‘infinity’Set & Light | Summer 2016

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style perspective of Frida Arvidsson and Viktor Brattström’s bold set design. “I wanted quite an old school rock and roll feel to the lighting, so very sharp and angular with a lot of straight lines,” continues Jönsson. “Above the stage, there was a row of 56 Sharpys, which, along with the Mythos, provided most of the fast-paced beam work and effects.” The Clay Paky fixtures also held their own alongside the show’s significant video element. This included an incredibly high-resolution floor of 71 million pixels. Clay Paky CEO Pio Nahum adds: “With global TV audiences for this year’s grand final reportedly reaching 200 million, Eurovision is truly one of the greatest shows on Earth. Nothing can go wrong when an event is being broadcast live on such a scale. The lighting equipment must not only be capable of providing awe-inspiring visual effects, it must also be entirely reliable. That’s why we are beyond thrilled that, for the sixth year running, Eurovision’s electrifying stage has been largely lit up by our advanced fixtures. This year marks Clay Paky’s 40th anniversary and so it is a fantastic way to celebrate.” The Eurovision Song Contest 2016 took place on 14 May and was won by Ukraine entry Jamala with her song ‘1944’.

The Clay Paky MoMS opens to schools

On 15 March 2016, the MoMS – Museum of Modern Showlighting – played host to a delegation of headteachers and teachers from a dozen schools in the province of Bergamo (Italy). The occasion was sponsored by the provincial education authority and saw the participation of an inspector from the Italian Ministry of Education. The event was organised to present the MoMS officially to schools and launch a series of benefits for school children who visit the museum. The MoMS is not just a company museum: it hosts a multimedia system with a precise educational mission. The museum has a study centre consisting of a historical archive and a multimedia room, which, along with the showroom, is the ideal venue for conferences, workshops and training courses for show lighting professionals, students of vocational schools and universities, and enthusiasts of this constantly evolving industry, which combines entertainment with the most advanced technology. The teachers were taken on a guided tour of the 38

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museum, after which they also visited the study centre and the showroom, where they saw a light show..

Clay Paky Scenius gives new look to 40th anniversary broadcast of Saskatchewan’s Telemiracle Telethon

Telemiracle, the annual telethon in Saskatchewan, Canada, that benefits the Kinsmen Foundation, celebrated its 40th anniversary with a 21-hour, commercial-free live broadcast on the province’s CTV affiliates. This year, Lighting Designer Linus MacDonald stepped up the show’s look with Clay Paky Scenius moving head spotlights. The Kinsmen Foundation is a Canadian non-profit organisation that assists Saskatchewan people to acquire special needs equipment and access to medical treatment. The telethon was staged at Conexus Arts Centre in Regina, Saskatchewan; the production alternates between Regina and Saskatoon annually. Linus marked his fifth consecutive turn as lighting designer for Telemiracle, which continues to increase its production values year to year. “This time we had new Sony cameras and the fabulous Scenius fixtures,” he says. “The show has taken giant steps from a lighting standpoint. You need good lighting to make good pictures; now, viewers tune in and the show jumps out at them.” “Every 10 minutes there was a live performance, so we needed a lot of different looks,” says Lighting Director Slobodan Marin, who has teamed with MacDonald on three previous telethons. “We rehearsed the first hour of the show, then everything else was on the fly. It was non-stop from one performance to another.” Linus and Slobodan centered the six Scenius spots over the mid-stage area on the fly rail, where they were rigged to move to different heights and angles. “For some rock and roll bands we flew the lights halfway, so they’d be down and in your face for another kind of look,” explains Linus. The telethon opened with the set dimmed down and only Scenius illuminated, its beams ‘very defined against the camera’, according to Slobodan, who added: “It was quite an effective and impressive look.” A 40th anniversary video was shown, and when it finished, Scenius lit a jib shot of a piano and vocalist. As the lights came back up, the phone bank in the background was visible behind a scrim. Linus likes Scenius’s ‘variable dimming from 0 to 100’ and the ‘very nice soft edge for mellow numbers’. He adds: “The

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colours in the colour wheel are so rich, too!” Slobodan gives high marks to the ‘gobo selection, which gave us a variety of effects. When we put movement on the gobos, Scenius looked amazing!’. He also notes how ‘unlike a lot of other fixtures, Scenius doesn’t distort certain darker blues to the camera’. Linus emphasises the power and punch of the lights. “When we changed from eight degrees to 50 degrees, the beam lost very little intensity, if any. It was still very powerful and cut through the hazers. We got comment after comment from the video crew afterwards about how the lights punched through.” A.C.T Lighting is the exclusive North American distributor for Clay Paky.

DOUGHTY Doughty showcases new products at BE

Following a year in which Doughty Engineering has upped its game in the film and TV industry, visitors to the company’s stand E39 at BVE 2016 saw a range of its products specifically designed with the broadcast sector in mind. With a new addition to Doughty’s award-winning Modular Rigging System making its debut at the show, as well as a selection of grip, rigging, suspension and lifting equipment on display, Sales Director Julian Chiverton believes shows like BVE are more important than ever to the company. “We really got our teeth into the broadcast space in 2015,” he said. “We’re involved in an ongoing job with the stop Animation and Puppet Making faculty at the University of Staffordshire and have some fascinating projects within the media department at Queen’s University in Belfast under our belt, as well as working with major shopping channels, news and sports channels and a major news corporation.” Doughty launched a mini drop arm at this year’s show, perfect for lightweight LED fixtures and small lights, as well as a new projector mount, which joins the Modular Rigging range. Design Engineeer Mark Chorley said: “The projector mount is a really useful addition to the range. It has a safe working load (SWL) of 25kg and offers a 360-degree rotation as well as a 15-degree tilt in two directions. The mini drop arm, meanwhile, is based on our super lightweight clamp. It accepts 16mm receivers and has a safety bond slot.” The Doughty Studio Frame also made its first BVE appearance and Mark explained that it was at BVE 2015 that the concept for the Studio Frame was born. “At last year’s show we got talking to Manoubi Ben Lamri, Staffordshire University’s specialist technical instructor for animation. He realised that we would be able to help create a less chaotic, safer space for his students to move more freely around their practical work. We collaborated to rid the studios of all their lighting stands and instead used the Doughty Studio Frame to suspend all the lighting and the cables, too.” Members of the Doughty team were on hand to demonstrate the range of equipment on the stand, including the sprung pantographs, the lightweight pantograph and the Doughty Studio Rail. Julian added: “We pride ourselves on being able to

design, develop and fabricate bespoke products for specialist needs. We like to take on board any ideas from our customers that we can then develop into prototype products for the industry.”

ETC ETC introduces new rigging sales manager

ETC has appointed Enrico Nobile as European rigging sales manager: a new position devised by the company to fuel the growth and development of its rigging division in Europe. In his role, Nobile will be based out of ETC’s Rome office, with much of his time spent in the sales territories of ETC GmbH and ETC Ltd, working in collaboration with distributors, dealers and integrators. Nobile’s involvement in the industry began in 1979 when he established the design and installation company Elettrosistemi. Six years later, he accepted a position with ARRI Italia and developed the technical department while working alongside Fulvio Cotogni, the former ETC regional manager for Southern Europe and the Middle East. Subsequently, Nobile served as a project manager for Strand Lighting, and later for the Manfrotto Vitec Group, before setting up the TEYCORIG rigging brand in 2011. He spent the following five years managing the design, development and distribution of a complete range of hoists and control

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systems – the FLY series – for television studios, auditoria, theatre and architectural applications. “Becoming the new European rigging sales manager is both a dream come true and a new challenge for me,” says Nobile. “Since my first experience with ETC, when ARRI used ETC technology in its consoles, I have watched the company grow. Now I have seen first-hand the passion at ETC and the emphasis placed both on product testing and on customer support. I was impressed to find that 100 per cent of rigging equipment is fully tested before final packing. For this reason, I’m proud to have the opportunity to guide and nurture the rigging business in Europe, together with the rest of the rigging team and the wider ETC family.”

ETC strengthens European marketing team

ETC has announced the expansion of its European marketing team with the appointment of Katherine Walmsley as marketing communications specialist. The newly created position reflects the company’s commitment to Europe and its continuing growth across the region. Katherine, who is based at ETC’s London office, will be a familiar face to many. Since joining the industry in 2010, she has held various marketing roles at Litestructures, Prolyte Group and Chauvet. Prior to this, she gained experience in both marketing and sales positions across the wider entertainment sector. In her new role, Katherine will collaborate on a variety of marketing communications projects with colleagues from ETC Ltd, ETC GmbH, ETC Italia SRL, and ETC Inc. She will also work with ETC’s regional sales teams and dealers on PR and marketing initiatives throughout Europe and the Middle East. “Over the past few years we have been strengthening our global marketing team, making sure we have the right people in the right places to take ETC to the next level,” says Rosi Marx, European Marketing Manager at ETC. “We’re delighted to have Katherine on board as she has invaluable experience that will help us in enhancing communication with stakeholders and in further developing our plans for this territory.” Elliot Herman – who was previously responsible for ETC Ltd’s press and publicity – will continue to be involved in projects within, and outside, the entertainment technology industry via his agency Digital Deluxe. “We appreciate the work Elliot has done for ETC over the past 11 years and wish him every success for the future,” says Marx.

Wendy Luedtke named product technology specialist

In February, ETC expanded its research efforts, creating the Advance Research Group (ARG) to uncover new 40

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technologies and boost current product capabilities. ETC has hired Wendy Luedtke to join the ARG as a product technology specialist. She will work closely with lighting professionals to identify their most important issues, helping the ARG develop technology that tackles their problems and opens new possibilities. “The ARG facilitates innovation, allowing new ideas to be explored in every area of R&D,” explains ETC CEO Fred Foster. “With Wendy coming on board, we can be certain that we’re developing the right tools for lighting designers to use in the real world.” One of the first projects the ARG has been working on involves LED colour control. Last year’s award-winning Eos® v2.3 software upgrade is just the beginning of an initiative to revolutionise colour control in ETC consoles. Luedtke will be reaching out to designers and applying their input – along with her own knowledge and experience in the field – to the project. Luedtke joins ETC after six years with Rosco Laboratories, Inc, where she was the product manager for colour and lighting. She is currently an adjunct instructor at New York University’s Tisch School of the Arts Department of Drama, the chair of the Color Committee for the Illuminating Engineering Society of North America, and a member of the PLASA-TSP Photometrics Working Group and United Scenic Artists Local 829. She holds a BFA in technical production from New York University and has more than 15 years of experience designing lighting for theatre, live entertainment, corporate events and architectural projects. “The opportunity to advocate for designers, programmers and other lighting professionals, and to participate in this level of research, is both an honour and a responsibility I do not take lightly,” says Luedtke. “I am thrilled to join this team and get to work improving the quality of light.”

GLP GLP announces new UK operation

Following the overwhelming success of its impression LED portfolio – in particular its new X4 series – in international markets, GLP is further expanding its global outreach by setting up a dedicated UK base. This will be headed up by experienced stage and theatre production specialist Noel ‘Roly’ Smith (pictured) with immediate effect. Having gained experience in the theatre from the age of 16, and been intrigued by the evolution of lighting as it went through the various stages of automation in the late 1980s, he gradually moved into the rental side of lighting before

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Pictured: Die größten Schweizer Talente 2016 (DGST) featured GLP’s tiny impression X4 atom moving LED heads (see story overleaf)

becoming a touring production professional. “The GLP brand was brought to my attention around 10 years ago, when I was fortunate enough to start working with them. I quickly realised why they were gaining so much attention – being bright, fast and extremely reliable and something different in the lighting world.” Around the same time, while working on a large theatre production, he was introduced to GLP Inc President Mark Ravenhill, and the two men have remained in contact ever since. “Later, when Mark joined GLP, he communicated his vision of where he wanted to take the company – and it was this that eventually led to the decision to set up GLP UK.” Noel says he is relishing the challenge of improving brand visibility of GLP’s new-generation effects in UK rental fleets among the touring community – especially X4 Bar 10 and Bar 20, X4 Atom and impression X1 – with so many tours being specified in the UK. “One specific sector I am looking to target is the install market, where GLP products will fulfil a number of roles extremely well due to their excellent reliability and low power draw, combined with the latest technology.”

Mark says: “We are delighted to be setting up our own subsidiary operation to support the UK and Ireland markets, and we’re lucky to have someone with Roly’s vast experience heading up the operation. It’s a fantastic combination that we plan on growing, as we have done recently with our operations in the US and Hong Kong.” The new GLP UK office will be based just outside Exeter and will be supported by a local service department. Noel’s contact details are (mobile) +44 7974 444297 and (email) n.smith@glp.de

GLP impression X4 Bars win second major award in a week

The stellar success of GLP’s impression X4 Bars was recognised for the second time in a month – by major industry bodies on both sides of the Atlantic. Following its receipts of the Live Design Award in New York earlier in the month, the product picked up the ‘Lighting Product of the Year’ gong at the Association of British Theatre Technicians Awards 2016, which took place just over a week later during the ABTT Theatre Show at Alexandra Palace, London. The GLP impression X4 Bar 20 LED Batten stood out to the jury of working practitioners and industry peers, who remarked that ‘GLP’s new Batten, with its innovative zoom feature and impressive light output, reinvents the light curtain’. GLP Inc President Mark Ravenhill said: “We are delighted Set & Light | Summer 2016

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that for the second time in a week, we have been able to pick up major lighting awards in the two capitals of theatre – New York and London. Noel ‘Roly’ Smith, who heads GLP’s UK operation, added: “This reflects the faith that designers have been placing in this unique product since its launch and we are grateful to the many designers who have been specifying it.”

media servers are now out in the wild, being used on some of the world’s most prestigious events, such as the SuperBowl Half Time show, the 88th Academy Awards, Wrestlemania and the Eurovision Song Contest. These are exciting times for the world’s leading manufacturer and its users.

rgb gmbh brings Swiss TV shows alive with GLP Mighty atoms

Green Hippo are excited to announce that Denis Hessberger has joined Green Hippo as freelance Product Specialist from June 2016. Denis has a strong background in the world of lighting and video programming & design. He has a wealth of experience and knowledge of both lighting consoles and media servers. Denis will be meeting and engaging with both our current and potential German users; liaising with both development and the marketing team to ensure that the popular, awardwinning Hippotizer media server range and all its newest features are brought directly to our German customers. Denis can assist in support and is available for demos and open days. To make an appointment to see him email denis@green-hippo.com.

GLP’s tiny impression X4 atom moving LED heads have featured as imposing backdrops in two recent prime-time television shows on Switzerland’s SRF 1 (Schweizer Radio und Fernsehen) TV channel. For both shows – Die größten Schweizer Talente 2016 (DGST) and Hello Again – the lighting design was entrusted to Lutz Hugo Kleine-Herzbruch, managing director of Essenbased rgb gmbh. First aired in 2011, and now in its fourth season, DGST is based on Britain’s Got Talent and broadcasts at prime time on Saturday evenings. Meanwhile, back for its third series on a Saturday night, Hello Again is a pop show specialising in ‘Schlager’ music and moderated by Roman Kilchsperger. The Bodensee Arena in Kreuzlingen was the location for both shows, and in each case, 54 of GLP’s new X4 atoms were used to create a vivid background after rgb had been introduced to them by GLP.

GREEN HIPPO Cory Froke, formerly of PRG, joined the Green Hippo US team, based in Burbank, California, as Product Specialist in April. Cory has a strong background in the world of lighting and AV having previously worked at PRG Nocturne/PRG Concert Touring, Chaos Visual Productions, DWP Live and Entertainment Lighting Services (ELS). At PRG Nocturne, Cory’s role as Project Manager/Media Server Specialist or ‘SuperTech’ highlighted his in-depth knowledge of the Hippotizer server range and he is well respected in the industry. In his new role, he will be meeting and engaging with both our current and potential US users and liaising with both development and the marketing team to ensure that the popular award-winning Hippotizer media server range, and all its newest features are bought directly to our US customers. Cory specialises in media server and projection system design, engineering and programming, with an emphasis on large-scale projection mapping, interactive systems and complex media server arrays. He began his professional career at the age of 15 as a lighting technician for the San Diego Repertory Theatre and the Old Globe Theatre in his hometown of San Diego. As well as the addition to the US office, Green Hippo have expanded their head office team in the UK, with additions to departments across development and sales. The last 12 months mark significant growth and change within the company and channel partners. Over 800 Hippotizer V4 42

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Denis Hessberger joins Green Hippo as freelance Hippotizer Product Specialist.

HAWTHORN Hawthorn returns to support annual BBC Worldwide Showcase event for 10th year

Creative technical event production expert Hawthorn once again supported BBC Worldwide to showcase its premium programmes to international television buyers, including the all-new Top Gear. For the 10th year, Hawthorn was chosen to work with the in-house production team and their group of trusted suppliers to deliver the evening events at the annual trade show. Taking place from 22–23 February at ACC Liverpool, the event featured two gala dinners, designed to wow invited guests with the very best in British TV creativity. Led by the BBC Worldwide team, Hawthorn Director Peter Harding helped to create a stunning production design for the events, delivering a truly immersive experience. Showcasing the best of BBC talent and never-before-seen entertainment, the launch of the new-look Top Gear was the highlight of the highly anticipated Monday evening. Working closely with renowned Lighting Designer Russell Grubiak to create a visually exciting experience, Hawthorn installed a 3.9mm 8m by 2.5m LED wall behind the main stage in the arena, which opened on rolling risers to reveal the various big name hosts. This then became the stunning backdrop to the main stage, enabling the team to include some amazing big-screen content. Other key technical features used for this annual spectacular from Hawthorn’s extensive box of technical toys included: n The use of a recent addition to the Hawthorn portfolio, a Barco E2, that provided all the switching from the various sources to the multiple screens; n The latest d&b audio system controlled via a Dante

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network from nine audio desks, which gave the team the flexibility they needed to ensure audio perfection, controlling sound distribution for the various acts throughout the venue; n Kinesys, which was used for flying a 17m catwalk in and out of the main performance area, together with facilitating reveals for various performances during the evening; n 45 MAC Viper spots were used to light the main show; n 30 custom manufactured LED striplights were created to outline the arena floor for the Top Gear show. A flurry of overnight activity saw the teams transform the ACC Liverpool Arena into The RedRum Club, creating an immersive supper club experience. Welcoming about 700 dinner guests, the club set the scene for a celebration of the corporation’s best crime dramas and its stars.

Hawthorn place iconic D&AD Pencil at heart of awards

For the fourth year running, creative technical production expert Hawthorn has delivered full technical production for the annual D&AD Awards. Held at Battersea Evolution on 19 May, the prestigious award ceremony celebrates and nurtures outstanding work in the design and advertising industry. Being awarded a D&AD Pencil is recognised the world over as a shining symbol of the very best creative achievement. Briefed to put the iconic D&AD Pencil back at the heart of the awards design as part of a competitive pitch process, James Hunter, Senior Project Manager at Hawthorn, crafted a creative response featuring an in-the-round approach to the event design, taking factors such as guest experience, use of space, entertainment, furniture and set design into consideration. Demonstrating not just their technical expertise but also their ability to deliver a creative response to the brief, Hawthorn saw off the competition and was awarded the job. To achieve the focus upon the D&AD Pencil, Hawthorn created an innovative yellow and black hexagonal central stage and awards table, incorporating the classic pencil shape throughout. Pixel-mapped LED tape was inset into the stage top and an overhead camera above the stage was used to provide unique live camera footage. Making sure the work being celebrated remained at the heart of the event at all times, Christie HD14k projectors were used to display films of the judging process, the winners and their work, on four 30ft by 10ft screens. Accompanying these, a Barco Encore 2 presentation system supporting native 4K input and output was used, providing superior image quality.

The work is based on HG Wells’ 1879 novel about a Martian invasion and has the additional resonance of being played completely with a mix of orchestral and electronic musicians conducted by Wayne himself. Directed by Bob Tomson, it’s the first such presentation of the work, which is well known as an arena touring show. It is narrated by Liam Neeson – who appears via video – and includes lighting designed by Tim Oliver and set by Ric Lipson for Stufish. Tim’s experience of lighting music tours and concerts as well as theatrical shows made him an ideal choice for the lighting design role, in which he has seamlessly combined techniques and visual trickery from both disciplines to create the rich and varied lighting that is such an essential part of the atmosphere building. HSL’s John Slevin, project managing the account, worked closely on WoTW with Emma Nolan, HSL’s account handler for all the Kenwright productions for which they are a technical supplier. Tim’s actual starting point for the creative treatment was seeing the last arena tour in 2014. He was briefed to make it as ‘immersive’ an experience as possible for the audience. He also had to physically work around a substantial amount of projection, which is key to the narrative, in terms of equipment placement. They used a mix of the Dominion’s house lighting bars and installed pre-rigged trusses to provide additional lighting positions exactly where needed. LX Bar 1 is split into three sections, all independently hung on two Kinesys motors each to maximise flexibility. LX 2 and 3 are the house bars and LX 4 and 5 are pre-rigged trusses sub-hung from house bars, which also move but manually. LX 6 is just downstage of the cyc. To avoid interfering with the projection and also because it worked perfectly for the staging of the piece, Tim has made the most of side lighting positions; the stage right and left Boom 1s are also vertical sections of pre-rigged truss, and lighting fixtures on the other side booms are either secured to ladders, bars or other house positions. Two advanced trusses have been flown for the show and the circle and balcony fronts are utilised for additional lighting positions. Around the audience, 12 MAC Aura LED washes are installed on custom brackets to assist with special effects and

HSL HSL supplies lights to War of the Worlds in the West End

UK-based lighting and visuals specialist HSL is supplying lighting and production rigging for the recently opened and much talked about theatrical staging of Jeff Wayne’s 1978 cult album War of the Worlds at the Dominion Theatre, Tottenham Court Road, London, produced by Bill Kenwright. Set & Light | Summer 2016

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immersive moments as the audience are further swept up in the action by this ‘surround’ lighting. Martin MAC Viper Performances are the main profiles, chosen for their shuttering system, brightness, versatility and good range of gobos, with 21 dotted all over the side booms and LX bars. The ones on LX 1 and 3 in particular are hugely effective in creating the sticky, red Martian weed effect all across the stage and props with a bespoke gobo. Thirteen MAC 3 Performances on the two advance trusses are used for most of the specials on individual performers, with another four on the circle front to texture the pros arch with gobo looks. Eight Robe MMX Spots on LX 2 provide backlight specials and treatment. These were also chosen for their multi-functionality, as were 20 MMX WashBeams, with 12 located above the band risers on LX 4 and 5 and the balance (of WashBeams) on LX 1 for general stage washes and cross lighting. Three Robe Pointes on drop bars do the heat rays emanating from the Martian Fighting Machines (MFMs – also called Tripods in the original HG Wells story). Twenty-four GLP Impression X4s are ensconced on the side ladders and used to shoot across the stage, with another five X4Ss running around the stage lip in the footlights position. Their small and compact dimensions make them ideal for this application. HSL purchased 50 new ProLights Eclipse FC LED profiles for the project, which have an RGBL (lime) colour mixing system and are extremely bright. They are on the side ladders as principal side lighting units at shin, mid and high positions, all with a frost filter for additional diffusion. They have been so impressed with the performance of these fixtures that HSL is purchasing more, confirms John. The band are back-lit with 15 Robe CycFX 8s on LX 6, with another nine CycFX 8s rigged on LX 2 to backlight the whole downstage area. Twenty-two Philips Nitro strobes get a good battering, as you can imagine, especially in the battle scenes, with 12 around the pros arch firing into the audience and the rest scattered around the rig. Dispersed around the band risers are ProLights COB LED PARs. The reflector in these helps emulate a tungsten source very authentically, so they are scattered around the band risers and up-light all the set portal legs. A splattering of 24 PixelPAR LED PARs provide accents and eye candy around the band risers and on LX 4 and 5 directly above the band. The scenic MFM prop is also raised and lowered via HSL’s Kinesys system, which sidles across the stage several times during the show and was fabricated by Production Park, co-ordinated by Ben Brookes. Squeezed craftily into this are two Robe LEDWash 600s for the eyes, two Prolights Cobs on the wings and a Clay Paky Sharpy and ZR44 smoke machine, which combine to do the heat ray effect. Although it’s meant to scare the hell out of everyone, it actually looks quite cute! Twelve MR16 ‘Birdies’ are built into the two main stage trucks that are rolled on and off during the performance, controlled via wireless DMX, and Jeff Wayne’s special is a 44

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MAC Viper. The production is utilising the Dominion’s house follow spots. With over 4,000 lighting cues in the two-and-a-half-hour show, most of it is timecode triggered. HSL supplied Production Rigger Callum Willoughby for the rehearsal period; Darran Curtis is the Production LX; and Ross Bristol is operating both lighting and the Kinesys system for the run. Ashley Simper is LX 2 and also runs the video content via a d3 media server, and LX 3 Phil Lewis also takes care of the pyro.

JANDS Jands Vista L5 controls seamless lighting and media display at Al Burda Islamic Art Awards

Celebrated Lighting Designer Terry Miranda used a Jands Vista L5 console to seamlessly synchronise his elegant lighting design with media content at the recent Al Burda Islamic Arts Awards, held at the Abu Dhabi National Theatre in the United Arab Emirates (UAE). Open to artists specialising in calligraphy, poetry and music from across the Middle East, the prestigious awards are held under the patronage of His Highness Sheikh Abdulla Bin Zayed Al Nahyan and organised by the UAE’s Federal Ministry of Culture and Knowledge Development. For the 12th consecutive year, Terry – at the helm of his Dubai-based company Lighthouse Productions – was responsible for designing and supplying the awards’ set and lighting design. This year, the starting point for Terry’s design was Islamic architecture, with its geometric curves, arches, complex symmetries and domed structures. The intricate calligraphy associated with individual domes was blended with a modern aesthetic. This was created by using multiple dome shapes on the set as projection surfaces, which were outlined in LED and fully mapped to receive detailed custom content. The patterning theme was also continued on the black gloss floor, so the design united all elements of the environment. Terry chose the Jands Vista L5 as his control console, so he could deftly and easily synchronise his sophisticated lighting design and the awards’ video content. Designed to cope with the complex demands of modern shows, the powerful Vista system makes controlling a mix of lighting, LED and media server technology fast and incredibly simple. The lighting rig was kept minimal because low weight loading in the 30-year old Abu Dhabi National Theatre is a major challenge. A selection of small, lightweight and bright Robe fixtures were selected. Nearly 100 graced the rig, including Robin 300 Beams, ColorWash 575 ATs, MMX Spots, PARFect 100s, Pointes and CycFX 8s. The awards’ programmer and console operator was Adrian De Guzman, also of Lighthouse Productions. As video and lighting were so interwoven, he found the Jands Vista L5 proved itself adept at connecting easily to the media server without triggering latency issues. The Vista range includes a choice of portable, flexible control surfaces and self-contained consoles. Equally at

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home on tour or as a venue’s house console, Jands’ awardwinning Vista lighting and media control system has been embraced by leading designers, companies and venues all over the world on a wide range of shows. Covering entertainment, education and drama, installations, corporate events and worship, there’s a Vista system to suit all levels of user and almost any scale and budget of show. Recent shows featuring lighting or media control by Vista include international concert tours by Florence + The Machine, Queen + Adam Lambert, Dierks Bentley, Hurts, and Bring Me the Horizon.

Jands showcases latest technologies at PLASA Focus Leeds 2016

Jands showcased their latest studio lighting and control solutions at the PLASA Focus Leeds 2016 Show, Royal Armouries, Leeds. One of the industry’s leading and most experienced lighting control manufacturer’s products showcased included the multi-award-winning Jands Stage CL console, which provides extremely simple operation of LEDs and dimmers. In addition, the award-winning Vista v2 lighting and media control range is ideal for more sophisticated, multiple light source setups and has been utilised on a wide range of applications. With a system to suit almost any scale of show or budget, Vista enables all users to enjoy the same powerful yet simple control as the world’s leading designers and productions.

To ensure the new studio is up to the exacting standards of lighting professionals, LCA consulted with Director of Photography and owner of DoPchoice, Stefan Karle. The studio facility has a lighting and sound system that is second to none, with control of a wide range of traditional and LED lighting solutions on motorised truss. In addition to this, a track follows the edges of the room with a range of Rosco drapes, including one wall boasting a city-scene backdrop, painted black on one side to create a day/night effect. As well as being perfect for showcasing the lighting products, LCA also welcomes customers, lighting directors and related organisations to use the room for their own demonstrations, testing, training and workshops. Since last year, the LCA workforce has grown by almost 50 per cent across departments including sales, servicing, repairs, and warehouse/despatch. Last September saw the sales team expand, with new members joining the team including Spencer Newbury as International Business Development Manager – EMEA & APAC, and the appointment of Ahmad Nanaa to represent the company in the Middle East. In March, LCA attended CABSAT in Dubai to launch the company and brands they represent to the film and TV professionals in the region. The show was the perfect introduction, with many visitors impressed with the range of products on offer. Another new addition comes in the form of a long wheel-base delivery van (pictured). Given an LCA brand makeover, it has an unmistakable corporate look and plenty of room to transport a wide range of lighting, grip and power equipment from the company’s main office in Greenford to customers in and around London. Developing the product range is a continual area that LCA thrives on, sourcing some of the latest innovations in film and TV products. Most recent additions to the portfolio of brands include Australia-based LSC Lighting, manufacturers of lighting consoles, dimmer racks and power supplies; the Versatile, soft bi-colour LED tile; and ChromaQ®, with their range of premium performance LED lighting solutions for film and TV applications. In addition, LCA have developed Matrix 5-colour LED modules, along with Matrix Balls. These 5-colour or AC/DC

LCA LCA – Lights, Camera, Action are continuing to grow their business since moving to larger premises 18 months ago. The new building, located on the Fairway Drive Estate in Greenford, provides the company with a fully equipped demo studio for customers and lighting specialists to try out a wide range of products. In addition, the premises also benefits from a larger warehouse – enabling more stock to be held – plus a bigger office space, a dedicated servicing and repairs workshop, and a client room. Set & Light | Summer 2016

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colour temperature-changing Matrix Modules instantly fit into existing Jem Spring Balls, including an innovative new ‘Baby Ball’ just 10 inches in diameter. Established brands within LCA’s range have also contined to extend their ranges with innovative new products, such as the LiteTile from LiteGear; the HS2 and HSX from Cineo Lighting; the Alpha 800 from K5600; and various LED lights from Filmgear. DoPchoice have also extended their line of SnapGrids and SnapBags to fit a wider range of lighting fixtures.

LITEPANELS Five tips for lighting a green screen

When it comes to lighting a green screen, people tend to forget about the basics. And while there’s a lot of information out there on how to do it properly, most experts don’t cover some of the more straightforward simple points that all cinematographers should know. We sat down with LED pioneer and co-founder of Litepanels Pat Grosswendt to get his five best tips for creating the perfect lighting for your green screen: 1. Digital vs. chroma green screen If you have a choice, try digital green screens. Chroma has a density to it that makes it less reflective, usually causing people to use more light than is needed. On the other hand, digital is highly reflective, so the amount of light that you need should be less. This makes digital green screens easier to work with in the long run. Try the difference and see for yourself. 2. Light your talent before lighting the green screen Most people go in and light the green screen perfectly even, thinking: “I’m going to light the screen so that it’s an even 5.6 f-stop exposure at the lens.” But once you do that, the real challenge becomes lighting the talent. To avoid making the scene too bright and contaminating the skin, be sure to light the talent first and then figure out what you need to add to the background green screen. This is especially true if you’re working with digital, which, as we’ve established, is already very reflective to start. 3. Positioning and simplicity are key With lighting, it’s not about how much light you have, but where you put it. We’re in a new cinematic world filled with powerful camera sensors and tricasters that are more sensitive to light than ever before. So in the end, the position of the lighting source – not how much it’s emitting – makes all the difference. You can see the importance of light positioning with certain genres, such as horror films or thrillers. For those types of films, gaffers often place a small, low-emitting light under the villain’s face, making the facial features sharp and skeletal. What’s the message here for lighting a green screen? Be selective with your lighting and where you put it, and don’t go overboard on the amount of light you use. Instead, opt to try a front light right above the camera. This angle is complimentary and will create an even and consistent wash of light that will make pulling a matte much 46

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easier. Next, try placing the light at an angle to the talent. This angle will create harsh shadows and will make pulling the matte much less effective. 4. Get to know your camera As we’ve already mentioned, modern-day cameras are more powerful and light sensitive than ever. This means that you won’t need as much lighting to pull off an effective green screen as you would have needed with a camera from 10 years ago. You can leverage your camera by learning its capabilities and understanding its limitations. In many cases, just by raising your ISO or its light sensitivity, you can use less light than you might have believed initially. Experiment ahead of time to understand how much light your camera requires pulling a good matte. 5. The power of the soft light When thinking about using soft light, remember the three Fs: flattering, forgiving and full. These three qualities are the reason why soft light is more versatile than others and why it’s easier to light a green screen with it. Effective lighting for a green screen requires an even and consistent cast of light. With a soft light such as Litepanels’ new Astra Soft Bi-Color, you can get omnidirectional lighting – perfect for getting that even cast for the entire screen. The Astra Soft has an impressive output rated among the highest of soft LED panels. This higher intensity illuminates a wider area, allowing the panel to compete with strong exterior light sources or illuminate a large area effectively with just a single fixture. These fantastic light output levels combined with various colour temperature settings mean there is no need to install expensive fixed colour temperature plates. So in this case, Astra Soft’s ability to light a wider area not only makes it easier to use, it also means you can often use just a single fixture for your lighting. Once you’ve used the Astra Soft to light the green screen effectively, you can add in key lights to help create definition between the talent and the green screen, as needed.

LUPO LIGHTING Lupo.lighting are happy to announce that the next generation of LED Fresnel luminaires are now in stock andready for dispatch. New for 2016 is the Lupo LED 2000: a high-performance, high TLCI soft-edged spotlight, designed for all manner of broadcast applications. This new highpower 2000 spotlight is available in 5,600K or 3,200K versions. The Lupo 650 LED and 1000 LED lights are available as dual colour fixtures. These Italian-made fixtures are now available with pole operated yokes or regular yokes for 16mm spigots. They all have full manual or DMX dimmer control and are flickerfree up to 12,000 frames per second. The Lupo family of spotlights have glass-fibre reinforced polycarbonate casings and can be easily carried in one hand. To find out more, visit http//:lupo.lighting for UK sales and support.

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PHILIPS Philips Selecon RAMA LED Fresnel keeps costs down in contemporary theatre

Peterborough’s Key Theatre has replaced its existing tungsten Fresnels with 36 energy-efficient Philips Selecon RAMA LED Fresnel luminaires to save on power and breathe new life into the popular venue’s lighting system. The new fixtures were supplied and fitted by entertainment technical specialist Stage Electrics, with whom the theatre has a long-standing relationship. Stage Electrics’ Technical Sales Consultant Andy Elsegood recommended the RAMA LED Fresnels as a crisp, white LED solution for the theatre’s range of stage lighting requirements. “We specifically wanted LED Fresnels with a clear, white light,” explains the theatre’s Technical Manager Gary Linley. “The Philips Selecon RAMA LED Fresnel seemed to be the only luminaire on the market specifically designed for that purpose.” The majority of the RAMA LED Fresnel fixtures are positioned directly above the stage in the auditorium, facing out towards the catwalk, which follows the shape of the thrust stage. From here, the luminaires deliver a perfectly even cover with their seven- to 60-degree beam angle and soft edge, blending easily with adjacent beams. Linley goes on to comment that saving on power was a factor in choosing LED technology: “It was a green decision as well as a financial one,” he explains. In addition to keeping costs down by consuming just 120W of power each, the RAMA LED Fresnel’s heat output is minimised, keeping performers and audiences cool. The new luminaires have already been used on everything from music events to comedies, dramas and musicals. Situated in the centre of Peterborough, the Key Theatre brings art, culture and entertainment to the heart of the city and sees a broad calendar of events, including workshops, live music and dance performances.

Philips Vari-Lite immerses the audience on Eurovision 2016

Award-winning Eurovision 2016 Lighting Designer Fredrik Jönsson incorporated 40 Philips Vari-Lite VL3500 Wash luminaires into crucial audience lighting for the musical extravaganza’s grand final.

The Eurovision Song Contest 2016 was held at Stockholm’s Globe Arena and saw a live audience of 15,000 international fans, journalists and celebrities. Global viewing figures for the grand final reached 204 million. The Philips VL3500 Wash luminaires were supplied by Eurovision 2016’s official technical supplier [LITE]COM. Jönsson made fantastic use of their powerful output to flood the audience with stunning colour. Each wash reflected the on-stage action, embracing the crowd for a truly immersive experience. Jönsson rigged the classic workhorses 26m high in the air. From here they lit the A section of seating and standing audience on the floor to ensure each crowd reaction shot was perfectly camera-ready. An incredibly popular wash luminaire, used on such mammoth past tours as Justin Timberlake and Kylie Minogue, the Philips VL3500 Wash has an impressive output that exceeds 70,000 lumens and advanced optics. For spectacular wash looks in infinite colors, the fixture provides CMY colour mixing, variable CTO colour temperature correction and dual five-position colour wheels. “What’s also great about the VL3500 Wash is there are plenty of them and it’s a universal fixture, meaning you can get them just about anywhere in the world,” says Jönsson.

PHOTOBEARD Photon Beard will ‘Highlight’ IBC 2016

IBC 2016 will see the European launch of Photon Beard’s new Highlight LED range. Through the clever use of remote phosphor technology, the Highlight LEDs feature outstanding colour rendering and television lighting consistency indexes (CRI and TLCI) in 3,200K and 5,600K colour temperature variants. In terms of power, the Highlight LEDs have no moving parts and are passively cooled, resulting in lower operating costs and superior ease of use. Available in 90, 180, 270 and 360W variants, the Highlight LEDs relate directly to two-, four-, six- and eight-tube fluorescents, but deliver far more punch and none of the unnatural skin tones that typical LED fixtures tend to produce. Because of its cool running and high reliability, each fixture comes with a full five-year warranty that includes output level and colour quality. Moreover, because of the Highlight LEDs modular design, all models can be supported with a minimum number of spare light modules for easy replacement in the field. Photon Beard will also feature its Redhead LED range, which has proven very popular with ENG crews and freelance lighting gaffers. Photon Beard can be found on Stand 12.G38 at IBC 2016, which takes place from 9 to 13 September.

PRGXL VIDEO We have been working to join the two companies together in the UK, and as part of that integration, we have also created a new UK website. Why not take a look: http://www.prg.com/uk Set & Light | Summer 2016

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Meet our new account managers

In the past few months, we have added to our account management team, bringing in a range of expertise from the wider industry, combined with some internal changes. All of the new team members bring with them different areas of knowledge, which help us expand the services we can offer our clients. Rob Brown, Emily Gibson and Tom Walsh are all new additions to our corporate events team in recent months. Rob brings years of expertise of supplying AV in the finance sector; Emily joins us with a wealth of experience in projection mapping and interactive technologies; and Tom joins us from Hawthorn, where he supplied multi-discipline production services to a variety of events. In our theatre team, Gareth Jeanne has returned to the UK from PRG’s Los Angeles operation, where he was part of the music group. Having started in the industry with Stage Sound Services, this is a return to theatre for Gareth, where he now jointly leads the team alongside Peter Marshall. Last but definitely not least, Gordon Torrington makes the move from PRG XL Video’s event services team to become Account Manager in the music group. Gordon brings years of on-site technical expertise and contacts across the industry to the new role.

PRG XL Video supports Teenage Cancer Trust live at Royal Albert Hall

Continuing a long-running relationship with Teenage Cancer Trust, Producer Des Murphy and production team Steve Allen, Julie Chennells, and Nancy Skipper, PRG XL Video have once again supported the charity’s annual run of fundraising live shows at the Royal Albert Hall. PRG XL Video supplied lighting, rigging and video technology for the week-long run of shows, which included a comedy evening hosted by John Bishop, as well as concerts by The Vaccines, Simply Red, Bring Me The Horizon and New Order.

PRG XL Video supplies specialist video projection for BBC’s live local election coverage

On 7 May, the BBC aired its special programming for the election of local councils and police commissioners, as well as the election of the Mayor of London. Coverage of the election results included a special type of projection technology, which was supported with video projectors from PRG XL Video. The stereoscopic projection technology used by the BBC enables presenter Jeremy Vine to move around the studio and point out specific pieces of information within the projected semi-transparent screens without the projection landing on himself. To the viewer, the information is floating in the studio and the presenter is able to interact with it. The technology behind this has been developed and refined over more than a decade. Originally invented in Japan by a company called NHK in 2001, the concept was known as invisible light. It was achieved by placing a specially developed LED screen in front of a conventional projector. The screen had a fast enough refresh rate that it allowed projection when the CCD 48

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camera shutter was closed, so the presenter could see the projection and turn off the projection when the camera shutter is open. To the presenter, the projection appeared to be half brightness at 50Hz. To the camera, there is no projection visible, but the whole image is slightly darker than usual. The team at the BBC, including Technical Project Manager Danny Popkin, saw the invisible light system and believed it could be a useful presenter aid. However, the cost of manufacturing the specialist LCD screen was prohibitive, so they looked for alternative options. To achieve a similar effect, the BBC’s research and development department developed a mechanical shutter system, and by synchronising this to the camera, it created the same effect as NHK’s system. The downside was that it was rather noisy – not ideal for television. With the advent of digital light processing (DLP) projectors, which could run at 100Hz, it became apparent that by using a stereo converter on a projector, the 100Hz image could be split into two 50Hz images – like a ‘left eye’ and a ‘right eye’ in 3D projection – with one projected entirely black and the other the required image. The maximum output of the projector was, at the time, quite low, having halved the light output with one black image, but it was possible for the presenter to see the graphics. This system was first used by the BBC on the 2004 European elections. Since then, projection technology has improved greatly, with projectors outputting many thousands of lumens of brightness. For this year’s live local election coverage, PRG XL Video, working with BBC Studioworks’ Technical Producer Andrew Breaks, supplied two pairs of stacked Panasonic PTDZ21KE projectors, each unit outputting 20,000 lumens of brightness. One stack threw on to the rear backdrop screen and the other stack covered the floor map of the United Kingdom. The graphics were supplied from dedicated Viz render engines, giving Jeremy both an accurate, real position for the data in the green screen area as he gestured to the information, as well as a clear picture of the data in real time as he explained the live results coming in.

Patrick Verhey joins PRG XL Video as Director Media/Creative

PRG XL Video, the UK operation of Production Resource Group, LLC (PRG), is pleased to announce that media server and creative video technology expert Patrick Verhey has joined its team. Patrick Verhey has taken on the newly created role of Director Media/Creative, reporting directly to UK CEO Lucas Covers. With media servers and control technology taking on ever-increasing importance, especially in the field of interactive and experiential events, this role is a key one within the video side of PRG XL Video’s business. Before joining PRG XL, Patrick worked as a freelance media server programmer and technical specialist, and prior to that was Project Manager and Head of Technical Support at Coolux Media Systems GmbH. During his time with Coolux, he gained extensive knowledge of Pandora’s Box

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media servers, and in more recent years, has extended his expertise to include a variety of other platforms, including d3 and Catalyst. Patrick is based in the company’s Hemel Hempstead location.

satisfied customers in really quite challenging climates.”

PULSAR

Copycats is returning to TV screens after a four-year absence and moving light specialist Richard Martin Lighting (RML) is back on hand to help Lighting Designer Roger Williams with the revamp. Last aired in 2012, Copycats sees Sam Nixon and Mark Rhodes host, with two family teams, each of six contestants, battling against each other in a series of games. Each episode consists of a number of rounds, three of which are based on Chinese whispers, as well as a variety of physical challenges. Filmed at BBC Scotland, the show has been given a facelift, with new opening titles, a new logo and a new set, complete with new exciting lighting rig. It features a mix of MAC Auras, Nexus 4x4 Panels and Robin LED 600 Wash units to create a fun and vibrant atmosphere. Ever popular, the award-winning CHAUVET Nexus 4x4 Panel is both a striking eye-candy and a tour-ready wash light, able to deliver pixel mapping display as well as a robust light output aided by 16 27W RGB COB LEDs. The combination of COB emitters and a clever reflector design yields a striking, diffused light, richly drenched in saturated hues. Controllable by Art-Net, Klings-Net and DMX protocols, the Nexus 4x4 features interlocking hardware, which allows for large arrays to be built. Whether in use for front viewings or as a backdrop, Nexus 4x4 promises a hard-to-match visual impact. Roger says: “I’ve used the Nexus 4x4 panels many times. I love them; they’re stylish, versatile, good value for money and they fill in gaps perfectly. I’m not using haze on this show so the Nexus 4x4s are great for a change where previously a beam through smoke might have been. My favourite moving light – the Aura – did the rest of the hard work: sometimes used to light people, sometimes for strong colour and some for eye candy towards camera.”

Historic milestone as Pulsar Factory LED installation reaches 100,000 hours of operation

Pulsar moved into its present premises in the latter part of 2002. It was also at this point we installed our LED lighting on the front of the building, confident in its reliability, longevity and durability. Twelve ChromaPanels were installed on the south-facing front of the factory building in May 2003 and have been running 24/7 ever since, with an additional 21 metres of ChromaStrip 2 installed the following year. Fast forward to today and the original ChromaPanels printed with the Pulsar name have clocked an impressive 11 years and five months of continuous activity – actually surpassing 100,000 hours! This real-world industry first is proof of LED’s amazing longevity and also of Pulsar’s dedication to making the highest quality LED lighting fixtures on the market. Braving all that the Great British weather has to throw at them, the fixtures have endured some of the wettest and hottest years in recent history, as well as snow, ice, hail, fog, wind and all weather in between for the past decade. “This is a real milestone for us at Pulsar,” explained Pulsar’s CEO Brian Pohl. “It’s a real testament to our design and manufacturing teams’ guiding principles: quality, durability and reliability. We’re also proud to refer to an installation with over 100,000 hours when our customers ask about Pulsar’s product lifetime. As far as we’re aware, there aren’t any similar examples, particularly when many installations would have been stripped out and re-fitted many times over the years.” Company records date the installation back to May 2003, when we hired a cherry picker to install the products on the front of the factory – a date confirmed by a recent serial number check. Pulsar’s factory team keeps records of serial numbers and product information dating all the way back to the company’s founding in the 1970s! And what next? Pulsar’s Dave Cowan says: “We’re tempted to just keep them up there to see how long they last! But there’s also the option of taking them down and comparing their current condition with our published product specification from 2003.” Cowan added that this example of longevity is a key benefit when demonstrating and explaining Pulsar’s products to clients. “Being able to say we have been around since 1970 and that our factory lighting installation has been running without issue for 100,000 hours is really important to our customers – especially those who may have been exposed to lower quality equipment in the past that needed replacing within months. The last thing you need when you’re operating a skyscraper is taking lights down so soon after installation and we’re happy to report that we have some extremely

RML Copycats

DC Fancast: Unmasked

Up, up and away! Moving light specialists Richard Martin Lighting have flown in to help Lighting Designer Richard Bowles light the first original studio series created by Sky

Set & Light | Summer 2016

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Pictured: Lighting Director Roger Williams employed an old favourite, the MAC Aura, on It’s Not Me, It’s You

exclusively for viewing On Demand, DC Fancast: Unmasked. Each week, hosts Rick Edwards, Bec Hill and graphic artist Des Taylor are joined in the studio by an assembly of superfans ready to go over all the latest episodes of Sky’s superhero schedule: Arrow, The Flash, Supergirl and the latest series Legends of Tomorrow. Each 12-minute episode is jam-packed with more content than Oliver Queen has arrows, and viewers can expect recaps, discussions, behind-the-scenes looks at the superhero shows as well as sneak peeks of future episodes. For the set, Richard has employed an old unsung hero from RML’s stock – the Color Kinetic iColor Cove QL. The 300mm LED Strip features colour-changing illuminations with a range of 16.7 million colours and is perfect for bringing lighting effects to confined spaces. With Chromasic technology, it brings autoaddressing to the table, which makes installation, addressing and programming even easier. Hired out in kits of 20, each fixture has the ability to be controlled individually or as a group, with power and data being supplied by sPDS-60CA 24v, a dedicated Color Kinetics power and data supply.

It’s Not Me, It’s You

Let’s face it, 21st century dating is tricky. Whether you’re tackling Tinder, grappling with Grindr or puzzling over Plenty of Fish, modern technology has brought us closer but with a whole new set of dating rules and etiquette. Luckily, Eamonn Holmes is on hand to help with his new panel show It’s Not Me, It’s You, exploring the world of dating and relationships, and moving light specialists Richard Martin Lighting (RML) are on hand supporting Lighting Designer Roger Williams. It’s Not Me, It’s You sees Eamonn Holmes joined by team 50

Set & Light | Summer 2016

captains, model and actress Kelly Brook and the reigning Queen of the Jungle Vicky Pattison, as they set out to prove who’s the top dog when it comes to dating. Each week, they’re joined by four celebrities as they go head-to-head in a series of mischievous games and challenges intended to draw out their own funny stories and experiences. The challenges include ‘Bonkbusters’, ‘You Complete Me’ and ‘First Impressions’, which sees the guests having to guess which of them is responsible for a humorous anecdote told by Eamonn. The show culminates in ‘Love at First Swipe’, which sees the teams take turns to play a live video Tinderstyle game on a giant swipe screen. With a seductive and contemporary feel to the set, Roger has employed an old favourite, the MAC Aura, using over 30 to complement the look. The MAC Aura is an award-winning light that is still one of our most popular units due to its flexibility as a powerful beam and wash light. The Aura’s ground-breaking optical system combines multicolour-beam LEDs with a secondary LED lens array illumination to produce an all-new visual palette that takes the synthetic look out of LED wash lights and allows for truly unique lighting design possibilities. It is a diverse unit and can be used as a powerful single-lens wash or as a separate set of individually controllable multicolour LEDs for radical to subtle eye-candy looks. And with a built in FX engine, extraordinary effects can be created fast.

Thronecast

Was it worth the wait and, more importantly, have you recovered from the latest episode of Game of Thrones? The top-rated fantasy drama show is back for another series, and

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Pictured: RML supplied the lighting for Thronecast, the companion series to Game of Thrones

with such a large fan base, it has its own companion series, Thronecast, which Richard Martin Lighting (RML) has helped to light again, assisting Lighting Designer Iain Davidson. Aired every week after the main show, Thronecast – which is hosted Sue Perkins and Jamie East – consists of interviews with members of the cast and crew, interaction with the audience and social media, analysis of the previous episode and a preview of the next. The rig comprises Robin LED Beam 100s, Sharpy Wash 330s and VL4000 Spots. The VL4000 Spot boasts 33,000 lumens and features a quiet Studio mode, outputting 25,000 lumens, which is ideal for a show such as Thronecast, allowing big impact without distractions. With high-resolution optics, the VL4000 Spot allows centreto-edge focusing and an extraordinary contrast ratio. A 12element 5:1 zoom optics system covers a range from nine to 47 degrees, with no sacrifice to output or clarity. CYM colour mixing and CTO colour temperature correction, alongside a dual five-position colour wheel, brings smooth colour mixing to the table. And with dual animation wheels and dimming flags combined with independent shutter blades, all this combines to create a valuable and vibrant addition to any stage.

ROBE Robe BMFLs are key to Eurovision 2016

Nearly 100 Robe BMFLs – 88 BMFL Blades and six BMFL Spots – proved invaluable to Fredrik Jonsson’s lighting design for the 2016 Eurovision Song Contest.

This was Fredrik’s second ESC in three years, having also been LD for the 2013 edition in Malmo. He was also the lighting operator for the last ESC staged at the Globe Arena in 2000. Significantly, the BMFLs were an essential tool for lighting the show properly. “I needed a high-intensity spot with good colour rendering and a framing shutter system that enabled proper key-light from long throws,” explained Fredrik. “The BFML Blade fitted that specification to the mark, hence its presence on the rig”. Fredrik’s stunning production lighting design was crafted together with Set Designers Viktor Brattstrom and Frida Arvidsson and Mikki Kunttu, who designed and ran all the playback video content as the initial 42 entrants battled it out to be among the 26 finalists. The event once again took production, presentation and visual imagination to new heights of style, ambition and excellence under the technical direction of Ola Melzig. When it came to key lighting, Fredrik knew that due to the height and dimensions of the Globe – the largest spherical venue in the world – he needed a fixture that was super-bright and also that could be precisely shuttered. The bleacher seating areas around the arena are steep, so he needed to go high with his key-light fixtures to preserve the sight-lines. With a massive amount of video elements integrated into the stage and set (900 square metres) he needed the brightest fixture possible – and currently, Robe’s BMFL is the only fixture that can deliver brightness and powerfully for both criteria in the quantities and accuracy required. The BMFL Blades were positioned to give two levels of Set & Light | Summer 2016

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Sponsor news

key-light: the first row of trussing was immediately in front of the stage and steep. A bit further back (into the arena), the second row of units was rigged further into the auditorium and also doubled as back and key-light for the extensive green room area. These were throwing about 18m down into the green room, which was a major part of the live action as the tension mounted on the final night, with cameras constantly flipping between the 26 delegations nervously waiting there and the performances onstage at the other end of the Globe. The BMFL Blades were also positioned on three side ladders stage left and stage right, which were on motors and moved up and down throughout the show, throwing about 16m to the stage. These were invaluable for getting side light onto the stage for artists, dancers and the various props used in the different performances. The beams could be tightly shuttered to avoid spilling onto some of the upstage projection screens when they were in use for certain songs. Fredrik was assisted by Associate LD Emma Landare, who also ran lighting for the opening sequence and interval acts, which included a performance by Justin Timberlake. They worked alongside four lighting operators: Calle Brattberg, Danne Persson, Fredrik Stormby and Timo Kauristo. The BMFLs were supplied to the production by Danish lighting rental company Litecom. Fredrik, from Eyebrow Designs, is a freelance LD based in Stockholm who works primarily on live TV productions and also in theatre, live music and other disciplines.

Robe appoints John Bilyk as Canadian Sales Manager

Robe North America is pleased to announce the appointment of John Bilyk as its Canadian Sales Manager. Bilyk has enjoyed a long and successful career in the entertainment lighting market. He has worked for numerous leading companies, including, most recently, a 15-year stint as the Canadian Sales Manager for Dallas-based Vari-Lite. Robe North America CEO Bob Schacherl said: “I’ve had the pleasure of both knowing and working with John most of my professional career. He has a deep and extensive knowledge of the Canadian market and outstanding rapport with the principal lighting designers, rental companies and system integrators. We expect John to make an instant impact on our business in Canada.” Bilyk can be contacted at john.bilyk@robelighting.com or by phone on (416) 255-3289.

Robe finds another Voice in Flanders

The fifth season of The Voice van Vlaanderan (Voice of Flanders) was staged in Hall 8 of the Ghent Expo centre – a massive complex on the outskirts of the picturesque Belgian city – with show design once again delivered by a team from design practice Arf & Yes, led by Company Owner and Founder Ignace D’Haese. Arf & Yes provided the full show and venue technical design package for producers Endemol, including stage, set, lighting and video, plus the layout accommodating a large, main performance stage and 3,000 live audience, taking full advantage of all the available space. The lighting rig included 86 Robe moving lights – 52 52

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Pointes, 30 LEDWash 800s and four LEDWash 300s, which, together with other lights, enabled Ignace and his team, including Lighting Programmer/Operator Timothy De Mets, to create a versatile show environment. Starting with a completely empty hall presented Ignace with many advantages when designing the show. The primary visual parameter was to give it a totally different look to last year’s Voice, along with accommodating specific Voice ‘givens’ such as the hand/microphone logo. It was essential that the whole design had the latitude to be extremely flexible. Onstage were three massive LED screens that could be raised and lowered to reveal or conceal the house band as needed, depending on the act, and this alone could change the performance space dramatically. Both lighting and video schemes had to look different for every artist and song – up to 18 sessions in the first two episodes – and this was a major reason Ignace chose Pointes, which are famous for their versatility. The fixtures were dotted over the back and mid trusses above stage, with some positioned above the audience and all used for the main lighting effects and accents. With 52 units, there was plenty of scope for creating variations and capturing a wide range of emotions to match the relevant music. The LEDWash 1200s were also distributed in the roof trusses over the audience and used for washing and colouring the general areas. Having multiple point-source lights – each one a workhorse – also ensured any ‘black holes’ could be easily filled for the 12-camera shoot, directed for the series by Maryse van den Wyngaert. For this series, Ignace enjoyed the challenges of starting with a completely empty space, together with the trust that Arf & Yes enjoyed from the client to imagine a visual spectacular that worked both as a live concept and a slick TV presentation. Lighting was directed this season by Marco Pauwels and operated by Arf & Yes’s Timothy De Mets. Video was coordinated by Jonas Weyn, Olivier Demoustier and Tijs Coene for Arf & Yes. Arf & Yes, which is based in Ghent, also provides technical production for the French-speaking version, Voice Belgique. Lighting equipment for The Voice van Vlaanderen was supplied by Lier based Phlippo Showlight, one of Belgium’s biggest rental specialists. The Voice van Vlaanderen 2016 was won by 19-year-old Lola Obasuyi from Ostend from Team Koen, who were mentored by rock band Clouseau front man and superstar Koen Wauters

ROSCO Be ready to light the scene, wherever your story takes you.

Whether your story takes place on the top of a mountain, deep inside an ice cave or just a few train stops away, the LitePad Vector Backpack Kit is the perfect on-the-go lighting solution. With a CRI of over 90, LitePad Vector LED fixtures provide soft, flattering light and powerful output – all from a compact, 8” x 8” (200mm x 200mm), portable unit that will

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

keep you mobile. Rosco’s Vector Backpack Kit contains two LitePad Vector LED fixtures and rain covers inside a durable, prograde backpack, with empty slots for light stands on each side. This rugged kit allows you to sling two Vectors on your back so that you’re ready to light the scene, wherever the story takes you.

Enhance your broadcast set with RoscoLED tape.

LED tape offers a number of advantages to scenic and lighting designers seeking to add depth, colour and accent lighting into their broadcast sets. Acclaimed Lighting Designer Adrian Goldberg put LED tape to work in CTV’s broadcast set for the London Olympics. Now you have the opportunity to use the same LED tape products Goldberg uses in his installations. Thanks to his expertise with LED tape, Goldberg consulted Rosco in the development of its RoscoLED Tape product line. RoscoLED Tape is designed to easily add attractive accent lighting into set pieces for broadcast studios, and television & feature film productions. Available in static white, variable colourtemperature white or RGB+W colour-mixing configurations, RoscoLED Tape features uncompromising quality to meet the demands of the most discerning designer.

WHITELIGHT White Light expands its business development team

Since its formation in 1971, WL has been providing the entertainment industry with technical solutions and creative excellence. Over the past 12 months, the company has grown exponentially, expanding its audio department, acquiring video and lighting firm Shock Solutions and working on more projects than ever before. With 2016 set to be the company’s busiest year yet, WL has appointed several new business development managers to oversee the various markets in which the company is continuously expanding. With its origins in theatre, WL is still the leading lighting supplier to West End and UK touring productions, with the company providing the lights to both Show Boat and Dr Faustus in the West End. Joining the team as business development manager is Ritchie Reed, who has more than 20 years’ experience in the entertainment lighting industry. This includes having worked for Martin Professional as their UK Sales Manager, Selecon Lighting/Phillips Entertainment as their Technical Specialist, as well as in the corporate events world as a production manager. Joining Ritchie is Maria Alvesm who will also focus specifically on theatrical lighting. Whereas Ritchie will work with some of the UK’s largest theatres and established lighting designers, Maria will work closely with students and those starting out in the industry; providing them with the guidance needed during a crucial stage in their careers. Jonathan Haynes continues his role as business development manager, with a particular focus on supplying lighting and AV equipment to venues and theatres across the UK. Following his previous role as UK sales manager at Eaton Lighting, Mark Morley has now joined WL and, similar

WL’s business development team: Ritchie Reed, Mark Morley, Jonathan Haynes, Chris Harris and Richard Knott

to Jonathan, will focus particularly on promoting all of WL’s exclusive products, including CORE Lighting. The company has also appointed Chris Harris as its installations business development manager. Chris joins WL after 10 years as head of lighting at the Lyric Hammersmith and will oversee all of the company’s various installations. Following WL’s continued investment in audio technology, the company has provided the audio support on a series of projects, from the Rugby World Cup to international conferences and even museum installations. To support this high demand of audio work, WL has appointed Richard Knott as audio business development manager. Richard joins after working as sales manager at Bose Corporation and Orbital Sound Limited. The new members of the business development team will be joining Alicia Earls, who has just celebrated her first year as business development manager at WL. Alicia works closely with the various event spaces that WL supplies across London, with the company recently achieving approved supplier status at Tate, as well as having its crosspalace supplier status renewed at Historic Royal Palaces.

White Light becomes exclusive UK distributor of ImageCue™

As Whitelight continues to develop its range of video technology, the company has recently invested in the new and innovative ImageCue™: a compact, easy-to-use image server that provides control of high-definition still images and videos with only 12 channels of DMX512. The product is now available to purchase through WL, which is the exclusive UK distributor. ImageCue™ has already made a huge impact in the world of playback devices, having won the LDI 2015 PLASA Member’s Choice Award for Best Gadget. The product allows users to supply their own images and videos using a USB flash drive or external hard drive and can provide access to over 65,000 image and video files. It is also extremely fast, with images and videos able to be selected and played back in less than a quarter of a second. ImageCue™ also has several advanced features should users wish to draw on these. They include the option of full RGB mixing control of the background along with colour mixing that can also be used in the foreground to tint images and videos. Set & Light | Summer 2016

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The server can also crossfade still images and allows PNG files with transparency to be overlaid into images and videos. ImageCue™ is now available to purchase via ShopWL and is already proving extremely popular with customers, who have been impressed with both its price and simplicity.

White Light supplies lighting to the Olivier Awards with MasterCard

The Olivier Awards with MasterCard are held annually and recognise the very best in London theatre. Organised by the Society of London Theatre, the awards are presented to individuals involved in West End and other London-based productions. This year’s event took place on 3 April at the Royal Opera House. With its reputation as the leading lighting supplier to West End theatre, White Light provided the lighting equipment for the sixth year running. 2016 marks the 40th anniversary of the Olivier Awards and this year’s ceremony was attended by some of the most high-profile names in the industry. WL was asked to provide the production support across four areas: the Piazza ITV Stage, the red-carpet entrance, the main awards presentation and the after-show party. The main awards presentation took place on the historic Royal Opera House stage. The lighting designer was Ben Cracknell and the production electrician was Cy Dodimead. Cy says: “My role was to take Ben’s design and work out how to power, cable and address the fixtures in his plan. That meant working closely with both Ben, Programmer Alex Passmore and WL to decide what kit was required to not only achieve the exact design but also work practically within the Royal Opera House”. For the main awards show, Cy utilised the Clay Paky Sharpy Beams, Martin MAC Viper Profiles, Martin MAC Auras, Showtec Sunstrips and Vari-Lite VLXs, all of which were controlled by a Grand MA2 Lighting Desk. As with all award ceremonies, the set-up had to be intricately planned. Cy adds: “Prior to the ceremony, I spent four days with my crew preparing all of the kit. Once we ensured that the rig was up and working and Ben had 54

Set & Light | Summer 2016

programmed the show, we returned to the Royal Opera House late Saturday night to fit everything up and prepare for the evening ahead”. WL also supplied the lighting equipment for the ITV Stage in Covent Piazza, which was situated outside the Royal Opera House. The stage played host to a series of performances, as well as the presentation of the Magic Radio Audience Award simultaneously alongside the main awards ceremony. The lighting designer was Chris Vaughan, who says: “I worked on lighting last year’s Piazza ITV Stage and this year we wanted to bring the aesthetic closer to the main house. In order to do this, we outlined the stage with several Laurence Olivier Award statues, which allowed us to create a ‘film strip’ look”. Similar to Cy, Chris approached WL with his exact requirements and drew on the company’s unparalleled equipment inventory. He used 32 Martin MAC Aura XBs, 48 Showtec Sunstrips, six Clay Paky Mythos, 18 LED Pars, eight ETC Source Fours and four Look Solution Unique Hazers. He adds: “Not only were we lighting the Piazza ITV Stage, but also the surrounding buildings and, in particular, the St Paul’s Church canopy, which overlooked the ITV Stage. Overall, this provided a much more theatrical look for the audience and added to the entire grandeur of the occasion.” The big winners on the evening included Dame Judi Dench. who won Best Actress in a Supporting Role for The Winter’s Tale; Kenneth Cranham who won Best Actor for The Father; Denise Gough who won Best Actress for People, Places and Things; Imelda Staunton who won Best Actress in Gypsy the Musical – with the lighting for all of these shows’ West End runs being provided by WL. WL also sponsors the award for Best Lighting Design, which was won by Mark Henderson for his work on Gypsy. WL has been supplying the lighting equipment to the Olivier Awards since 2011. The company was also recently involved with the installation and production support of Curtain Up: an interactive display at the Victoria and Albert Museum, which celebrates the relationship between West End and Broadway theatre and was commissioned as part of the Olivier Awards’ 40th anniversary celebrations.

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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

secretary@stld.org.uk

treasurer@stld.org.uk

Sponsors Liaison + Administration Officer

Exhibitions + Membership

Chris Harris

Bernie Davis

07775 846 972

07860 662 736

Deputy Chair Andrew Dixon 07885 731 865

andrewdixon@stld.org.uk

Magazine Editor, Sponsor News Assistant Sponsor Liaison + Advertising Sales + Diary

Emma Thorpe 07850 709 210

sponsors@stld.org.uk

members@stld.org.uk

Publicity Andrew Harris

Website Ian Hillson

07973 745 583

editor@stld.org.uk

Student Representative

Matt Maller 07901 724 487

Picture courtesy of Chris Capstick

publicity@stld.org.uk

Robert Horne 07762 562 434

roberthorne@stld.org.uk

Alan Luxford 07867 536 522

ianhillson@stld.org.uk

Paul Middleton

07720 446 921

paulmiddleton@stld.org.uk

John King

07860 759 294

mattmaller@stld.org.uk

Rick Dines

07780 707 169

rickdines@stld.org.uk

Jonathan Taylor

07774 698 847

alanluxford@stld.org.uk

johnking@stld.org.uk

jonathantaylor@stld.org.uk Set & Light | Summer 2016

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Society sponsors

A.C. Entertainment Technologies Ltd (Ian Muir) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: jono@ac-et.com ~ Web: www.aclighting.com

Ambersphere Solutions Ltd now incorporating MA Lighting (Glyn O’Donoghue) Unit 13 Alliance Court, Alliance Road, Park Royal, London W3 0RB Tel: 020 8992 6369 ~ Email: glyn@amberspere.co.uk ~ Web: www.ambersphere.co.uk

Anna Valley (Part of Shooting Partners group) (Mark Holdway, Doug Hammond) Unit 13, Mount Road Industrial Estate, Feltham, Middlesex TW13 6AR Tel: 020 8941 4500 ~ Fax: +44(0)1932 761 591 ~ Web: www.annavalley.co.uk

ARRI CT Ltd (Andy Barnett, Siobhan Daly, Lee Romney) 2 Highbridge, Oxford Road, Uxbridge, Middlesex UB8 1LX Tel: 01895 457 000 ~ Fax: 01895 457 001 ~ Email: sales@arri-gb.com ~ Web: www.arri.com

ARRI Lighting Rental Ltd (John Colley, 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) ~ Email: mohara@arrirental.com ~ Web: www.arri.com

Aurora Lighting Hire Ltd (Nick Edwards) Aurora Lighting Hire Ltd, Unit 21, Ockham Drive, Greenford Park, London UB6 0FD Tel: 020 8813 2777 ~ Mobile: 07710 261 838 ~ Email: nick.edwards@auroratv.co.uk ~ Web: www.auroratv.co.uk

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 Email: tmcgrath@barbizon.com ~ Web: www.barbizon.com

BBC Studios and Post Production Ltd (Danny Popkin) 77–79 Charlotte Street, London W1T 4PW Tel: 020 3327 6900 ~ Email: danny.popkin@bbc.co.uk ~ Web: www.bbcstudiosandpostproduction.com

BBC Academy (Tim Wallbank) Room A16, BBC Wood Norton, Evesham, Worcestershire WR11 4YB Tel: 0370 010 0264 ~ Fax: 0370 010 0265 ~ Email: bbcacademy@bbc.co.uk ~ Web: www.bbcacademy.com

CHAUVET® Europe Ltd (Michael Brooksbank) Unit 1C, Brookhill Road Industrial Estate, Pinxton, Notts NG16 6NT ~ Tel: 1773 511115 X.204 ~ Mobile: 07977 208435 Skype: michael.brooksbank.uk ~ Email: mbrooksbank@chauvetlighting.com ~ Web: www.chauvetlighting.co.uk

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

Chroma-Q (Jessica Allan) Hawksworth Commercial Centre, Elder Road, Leeds, West Yorkshire LS13 4AT Tel: + 44 (0)113 386 9118 ~ Fax: + 44 (0)113 255 7676 ~ Mobile: +44 (0)7825 084117 ~ Email: Jessica.Allan@chroma-q.com ~ Web: www.chroma-q.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 ~ Email: j.coppen@cirrolite.com ~ Web: www.cirrolite.com

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 ~Email: davide.barbetta@claypaky.it ~ Web: www.claypaky.it

Dedo Weigert Film GmbH (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www.dedolight.com

Set & Light | Summer 2016

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Please mention Set & Light when contacting sponsors

Doughty Engineering Ltd (Julian Chiverton, Mark Chorley) Crow Arch Lane, Ringwood, Hampshire BH24 1NZ Tel: 01425 478 961 ~ Fax: 01425 474 481 ~ Email: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk

Eaton – Zero88 (David Catterall) 20 Greenhill Crescent, Watford Business Park, Watford, Herts WD18 8JA ~ Tel: +44 (0)1923 495495 ~ Fax: +44 (0)1923 228796 Mob: +44 (0)7802 464484 ~ Email: DavidCatterall@eaton.com ~ Web: www.eaton.com

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

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

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

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

GLP (Noel Smith) Unit 2, Otter Vale Industrial Units, Fenny Bridges, Honiton, Devon EX14 3BL Tel: 07974 444297 ~ Email: N.Smith@glp.de ~ Web: germanlightproducts.com

Havells-Sylvania Ltd (David Hogan) Havells-Sylvania Ltd, Avis Way, Newhaven BN9 0ED Email: david.hogan@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 ~ Email: hire@hslgroup.com ~ Web: www.hslgroup.com

Jands (Jack Moorhouse) Centauri House, Hillbottom Road, High Wycombe, Bucks HP12 4HQ Tel: +44 (0)1494 838 323 ~Fax: +44 (0)1494 461 024 ~ Email: jack.moorhouse@ac-et.com ~ Web: www.jands.com/lighting

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

Kino Flo Lighting Systems (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax : 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. kinoflo.com

LCC Lighting (Lee Rickard) P.O. Box 78, Guildford, Surrey GU3 2AG Tel: +44 (0)1483 813 814~ Email: sales@lcc-lighting.co.uk ~ Web: lcc-lighting.co.uk

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

Set & Light | Summer 2016

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Society sponsors

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 ~ Email: mick@lightinglogic.co.uk ~ Web: www.lightinglogic.co.uk

Lights Camera Action (Nick Shapley) Unit 14, Fairway Drive, Greenford, Middlesex UB6 8PW Tel: 020 8833 7600 ~ Fax: 020 8575 8219 ~ Web: www.lcauk.com

Litepanels Studio Lighting EMEA (Spencer Newbury) 16152 Saticoy St, Van Nuys, CA 91406, USA Tel: +31 629 29 6575 ~ Email: Spencer@Litepanels.com ~ Web: www.litepanels.com

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

Lupo Lighting (Damien Lovegrove) Fir Tree Farm, 59 North Street, Nailsea, Bristol BS48 4BS Tel: 01275 853204 ~ Email: damien@lovegroveshop.com ~ Web: www.lupo.lighting

Martin by Harman (Mike Walker) Martin Professional PLC, Cranborne House, Cranborne Road, Potters Bar EN6 3JN Tel: 02030 021170 ~ Email: michael.walker@martin.dk ~ Web: www.martinpro.co.uk

Matthews Studio Equipment, Inc. (John Coppen, David Morphy) 3 Barretts Green Road, London NW10 7AE Tel: 020 8955 6700 ~ Fax: 020 8961 9343 ~ Email: info@cirrolite.com ~ Web: www. msegrip.com

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

OSRAM Ltd (Terri Pearson, Andy Gilks) OSRAM House, Waterside Drive, Langley, Berkshire SL3 6EZ Tel: 01753 484 175 ~ Fax: 01753 484 165 ~ Email: displayoptic@osram.co.uk ~ Web: www.osram.com

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

Philips Entertainment Group Europe (Amber Etra-) Rondweb Zuid 85, Winterswijk 7102 JD, Netherlands Tel: +31 611 030 083

Philips Lighting UK Ltd (Stuart Dell) Philips Centre, Guildford Business Park, Guildford, Surrey GU2 8XH Tel: 07774 122 735 ~ Fax: 01296 670 956 ~ Email: stuart.dell@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 ~ Email: 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 ~ Email: simon.honey@pinewoodshepperton.com ~ Web: www.pinewoodshepperton.com

PLASA (Norah Phillips) Redoubt House, 1 Edward Street, Eastbourne, Sussex BN23 8AS Tel: 01323 524 120 ~ Fax: 01323 524 121 ~ Email: norah.phillips@plasa.org ~ Web: www.plasa.org

Set & Light | Summer 2016

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Please mention Set & Light when contacting sponsors

PRG XL Video (Kelly Cornfield, Jeff Bailey) The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT Tel: 0845 470 6400 / 01442 849400 ~ Email: kcornfield@prg.com / jbailey@prg.com ~ Web: www.prg.com/uk

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 ~ Email: andy@pulsarlight.com ~ Web: www.pulsarlight.com

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

Robe UK Ltd (Ashley Lewis, Mick Hannaford, Steve Eastham) 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, Northampton NN3 8RQ Tel: 01604 741 000 ~ Fax: 01604 741 041 ~ Email: info@robeuk.com ~ Web: www.robeuk.com

Rosco (Cristian Arroyo, Tom Swartz) Blanchard Works, Kangley Bridge Road, Sydenham, London SE26 5AQ Tel: 020 8659 2300 ~ Fax: 020 8659 3153 ~ Email: marketing@rosco-europe.com~ Web: www.rosco.com

Schnick-Schnack-Systems GmbH (Erhard Lehmann) Mathias-Bruggen-Strasse 79, 50829, Germany Tel: +49-221-992019-0 ~ Email: erhard.lehmann@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 ~ Email: 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 ~ Email: info@specialz.co.uk ~ Web: www.specialz.co.uk

Stage Electrics Partnership Ltd Encore House, Unit 3, Britannia Road, Patchway Trading Estate, Patchway, Bristol BS34 5TA Tel: 03330 142100 ~ Fax: 0117 916 2828 Email: sales@stage-electrics.co.uk ~ Web: www.stage-electrics.co.uk

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

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

Tiffen International Ltd (Kevan Parker) East Side Complex, Pinewood Studios, Iver Heath, Bucks SL0 0NH Tel: +44 (0)870 100 1220 ~ Fax: +44 (0)1753 652776 ~ Mob: +44 (0)7545 440973 Email: kparker@tiffen.com ~ Web: www.tiffen.com

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

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

Set & Light | Summer 2016

STLD_118 SOCIETY SPONSORS:TL 85 Spring 2005 02/08/2016 21:17 Page 60

Please mention Set & Light when contacting sponsors

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

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

SPONSORS DIRECTORY

XTBA (Chris Cook, Fiona Fehilly, Simon Peers) Unit 2, The Old Curatage, The Street, Caston, Norfolk NR17 1DD Tel: 020 8882 0100 ~ E-Mail: dmx@xtba.demon.co.uk ~ Web: www.xtba.demon.co.uk

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

Education members

Bucks New University (Catherine Williams, Acquisitions Librarian) Buckinghamshire New University, Queen Alexandra Road, High Wycombe, Buckinghamshire HP11 2JZ Tel: 01494 522141 (extension 4521) ~ Email: acq@bucks.ac.uk ~ Web: http://bucks.ac.uk

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

Index of advertisers ARRI Aurora Chroma-Q KOI 60

Set & Light | Summer 2016

25 BC 24 29

Doughty ELP ETC Lee Filters

30 IBC 20 IFC

Lupo Lighting Plasa Unusual Rigging White Light

17 10 28 30

STLD_118 SOCIETY SPONSORS:TL 85 Spring 2005 02/08/2016 21:17 Page 61

Set & Light | Summer 2016

STLD_118 SOCIETY SPONSORS:TL 85 Spring 2005 04/08/2016 21:51 Page 62

MAPV18, 03-08-2016 PG2

Annual subscription fee for Membership is: £75 Full; £50 Affiliate, Retired and Overseas; £25 Students. When you join or renew your membership of the STLD, you will receive an invoice that details; your annual ŵĞŵďĞƌƐŚŝƉ ĨĞĞ͕ ƚŚĞ ^d> ͛Ɛ ďĂŶŬ ĂĐĐŽƵŶƚ ĚĞƚĂŝůƐ ĂŶĚ ƚŚĞ ƐƵďƐĐƌŝƉƚŝŽŶ ĨĞĞ ĚƵĞ ƉĂǇŵĞŶƚ ĚĂƚĞ͘ dŚĞ ďĞƐƚ ĂŶĚ ƚŚĞ ƉƌĞĨĞƌƌĞĚ ŵĞƚŚŽĚ ĨŽƌ ƉĂǇŝŶŐ ĨŽƌ ǇŽƵƌ ŵĞŵďĞƌƐŚŝƉ ŝƐ ďǇ ĚŝƌĞĐƚ ďĂŶŬ ƚƌĂŶƐĨĞƌ ƚŽ ƚŚĞ ^d> ͛Ɛ account using the following format as the payment reference. YOUR SURNAME/INV*** (INV*** being thĞ ŶƵŵďĞƌ ŽĨ ƚŚĞ ^d> ͛Ɛ ŵĞŵďĞƌƐŚŝƉ ŝŶǀŽŝĐĞͿ STLD Bank Account and VAT details: Bank: HSBC Sort Code: 40-07-14 IBAN: GB45MIDL40071411171518

Account Name: The Society of Television Lighting Directors. Account Number: 11171518 VAT Registration: GB 551 463 648

Member benefits information available at: http://www.stld.org.uk/benefits.php Current membership rates are available at http://www.stld.org.uk/membership.php

Please return the completed form to: Chris Harris, STLD Membership, 4 Fenbourne Close, Shelfield, Walsall, WS4 1XD Any questions please email members@stld.org.uk

Set & Light | Summer 2016

STLD_118 SOCIETY SPONSORS:TL 85 Spring 2005 02/08/2016 21:18 Page 63

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