Set & Light: Spring 2018 (Issue 123)

Set & Light

www.stld.org.uk

Issue 123: Spring 2018

from the Society of Television Lighting and Design

LEADING LIGHT: A TRIBUTE TO IAN DOW

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editorial

General Data Protection Regulations

Coming soon: our policy on GDPR implementation Thanks to everyone who came to our 44th AGM on 15 January. We had an amazing turnout and we are grateful to BBC Studioworks for providing the venue and for taking the time to show us around.

Many apologies to our new sponsor member, Elation, which, unfortunately, was missed from the Sponsors’ listing in our 2017 diary. The Elation contact for your diary is David Martin, mob. +44 (0) 7495 051 413, email: david.martin@ elationlighting.eu The new General Data Protection Regulations (GDPR) come into force on 25 May. We will be sending out our policy on GDPR implementation in the very near future. In addition, members online will receive an email asking if they want to opt in to communications, detailing the data we will hold and how to correct it, if necessary, with the STLD. Please note, if you opt out, you will not receive email notices of STLD meetings and events.

The next issue of the magazine will be out in summer 2018. The deadlines are 15 June for advertising and 22 June for editorial, which includes Sponsor news. Contact editor@stld.org.uk for a full media pack.

Emma Thorpe Editor

contents 5

AGM: Chairman’s report

30

Sponsor profile: Elation

7

AGM: BBC Studioworks

32

Letter: Save Stage Lighting

8

AGM: BBC Research & Development

33

Information: KOI Awards

11

Obituary: Ian Dow

34

Sponsor news

12

From the archives: Ian Dow

52

Sponsors’ directory

21

STLD visit: Strictly Come Dancing

56

Index of advertisers

25

Profile: Hedley Versey

59

Committee contact details

ty

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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 Email: editor@stld.org.uk Web: www.stld.org.uk Production Editor: Joanne Horne Sponsor news: Emma Thorpe Email: sponsornews@stld.org.uk Advertising: Emma Thorpe Email: adverts@stld.org.uk Cover photo: Reflections inside a lamp at Strictly by John O’Brien

Printed by: Gemini Print Deadlines for the next issue: Editorial: 22 June 2018 Advertising: 15 June 2018 Advertising is accepted only from sponsor members of the Society

© Society of Television Lighting and Design 2018 Set & Light | Spring 2018

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Chairman’s report

A review of the year – and a look to the future The 44th AGM of the STLD was held at Television Centre on 15 January. For the benefit of those members unable to attend, Chairman Stuart Gain’s report is published below

Members of the STLD in the scene dock. Credit: John O’Brien

Firstly, I would like to welcome you all here tonight for the 44th AGM of the STLD. I must start by thanking all those at BBC Studioworks for making this meeting possible. Steve Jenkinson was our first contact. He was very enthusiastic about the STLD being here, and still is, despite having once been Ian Hillson’s boss at TVC. He pointed us towards Head of Communications Karen Meachin, who set things up and provided the tea. Unfortunately, Karen can’t be with us tonight but we thank her in her absence.

Along with Steve, thanks go to John Dunkley and Andy James, who also showed us around earlier. Andy, who is an STLD member, has worked hard to make today a success. He came up with

several great ideas and arranged your HDR camera demo in TC1 earlier. He’s also agreed to write a little something for the magazine, although I’m not sure if he knows this yet!

Over at BBC R&D, we would like to thank Alastair Bruce, who sold the idea of an STLD event to his boss Richard Salmon, who was keen to get HDR info out to us.

We hope that reuniting the two BBC camps on either side of Wood Lane will prove fruitful.

Finally, thanks go to the following committee members for contributing their bit to making today a success: John O’Brien, Chris Harris, Bernie Davis, Andrew Dixon, Paul Middleton and Jonathan Taylor, not forgetting Ian Hillson, who has pulled the whole thing together.

And so to a short review of the highlights of the year: In March, we held a meeting at the Tate Gallery where members were treated to an introductory talk by Linda Buxton before a tour of the exhibition. Our thanks goes to Andrew Dixon for organising this.

One of our sponsors, AC Lighting, held an event at Pinewood Studios, where, among other talks, member Iain Davidson interviewed Gurdip Mahal about his background and philosophy of lighting. Chris Harris and Alan Luxford were on hand to man our stall. Our thanks go to them.

May was the month when Showlight took place in Florence. From candles and puppets to visual realisations, it was Set & Light | Spring 2018

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all there. Hosted by Clay Paky/Osram, it was a hugely successful event and thanks go to the Showlight committee.

We’ll await to see what happens in four years’ time when the event is due to take place again.

Later in the summer, at Riverfest, one of the presentations was from our own Bernie Davis, who talked about lighting the Proms for 35 years. Our congratulations go to him.

Autumn brought us the annual PLASA Show and the KOI Awards. The STLD was well represented at these events, with a stand at the PLASA Show and having organised the TV section of the KOI Awards. This year saw the 10th KOI and the event was well supported.

Preparations are already underway for the 11th KOI, due to be held later in the year. We always need nominations, so if you see anything on TV which you feel is worthy of an award, please let us know. The title of the show, LD and a possible link to where it can be viewed is all we need, so please keep a lookout.

Nominations can be made through the KOI website.

Following on from this, we held a joint meeting with the ALD at Drury Lane for 42nd Street. These meetings always prove popular and this was no exception.

A long overdue northern meeting at Salford Quays and Dock X Studios was the next event in our calendar. Steve Benson and Chris Harris hosted 21

guests to visit The Voice, BBC Breakfast and Coronation Street’s new venue, courtesy of LD Chris Chisnall. Nine students from Rose Bruford College attended, which was great.

Talking of students, a number from Rose Bruford, Central, RADA and Ravensbourne visited the Strictly Come Dancing studio at Elstree. Once again, Mark Kenyon and his crew allowed us to take 90 people around the studio and set. Thanks go to Alan Luxford and Philips for sponsoring this event and to Mark and his team for hosting an excellent evening.

Training courses have again taken place this year, with another due to happen shortly. I’m hoping this will be an ongoing venture, and our thanks go to members Charles Osbourne and Iain Davidson for running these under the banner of the society.

Our future is with new members and the best place to start is students.

I am delighted to announce that Philips Lighting has offered to sponsor a year’s subscription to join the STLD for 25 students. This will be an excellent opportunity for us to tap into the student population and let them experience what we have to offer.

Some of you may recall that we put out a survey relating to what the members felt about the society. We had a reasonable number of replies and the answers were interesting. I don’t propose to go through these here

but a summary will appear in my report (see below).

I would like to thank the whole committee for all the work they have put in during the year and the membership for their continuing support. I hope we can move the society further forward during the coming year, particularly in the areas of membership and training. I would also like to thank Rick Dines and Jonathan Taylor, both of whom are standing down from the committee this year. They have been valued members of the committee and they will be missed.

Lastly, I would like to finish on the subject of honorary membership. As some of you will know, the committee is able to bestow this exceptional honour on individuals who we feel have given something special to our society.

This is only given to a very few individuals and there have been only a handful who have received this in our history. This year, the committee felt there was such an individual who deserved this honour and I’m delighted to say he is here tonight to receive it.

Therefore, I can announce that honorary membership is given to Alan Roberts. Congratulations to Alan!

Ladies and gentlemen, this is my report and I would move its adoption.

Stuart Gain Chairman

A summary of the STLD survey n n n n n n n n n n n

Satisfied with quality of magazine articles – 94% STLD does enough to promote the craft of TV lighting, all or most of the time – 95% Should we provide an online version of mag? Yes – 30% No – 28% Back copies only – 27% Would like more articles on technology – 50% Would like more on personalities – 48% Do you use the diary? Yes – 48% No – 28% Technical information included in diary is useful – 41% Put technical information online – 37% Do you think membership useful to you? Yes – 68% To the lighting industry? Yes –11% How often would you like to hear from STLD? Weekly – 12% Monthly – 40 % Quarterly – 16% What would you like to see more of in the magazine?

1. Directors’ and producers’ opinions on lighting and LDs. 2. Most mentioned... Behind-the-scenes info and how problems are solved.

3. Wider coverage of our industry’s matters.

4. Educational articles for younger members.

The prize of wine was won by Carolina Schmidtholstein.

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Chairman’s report / BBC Studioworks

Pictured: TC1 and, below, a shot for the HDR test. Credit: John O’Brien

A word from your hosts at BBC Studioworks...

And tonight’s special guests: the STLD, writes BBC Studioworks’ Andrew James.

We at BBC Studioworks had the pleasure of hosting the STLD’s AGM in January. The event was organised by the STLD committee, with assistance from both BBC Research & Development and us at Studioworks. It began over at Centre House with an HDR update from the R&D team (see overleaf for a full report by Bernie Davis), followed by a jaunt across Wood Lane to the redeveloped Television Centre.

For our part, we conducted tours for our guests, which took longer than anticipated due to the enthusiasm of the guides: John Dunkley, Steve Jenkinson, Mark Lewis and yours truly.

We were also privileged to have James Dear and Darren Dawson from our studio engineering team in attendance.

They had set up a UHD HDR ‘realworld’ demonstration, which showcased

how the earlier HDR update from BBC R&D had been applied in TC1.

After the tour, everyone assembled in one of our spacious green rooms for the official part of the evening: the AGM. I don’t think anyone noticed they were sat in what would have been the sunken pool for TC1. Next time, look out for the 3ft-thick walls, which would have formed the outer wall of the pool as you walked through the door. The pool was never built but the foundations were!

Once the AGM had concluded, we returned upstairs, where our inhouse caterers had provided a rather tasty spread. Now, I’m not saying it was the best part of the evening but it was jolly good!

Since the event, I have taken on the role of Television Centre Mechanical & Electrical Manager, which means I’m going to be a big part of the running of these three great studios!

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The A to Z of HDR from the boffins at R&D You might remember that the STLD visited the very clever people at the BBC Research & Development department a couple of years ago to learn more about developments with Ultra High Definition ( UHD) TV, writes Bernie Davis. It was a fascinating meeting, where we were shown some of the highest quality TV pictures I have seen.

Well, as the 2018 STLD AGM was only over the road, we asked them if there were any updates they could show us while we were there and the everhospitable BBC boffins were more than happy to invite us back.

The earlier meeting had gone through the BBC’s thorough research into UHD and what it had to offer viewers. In brief, they had found that in most viewing conditions that the public was likely to experience, there was only a limited advantage from the higher resolution itself. However, as they were developing a new TV standard, they looked into other factors that could sensibly be changed to much greater benefit, and one of these was to improve the dynamic range of the pictures.

The range of sensitivity of the eye is enormous, from starlight to sunlight.

This sensitivity range is at least one billion to one. However, the eye adapts to lighting conditions and, at any one time, it can only see a much narrower range of brightness. Although the eye can see both starlight and sunlight, it cannot see them both at the same time; the stars are still there in the daytime sky but we cannot see them because they are swamped by light from the sun.

In any one scene, the human eye can only see a dynamic range of about 10,000:1 (less than 14 stops); parts of a scene that are less than 1/10,000th of the brightest part are lost in the shadows and cannot be seen.

Conventional 8-bit SDR TV has a displayed dynamic range of about 32:1, or five stops, which seems low.You might expect an 8-bit system to have at least eight stops of dynamic range but that takes no account of artefacts on the display.

By comparison, printed pictures are also limited to an only slightly larger 8

Pictured: Andrew Cotton. Credit: John O’Brien

dynamic range of about six stops due to the reflective properties of black ink.

However, printed pictures can look very good, so it is not so surprising that SDR TV can also produce good pictures.

High Dynamic Range (HDR) increases the difference between black and white beyond the contrast range of conventional television. It could allow water to glisten, stars to twinkle and sunlight to be golden, all while maintaining detail in the shadows. This meeting centred on the Hybrid Log Gamma (HLG) system that was

specifically developed for television by the BBC and Japanese broadcaster NHK. We all know about the gamma used as a transfer characteristic between light in and signal out: often about 0.4 is chosen, although adjustments might be made to suit the content. Light entertainment shows often use a lower gamma to create good clean blacks and punchy pictures, whereas drama might well use a higher gamma for better detail at lower parts of the picture.

Highlights such as windows to the outside world might be assisted by use

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BBC Research & Development

of the ‘knee’, which added compression at the top of the exposure, preventing details from being clipped out. HLG lets us keep a higher range of light levels within a range that can be shown on display devices, while still seeing details in the shadows.

HLG uses a combination of a gamma transfer characteristic at the lower part of the picture and a logarithmic curve at the upper end. This exploits the much wider dynamic range that can be seen with UHD cameras. Modern cameras have been able to respond to a much higher range of light levels for some time – I remember at an STLD meeting at Kingswood Warren some years back learning that they could acquire a range of 15 stops even then.

The problem was the display devices and, even more so, the compatibility with older display devices. UHD is the chance to extend the range for the new TVs built for it. BBC R&D has already conducted test showings of Blue Planet 2 in UHD HLG with a wide-colour gamut via BBC iPlayer, and the

astonishing pictures were met with universal acclaim.

We were also told of work progressing on some of the tools we will need: a white chart to set the exposure to allow for the dynamic part of the picture at the upper end; a new PLUGE signal to set up the monitors; and even discussion about the Zebra pattern to be used by camera operators.

The ITU (International Telecommunication Union) is the top-level international standards body, which is an agency of the United Nations. In ITU-R BT.2100, it defines two HDR video formats: PQ and HLG. PQ is an ‘absolute’ system, which carries metadata telling the display device what settings should be used.

By comparison, HLG is a ‘relative’ system, which is more what we are used to using, where the actual light level is not known from the signal, instead it is set relative to the peak output of the camera sensor.

In brief, PQ has associated metadata that sets the display device to show the

pictures as intended by the grader. It is aimed at the cinema audience and is not suitable to broadcasters – not least because we would have trouble dealing with the metadata from different sources when mixing a programme. By contrast, HLG has been proven to work on most display platforms, from home cinemas and living-room TVs to desktops, laptops, tablets and mobiles in all sorts of environments, with negligible mid-tone mapping errors.

I mentioned earlier the spectacular test broadcast of Blue Planet 2, and the meeting finished with an impressive showing of an extract from one of the programmes.

The STLD would like to thank Richard Salmon and Andrew Cotton of BBC R&D for welcoming us and for giving us an interesting and informative talk, and to Alastair Bruce for helping us to set up the meeting. If you want more (and probably more accurate) information, go to the BBC R&D website, which contains reports and links to other sources.

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tribute

Ian Dow

Goodbye to a wise and witty storyteller 2018 started with the sad news that Ian Dow had passed away following an illness that he had fought since May last year, writes Bernie Davis. There can be hardly anyone in the STLD who does not remember Ian and who remembers him with warmth, affection and respect.

Ian joined the BBC in the late 1960s as a direct entry engineer and was placed at Television Centre, White City.

Soon after that he decided to move to the Outside Broadcast department, making the move in the early 1970s after beating all the local entries in a BBC board for the job.

Ian followed a BBC career in engineering while pursuing a passion for lighting outside work with local drama societies – in particular, Riverside Youth Theatre, where he made great efforts to encourage and inspire young people to get involved backstage with sound and lighting. He even brought them to STLD meetings, resulting in some starting careers in broadcasting.

Ian’s career led him to be an engineering manager with BBC Outside Broadcasts – a job that involved both technical planning and also lighting on all scales of programme. It is fair to say Ian was quite fearless in taking on these projects; he once said there was no point in worrying as the things you worry about probably won’t happen and the things you don’t worry about will happen anyway.

Ian loved unusual shows and always rose to the challenge. Hospital Watch and Animal Hospital were right up his street, as was anything involving trains – another passion of his. He worked on many location dramas in the days when they were still made by OB units and took the chance to learn more about TV lighting from some of the great practitioners of the day. He was even credited on more than 30 episodes of Doctor Who before its more recent reincarnation.

Despite this, it is fair to say he missed out on lighting because he was in such demand as a technical planner.

I remember working with Ian many years ago, when we would join production for dinner and he would have them helpless with laughter

Ian Dow speaking at Showlight 2013. Credit John O’Brien

listening to all the funny stories he had accumulated over the years, all carefully honed by constant retelling. And many of these were subsequently shared with a wider audience when Lighting & Sound International magazine gave him a regular column devoted to his reminiscences.

Who could forget his tale of lighting a building that had not yet arrived, or the nightshoot at a working hospital where he accidentally panned off a very bright light only to wake up the hospital aviary and, in turn, all the patients? That is the same hospital where he set off the fire alarm, only for the security team to arrive to find his crew stuffing rags in the fire bell in an attempt to stop the noise. This was a different hospital from

where he set off another fire alarm, resulting in the live transmission starting to the sound of fire engines arriving. And, of course, there was his story of the Chinese cross-channel swimmer (see below). Funny things happened to Ian, and he relished it.

But Ian had a serious side too and when the BBC decided to sell off the OB department he wrote to the BBC’s internal periodical, Ariel, criticising the decision, pointing out that national occasions would no longer have the BBC brand on the trucks outside and that they had sold off a department that still made a profit for less than half the Continued on page 20

Ian’s humour lives on in our archives A key light has dimmed in our firmament but its warmth lingers on, writes Ian Hillson. Maybe that should be ‘a leading light’ in view of Ian Dow’s considerable experience. A brave and witty man, we have reprinted overleaf Ian’s article from 2002, which first brought his understated humour to our attention.

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from the archives

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Ian Dow

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from the archives

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from the archives

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Ian Dow

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from the archives

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Ian Dow

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tribute

Ian Dow

A man of words and actions The mental image of that Chinese delegation being met by the Grand Turk crew dressed as pirates stayed with me and I tried down the years to persuade Ian to write more for us, but he politely excused himself as being ‘out of touch’, writes Ian Hillson. Besides, he was now writing regularly for Lighting & Sound International and was also much in demand as a speaker.

Brave, not only in the projects he undertook but also in what he said. In 2007, when it was decided to sell off BBC OBs, Ian wrote to the staff magazine, Ariel, pointing out with forensic detail why this was A Bad Thing. It was reproduced in full at the time in this magazine.

And funny. Three years ago, he finally accepted an invitation to write about our AGM and visit to The National Gallery. If you have a copy of Set & Light, issue 114, Spring 2015, you can read how an angel saved us. The article is peak Ian Dow. Such a great shame he could not be with us at this year’s AGM at Television Centre, as both would have made great targets for his wit and wisdom.

Once asked by an audience member if he had sleepless nights about something he was planning going wrong, Ian replied: “There is no point because invariably the thing you’re worrying about doesn’t happen.

Something else does.”

‘Hornblower’ is currently being repeated on Friday evenings on ITV4

Goodbye to a storyteller Continued from page 11

annual overspend on the BBC website.

Ian was BBC inside and out, and was proud to be so. He would invite members of the public into the OB vehicles if they showed even a passing interest in what we were doing.

As he pointed out, their licence money had paid for it, so it was only fair they should see what they got for their money.

He served on the STLD committee for many years as magazine editor and as Chairman, and his contribution to the STLD is not to be underestimated. He also served on the Showlight committee and chaired its conferences, including a memorable trip to Cesky Krumlov in the Czech Republic in 2013. In Florence, he chaired the Showlight papers subcommittee, collecting papers from all around the world while keeping a good balance between the different lighting disciplines and the different speakers. His great people skills kept the peace on many occasions and ensured a fantastic range of presentations. While working on Showlight, Ian endured the tragedy of losing his daughter Emma.

In 2013 Ian won a Knight of Illumination Lifetime Achievement Award. Of course, he went on to make the best speech of the evening.

I am one of a long list of people who have much to thank him for, and all he did to help us in our lives and careers. Our deepest sympathies go to his wife, Carole, and son Andrew.

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stld visit

Strictly Come Dancing

Strictly for students...

Words: John Piper Photos: John O’Brien

Lighting Designer Mark Kenyon introduces his team

I am a second-year lighting control student at Rose Bruford College and I have been a student member of the STLD for a year now, joining the committee as Student Representative at the AGM in January. The AGM highlighted the importance of getting more students involved with the STLD, so I felt it was appropriate to share this visit from our perspective. This was my second time accompanying the STLD to Strictly Come Dancing and the tour provided a great insight into the workings of live television as I begin my career as a lighting programmer for the TV industry.

Our visit to Elstree Studios on 7 December was sponsored

by Philips Strand Lighting. The tour was attended by over 100 people, of whom more than 80 were students from Rose Bruford, Ravensbourne and RADA, among other institutions.

Due to the popularity of the event, the society was greeted in a dedicated marquee at the rear of Studio 2. Studio 2 has been home to Strictly Come Dancing since the closure of BBC Television Centre in 2013, and the relocation has worked in the show’s favour, with the crew no longer having to rig and derig each week.

The meeting was an excellent opportunity for students to network with industry professionals and their peers from other institutions. Food and drink were provided courtesy of Philips. The marquee was a fantastic addition to the event; it meant there was a lot more space indoors and plenty more places to sit.

Thanks to its popularity, Strictly has become a regular tour, with a growing attendance among students. So why is it so popular? Not only is it a show that most people are familiar

with, from the perspective of a lighting student, it is also a fantastic entry point into television lighting. More commonly than not, today’s students develop their interest in lighting and their careers via theatre or event crewing. Additionally, most colleges, universities and drama schools focus their programmes around theatre or live events. So it is no surprise that most students have never considered TV. The familiarity of Strictly and its live-event environment, opens up a broad new industry of possibilities for student to consider, including how to televise productions from other entertainment lighting disciplines, such as recording theatre and live-music productions.

The evening’s visit started with a talk from the Strictly team: Lighting Designer Mark Kenyon, Moving Lights and Video Programmer David Bishop, Generic Lighting Operator Darren Lovell and Live Graphics Designer David Newton.

Mark led the talk, explaining the design of the space and introducing his team. He continued to highlight throughout the evening how vital they were. It was clear from the talk that the workflow to produce the show each week is incredibly compact and only possible because of this unique and tight-knit team. Mark also spoke of his admiration for the follow-spotting team. He explained how each follow-spotter operates multiple spots, often darting between them. As well as having an excellent understanding of the show and being able to predict Mark’s needs, they cleverly dip the beams around all the cameras in a way to avoid any glare.

Following Mark, David demonstrated each fixture type in the rig, while Mark discussed what he used the fixtures for Set & Light | Spring 2018

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stld visit

Strictly Come Dancing

The STLD’s Andrew Dixon welcomes the guests, most of whom were students

Pictured: Mark explains his design.

Opposite page: the set, with floor projection and beams

and why he chose them. The design continues to consist mainly of Sharpys; Chauvet Legend 230SR, COLORdash Accent Quads and Rogue R1s and FX-Bs; Alpha Wash 300s and 575s, as well as Q-Wash 560Z-LED. A question-andanswer session followed the lighting demonstration.

Matt Davies, a creative lighting control student from Rose Bruford, had this to say about the evening: “It was interesting to see the side of the show that doesn’t appear on camera and get a feel for what makes something like this possible.

I was particularly interested to learn how the team at Strictly goes about creating a completely new and visually stunning show from scratch each week in such a short space of time.”

The 15th series of Strictly saw the upgrade of its media servers from the Hippotizer V3 to a V4 range of hardware – a subtle backstage update to keep the show sustainable for future series. It was pleasing to discover that they took the care to upgrade kit off-camera as well as on.

Potion Pictures produces all the graphic designs for Strictly, including all the graphics for the individual dance sequences.

Its managing director, David Newton, was awarded a Knight of Illumination award for the third time in 2017 (he also received an award for Strictly in 2015 and for his work on The Voice UK in 2013).

David uses plans from AutoCAD to accurately build content in Cinema 4D and Adobe After Effects. He starts in Cinema 4D, where he produces his content, and he then imports it all into a main After Effects document. This document is where all the content comes together; he has a central template for the entire studio. The document also has

The next generation of LDs – or should that be judges?

masks for displaying dimensions right away on stage. This template grid can be recalled onto the dance floor for the performers to rehearse on, which provides a handy reference for the lighting and video team to block the choreography.

The dance floor is achieved by a combination of six Christie Roadster S+16K DLP projectors. This combination of projectors means that shadows from the performers are near eliminated. The content is also masked around the performer by a black spot. This black mask is moved manually to track the couple on stage so the content is not projected onto their faces. It was interesting to learn that the team refrains from using any form of automation to achieve this – a strategy many of us students should consider, as, increasingly, technology is making it easier to release control of productions to automation systems, taking power away from us as technicians.

For those of us starting our careers, this was a great place to learn how a multi-camera live broadcast show operates. It was mind-boggling to hear how stagehands crawl undershot during the broadcast to set up the stage for the next dance.

For lighting, the team has rigged multiple angles of generics for when the camera pans to a different perspective or performs a 360-degree shot. Darren swaps from one set of front light to the other as the camera pivots around the performer. The team also makes use of simple tricks with lighting to help disguise the presence of the crane within the studio.

Ariane Nixon, a technical theatre and stage management student from RADA, said: “I would have loved to have seen more women on the team but I was told there are many Set & Light | Spring 2018

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David Bishop and Darren Lovell

Strictly Come Dancing

Video screens were much in evidence

Beams and rays

Students from four colleges attended

David’s Compulite Vector

manufacturer’s working week of Sunday to Thursday, who work in other departments or as moving light Increasingly, David has found getting technical support technicians. If anything, it spurred me on to be one more woman in the room. The experience definitely inspired me to challenging. With Strictly running a full rehearsal, live broadcast look into TV and the opportunities that may lie there.” and results show recording on Fridays and Saturdays, this is After the talk, we were free to roam the studio, both far from ideal. backstage as well as in the gallery. This was also an David is actively exploring a new platform, both for himself opportunity to ask questions of any of the team, take and for Strictly. He and Mark are also looking into the pictures of the judges’ panel and other iconic scenery, and possibility of getting an additional programmer to support the network with other members. show, but said they were unsure how that role would fit in with the team’s tightly collaborative I asked David about his choice of system. For historical reasons, the show lighting console and why he used the has alway run with just two lighting Compulite Vector over others such as programmers (rather than a separate the GrandMA 2 or Hog 4, which are media server programmer). Now it has more frequently seen on large-scale evolved beyond all recognition from its productions. He replied that he loved original scale, a third operator would the speed of the Compulite when seem essential. However, Mark and controlling such as vast system, as well David are keen that the final output of as its effects engine. However, he said the lighting and media consoles remains the Vector was reaching the end of its as a single ‘GO’, which is understandable lifespan with such demanding rigs – seeing how well they both know the especially as the platform is limited to 32 DMX universes. Currently full to show. A new method (and platform) for programming cannot be far away and capacity, the team struggles to find new I look forward to revisiting during Series ways to accommodate improvement 16 to see what changes take place! to the lighting system each year while working within the remit of the Our thanks go to Mark Kenyon and his team, parameter count – a significant issue Philips and the STLD’s Alan Luxford and Bernie to address for Strictly’s future.

Student Representative John Piper Davis for organising this event..

Another consideration is the Israeli 24

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Hedley Versey

From Ally Pally to Southern TV: Recollections of a life in TV, part one Words and photos: Paul Middleton Set & Light is proud to present part one of the ongoing life story of Honorary STLD member Hedley Varlow Versey, who is looking forward to receiving his birthday telegram from the Queen this Christmas. That’s right – he was born nearly 100 years ago!

Summary

Born in Long Eaton, near Nottingham, on 6 December 1918, Hedley joined the BBC in 1937 as a draughtsman. He met his wife Joan early in 1939. They both lived in the same digs in Streathbourne Road in Balham, just 20 minutes’ walk away from his job at BBC Research. She worked at the War Office in Whitehall in department AG12, which looked after the administration of British and foreign labour; her father was a captain of the Queen Mary. They played tennis on the adjacent Streatham Common but were separated for six-and-a-half years when Hedley was called up to fight in 1939.

They didn’t see each other at all for over two years but Hedley is proud to say they remained faithful to each other throughout their lives.

At the end of the war, Hedley returned to the BBC and went to Alexandra Palace (AP or Ally Pally) as an engineer/cameraman. After a spell on OBs, he returned to AP, this time as a lighting engineer – one of only six in the post at the time. He then moved to Lime Grove, TV Theatre and Riverside, where he lit drama and light-entertainment productions. In 1958, after 22 years with the BBC, he moved to Southern TV. He lit productions including six operas at Glyndebourne, La bohème at Covent Garden and Caesar and Cleopatra for US TV, until he retired at 60. Joan died at the age of 93 in 2015 and Hedley now lives alone, visited by their three children.

Pre-war

Having been fascinated by photography and radio from an early age, Hedley had keenly followed Baird’s progress. At 16, while still at school, he designed and

built his own superhet radio, using two PX4 audio triode valves in push-pull configuration. On leaving school, he went to work for Ericsson Telephones, designer of the original Bakelite telephone, to train as a draughtsman.

While there, he saw an advert in Wireless World for junior engineers at the BBC. He applied but didn’t hear anything.

Eventually, the BBC replied that they could not take him on as an engineer but that there was a position for a draughtsman. He went to Broadcasting House for an interview and got the job at BBC Research, which was then based in Nightingale Square, Balham, in what had been a convent. Hedley started there in June 1938 when it was run by Mr W.E.C Varley, who was developing a system to synchronise the frequency of all the main radio transmitters around the UK so that enemy aircraft could not use them to take their bearings. His system worked by taking the frequency of the transmitter and dividing it down to an audio frequency that could then be fed along a landline to synchronise all other transmitters. At the start of the war, this system was also used to foil enemy attackers by using a large

number of low-power transmitters of just 100W, known as Group H Stations1, all running at 1474 kHz / 203.5m, installed around the country. When air raids were in progress, the main radio transmitters were switched off, while the smaller transmitters continued operating. As they were all on the same frequency and were low powered, they could not be used for direction finding by enemy aircraft, but the normal radio services could continue for the local population.

Wartime

As a 20-year-old, Hedley was in the first age group to be called up at the start of the Second World War in September 1939. He had an argument with the recruiting officer and told him he wasn’t going to join the Army – he wanted to join the Navy. Luckily for him, the Navy papers arrived first and he went in as a telegraphist.

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Pictured: Aerial view of Butlins Skegness before it was commandeered to become the first HMS Royal Arthur, above left, and, above right, Hedley receives the Ushakov Medal in Southampton on 3 October 2014. Credit: Southampton City Council

He spent his first six months’ training at the former Butlins holiday camp at Ingoldmells near Skegness (pictured above left and below), which had been requisitioned by the Admiralty to become the first HMS Royal Arthur.

That winter it was so cold the sea froze, yet the chalets had no heating as they were not usually open out of season.

After training, Hedley was posted to HMS Victory in Portsmouth, which became his official base throughout the war. He was first drafted onto ASDIC (sonar equipped) trawlers equipped with depth charges, which patrolled around the coast of the UK and Ireland, as well as up to Reykjavik in Iceland.

In January 1941, he joined HMS Ramillies, a battleship that had been built towards the end of the First World War. It crossed the Atlantic to Halifax, Nova Scotia, which became its base as an escort for five Atlantic convoy crossings coming over to the UK. Each trip took them to within about 500 miles of Land’s End before destroyers took over and the Ramillies would then retrace its course, zig-zagging back to Halifax.

Sailors training to erect hammocks at HMS Royal Arthur © BBC

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When Hedley first went on board the Ramillies he was astounded to see that the radio equipment was years out of date. There were no IF stages in the receivers, just six tuning dials, and they even had a spark transmitter of the type first used by Marconi for his radio test transmissions! There was no radar at that time but his first inkling that something was being developed was when he was issued a Lecher wire receiver2 and given the task of listening in for any signs of enemy transmissions on its frequencies. The Admiralty didn’t think the Germans had radar at that time and he didn’t pick up anything.

He was on patrol when the Bismarck came out into the Atlantic in February 1941, sinking the battleship HMS Hood.

They had been directed to intercept the Bismarck but only found the battleship Gneisenau, which immediately ran for home. The Gneisenau was faster, with a top speed of about 31 knots compared to their 21 knots.

The Ramillies dropped anchor in Hvalfjörður (Hvalfjord) in Iceland in June 1941.There it waited for a month for the American fleet to help escort Churchill across the Atlantic to Newfoundland, where he met with Roosevelt to draft the Atlantic Charter in August 1941.

Churchill stopped off again at Hvalfjord on his way back to the UK and visited the Ramillies to speak to the crew.

Hedley rigged up a microphone, amplifier and loudspeakers for that speech.

The light cruiser HMS Liverpool (C11), based at Scapa Flow, was Hedley’s next posting as a radar mechanic. The

Liverpool was an escort for Russian convoys sailing from Reykjavik to Murmansk, and Kola to Reykjavik, in the period April to May 1942. In 2014, Hedley was one of 43 British veterans awarded a Ushakov Medal in ceremonies at Southampton Civic Centre by the Russian government in honour of their invaluable contribution to a common victory over Nazi Germany (pictured above right).

Hedley recalls that the biggest problem en route to Murmansk was the buildup of ice on the superstructure of the ship, which could have caused them to capsize in harsh weather (see picture below).

The Liverpool then went south to the Mediterranean as part of Operation Harpoon. Hedley remembers that, on this particular convoy, 35 naval vessels accompanied 14 merchant ships attempting to get supplies to the besieged island of Malta.

His first real battle action came on 14 June 1942, two or three days after they had passed Gibraltar. The radar sets at that time showed the linear

HMS Liverpool in the ice. Credit: Hedley Versey

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Hedley Versey

display, not the PPI (Plan Position Indicator) rotating screen that came later. Hedley was called in by one of the radar operators as, along with the ‘grass’ ground clutter, the display was building with echo return ‘blips’. As the number of echoes increased to cover the screen, they realised the convoy was going to be attacked by a large number of enemy aircraft. At least 38 Italian torpedo bombers were involved in the initial attack and the sea was criss-crossed with torpedo wakes.

Hedley saw a tanker carrying aviation spirit burst into flame from stem to stern and sink within minutes. He saw one of Liverpool’s 4.5-inch shells hit a torpedo before it could be launched and the aircraft was instantly obliterated in a blinding flash.

One torpedo hit the Liverpool below the level of the armour plating, exploding into the aft-engine room and killing 15 men and injuring 22 others.

Hedley was in the main radar room immediately above but escaped injury by dropping onto the deck between the toppling equipment. The attacking aircraft continued to concentrate on the Liverpool, with further attacks every five hours for the next two days. Eventually, only four supply ships reached Malta.

The badly damaged and listing Liverpool jettisoned as much equipment and stores as possible, including a Walrus aircraft, to reduce the risk of capsize.

It was towed back to Gibraltar despite further repeated attacks and the remaining crew were granted ship-based leave in Gibraltar while temporary repairs were carried out.

Hedley’s next posting was HMS Suffolk, not attached to any fleet, which took convoys of troops to the desert, going down via South Africa and then up to Egypt. He was offered a commission but his relief could not catch up with him for nearly 18 months, by which time the war was nearly over.

The only other action Hedley saw was when they were with a group including an aircraft carrier and several destroyers.

The captain had received information (presumably from Bletchley Park) on the whereabouts of a German ship used to resupply U-boats in the Indian and Atlantic oceans. When they arrived at the location in the South Atlantic they found six U-boats alongside the supply vessel. Together with the supporting

aircraft, they managed to destroy five of them, with just one escaping.

Once, when he was at anchor in Bombay, Joan’s father, who was by then captain of the Cunard liner Ascania, which had been requisitioned by the Navy to become a troop ship, dropped anchor in the adjacent trot (mooring buoy). Hedley ferried over and asked him for his daughter’s hand in marriage.

He got back to England just before D-Day and got five weeks’ leave after being away for two years. He and Joan got married the day after D-Day, so they couldn’t have a proper honeymoon.

Hedley remembers feeling guilty about getting married while other men were landing on the beaches.

He was sent on a six-month radar officer course at the end of 1944, leaving him well equipped with up-todate electronics engineering ready for his eventual return to the BBC.

Post-war

While Hedley was escorting convoys across the water, Lord Hankey was paving the way for his future career. The Hankey Committee3 was set up in 1942 to consider television developments elsewhere, most notably in the United States. After RCA launched a television service in 1939, the Americans concluded that the new medium would have to sink or swim in a commercial market. Britain, conscious that its pre-war service had been an expensive luxury from which only a few people had benefited, was bound to consider the commercial option too. Furthermore, the National Television Systems Committee had adopted a 525-line standard for the US, offering potentially higher definition than the BBC’s 405 lines.

So the committee went back to basics and its blue-sky thinking produced some remarkable ideas, many coming from a memorandum from a certain Mr J L Baird, who recommended ‘vigorous research work’ on an improved system of television with up to 1,000-line definition, possibly with the ‘introduction of colour and stereoscopic effects’ (3D), and that TV should be extended to the provinces.

The BBC, however, felt that the technology inherent in the typical 12-inch television receivers then available would not benefit from any increase in vertical definition, while the

horizontal definition would have to be limited because of the need to keep the bandwidth of transmitters within the available frequency in band one4.

Published in March 1945, the committee’s recommendations included that the television service be extended to ‘six of the most populous areas outside London’ and that the BBC have a monopoly until 1956. This prompted EMI to start work on a new standard, but it would be over three years before it was able to demonstrate a working prototype of the 1001-line TV system.

The Post Office, responsible for the regulation and licensing of all transmitters, began researching how national TV coverage might be achieved and the BBC expanded its Research & Development Department, setting up Kingswood Warren.

When the war in Europe finished in May 1945, the BBC knew that it was going to awaken the TV service from its slumber and that it had less than a year before the planned Victory Parade in June 1946 to get it all working again, having been in mothballs or cannibalised for spare parts since 1939.

It was an expensive task: Emitron camera tubes cost £600 each (about £17,500 today) – and one cameraman managed to break two of them! By comparison, in 1964 a Plumbicon tube cost £325.5 Hedley was amazed to learn that radar circuitry, such as flip flops and amp pulse generators, saw-tooth scanners, etc, was originally developed

by TV design engineers before the war.

The cover story told at the time was that radar was ‘discovered’ as a result of the problems identified by TV transmission engineers, caused by aircraft reflecting the transmission signal.

After the war, upon arrival at Ally Pally, Hedley didn’t know what was going on and he would sit in racks and telecine wearing headphones and working it all out.

After a few weeks, he went onto cameras under Senior Cameraman Cyril ‘Wilky’ Wilkins, who eventually became a TM1. It was notable that no one transferred from film to TV to be a cameraman.

So it was that on opening day on 7 June 1946, Hedley was with the camera looking at Jasmine Bligh, who had been a presenter pre-war, on the steps of AP (pictured top left, overleaf).

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Pictured: Above, Jasmine Bligh outside the entrance to AP announcing the reopening of the BBC TV station. Right, racks engineers in the control room of Studio A at AP. The control gallery was situated on a balcony built above the racks on the left of the picture, with a picture window looking down on the studio. © BBC

Hedley explains that, at that time, there was no distinction between operators and engineers. Cameras, sound and racks, and vision mixers were all engineers. The ‘racks’ term came about because of the racks of equipment associated with the cameras.

Pictured: The ‘black book’ Technical Manual for the Marconi-EMI System of Television at the London Television Station, copy no 1143, issued to Hedley Versey. This is the only known copy still in the hands of its original owner.

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News was all shot on film and shown in an omnibus edition at weekends.

Most people at AP had been in the war, some engineers and directors had been fighter pilots and survived, often with serious injuries, which sometimes led to practical jokes on people who weren’t aware. There were also a number of female engineers, who joined after receiving training in the Wrens and the BBC during the war. Most of them became racks engineers and vision mixers.

Hedley had always been interested in photography and had taken a camera with him everywhere during the war.

On the Ramillies, a pal and he had developed their films in a disused radio room, which they used as a dark room.

When he was younger he had wanted to be a projectionist. However, TV combined all his interests.

He was given a copy of Douglas Birkinshaw’s ‘black book’, showing all the circuits from camera right through to transmitter that made up the Marconi-EMI TV system (pictured left).

He studied it until he could draw all the circuits out from memory.

Hedley recalls that cameras at that time were quite good. The quality of pictures very much depended on the tubes – which were all numbered, so you could check if the camera had a good or a bad tube. Some tubes were very good, some were a bit woolly.

Ha365 was a superb example!

The actual photo-cathode was four inches by five inches, which meant that, at typical studio apertures, it had a very shallow depth of field. This large surface

area also produced a cloud of electrons, which could drift around the picture giving erroneous shading. The shading varied dependent on picture content as the cloud moved around the photocathode. One of the jobs of the rack engineers was to adjust the picture to get rid of this unwanted shading. Alan Blumlein of EMI had found a solution to the shading problem by mixing into the video signal line and field electronic waveforms, known as ‘tilt and bend’ signals, to balance out the shading effects that could produce very non-uniform brightness in the image.

This mixing had to be done manually by the ‘tilt and bend’ operator, often a woman, who needed alert concentration and acute observation.6 An operating nightmare for camera operators on the Emitron was that while they had a number of fixed F3 6.5-inch and 12-inch lenses, they had only one 20-inch lens at AP (for use on OBs). Each camera used two lenses: one for the camera and the matching one for the optical viewfinder.

However, if the 20-inch lens was used, they could only put a 12-inch lens on the viewfinder, which meant that the active area they saw was only a postage stamp-sized part of the image they saw in the viewfinder. As the viewfinder was optical, it did have the advantage of being in full colour, but it was upside down and back to front.

It also showed a much wider picture than was picked up by the tube, so once the camera was lined up electronically on the test chart, part of the lineup procedure was to match the

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Hedley Versey

Pictured: Above left, Emitron tube on display at BBC Wood Norton and, above right, two 6.5-inch F3 – F32 Lustrar lenses, made by Wray, London, mounted on an Emitron camera.

corresponding area on the ground glass viewing screen with a pencil.

Hedley said the work produced was remarkable given that there were only four cameras available in Studio A and three in Studio B. Electronic and mechanical reliability was initially poor and being left with just one or two operating cameras at the end of a 90-minute play was common.

What many people may not realise is that, pre-war, there had been only two hours of TV per day, between 3pm and 4pm and 9pm and 10pm. Post-war, this was increased to three hours, with one hour between 3pm and 4pm and a two-hour block, usually between 8.30pm and 10.30pm. The gap between transmissions allowed for limited time for camera rehearsals.

The late news concluded the evening in sound only after the two-hour sound and vision service had finished. The afternoon broadcast was often a repeat performance of a play from the previous weekend. As there were no videotape or telefilming7 facilities at that time, the entire performance was repeated by the

actors. The programme-making budget for the London Television Station (as it was officially known) studio operation was initially about £1,000 a week but rose to £3,000 as the popularity of TV increased and its reach was extended to the rest of the country.

The original TV picture aspect ratio in 1936 was 5:4, which had been chosen to make the most of the circular CRT tubes available at the time. It was changed in April 1950 to 4:3 to match the Academy ratio used by cinemas.

The Alexandra Palace shift began at 9am and ended at 10.30pm, with the next day off. Hedley thought that a good idea. The weekend working arrangements alternated between Thursday and Friday off one week and Saturday and Sunday off the following week. It wasn’t unknown for people to sleep in the building, in places such as the props store, when working Thursdays or Saturdays, especially if they had to travel a long way to be back in the next day.

However, the BBC did provide transport, with a free bus service running from Broadcasting House to AP every day.

Pre-war, a TV set cost about 60 guineas (£63). With a typical salary in the agricultural and engineering sectors about £100 per annum in 19368, the number of people likely to have their own TV a year after the war was small.

The £2 annual cost of the TV licence in 1946 remained expensive, even though wages in 1946 had risen by 90 per cent compared to 1938. It was estimated that there were about 23,000 sets in operation in 19399 and the BBC reported that 30,000 TV licences had been issued by the end of 1947 in its 1948 yearbook. But the post-war period saw the growth of TV rental companies such as Rediffusion, which as well as providing TV relay services by cable, also rented out TVs and later became a major force in Independent Television from 1956 onwards.

The lure of ITV began to beckon!

Based on an interview from March 2012, with additional detail to place Hedley’s life into the wider context of the development of television post-war.The second part will be published in the next issue of ‘Set & Light’.

References 1. BBC Engineering 1922–1972 – Edward Pawley (BBC Publications, 1972) 2. http://www.eham.net/articles/18584 3. http://www.bbc.co.uk/historyofthebbc/research/general/tvstory10 4. BBC Television: A British Engineering Achievement (BBC Television, November 1961) 5. BBC Engineering Visit Report no. A-082 to Philips Eindhoven, January 1964, http://downloads.bbc.co.uk/rd/pubs/reports/1964-10.pdfT 6. https://www.theiet.org/membership/member-news/31a/tv-technology.cfm 7. Telefilming was the name originally given to the Mechau-based film recording equipment at AP that became later known as telerecording. http://www.bbctv-ap.co.uk/lgtvr.htm 8. ‘Wage Rates in the United Kingdom’, 1934–1937, E. C. Ramsbottom, Journal of the Royal Statistical Society, vol. 101, no. 1 (1938), pp202–204 9. BBC Yearbook 1946, p18 Set & Light | Spring 2018

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sponsor profile

A key player in the field of intelligent lighting Words: Bernie Davis ADJ (American DJ) is a lighting company that has been around for many years, producing everything for the DJ and party scene. It would be easy to think of Elation, an off-shoot of ADJ, as another manufacturer of ‘toys’ branching out into the more serious side of intelligent lighting. But you would be wrong.

David Martin is well known in the industry and has been a friend of the STLD for many years. He now works for Elation Europe and, earlier in the year, he invited a small group of us to Kerkrade in the southern Netherlands, where Elation has set up its base for Elation EU. It is fair to say you would not visit Kerkrade for a sightseeing holiday but it is well placed as a central location for transport links all over Europe and it is here that all Elation’s equipment from the United States and other manufacturing centres arrives first to be retested and quality-checked before distribution. A certain amount of product development takes place here as well, with the results and ideas shared with the parent company. Here you will also find all those vital spares that you hope you will never need but when you do you need them now!

Most of our time was spent in Elation’s large demo room, where Dennis Bruynseels demonstrated key products from what we were to learn was a vast, and growing, family of lighting products – most of which I was blissfully unaware.

I will not talk through every fixture, or even every fixture type, but I do recommend looking at Elation’s website to see everything in more detail than this.

What impressed all of us was that everything seemed well designed, built to last and reasonably easy to service.

First on show was the Dartz 360 (pictured left): a small and lightweight 50W RGB LED beam light offering a three-degree tight and bright beam without the concern about burning things close to the fixture caught in its beam. The 12kg weight allows for snappy moves and an eight-facet prism and six-facet linear prism add to the versatility of looks, together with a range of beam-splitting gobos. The Dartz 360 comes with excellent connectivity, including DMX, Art-Net and even wireless DMX. But what makes it stand out from the crowd is that it has 360-degree continuous pan and tilt. Darren Fletcher of ELP was with us and he has already bought some to add to ELP’s hire stock.

Next for show was the HFX: the hybrid from the Platinum branch of the family. This 280W MSD source fixture meets the demand for fixtures that can perform as either beam lights, profile spots or wash lights. An ingenious mechanical design allows the unit to quickly swap operating 30

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degrees and wash from 10 to 24 degrees. I think it is fair to say that making one fixture do three different jobs is always likely to involve a compromise, but on the HFX probably the only compromise for my taste is the colour, which is achieved with a 13 dichroic colour wheel rather than colour mixing flags. However, its 22.7kg weight still packs two colour wheels and three prisms, as well as frost effects – this is a multipurpose tool well worth having in your toolbox.

We went on to look at the Platinum FLX (pictured below): a much punchier hybrid from the Platinum range using a MSD 470W source. Again, it switches from beam to spot to wash on demand, but this unit uses a twin-flag dichroic colour changer, which allows for smooth colour mixes. It also looks rather nice that the lens does not have that ‘split-colour’ look you sometimes get with colour flags.

This powerful lamp type employs a clever cooling management system that keeps track of movement and orientation to give appropriate cooling at any time. The sleek unit was awarded a PLASA Innovation New Product Award in 2015.

Still lots to see, and the Proteus Hybrid took us to another family tree branch. Also a hybrid but this one is IP65 rated.

With its 470 MSD source, it makes an ideal outdoor fixture that does away with the weather domes. However, if it is just beams you are after, have a look at its slightly smaller brother: the Proteus Beam with its 32-facet beam-splitting prism.

Again IP rated, it claims to produce an astonishing 137,000 lux at 15m.

Grayscale version

Proteus Hybrid and Proteus Beam

Another fixture that gives a new take on a known format is the DTW Bar 1000 (pictured below), which is a batten a little like a Sun Strip but all LED. Rather cleverly, you can not only set the colour temperature of the cells, you can also set the colour temperature they go to as they dim. This gives the effect of tungsten dimming and more so, and I thought it a very satisfying look.

This is just a quick sampler of what was on show. Elation’s range of products includes everything from LED pars, Fresnels and conventional profiles to LED panels and a full range of intelligent lighting. For more information, visit www. elationlighting.eu

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letter to the editor

MADAM: As your readers will hopefully already be aware, the EU is proposing a major change to the way light sources are regulated from late 2020, removing the exemption that currently applies to most of the light sources we use in entertainment lighting.

What they may not be aware of is quite how dramatic the consequences of this would be. As far as the Save Stage Lighting campaign being run by the Association of Lighting Designers can establish, it would lead to: n The immediate demise of the tungsten halogen light bulbs used in entertainment lighting, with no new supply allowed; n The demise of many good-quality entertainment lighting fixtures, particularly the profile spots that use additive colour mixing, since these would not meet the energy-efficiency standards; n The probable unavailability of comparable replacements, since the LED manufacturers are suggesting that suitable LED sources will not be available by that time.

It is clear that the regulations are lumping entertainment lighting in with every other use of lighting, taking no account of the particular circumstances of the way we use light. The implication behind the rules is that an ‘inefficient’ old light bulb can be directly replaced by a notionally ‘efficient’ new LED source.

In our world that is, of course, not the case.There are no direct drop-in replacements for the majority of light bulbs we use, in part because of the complexity of creating an LED replacement for a source that has to sit in a precise optical train, whether that be

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behind a Fresnel lens or squeezing the light through a precise focal point, such as the shutters and gobos in a profile spot.

It is not possible to directly replace an entire fixture with a new LED version.

Even if such a fixture were available (and even the best LED fixtures do not match all of the properties of tungsten), it requires different infrastructure, such as non-dim power and DMX data instead of just a dimmer feed. Theatres are facing the possibility of having to replace their entire control infrastructure as well as their lighting fixtures.

Many of those existing lighting fixtures have been working fine for years, even decades. They would now become just so much more scrap, all for a marginal improvement in power consumption – with some of those savings being used up to manufacture the replacement fixtures! This is particularly the case in theatres, where lighting has been shown to be a relatively tiny user of a theatre’s overall power because rigs are on only for relatively short periods, often with the lights at relatively low levels.

We suspect television and film lighting will also be impacted by these changes – particularly since we hear that the new Television Centre studios have just reopened with tungsten rigs.

We therefore ask you to join us in campaigning to have the EU exempt our applications from these regulations. Our current suggestion is that the EU exempt any equipment already defined as being for Stage and Studio use (EN 60592-217).We are seeking support both from those working directly in the field of lighting and also those further up the food chain – producers and broadcasters

up to MPs and MEPs. Please make sure anyone you know in these areas is aware of these proposals.You can find details at #SaveStageLighting.

Please make sure you sign the petition and post a comment, as we need to show how much support we have.

Beyond that, we ask you to do all you can to remind the lamp manufacturers that tungsten halogen light sources are still a key part of what we do. Regardless of the regulations, manufacturers are already stopping the manufacture of these sources. The ALD is working to compile a list of what it considers key light bulbs for theatrical applications.

Meanwhile there an ANSI code list is viewable at https://www.dropbox.com/ s/odaaqkwn0wq990s/Entertainment% 20Lamps%20Endangered%20NEW% 2C%2014.02.2018.xlsx?dl=0 This list should include those light bulbs invaluable for TV and film applications.

Being forced to limit our work to particular tools is like telling a painter they can only work with approved black ink rather than oils. Please join us in helping to ensure that we will continue to be able to choose the most appropriate tools for whatever lighting challenge we are facing.

Yours, Rob Halliday and James Laws On behalf of the Association of Lighting Designers and Save Stage Lighting The Editor writes: I would like to find out your views on this subject and we will carry on the conversation in the next issue of the magazine. Please send your comments to editor@stld.org.uk

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information

KOI Awards

Journalist joins judging panel for KOI Awards This year will witness the 11th annual Knight of Illumination Awards (KOI) and already things are on the move, with the Television category judging panel welcoming a new member to its team: award-winning TV journalist Rachel Cooke.

Interviewer of the Year in the 2006 British Press Awards, Rachel trained as a reporter for The Sunday Times and has since written for The Observer, The Guardian and New Statesman.

Rachel will join panel chair and Lighting Designer Stuart Gain; The One Show’s Studio and Outside Broadcast Director Stephen Neal; Lighting Director John O’Brien; and ex-BBC Art Director Jane Shepherd.

“It’s my pleasure to welcome Rachel to KOI,” says Stuart. “We’re delighted to have her expert and experienced eyes to help us sort through the nominations we receive. With the inclusion of our new judge, it’s hoped that we’ll be able to further expand the KOI audience and, in the process, increase the recognition that our designers deserve.”

The five awards in the Television category are: Event, Drama, Light Entertainment,Video Graphic Display and Small Production.

All submitted designs are reviewed by a sub-committee made up from members of the STLD. The KOI Television judges then meet to review the shortlisted entries and decide who will be the knighted winner of each category at the 2018 ceremony.

The KOI Awards recognise and celebrate the oftenunsung international lighting and video creatives working across the sectors of Concert Touring & Events, Theatre and Television in the UK. In 2017, The STLD Award was introduced to reward an individual who has contributed enormously to the world of television lighting, as nominated by the Television judging panel. Also each year, the Enrico Caironi Lifetime Recognition Award is presented to an individual who has had a significant impact on the professional lighting and video industry.

The 11th annual Knight of Illumination Awards are now open and nominations can be made through KOI’s new website at knight-of-illumination.com/televisionnominations up until the closing date of 30 June.

Only designs that have been staged or aired in the UK between 1 July 2017 and 29 June 2018 can be submitted.

In the Television and Concert Touring & Event categories, anyone is able to nominate a design that they feel is worthy of recognition. Nominations for the Theatre category are made by an expert panel of judges and theatre critics.

The 2018 KOI Awards will be held at the Eventim Apollo, Hammersmith on 16 September 2018.

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AC ET

constantly changing technical needs.”

Managing Director Phill Capstick says: “I’m delighted to welcome Chris to the company’s board of directors. As the technologies adopted by our industry become ever more sophisticated, this is matched by their increasing technical complexity. Our ethos has always been to offer the highest level of technical expertise and backup for the solutions we supply to our customers worldwide, so with his wealth of knowledge and experience, Chris’s appointment will ensure that AC-ET continues to be an industry leader in offering and supporting emerging technologies.”

AC-ET to distribute Avolites lighting and dimming solutions exclusively in Ireland

Chris Millard joins A.C. Entertainment Technologies’ board as Technical Director

A.C. Entertainment Technologies (AC-ET) is delighted to announce that Chris Millard has joined the company’s board of directors in the new role of Technical Director, with immediate effect.

Chris is a well-known face in the industry, with over 35 years of technical experience gained in the film, television, and entertainment lighting markets. Chris joins AC-ET from his role as Technical Director at Panalux, where he spent 22 years working for the company, also previously known as AFM Lighting.

As part of AC-ET’s ongoing investment in delivering the highest standards of technical expertise throughout all areas of its customer service, Chris will oversee the further development and growth of the company’s technical services department and in-house Tourflex® Cabling bespoke cable assembly service. This includes focusing on the continual improvement of AC-ET’s technical procedures and ensuring its compliance with the latest industry standards.

Chris says: “I am excited to be joining the team at AC-ET. As a long-term customer before joining the company, I have experienced its exceptional technical service and support, which, in my experience, is second to none in the industry.

I am looking forward to playing my part in building on this already high level of expertise and professionalism, as AC-ET continues to keep pace with customers’ 34

Avolites, an industry-leading British manufacturer of state-ofthe-art entertainment lighting control consoles, media servers and dimmers, has appointed A.C. Entertainment Technologies (AC-ET) as its exclusive distributor in Ireland for its range of lighting control and dimming products.

AC-ET will be running a series of Avolites product demonstrations, road shows and hands-on training sessions in Ireland. It will also hold stock of core Avolites products ready for immediate despatch from its UK warehouses.

Aaron Cripps, AC-ET’s Regional Sales Representative for Ireland, says: “Taking on the exclusive distribution of Avolites’ lighting control and dimming solutions in this territory gives us the opportunity to focus further on providing first-class sales, service and support to what is a fantastic range of products. We’ve recently supplied Avolites consoles to venues such as INEC Killarney and Cork Opera House, where their versatility and ease of operation means they’ve been readily used by both in-house and visiting lighting designers and engineers. Their dimming, distro and networking products are also first class.”

He adds: “Avolites’ products perfectly complement the other leading brands in AC-ET’s portfolio and enable it to provide customers with everything in entertainment lighting, from the desks, networking, power and data distribution, through to the lighting fixtures themselves.”

Avolites’ Koy Neminathan says: “Ireland is an important market for us and having Aaron available to provide sales support will be a real benefit to existing Avolites customers and users, as well as developing and supporting new users.

We look forward to working with him.”

Details of the upcoming Avolites events in Ireland will be posted on the AC-ET website and Facebook page. For more information, call Aaron on +44 (0)1494 838349 or email aaron.cripps@ ac-et.com.

A.C. Entertainment Technologies at tradeshows

Representatives from AC-ET’s specialist film and TV sales team were at BSC Expo 2018 at Battersea Evolution, London, and BVE Expo 2018 at ExCeL London in February.

The company showcased many of its UK-exclusive brands and other product highlights from its one-stop inventory of

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complete lighting, control, grip, infrastructure and consumables solutions for the world of film, TV and broadcast. These included: n Chroma-Q’s 2016 Cine Gear Expo-winning Space Force™ variable white soft source and the 2016 LDI and ESTA awardwinning Color Force II™ colour-wash range (see Chroma-Q’s news, below). n StageSmarts’ award-winning smartPDU intelligent power distribution solution. Shown for the first time, this provides a new level of exceptional functionality, quality, reliability and safety. Users can keep track of the load situation at any moment with real-time data monitoring, protecting their connected equipment and crew, and, when needed, assisting them in quickly diagnosing and sorting out problems. Other features include quick and easy setup, changeable support for all popular types of output connectors and heavy-duty, industrial-grade magnetic circuit breakers throughout. n Also making its show debut was LSC Lighting Systems’ Gen-VI: its most advanced and successful dimmer/distro to date. Gen-VI allows the user to configure each channel to be an eight or 16-bit dimmer or switch channel using its revolutionary TruPower technology. In addition, LSC’s APS-Advanced Power System is designed to manage power and avoid nuisance tripping associated with in-rush currents of various equipment. n Another newcomer to the shows was RatPac’s AKS system, which uses industry-leading LumenRadio CRMX wireless technology and allows users to control lighting fixtures directly from their mobile phone, tablet or PC. In addition, RATPac’s Cintenna wireless receivers can plug directly into the back of lighting fixtures themselves and require no additional rigging hardware. n Also represented was AC-ET’s in-house Tourflex® Cabling service, which provides fast delivery on specialised and custom cable assemblies such as Tourmate®, BAC, Socapex and Head to Ballast extension cables. n Quasar Science’s revolutionary Q-LED linear lamps, available with tuneable white and RGB output, were showcased at BVE. n The AC-ET stand at BVE also included some of the latest, top-of-the-range hard and soft sources from Spotlight, Mole-Richardson and Desisti.

Following its return from Prolight & Sound 2018 in Germany in April, AC-ET will be exhibiting its latest portfolio of lighting solutions at PLASA Focus Leeds at Royal Armouries, Leeds, from 1–2 May 2018. Find it at stand N-E02.

B360 B360 Ltd has hit the ground running with a phenomenal start as a new production house. Barry Denison founded B360 in June 2016. He has utilised his 20-plus-year experience within the lighting and power industry to develop B360, which provides a service second to none. B360 provides a range of services, from dry hire to designing and installing your concept. Not only are we able to provide a wealth of knowledge and experience within lighting and rigging

but also with power distribution.

B360 is able to provide technical knowledge, support, planning, kit and installs through a diverse range of sectors.

Since June 2016, we have been involved with many projects, such as providing lighting, rigging, power and crew for Britain’s Classroom Heroes 2016 for the BBC; providing lighting, rigging and crew for The Richard Dimbleby Lecture 2017 for the BBC; and designing and providing a full lighting package for BAE at the DSEI 2017 exhibition. Clients over the past 18 months include Done + Dusted, Sunset + Vine, BT Sport, CNN, CC-Lab, Timeline, BM&S, the BBC, Discovery Channel, ITV2, Dance News, Racing UK, Whisper Films, Cisco, George P Johnson and Volant Media, to name but a few.

B360 provided full technical support for a new studio install at Chiswick Park Estate in October 2017, as well as providing full technical support and supplying all additional kit for BT Sports Studio at Olympic Park since August 2017.

In November 2017, we provided the full lighting package and labour for CNN with its Freedom Project in Rome.

We have also worked in Shanghai and in Paris with Done + Dusted on Victoria’s Secret (2016 and 2017). Not only was B360 involved with the 2016 Paralympics in Rio with Sunset + Vine, this year we are also involved in supporting the Discovery Channel for the Winter Olympics and supporting Timeline with the Winter Paralympics.

In August 2017, we welcomed a 150KVA Super Silent Twin Set Generator into the business. This has provided unfaltering power to assist with the broadcast of many football games, to include National League, Woman’s Super League, UEFA League, U21s, Women’s International Friendlies and the FA Cup. The Generator has already travelled to Jersey for the Jersey Triathlon 2017 and provided power for the Lakeside World Professional Darts Championships. We are also currently providing power for the broadcast of rugby matches within The Anglo-Welsh Cup, London Fashion Week and the 2018 International Table Tennis Federation (ITTF) Team World Cup. Within the last few months, we have been involved with BT Sport Action Woman of the Year Awards, the MTV EMA after-show party, Dance UK, Cisco Live in Barcelona, ITV’s UEFA Europa League highlights show and The Brits’ ITV2 Studio.We are working on some big projects over the coming few months.

BBC STUDIOWORKS BBC Studioworks provides post-production services for Eurovision:You Decide and Strictly Come Dancing – The Live Tour

BBC Studioworks, a commercial subsidiary of the BBC, provided post-production services for Eurovision:You Decide and Strictly Come Dancing – The Live Tour.

Eurovision:You Decide, the national song selection show for the UK entry, made its return to the post-production team at BBC Studioworks, which supported BBC Studios in editing content for the live show, broadcast on BBC Two from Brighton Dome in February.

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digital files, all of which were backed up to BBC Studioworks’ 210TB Object Matrix and ingested to its 180 TB Nexis server. The edit was finished in Avid Symphony, with audio work conducted via Pro-Tools 12.

BBC Studioworks also hosted Phil McIntyre Entertainments and Stage Entertainment at its post-production facility in Elstree for Strictly Come Dancing – The Live Tour. The work follows Strictly’s five-month residency with BBC Studioworks for Series 15 of the show.

The project involved producing VTs, which were shown during the live arena tour to remind the audience of the progress the celebrity contestants made during the main series. Each VT consisted of newly-shot interviews and archive material from the 2017 shows, amounting to over 1,700 hours of content to draw from.

Utilising the archive material, which is retained on BBC Studioworks’ Nexis server and Cinegy logging system, Phil McIntyre Entertainments and Stage Entertainment edited the VTs in Studioworks’ Avid Symphony suites, with delivery of Pro-Res master files via BBC Studioworks’ MediaSilo system.

This is the 10th year that BBC Studioworks has supported the tour. This year’s lineup included Series 15 winner Joe McFadden and fellow celebrity contestants Alexandra Burke, Debbie McGee, Gemma Atkinson, Davood Ghadami, Susan Calman and Jonnie Peacock. The tour kicked off in Birmingham in January and finished in London in February.

“We have broad experience in supporting complex, live-entertainment shows, and Eurovision:You Decide and Strictly Come Dancing – The Live Tour, are no exceptions,” said John Loughman, Post Production Supervisor, BBC Studioworks.

“We have a solid track record of delivering seamless postproduction services and we’re delighted to have been chosen

by BBC Studios and Phil McIntyre Entertainments and Stage Entertainment to assist them with their shows.”

BBC Studioworks facilitates live 30th anniversary edition of The Old Grey Whistle Test

BBC Studioworks, the commercial subsidiary of the BBC, which provides studio and post-production services to the broadcast market, facilitated the 30th anniversary show of The Old Grey Whistle Test.

Produced by BBC Studios, the one-off special – The Old Grey Whistle Test Live: For One Night Only - was broadcast live on BBC Four in February from BBC Studioworks’ 10,800 sq ft studio, TC1, at Television Centre.

Television Centre was home to the alternative music show in the 1970s and 1980s, with the show becoming synonymous for its lack of showbiz glamour. Paying homage to the original production, the three-hour anniversary show, presented by Bob Harris, featured performances by Peter Frampton, Richard Thompson and Albert Lee. Other former presenters – including Annie Nightingale, Richard Williams, David Hepworth and Andy Kershaw – also featured, sharing stories of their time on the series. There was also archive footage of some of the best-loved and rarest performances from its extraordinary back catalogue.

As with any music-based live broadcast, audio quality was crucial. The show benefitted from BBC Studioworks’ recent technology investments at Television Centre, including a Studer Vista X combined with Pyramix. The solution 36

includes snapshot capabilities to assist with the handling of multiple acts performing different tracks, as well providing crucial offline sound checks. Reidel talkback, with the latest Bolero handsets, allowed for sophisticated communication for the smooth running of a complex broadcast such as this.

“The Old Grey Whistle Test is one of the most iconic British television programmes ever made and we were delighted to host the anniversary edition live from its original home at Television Centre,” said Meryl McLaren, Commercial Manager, BBC Studioworks. “While both the show and its broadcast location are steeped in nostalgia, we provided cutting-edge technology and state-of-the-art facilities to truly bring this one-off special to life.”

When it was originally broadcast, The Old Grey Whistle Test hosted many seminal acts, including the first British TV performance of Bob Marley and the Wailers and many little-known acts at the time, such as Billy Joel and Judas Priest.

CHAUVET CHAUVET Professional introduces Ovation SP-300CW LED followspot

The new Ovation SP-300CW offers the efficiency of LED technology in a bright professional-level followspot fixture.

Powered by a 260W 5500K cool-white LED engine, and featuring a ten- to 20-degree zoom, the high-output fixture is designed to provide mid-sized venues with a practical, reliable and cost-effective followspot solution.

“Theatres, churches, and other mid-sized venues will find that the Ovation SP-300CW offers them all the benefits of LED technology in a high-output followspot that produces a crisp, cool-white beam,” said Albert Chauvet, CEO of Chauvet. “We also added quite a few user-friendly features to this fixture.”

Among the standout features of the Ovation SP-300CW are its fully closeable iris, which allows more precise lighting control. The new followspot also has on-board linear dimming, as well as smooth manual sliders for zoom and a focus that optimises its spotlight for throw distances of 50–100ft.

A unique six-slot manual boomerang in front of the light source makes it easy to add gels for quick colour changes.

Extremely quiet, the Ovation SP-300CW is well suited for recital halls, broadcast studios and similar venues. Additionally, the fixture’s 2,300HZ PWM frequency results in flicker-free operation for video applications.

Extremely bright, with an illuminance ranging from 7,330 to 17,296 lux at five metres, depending on the zoom angle, the Ovation SP-300CW has the output needed to meet the requirements of virtually any mid-sized venue. “We see this fixture fitting the needs of a wide variety of applications,” said Chauvet. “It will give end-users yet another way to incorporate LED technology into their rigs.”

CHAUVET Professional introduces Rogue R1X and R2X Spot fixtures

CHAUVET Professional has added a powerful new punch to its popular Rogue series of moving fixtures. The company has introduced two bright and bold moving spots: the 300W LED Rogue R2X Spot and the 170W LED Rogue R1X Spot.

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Lighting rental production companies Neg Earth Lights and Lite Alternative have added the multi-award-winning Chroma-Q Color Force II to their stockholdings

Their intense output and rich collection of features notwithstanding, the two newcomers are surprisingly compact and affordable.

“The R2X and R1X both are true to the Rogue spirit of putting rugged, roadworthy fixtures within reach of the average budget,” said Albert Chauvet, CEO of Chauvet.

“However, we stepped things up with the Rogue R2X and Rogue R1X so our customers can add extra punch to their shows, even at larger venues.”

In addition to their impressive output (11,000 lumens for the R2X Spot and 6,700 lumens for the R1X Spot), both fixtures offer a range of performance features designed to spice up any show. The R2X Spot, for example, features a 16.5-degree beam angle, two variable scrolling colour wheels with seven colours and split colour capability, as well as a three-facet prism and smooth gobo morphing between its dual gobo wheels.

“Designers will be able to create an unlimited number of shape-changing and split colour effects with the R2X Spot,” said Chauvet. “These capabilities, along with the fixture’s incredibly bright output, rich colours and 16-bit dimming, make it a versatile design tool.”

The Rogue R1X Spot is also a creative powerhouse, with its motorised iris and focus for beam shaping, 16-degree beam angle for crisp gobo projections and a colour wheel that features eight colours, split colour ability, and continuous variable-speed scrolling. Adding to its versatility are its dual gobo wheels with seven interchangeable gobos, as well as its three-facet prism for stunning aerial effects and 16-bit dimming for smooth fades.

Both fixtures are RDM-enabled for remote addressing and trouble-shooting and both feature Neutrik® powerCON® power input/output connections for power linking; simple and complex DMX channel profiles for programming versatility; three- and five-pin DMX input/ output connections; and selectable PWM settings for flicker-free operation on camera.

The R2X offers a selectable LED maximum output, allowing it to match Rogue R2 Spot fixtures that are already in a rig, while the R1X can be matched to existing Rogue R1 Spot units. These features should come in handy, since the two powerful new fixtures should be occupying prominent positions in more than a few Rogue rigs in the months ahead.

CHROMA-Q Neg Earth Lights supplies Chroma-Q Color Force II for high-profile tours, events and TV shows

Leading lighting rental production company Neg Earth Lights has added the multi-award-winning Chroma-Q® Color Force II™ LED cyc, wash and effects light to its stockholding, supplying the fixture for a number of high-profile concert tours, live music events and TV shows.

One of the leading London-based entertainment lighting hire companies in the live events industry, Neg Earth prides itself on being at the forefront of lighting technology and innovation, offering clients state-of-the-art solutions to meet their requirements, matched by a level of technical expertise that is second to none.

When multi-award-winning Lighting Designer Tim Routledge approached Neg Earth looking for a high-performance LED washlight for a particular project, he did some tests with the Chroma-Q Color Force II and was impressed.

In recent months, Tim has utilised the fixture on a variety of projects. These include using nearly 60 Color Force II to powerfully illuminate the entire room as a single surface for a show by a leading British pop artist inside one of The Tanks – huge, concrete, circular underground rooms at Tate Modern, measuring over 30 metres across and seven metres high.

In addition, Tim has utilised nearly 40 fixtures to provide different floor lighting packages for performers during six shows in the latest series of The X Factor.

He said: “The Color Force II is my new go-to LED cyc and wash light. They are super bright, the colours are great and the evenness of the cyc lighting is superb. I’ve used the original Color Force™ many times but the new fixture takes this type of lighting to another level.”

Neg Earth has also supplied its stock of Color Force II units for a number of other recent and upcoming high-profile entertainment projects.

The company originally trialled Color Force II when, as the premier rental supplier for last year’s Glastonbury Festival, it made the fixture central to its lighting package for the iconic Pyramid Stage. Nearly 50 units provided powerful coloured illumination and eye candy during performances Set & Light | Spring 2018

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from high-profile artists including Foo Fighters, Ed Sheeran and Katy Perry.

Andy ‘Fraggle’ Porter, the stage’s Head of Lighting, said: “The battens looked great and went down well with the LDs. They really contributed to the overall look.”

Neg Earth’s Dave Ridgway said: “The Color Force II is proving to be an extremely useful and versatile creative tool for our clients. It’s a great deal brighter than the original Color Force fixture and has been well received. The homogenised LED cells improve the output and look of the fixture over its predecessor. They look great on camera and, from a touring point of view, they are robust enough to handle the rigours of the road.”

The Color Force II fixtures were supplied to Neg Earth

by Chroma-Q dealer,A.C. Entertainment Technologies.

Designed to deliver a premium performance for theatrical and rock ’n’ roll events, film and television productions, and corporate and architectural applications, the versatile Chroma-Q Color Force II LED cyc, wash and effects light delivers 50 per cent more output than its predecessor and superior colour blending. Other premium features include superior homogenised RGBA optics, producing even higher quality saturates and pastels, and a purer white – all from a single source – and theatrical grade dimming.

Lite Alternative chooses Chroma-Q Color Force II for major shows and events

Leading lighting rental production company Lite Alternative has added the multi-award-winning Chroma-Q® Color Force II™ LED batten to its stockholding, using the fixture on a number of high-profile European concert tours and events.

The Color Force II was central to Lighting Designer Steve Baird’s scheme for the 16-date European leg of The DayBreaks World Tour for nine-time Grammy-winning American singer-songwriter, Norah Jones. Playing to varioussized venues and outdoor festivals, Color Force II 48 units were placed on the floor to uplight a huge white voile cyclorama in subtle pastel colours, providing the perfect visual backdrop in texture and mood for each song.

In addition, during an 18-date European tour by American alternative rock band Interpol to celebrate the 15th anniversary of their acclaimed debut album,Turn on the Bright Lights, Color Force II 48 fixtures provided atmospheric cyc backdrop lighting for each song, providing a contrasting, more vibrant colour palette of deep red, blue and green saturates.

In addition to supplying the fixtures for major concert tours, Lite Alternative has provided the Color Force II for several corporate events, including a 1,000-seater exhibition space at a Titanic-themed Liverpool hotel, plus various Halloween and conference events.

Lite Alternatives’ Hire Director Jon Greaves said: “The original Color Force fixture has been a mainstay of our hire stock for many years and proved popular with our lighting designer clients. The Color Force II was, therefore, the obvious choice to demo when we were looking to invest in a newer fixture and it hasn’t disappointed. With even brighter and richer lighting results, it ups the ante again for multipurpose LED cyc and wash lights. Everyone is pleased with it.”

The Color Force II fixtures were supplied to Lite Alternative by Chroma-Q dealer, AC-ET. 38

CIRROLITE Cirro Lite receives Dedolight ‘Turbo’ kits for rentals

Cirro Lite (Europe) has added Dedolight DLED7 ‘Turbo’ bi-colour kits to its rental fleet. The four-head kits are colour tuneable from 2,700K to 6,500K and come complete with four AC controllers, plus one extra DC controller and V-Lok battery plate. Lighting stands and gel filter holders are also included in the hard roller kit cases.

Due to its active cooling system, the DLED7 light sources nearly double in output when compared to the DLED4 (40W) units. Although these light heads provide significantly higher light output, the weight is still identical with the original DLED4.

Due to its similar size, DLED7 light heads are compatible with all the same imaging attachments as DLED4 and classic DLH4, which makes them extremely versatile. These compact and powerful lighting systems with remarkable focusing capabilities have already become one of the most soughtafter tools on professional film sets.

Dedolight DLED7-BI ‘Turbo’ rental kits are available immediately from Cirro Lite (Europe).

For more information, visit www.cirrolite.com

CLAYPAKY Claypaky’s Axcor Profile 900: the apex of LED spot performance The Claypaky Axcor Profile 900 is the most advanced LED profile spot on the market. It utilises the very finest components throughout, from its colour system to its pin-sharp optics and the high-precision micro-mechanics of its beam-shaping system. Its powerful and highly-efficient 880W white LED light engine achieves 46,000 lumen (24,000 lumen output) with a 6,500K colour temperature, while an optional high-CRI (>90) light engine produces 34,000 lumen (17,500 lumen output) and a 5,600K colour temperature.

Thanks to meticulous design and development work, Claypaky has been able to produce a high-performance LED fixture with a light emission comparable to a previous generation 1,500W fixture (the most powerful available) but with a power consumption of about 1kW. The beam produced by the Axcor Profile 900 is dense and evenly distributed for the entire length of the beam, at any beam angle in its zoom range of seven to 40 degrees, and its CMY colour mixing system uses gradual-insertion dichroic wheels, supported by a linear CTO correction device, to produce perfectly smooth transitions between colours. In addition, a separate colour wheel carries six carefully selected professional colour filters, including a custom-designed CRI enhancement filter.

The spot-profile device produces a perfect projection and achieves the highest quality light beam currently obtainable.

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The patented framing system works on four different focal planes and can generate sharp shapes of different sizes and proportions. The system is not affected by any shaping distortions, even at wide-beam angles, where significant distortions normally occur.

The Axcor Profile 900 also provides lighting designers with a perfect projection and an extremely versatile effects package. Features include six interchangeable high-definition rotating gobos, an animation wheel, a four-facet rotating prism, two variable frost options and an iris with multiple built-in macros. The 16-bit electronic dimmer enables smooth transitions, while its completely flicker-free performance and low-noise cooling system makes it ideal for television use, as well as for the highest level of live events and concert touring productions.

When exhibited at LDI 2017 in Las Vegas in November 2017, the Axcor Profile 900 was awarded the Gold Star Product Award for ‘Best New Hard Edge LED Spot’ by US-based lighting and production magazine PLSN. The Gold Star Awards aim to recognise a product’s quality, innovation and ability to expand the technological boundaries of live event production.

Paul McCartney goes One on One with US leg of his world tour, accompanied by Claypaky Fixtures

Claypaky fixtures helped showcase the evolution of Paul McCartney’s music from the 1960s to today during the US leg of his long-running One on One World Tour last year.

Lighting Designer LeRoy Bennett was tasked with highlighting ‘a vast array of musical styles over the decades’ during the course of the three-hour show. High-tech AV solutions, including layers of transparent video, LEDs and lasers, formed a backdrop for the history of the former Beatle’s music but remained unobrustive to fans. “While we used many aspects of technology, you never saw them all at once and they were never overpowering,” says Lighting Director Wally Lees.

Upstaging provided the tour with 12 Claypaky Scenius Profiles, 12 Scenius Unicos and 96 Sharpys. The versatile Unico spot, wash and beam light made its debut with McCartney’s show.

Bennett positioned the Scenius Unicos primarily on the upstage floor behind the band as big fill lights. “We had been using a different light and wanted to change things out a bit,” he says. “I was impressed by what Scenius Unico can do. They have a lot of functionality and versatility – they’re a great lamp.”

Scenius Profiles were mounted in key locations to showcase McCartney at the piano and centre mic, for example.

“In addition to spots, we had key lighting just to enhance Paul,” says Lees “He is an icon and we wanted to highlight him, which can be hard with all that tech onstage. We’re always looking for the best light and I was blown away by a demo of Scenius Profile – its colour temperature and flatness of field were amazing. Then LeRoy saw it and loved it.”

The large complement of Sharpys ‘were all over the place doing what Sharpies do – tight beams, directional and quick’, says Bennett. “We had two very tight banks of Sharpys mid-stage and downstage that created a wall of light, gave the effect of being in a room or looked like jail bars.”

Bennett emphasises that equipment choices were made

based on ‘the best of what’s out there’: “The lamp choice, the gear choice – we want the best of the best. That’s why we chose these products for Paul’s show. It was a complex system – there was a lot of gear all over the stage – but everything worked great.”

Claypaky slides into first place for winter games

More than 400 Claypaky fixtures were selected to play a key role in the large-scale lighting designs for the opening and closing ceremonies of the Winter Universiade (winter games) 2017 at the Palace of the Republic in Almaty, Kazakhstan. The ceremonies were attended by 12,000 visitors and broadcast live across 100 television channels worldwide.

The ceremonies’ lighting was designed by Oleksandr Manzenko, of Kazakhstan-based production design, solutions and rental company Samat Show Technics, which was responsible for the games’ overall production.

The rig contained 158 Claypaky Sharpy, 60 Claypaky Scenius Spot, 48 Claypaky A.leda B-EYE K20, 24 Claypaky Scenius Profile, 16 Claypaky Alpha Spot QWO 800, 16 Claypaky Alpha Profile 800ST, eight Claypaky Sharpy Wash 330, 56 Claypaky Mythos and 32 Claypaky Stormy CC strobes.

For both the opening and closing ceremonies, Manzenko required lighting fixtures with clear sharp optics, capable of producing bright enough outputs to stand out against the multiple video screens that were situated around and above the arena’s central raised platform.

He says: “We used Claypaky because of the excellent quality of light and the unconditional reliability of the equipment.”

Employing the award-winning Scenius Profiles and Scenius Spots, Manzenko utilised the fixtures’ gobo and animation wheels to create a myriad of effects that moved across the surface of the ice surrounding the central stage.

“For us it was important to use the Claypaky Scenius range.

The brightness of the fixtures is unmatched and they come with a great set of gobos,” says Manzenko. “There was no floor video, so I used the gobos with the animation effects to extend the atmosphere of the central stage across the arena.”

The Scenius Profile is equipped with 14 gobos (six rotating and eight fixed), while the Scenius Spot has two wheels with 6+6 rotating gobos.The Scenius’ incredible output of 30,000 lux at 1,400W mode ensured that any animation stood out perfectly against the video screens.

The Scenius’ advanced colour-mixing systems, which include a CMY colour system and linear CTO, also ensured that the colour of the lights was translated with greater integrity to the production’s video cameras.

Manzenko also used a large selection of the award-winning Mythos to light performances around the edge of the arena, utilising the fixture’s adjustable electronic zoom (four to 50 degrees) to achieve cross-arena looks that varied in depth and scope.

“The Mythos was located around the arena because of the fixture’s versatility,” explains Manzenko. “I wanted to use its wide beam for a wash at 50 degrees with a gobo in the Mythos’ wash mode, but I used the fixture in beam mode to highlight performers on the stage and various pieces of flying set.”

The Sharpy and A.leda B-EYE K20 were also used as effects lights for the opening ceremony of the games.

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parameters is indispensable. It allowed us to make beautiful colour-changing effects to the beat of the music,” says Manzenko. The Sharpy’s 540-degree pan movement is measured at a maximum speed of 2.45 seconds, while the 250-degree tilt takes a maximum of 1.30 seconds.

Also working within the rig was Claypaky’s award-winning LED fixture, the A.leda B-EYE K20, providing wash and eye-candy effects. “The B-EYE K20 fixtures offered us incredible shape effects, as well as allowing us to adjust the colour temperature of the stage in wash mode,” says Manzenko. “Using the built-in macro effects, I could easily create a different atmosphere for each piece of music.”

He adds: “Claypaky products are always perfectly compatible with every element of the different shows that we produce, including their video elements. The integrity of the colours and strength of output from the fixtures ensures everything looks good, as well as the unwavering reliability of the fixtures. They never let us down.”

The Winter Universiade event is a biennial multi-sport and multi-cultural winter event, held for student athletes around the globe between the ages of 17 and 28. The event was held this year between 28 January and 8 February and is one of the world’s largest sports events. This year, 25 countries competed in the games, with Russia topping the leader board with 29 gold medals.

ELATION Matthias Hinrichs joins Elation Professional

Elation Professional is pleased and excited to announce that one of the lighting industry’s most knowledgeable, experienced and affable professionals, Matthias Hinrichs (pictured above right), has joined the company as a product manager.

“We are all very excited to have Matthias joining the team,” says Elation Sales Director Eric Loader. “His experience in the professional lighting market, along with his relationships with many top lighting designers and customers, will be a great resource for our product development. He will be focused on getting feedback in from the market, working on the finer details of our products, making sure our products deliver on point and at the highest level. On a personal note, having worked with Matthias before, I am really happy to be working with him again and I am confident he will make a great addition to the continued growth of our company.”

Matthias is a well-known face in the industry, having worked as a lighting and control systems product manager at Martin Professional since 2003 and, prior to that, as a freelance lighting director and programmer. Over the years, the self-described product designer and innovator has worked in staging, audio, as a DJ, lightjockey, in technical support, business development and, finally, as a product manager for lighting control and automated lighting fixtures.

“I love dreaming up great products and ideas for the lighting industry and I work with incredible teams to realise them, from the napkin drawing to highly integrated manufacturing across the globe,” says Matthias, who began his new position at the start of the year. “In my new role, I am excited to be part of Elation’s commitment to innovation and R&D. Unique 40

fixtures like the recently launched Dartz 360 and Artiste Dali are great examples of Elation’s technological advancements.”

Elation President Toby Velazquez says: “Within the first hour of meeting Matthias, I knew we shared the same passion for the lighting industry. I was convinced he could focus on the details, details, details that are critical to LDs and our customers and a key to helping them be successful.”

Special Event Services supplies dynamic pixel bars for One Direction’s Niall Horan’s debut solo tour

Singer/songwriter Niall Horan may be best known as a former member of One Direction, but the Ireland native can hold his own as a solo artist and is proving just that on his current Flicker Sessions tour. Special Event Services supplied lighting for a string of North American tour dates in autumn 2017 – a package that included Elation Professional Chorus Line 16™ pixel bar wash luminaires.

Production, lighting and scenic design for the tour was

by UK-based production design company Okulus, with lighting direction by David ‘Bickie’ Lee. Creative direction for the tour was by Modest Management and Okulus.

The Chorus Line 16 pixel bar fixtures, 42-inch long (107cm) colour-changing pixel bars, played a special role from static positions behind the risers. Projecting high and low through the band or aligned to shoot above musicians’ heads, they gave what Lee describes as an unbroken blade-like look.

“From behind the risers they provided a wall of light, a kind of break-through-the-musicians look,” he said.

The Chorus Line 16 houses 16 powerful 40W RGBW LEDs, allowing for use on large stage performances – such as last year’s Tears for Fears tour – and includes enough punch to compete with bright LED video screens. “I loved their

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intense power,” stated Lee, who worked with One Direction for five years. “I don’t think there is another LED array about that can deliver the punch that these can.”

The Chorus Line fixtures, which are available in two different lengths, can fulfill a number of purposes in a single show and also have full pixel control for direct eye-candy looks. Motorised zoom optics from four to 40 degrees means it can be used to light set objects and cycs, and a 220-degree tilt motor function lets designers position or move the unit dynamically during a show.

“The zoom in the CL16’s is also killer,” says Lee. “You can take the fixture from full fluffy zoom to a super-sharp, almost pinspot-type, sharp hard-edge beam.” On Horan, the Chorus Line 16s were floor-positioned 10 wide across the back of the stage as upstage as possible.

Special Event Services, which holds 30 of the Chorus Line 16 fixtures in stock, was audio and lighting vendor for the North American run of Horan’s tour. The company also supplied the dynamic pixel bars for American rockers PVRIS’s tour in September and October, where 24 units were used as back light and side key lights. The PVRIS tour was designed

by Okulus and operated by Joe Watrach.

Proteus Hybrid™ and Paladin™ expand German event company’s inventory of weatherproof fixtures

Multi Media Marketing & Event GmbH, of Münster, Germany, has expanded its inventory of Elation Professional lighting through the purchase of 16 IP65-rated Proteus Hybrid™ spot/beam/wash lights and 12 Paladin™ strobe/blinder/wash lights, both weatherproof hybrid models.

The event company has been active in the fields of lighting, sound, video, LED and stage technology for more than 20 years. For more than five years, the company has relied on products from Elation Professional. “In the lighting sector, we only invest in IP65 fixtures,” explains Managing Director Georg Reuber. “Of course, the price/performance ratio plays a major role as well. In this respect, too, we feel comfortable with the Elation products.”

The award-winning Proteus Hybrid is an IP65-certified three-in-one lighting fixture designed as a beam, spot or wash light. A sophisticated optical system with motorised zoom and a revolutionary cooling principle are at the core of this state-of-the-art luminaire. “For us, the Proteus Hybrid is a type of Swiss army knife. It is bright, IP65, with wireless DMX and can beam, wash and spot.You couldn’t ask for more!” says Reuber, adding, “After its first outings, we are completely delighted with them.”

Equally versatile is the Elation Paladin, which can be used as a powerful full-colour strobe, bright wash light, extremely strong blinder or as a striking effect light. Its 24 40W RGBW LEDs deliver a total output of 960W for intense colour effects. Thanks to its additive RGBW colour mixing, users have full control over the colour spectrum, from pastel shades to high-impact white light. “The Paladin’s six- to 32-degree zoom range was the convincing factor, which of course opens up a lot of creative possibilities,” says Reuber.

As is the case with IP65 lighting fixtures, these units are particularly suited to outdoor use, meaning they do not have to wait until next festival season to brave the elements.

“We had the big summer festivals in mind when we made

the investment, but there were already projects in the pipeline in winter – for example, the New Year’s Eve celebration at Cologne Cathedral, as well as some gala events in Osnabrück, where we will use the units as outdoor effects,” says Reuber. “In addition, the spotlights will be used on Christopher Street Day 2018 in Berlin, where they will illuminate the Brandenburg Gate.”

Elation @ Prolight + Sound 2018

Elation Professional had a lineup of extraordinary lighting innovations on display at this year’s Prolight + Sound exhibition from 10 to 13 April.

These included, from Elation’s award-winning Artiste series of creative, full-featured moving heads, the Artiste Picasso: an inspirational theatrical-grade luminaire that connects art to engineering. One of the brightest and most feature-rich profile LED lighting fixtures on the market today, it is a high-output (22,000 lumens), feature-packed (zoom, framing, CMY, CTO, gobo wheels, animation, prisms, frost and more) yet compact profile light featuring a new high-power 600W cool-white LED engine.

Elation also exhibited the Smarty Hybrid: a full featured spot, beam and wash fixture and the most compact CMY colour-mixing hybrid Elation has released to date. At the heart of the fixture is the new platinum lamp using FLEX technology, which offers a smartly designed discharge lamp/ ballast package for high output/compact performance at an efficient and affordable price point.

Also on display was the Dartz 360: a unique, full colourmixing LED beam/spot fixture with narrow beam, gobos and effects. A single-source 50W RGB LED engine produces a powerful and tight three-degree beam for smooth, colourmixed beam effects similar to a discharge lamp. The Dartz 360 is compact and phenomenally fast, with continuous 360-degree pan and tilt movement.

HSL HSL appoints two new theatre specialists

HSL continues to strengthen its dedicated theatre and performing arts division with the appointment of Ben Payne as Key Account Manager (Theatre) and Jo Sunners as Business Development Manager (Theatre).

Both join HSL after working together for 18 months at a previous rental and production company. They will be based in London and the scope of their work at HSL will focus on supporting and developing this specialist sector.

MD Simon Stuart said: “We’re delighted to welcome Ben and Jo, who are fantastic people, well respected, highly knowledgeable and have a vast amount of shows under their belt. In addition to sharing HSL’s core values of passion and commitment to outstanding service, their great synergy and colleagueship is ideal for our ever-growing family.”

Ben comes to HSL with 15 years’ theatre touring experience, which has included lighting and tech’ing shows worldwide, from small experimental works to substantial local and regional productions, site-specific spectaculars and West End blockbusters. He brings an extensive knowledge and Set & Light | Spring 2018

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New recruits Ben Payne and Jo Sunners with MD Simon Stuart

understanding of both the commercial and creative aspects of the theatre industry to the HSL equation, plus a vast practical experience gained over this time. He will be heading up HSL’s theatrical-based work in and around London.

Jo graduated from the acclaimed Rose Bruford College of Theatre and Performance with a degree in lighting design.

Since then she’s cut her industry teeth working for several companies in a number of different roles. For the last 12 months, Jo has been concentrating her time on clientfocused account management and business development and she will be bringing these skills together with her talent for communication to the new role at HSL. Ben says: “I’m excited to be joining HSL. It’s a dynamic, growing company with lots of ambition and energy, together with a clear brand-building strategy for medium- and longterm futures.

“It’s a great honour to be asked on board the team to co-ordinate a constantly increasing volume of theatricalorientated productions on all levels. With so many excellent projects already in the pipeline, I can’t wait to get started.”

Jo adds: “HSL has an excellent reputation industry-wide and I’m thrilled to have the opportunity to work with such a diverse and vibrant team. I looking forward to building lasting and meaningful relationships with new and existing clients.”

Contace Ben at Ben.Payne@hslgroup.com, mob. +44 (0) 7919 375744 or Jo at Jo.Sunners@hslgroup.com, mob. +44 (0) 7786 638546

HSL enjoys the Global Spirit of Depeche Mode

Depeche Mode are not ‘down on their knees begging us to adore them’... right now, it’s the other way around on the Global Spirit world tour!

The beautifully designed, record-breaking, box-office busting tour kicked off in Stockholm in May 2017 and is scheduled to continue until the third quarter of 2018.

Blackburn-based HSL is proud to be the worldwide lighting vendor for Global Spirit, working with a highly talented team on the road headed by Production Manager Tony Gittins.

The eye-catching asymmetric lighting design was created

by Sooner Routhier and Robert Long,of SRae Productions in Nashville and is being directed on the road by their Associate LD Manny Conde.

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the band’s Creative Director Anton Corbijn, who has always pioneered video as an essential vehicle of live production.

This tour is no exception, with a large video screen upstage.

The elegance and depth of Anton’s movies sets a powerful visual aesthetic defining the performance space. The pureness and simplicity of this cinematic approach has been a Depeche Mode visual trademark developed over the tours and the eras.

This, coupled with lead singer Dave Gahan’s presence and charisma, plus the sheer dynamics of the music, means Depeche Mode have never needed an elaborate set. The raw performance is what makes their shows so special.

HSL’s project manager looking after the tour is Jordan Hanson, who says: “It’s brilliant to be working with Tony, Sooner, Manny and on an amazing production with a great band. This is literally the tour of the moment and the one the industry is talking about!”

Chiefing the HSL crew on the road is one of HSL’s most experienced and unfazable regular freelancers, Ian Stevens.

He is joined by the Jake Jevons, Harrison Cooke, Ben Eastham and Andy Whittaker.

Ian says: “We are having an incredible time on the road.

I know you hear people say this son a long tour but this really is like family. We all get on incredibly well; there is no inter-departmental rivalry and everyone is skilled, dedicated and great at their jobs, as well as being super nice.”

The lighting rig is more complex than it might appear at first glance; there are a lot of moving elements and it requires plenty of attention to detail to get it looking just right in the different variations. “We are all very proud of how it looks and the part it plays in bringing great entertainment value to many fans,” adds Ian. The lighting crew has fluctuated between five and two depending on the format of the rig in relation to the leg and regional location of the tour. Most of the time it is all five. For sections like the recent Latin American leg, it was Ian and Jake tech’ing the full floor package, with the top rig being provided locally in each of the six countries on the itinerary.

HSL’s MD Simon Stuart said: “We are delighted to be working with Tony and his team on this ground-breaking tour and it’s been a real pleasure to collaborate with Sooner and Manny and ensure they have had all the support they need.

The design is innovative, edgy and looks incredible. I love Sooner’s thoughtful, intelligent approach, where everything is considered and works harmoniously with the video, capturing the mood perfectly.”

For Tony, having a single lighting vendor for the whole tour has not just made sense financially, it has made the whole process more efficient in terms of the equipment maintenance and having it permanently pre-prepped at HSL for the duration of the tour.

“Having the continuity of one supplier to work with for lighting, a familiar crew and a dedicated office co-ordinating everything at base ensures we get the best attention at all times,” he says, adding: “It’s been a fantastic experience working with HSL.” Manny, based in New York and Los Angeles, is loving this tour for multiple reasons – from being trusted with realising and maintaining Sooner and Robert’s design, to working for the first time with an all-English lighting crew, which has been another enriching and educational journey.

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He says: “Ian Stevens is most definitely my ‘peace-of-mind’ on the tour; he keeps everything exceptionally well organised, ensures the rig is maintained to the highest standards and that the crew are absolutely rock solid.”

KINOFLO New FreeStyle 151X LED DMX Controller

Kino Flo Lighting Systems’ FreeStyle 151X LED DMX Controller has replaced its Select/LED controller model 150X. The two models have the same feature set and software.

These controllers are interchangeable between Select 20/30 or FreeStyle 21/31 fixture heads and use the same head extensions. Both models will be supported with future software upgrades as they become available.

The introduction of the FreeStyle Controller name reflects the increased popularity of the FreeStyle fixture, with the ability to remove the LED panel from the plastic housing, slip into a gaffer tray accessory or use as an individual panel.

The FreeStyle 151X can dial in an expanded Kelvin colour temperature range from 2,500K to 9,900K, with full green/ magenta, gel, hue/saturation and RGB colour-control features.

Additional features include presets and custom settings and full-range dimming without flicker or colour shift. Light levels do not change when selecting Kelvin settings. The FreeStyle 151X comes with standard DMX and wireless DMX (Lumen Radio®), universal input voltage 100–240VAC and 24VDC. The FreeStyle 151X LED DMX Controller is now available.

MARTIN BY HARMAN LIPA invests in new Martin by HARMAN MAC Encore Performance for its students

The Liverpool Institute for Performing Arts (LIPA) has upgraded its lighting fleet, adding seven new Martin by Harman MAC Encore Performance moving heads to its shared stock.

These were commissioned by Paul Halgarth, Lecturer in Lighting, Electrics and Programming at LIPA, to enable students on both the theatre and performance design, and technology degree courses to have access to cutting-edge technology.

Halgarth waited patiently for the release of these groundbreaking fixtures and then acted swiftly. Explaining his rationale, he said: “We always need the latest technology and we pride ourselves in having industry-standard equipment. It’s vital, as students can go from our course straight into employment.”

Over its 22-year history, LIPA has routinely undertaken regular equipment reviews and this latest capital bid sees it replace existing stock as a first-phase lighting overhaul, with a second phase to follow soon.

The search for the best replacement solution began with a call to Rob Beamer, then at Stage Electrics and now with Sound Technology Ltd, the Martin by HARMAN UK distributor.

“I specifically wanted units with framing shutters because we didn’t have any,” explained Paul. “Stage Electrics was extremely helpful and I looked at all the leading competitive brands, as well as the Martin MAC Viper and MAC Quantum.

“I really wanted to go down the LED route. I dismissed some as being unsuitable and, while the MAC Viper ticked all the boxes and, I felt, had an intense quality of light and stunning deep contrast when using textured gobos, I knew it would be great if we could have an LED source. And that’s when Rob told me to hold on.”

Soon after, some of the first MAC Encore Performances appeared and a working demo at Theatr Clwyd confirmed everything Halgarth needed to know. “It had all the functionality of the Viper at the size of a Quantum and it also had colour flags and a white source, which was exactly what I needed.

“Martin then came in and held a demo and workshop for our students, as I wanted their opinions.” And their positive reaction was all the convincing he needed.

“The only decision to make then,” he said, “was whether to go for the warm or cold version.” He reasoned that in view of the diversity of work that takes place at LIPA, and the fact that they are producing live concerts and events as well as pure theatre, they should opt for cold.

This fully-featured LED moving head delivers levels of light quality and consistent operation rarely seen before in an LED-based stage lighting unit. Designed to produce premium white light in a wide variety of applications, MAC Encore Performance is available in two dedicated colour temperature variants: WRM for unparalleled, 3,000K warm incandescent emulation and CLD for crisp, 6,000K neutral daylight. The innovative low-noise light engine has been engineered to generate full spectrum light with ultra-high colour rendition, with precise framing shutters and CTC flags installed as standard.

“The Encores are already on our first production and the reaction from students has been immensely positive,” Paul Halgarth confirmed. “They find the fixtures easy to control, with accuracy, and are now able to learn how to manipulate framing shutters. They are impressed with both the power and colour output; the Martin MAC colour flags make them feel professional and these fixtures complement our existing tungsten lanterns beautifully.”

The new units will be available for use not only in the Paul McCartney Auditorium and Sennheiser Studio Theatre, which have been part of the institute’s fabric since it opened in 1996, but also in a new studio theatre at LIPA due to open in 2019.

Martin by HARMAN is distributed in the UK by Sound Technology. For more information, call 01462 480000 or visit www.soundtech.co.uk/martinpro.

Martin lighting team join Sound Technology

With all Martin by HARMAN products now distributed exclusively in the UK by Sound Technology, we are extremely pleased to announce the addition of key personnel to our dedicated Martin UK team.

Ritchie Reed (Business Development Manager, Professional Lighting) heads up the sales and application team and is joined

by Rob Beamer and Lauren Drinkwater as area sales managers for the North and South respectively, while Chris Hale joins as Product and Application Specialist, Professional Lighting.

Ritchie has worked in the entertainment lighting world for over 20 years, including positions as Key Account Manager for Theatre and, subsequently, UK Sales Director at Martin Professional until April 2016.

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Pictured from left: Rob Beamer (Area Sales Manager, North), Lauren Drinkwater (Area Sales Manager, South), and Ritchie Reed (Business Development Manager)

Lauren worked at City Theatrical for seven years and, most recently, was UK Channel Manager at Martin Professional, specialising in theatre.

Rob has been working in the entertainment industry for over 24 years, including positions as Chief Electrician for both the Liverpool Everyman and Playhouse Theatres, and Business Development Manager for Stage Electrics. Rob has also worked as a freelance lighting designer for theatre and touring concerts.

Chris (pictured below) joins as Product and Application Specialist with over 20 years of experience at Martin Professional. From an initial role of lighting programmer, his role of Application Specialist at Martin crossed touring, theatre, TV and film markets.

Robin Young is the primary contact for Martin customers within Sound Technology’s sales office team. To speak to any of the team, call Sound Technology on 01462 480000. For more information, visit www.soundtech.co.uk/ martinpro

PHILIPS Philips Lighting creates a theatre of light for Trans-Siberian Orchestra

Philips Lighting’s unique stage-lighting fixture, the Philips VL6000 Beam, was chosen by Lighting Designer Bryan 44

Hartley to create his powerful ‘rock theatre’ design for the recent winter tour by Trans-Siberian Orchestra.

Hartley, who has lit the American rock band’s shows for the past 18 years, found the powerful output, distinctive styling and physical presence of the new VL6000 Beam gave him everything he needed to create an iconic searchlight effect. He said: “The VL6000 Beam has an awesome output, which more than delivered to expectations.”

He continued: “I wanted to sync’ the production with the show’s story, which is about a child who wanders into an old theatre. I designed the set to be an old theatre during narrations then, during the songs, the stage morphs into a rock stage.The impressive output and the look of the VL6000 Beam helped to create that old-style movie Skytracker look.”

To build this contrast between small-scale theatre and large-scale rock show, Hartley said: “I wanted lots of small lights but also some big lights, positioned at each side of the theatre, to stand out among the rest. The VL6000 Beam looks the part. I also have three huge video screens and the VL6000 Beam is so bright, it’s able to cut right through and be visible against that LED background.”

The show’s design pays tribute to the late Paul O’Neill, the band’s founder and lyricist, who passed away in April 2017.

O’Neill’s love for the concept of ‘rock theater’ survives through Hartley’s design. Hartley said: “Paul was everything Trans-Siberian Orchestra. His passion made it the most amazing show, year after year. He loved the term ‘rock theatre’, so I came up with a theatre of light that coincides with the story. Even though Paul is sadly no longer with us, he is still very much a part of the show and it is a total tribute to him.”

“This has been our most successful tour to date. We were number two in 2017 in total tickets sold in the United States and I’d like to thank everyone involved on the tour – they are

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truly an amazing team of people to work with every year,” Hartley added.

Martin Palmer,Vari-Lite Product Manager EMEA for Philips Entertainment, said: “The VL6000 Beam is a truly unique fixture, offering high-power, impactful beams, a flexible range of performance features and, of course, that searchlight styling that designers simply love. We are committed to providing the entertainment industry with fixtures that deliver the best solutions, uniting versatility and quality.”

Philips Lighting hits the high notes on the set of Pitch Perfect 3

Philips Lighting’s stage-lighting fixtures were chosen to meet the strict lighting demands on the set of 2017’s Pitch Perfect 3.

The tight shooting schedule called for excellent light quality, solid reliability, quiet operation and the flexibility to perform multiple tasks.

With eight performances filmed across four locations, in both day and night shoots, the design team, including Production Lighting Designer Trevor Burk and Lighting Directors Zach Matusow and Mat Stovall, chose to use the Philips VL4000 Spot,VL3500 Wash and VL550 Wash due to their ‘impeccable’ quality of light output, colour range and versatility.

Burk said: “The VL4000 Spot performed well as a key light in the aquarium scene and in the finale. It was important to have high-level colour control and the super even field of the VL4000 Spot. In addition, we used the VL3500 Wash as a big, straightforward cannon of light in the aquarium scene, while for the festival performances at the airforce base, it was obvious we had to flush the rest of the stage rig out with VL550 Wash.”

Colour control, versatility and quiet operation were particular features required from the Philips Lighting luminaires. “We had a lot of ground to cover and wanted fixtures that could do distinctly different jobs, scene to scene,” said Matusow. “We considered the VL4000 Spot to be a crucial component for whatever task came our way.

By the end of filming, we were using it for key lighting, aerial concert effects, water effects and for lighting scenery.

The VL3500 Wash was great to have on hand when a scene called for lots of brightness and colour being projected from afar.”

The high performance and reliability of the Philips Lighting fixtures meant they were able to take on a multitude of roles throughout the production. This was a real benefit to the crew, given the strict timelines for load-in and filming.

Burk said:“We needed fast, reliable and quality lights that were ready to go when the filming was in progress.

The VL4000 Spot could work in any part of the plot, and a feature-loaded profile fixture providing so much brightness was a joy to work with.”

Stovall added: “The output is fantastic. Not many lights have enough punch to produce a usable amount of light in these conditions but the VL4000 Spot delivers.”

Martin Palmer,Vari-Lite Product Manager EMEA, Philips Entertainment Lighting, said: “Our Philips Vari-Lite range of lighting tools succeeds in bringing outstanding benefits to lighting designers in a variety of set and stage lighting applications.”

Philips Lighting improves picture quality and cuts costs for Slovenia’s POP TV.

Philips Lighting’s LED studio lighting fixtures have been chosen to provide professional-quality, low-energy lighting solutions for Slovenia’s leading commercial television studio, POP TV. After testing lighting solutions from several manufacturers, Lighting Director Nebojsa Gazdic specified the Philips Strand 200F LED Fresnel fixture, from the Philips Entertainment Lighting portfolio. His choice was based on its broadcastgrade light quality as well as its low-energy consumption, compact size and silent operation.

Gazdic says: “In the larger news studio we wanted to move from tungsten lamps to daylight sources, increasing the colour temperature to 5,600K, and the Philips Strand LED Fresnels have enabled us to do that. We wanted reliable fixtures, with high-quality light output and consistent colour temperature.”

He adds: “During our test period, we found that Philips Strand fixtures offered a better solution. Their light output is considerably higher and they produce colour more accurately. We were especially impressed by the passive convection cooling, which makes them near silent. We have just finished with the installation and have been very happy so far. They are primarily used for front light on numerous presenter positions, but their versatility means they can also be used for general set lighting.”

With running costs a crucial consideration, the Philips Strand LED fixtures bring considerable savings in power, maintenance, lamp replacement and ventilation costs. Gazdic says: “We also had to consider the economic factors. LED means less power use, no lamp exchanges and very little colour temperature deflection over time. In adiditon, we had to consider the units’ size because of the low ceiling height in the studio. And it also means a smaller heat footprint, saving on air-conditioning costs. The benefits are clear.”

Hosting some of Slovenia’s most popular TV channels, POP TV’s studio complex consists of three large studios used primarily for entertainment programmes and two studios used for news and information programmes.

Grant Bales-Smith, General Manager EMEA, Philips Entertainment Lighting, says: “Our latest LED studio lighting fixtures offer real advantages and cost savings, as well as maintaining that all-important light quality demanded by the professional market. With excellent colour rendition, high output and low-energy consumption, they are engineered to offer the solutions that studio operators require.”

RICHARD MARTIN LIGHTING Unspun with Matt Forde

Martin Kempton returned once again to Richard Martin Lighting to source equipment for the new series of Unspun with Matt Forde.

This up-to-date satirical show is back on Dave, with Matt Forde and guest comedians celebrating the best and worst of Parliament for the week.

Martin designed the lighting for the programme, which is filmed at The London Studios. He said: “We used Auras because they are great for lighting sets due to the range Set & Light | Spring 2018

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of colours they produce, which includes rich, saturated hues and subtle pastel shades. Their beam angle also makes them ideal to highlight parts of a set or for giving an even wash over a large area. The VL1000s are excellent lights to use as keylights in interviews as they can be shuttered off the set and adjusted live if required. The Chroma Floods and Pixel Pars are some of the best lights for using on the floor to uplight part of the set with a wash or a streak of colour.” All of the above helped, along with the use of Sunstrips, Jarag-L, Pixel Line 1044 and LED Beams.

Lighting was focused largely on Matt but Martin also had to light weekly guest comedians as well as parliamentary rock group MP4, members of which are all serving or ex-Members of Parliament.

He managed to keep the look fresh, doing the set justice as always.

ROBE Kevin Loretto, 1952–2018

Kevin Loretto (pictured right), the New York-based lighting and technical sales specialist, died on 23 January in New York, surrounded by his family, after a lengthy battle with cancer.

Celebrating his life, bubbly personality, resilience, dignity and amazing contributions to the world of entertainment and performance lighting, his friends and colleagues at Robe Lighting are proud and privileged to have had the chance to work alongside Kevin for the last five years He is survived by his wife of 29 years, Penny, children Tammy Monroe, Kerry Watkins and Robert Monroe and four grandchildren, and will be hugely missed by everyone.

Kevin graduated from St John’s University in Queens, New York, in 1974 and has worked in many jobs over the years, primarily in marketing and sales. It was his love of music that led him into entertainment industry lighting for the last 11 years of his career, where he became successful and loved and respected by everyone whose lives he touched.

His infectious and affable persona and excellent communication skills opened doors wherever he went, bringing his unique gentle humour, intellect and lateral thinking to any scenario.

From 2013, Kevin worked as Northeast Regional Sales Manager at Robe North America. He excelled in the role and seized the chance to develop relationships with those at the forefront of creativity and innovation in the worlds of theatre and performing arts – an environment that he embraced and in which he had his finger on the pulse.

Previously, he was a director of sales for Creative Stage Lighting, where he built a solid network of long-term industry relationships and connections. The company also happened 46

to be a Robe customer.

Harry von den Stemmen was CEO of Robe North America at the time and recruited Kevin as the first addition to what was then a very small team. Kevin saw potential and was keen to work for the Czech brand and help put it on the map, while Harry immediately recognised his talents and a skill set that would make some serious waves.

He certainly made his mark, introducing many influential designers to Robe, regularly bringing guests to the factory and HQ in the Czech Republic and working hard on the Robe booth at numerous international trade shows – his last one being LDI 2017 in Las Vegas just two months ago.

Kevin was known for his interesting ideas and ability to think out of the box, presenting a number of cool and alternative solutions for achieving a result.

He loved life and enjoyed outdoor activities such as hiking, camping, kayaking and fishing, as well as utilising his college major in marine biology to enhance scuba diving.

He also loved to travel and experience other cultures and lifestyles. His favourite place was the state of Maine, where he spent the last 25 years camping each summer with his family.

Working for Robe enabled him to combine his enthusiasm for both music and travelling. It was a fulfilling job that he relished every hour of every day.

“Kevin played an instrumental role in the incredible US sales team, which has helped build and establish Robe as a leading player in North America,” said Robe CEO Josef Valchar. “But above all, throughout his time with us, he’s been valued as a fantastic friend and Robe family member, as well as a great employee.”

Harry added: “We all loved his tenacity, his gritty New York spirit, his intelligence and his eloquence. He was always up for a discussion and a debate and could always posture from both sides of an argument.”

Bob Schacherl, CEO of Robe North America, said: “I have known Kevin since 2013 and enjoyed firsthand the pleasure of seeing his honesty, dedication and impressive energy in action. His non-judgmental and inclusive outlook on life was a breath of fresh air, together with his ability to balance the life-work equation of family and career so brilliantly.”

Lorienn Cochenour, Robe North America’s COO / CFO said: “Kevin has left his mark indelibly – from his great commitment and the colour and fun he brought to all those

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around him, to his intense work ethic and the inspirational and positive way in which he dealt with and fought illness right to the end.”

Kevin was passionate about advancing technical education opportunities and training in the arts, and Robe will be administering The Kevin Loretto Education Fund in his memory through USITT. This will support students studying lighting and other technical disciples through workshops, seminars, training sessions, outreach programmes and a number of other initiatives, including its annual trade show.

Those wishing to donate to the fund can do so at www. usitt.org/loretto-fund. A special remembrance can be made to the family by visiting http://www.sbfuneralhome.com/ obituaries/Kevin-Loretto For more information about USITT’s educational activities, visit http://www.usitt.org/about

RoboSpot a flexible solution for The Little Mermaid

RoboSpots are being used on a production of The Little Mermaid in Belgium. Lighting for the show – the first time the show has been staged in Belgium – was designed by Luc Peumans of Genk-based international design practice, Painting with Light. The lighting equipment was delivered by leading Benelux rental company, Phlippo Showlights, together with audio and rigging.

The RoboSpot system was tech’d by Ilse Witlox, also the lead operator, who is an expert in the somewhat black art of follow spotting. Precise follow spotting was absolutely crucial for a complex and visually rich production like this.

The 11 BMFL Blades, complete with 11 RoboSpot MotionCameras, were positioned on a front truss, an advanced truss and on two side trusses.

Six on the front truss were positioned as three on the left and three on the right; the three on the advanced truss (‘behind’ the front truss and above the audience) were in the left, right and centre positions along that truss, and the other two were on short runs of truss just offstage to each side of the venue.

The two side BMFLs were specifically utilised for spotting lead character Ariel as she flew out from stage to front of house.

Ilse and her two colleagues – Peter Pijnenburg and Emiel van Holderbeke – were all stationed at FOH with their RoboSpot BaseStations, so they had a clear visual of how the spots looked in reality, in addition to seeing the effect on the base station HD screen monitor, which enables a first-person view of the performance.

Line of sight vision – in addition to remote screen – is also ideal for following the flying act and helpful in keeping on top of the pace of the stage action, which, in this case, was fast and coming from multiple angles.

The 11 BMFLs were divided up as two groups of four and one of three between the three RoboSpot BaseStations.

The RoboSpot systems were used in this case to control the pan / tilt, dimmer and iris functionality of the BMFLs – via the handles and two programmable faders, with the operator’s movements instantly transferred to the luminaire via DMX with no lag.

The rest of the parameters were run from the grandMA2 console running the show lighting, which was programmed

by Niels Huybrechts and operated by Jochen Kerckhofs.

While the operators could dim their BMFL follow spots when necessary, the maximum intensity was always set by the console operator.

The RoboSpot systems were specified by Luc after he saw a demo. The additional flexibility they brought to the production was a practical solution, giving him the right amount of follow spots in exactly the right places.

It was also cost efficient for production. For example, the two BMFLS used to spot Ariel flying out into the audience were needed for only five minutes of the show, which was ideal for a remote scenario, rather than tying up two operators for the evening.

Phlippo Showlights committed to purchasing the three RoboSpot systems for The Little Mermaid. Account Manager Joost Machiels said: “Investing in innovative equipment is essential for a company like Phlippo; we always like to be one step ahead.” The company, one of the leading rental players in Benelux, already has a substantial stock of BMFL Spot, Blade and Wash luminaires.

As an experienced follow spotter, Ilse has also had experience with some of the other remote controlled systems on the market and says that RoboSpot is ‘one of the better options’ for a floor-based system.

She appreciates the fact that you can grab luminaires and cameras on the system, that the lights react quickly to commands and that the control stations have been physically well designed, so operators can stand comfortable and relaxed for the performance session.

She says that while it takes some practice and concentration to master the RoboSpot system, those with no previous follow-spotting experience can be trained to operate it quickly and competently. Training is available via Phlippo or Robe’s Benelux distributor, Controllux.

For Luc, having the 11 RoboSpot-controlled BMFL follow spots brought a lot of additional flexibility, ‘which can potentially help in creating a better lighting design’.

He says: “You can programme parameters like colour and intensity, etc, into the lighting console, so the (remote) spot operators can just focus on functions like iris and maximum intensity.

“Being able to control more fixtures as follow spots is also useful. One of the most important elements in lighting any show, and especially a spectacular musical like this, is having sources coming from the right directions and angles. This system enables a greater choice of luminaires to be available – in a lot more colours, which is also very helpful – for highlighting artists and performers.”

Robe lights TPi Awards 2018

It’s that time of the year again: the 2018 Total Production International (TPi) Awards, produced by TPi Magazine, part of Mondiale Publishing, was staged at the Battersea Evolution venue in London in March. Robe was once again delighted to be right at the heart of the action, lighting the event utilising some of its latest technologies.

Nathan Wan put together a stunning lighting design that supported this year’s visual theme of 1980s/early 1990s New York ‘golden age’ rap and hip hop, complete with eye-catching cityscape video design reflecting the musical Set & Light | Spring 2018

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diversity and innovation of the period, with a few humorous twists and other cultural nuances such as neon tagging and spontaneous graffiti art included.

The lighting scheme involved about 300 Robe fixtures in the main room, plus more lighting the foyer and the Robe VIP Area, where guests partied their way long into the night once Presenter Russell Kane – back for the fourth consecutive year – had ripped through the 27 trophies accompanied by some side-splitting humour.

Nathan worked with Lighting Director and regular FOH team collaborator Andy Webb and Assistant LD Jordan Tinniswood, a lighting design student at Rose Bruford College. Jordan underwent a rigorous selection process to get the gig, initiated through NRG (Next Robe Generation).

The calibre of the NRG applicants for the Assistant LD post this year was so high that Nathan created extra roles to offer more opportunities. As a result, the NRG crew this year included an additional five students, who worked on lighting and tech’ing the main bar and reception areas and the Robe VIP afterparty lounge.

When it came to the look and feel of the main room lighting, Nathan had the physical parameters to take into account – a long wide space with a low ceiling – as well as the New York street-style theming, which he wanted to reflect with the lighting – lots of contrasts.

His own creative twists included having a baseball arena/ practice arena/stadium floodlight feel, so the architectural starting point for lighting was four grids of trussing, two at either side of the room, each loaded with 15 Robe Spiider LED wash beams.

These were all tilted around 40 degrees and replicated the arena/stadium lighting bankfeel well. Having the Spiiders in these positions, in close proximity, enabled him to run video inputs, as well as programming the fixtures as a lightsource.

In addition to the grid, there were three horseshoe-shaped trusses traversing the room and an upstage truss, with five 2m-high vertical trusses each side of the stage, extending out to the corners of the room, each with a Pointe on top and a PixelPATT on the front. They were perfect fillers for these black areas.

Forty MegaPointes were the main effects lighting, rigged on the three horseshoes and used extensively for all the aerial work with their radials, prisms and gobos. It was a large space to fill, and the power and brightness of the MegaPointes was needed to get plenty of light and funky looks.

Forty-eight LEDBeam 150s were arranged in groups of four on the horseshoes and used for ACL-style finger looks – ideal to match the period feel. Its excellent zoom feature was great for getting the effect just right, On the upstage truss, six Pointes provided backlight on Russell and the various awards presenters, mirrored by another six upstage on the deck.

Getting the lighting levels onstage correct was an intricate and challenging task that combined several fixtures and a lateral approach. A pair of Robe DL7S profiles were supported with DL4F LED Fresnels doing the side/crossstage filler and two more Spiiders boosted the lumens at the back, needed to make people pop out from the intense video backdrop. For additional stage key and front lighting there were two BMFL Spots with motion cameras, operated 48

remotely via two RoboSpot BaseStations at FOH. Seventeen ColorStrobes spread across the trusses kicked in high-powered, great-quality LED flooding and also specials to boost the light levels in the room, with an MDG theONE ramping up the atmosphere and haze.

All the lighting was programmed and run on two Avolites Arena consoles, with a couple of days pre-vis at Robe UK in Northampton the previous week.

Nathan, Andy, Jordan and the NRG crew worked closely on site with Evolution’s house lighting suppliers Hawthorn and their project managers. They got in the day before mid-morning and worked all through the day and night to get everything prepared.

After a short break, they were back ready for tweaks and the first rehearsals in the afternoon. Apart from the compressed timeframe, the challenge on this one is always that your work is being judged by the whole industry. The seats don’t get much hotter than that!

For Jordan, it was a fantastic experience to extend his knowledge of programming, and the creative and practical skills and considerations required to light a show like this.

It was also an insight into the communication and political skills needed to work harmoniously with all the other departments, all under the same time pressure.

The other NRG crew were Adam Davis (Robe VIP Lounge LD/operator), Alex Merrett (main bar LD/operator) James Matthews (Assistant LD in the Robe VIP Lounge and RoboSpot operator), Owen Yelland (Avolites systems tech) and James Marshall (tech crew and RoboSpot operator).

In addition to supporting the show, Robe’s UK and international teams and their guests had a fantastic evening and Robe again sponsored the Favourite Lighting Rental Company Award, which was presented by CEO Josef Valchar and won for the fifth year running by Neg Earth Lights.

The TPi Awards remembered the too many absent friends who have departed in the last 12 months including Robe’s own Kevin Loretto from the North American sales team. The show-stopping evening, which honoured some of the best, most creative, innovative and technical achievements of the last year in great style, was also a fitting celebration of the incredible characters’ lives and contributions to the industry.

STAGE ELECTRICS Stage Electrics enhances Birmingham University drama department’s performance

An investment in a pair of state-of-the-art 7,000 lumen Panasonic projectors has enhanced the University of Birmingham drama students’ exceptional adaptation of the book Looking Backward, written by Edward Bellamy in 1888.

With the requirement for a projector that could achieve a high level of output to cut through stage lighting, plus project onto two different surfaces during the performance, the University of Birmingham went to industry leader Stage Electrics for guidance.

Stage Electrics’ Paul Lucas liaised with the drama department to interpret its requirements. Paul said: “It became apparent that the department wanted to acquire professional technical

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Version 2 Lights recently invested in new distribution units, working with its manufacturing partner SES (Entertainment Services)

equipment that exposes students to the leading brands and technology. It needed projectors that could be used for full performances, delivering a high-quality presentation, while still being portable enough to move between their various spaces and studios; I knew Panasonic’s PT-DW750 was exactly what the university needed.”

The PT-DW750 has an operating noise of just 30dB, which makes it perfect for noise-critical situations, along with outstanding image-projection quality, a single-chip DLP and 7,000 lux. Stage Electrics knew that this projector would be the perfect fit – a choice which Phil Speck, a technical tutor and lighting designer in the drama department, agreed.

“As a department, we could not be more pleased with the PT-DW750s and the variety afforded by the options of control and input,” said Phil. “Stage Electrics was great in listening to all the requirements we had and provided us with a range of options at very competitive prices. It took the time to listen to any queries, ensuring that the purchase was exactly what was needed”.

VERSION 2 Version 2 Lights invests in power distribution

Broadcast and event lighting specialist Version 2 has continued its investment into its power-distribution equipment offerings.

One of the UK’s leading television rental companies, Version 2 prides itself on being at the forefront of technology

and innovation with its power-distribution systems. The company offers state-of-the-art monitoring utilising its propriety SMARTdistro technology.

The company once again turned to its manufacturing partner SES (Entertainment Services), which has built the company’s entire distribution inventory since its inception.

The design process was led by Sam Crook,Version 2’s Technical Director, who collaborated with SES Managing Director Mark Cooper on the specification of the latest units.

Mark said: “SES loves working with companies like Version 2; they come to us with a clear outline of what they want, both technically and physically, but still allow us to build their units to meet our exacting standards” Sam added: ‘’This significant investment was driven by high customer demand and positive feedback. The new distribution units sit well alongside our existing stock and now offer a complete end-to-end solution, helping customers provide safe electrical systems in line with BS7909.”

The company has simultaneously added rentable earthing kits to its inventory. The kits enable the rapid deployment of protective bonding for studio and location systems.

For more information, visit www.v2lights.co.uk/equipment/ category/power-distribution

Version 2 Lights deliver LED precision, versatility and colour with Litepanels Gemini softlight

Broadcast and event lighting rental specialist Version 2 is pleased to introduce the latest addition to its range of low-energy lighting products: the new Litepanels Gemini LED Set & Light | Spring 2018

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2 x 1 softlight fixture.

Created specifically for use in the film, television and media industries, the Gemini’s intuitive onboard control system features three fully featured lighting modes capable of delivering virtually any colour: CCT mode for true daylight and tungsten with +/- green fine tuning; HSI mode for total control over hue, saturation and intensity to create any colour in the 360-degree colour wheel at any intensity from 0–100 per cent; and gel mode to easily replicate the industry’s most popular gel sets with a daylight or tungsten source.

Compact, controllable and precise, the Gemini is a versatile, consistent, flicker-free soft source. Perfect for the provision of beautiful, even illumination when used either as a single unit or as a linked system, in the studio or on location.

Speaking about the fixture,Version 2 Managing Director Nick Edwards says: “We’ve been looking into purchasing a perfect soft-light solution for some time. I believe we now have the workhorse our industry has been waiting for.

Alongside the fixture’s power and versatility, the Gemini is both convenient and agile; the built-in power supply and no external ballast means rapid deployment and fewer cables.”

Pat Grosswendt, Gaffer and co-founder of Litepanels, says: “While we all work in the industry, we also realise the importance to have the gear to match any adventure that production puts your way. We created the Litepanels Gemini for smart, dependable gaffers, LDs and crew members, which is why we are so happy that Version 2 has chosen to make it available. I personally know Nick Edwards and his team – they remind me of my business partners and me when we started this LED magic long before anyone else.Version 2 is a trailblazer within the UK rental market, providing the best in both service and gear.”

Edwards adds: “The significant purchase means Version 2 now holds the UK’s largest rental stock of the Litepanels Gemini – a further example of our ongoing commitment to making low-energy and LED alternatives readily available to lighting directors, cinematographers and crew alike.”

WHITELIGHT It’s All or Nothing for White Light in the West End All or Nothing – The Mod Musical follows the rise and fall of the Small Faces: a band who encapsulated the mod era. The home-grown musical features a range of the band’s classic hits, including Itchychoo Park, Lazy Sunday and, of course, All or Nothing. Following its initial run at The Vaults in 2015, followed by a sellout UK tour, the show opened at London’s Arts Theatre. Having supplied the show since its very first production, White Light was called upon once again to provide the West End run.

The lighting designer for All or Nothing is Peter Small, who has worked on the show since it first opened in 2016.

He says: “It’s fair to say the show has definitely grown and changed over time, so much so that it’s now a completely different production than the one seen at The Vaults. Every time we’ve remounted it for an extension or a new tour, we’ve always taken the opportunity to improve and refine our work, with the West End transfer being the biggest and 50

Photo courtesy of Phil Weedon

loudest version yet.”

As with every version of the show, Peter’s brief remained the same for the West End run: to be true to the music and the era in which it’s set. He explains: “This isn’t a rock show.

Rather, it’s an equal balance between the straight acting scenes, alongside the music and dance sequences. For the acting scenes, we carefully chose the lighting depending on how we wanted each location to look (given the scenery doesn’t change). When we moved to a new location, we would either lead with a practical or an effect in order for the audience to identify with that location.”

He adds: “It’s the same for the music numbers. Each number has a very specific look that is not used again elsewhere. I also wanted to use the lighting to try and show the progression in the band’s career. For instance, in the early performances, there are some cheap-looking colour wheels.

For the next phases, there is a mirror ball, until it eventually leads to a full-blown concert. It’s about layering up the effects as we move through the tracks.”

As the show entered the Arts Theatre, there had to be some additions to the previous rig. Peter explains: “Back in The Vaults, we had about 50 generics and very few moving lights. In the Arts Theatre we had a rig of 72 moving lights, 58 scrollers and over 114 generics – so it’s a slight increase!

For a show like this, I looked to draw on equipment that I knew I could fully rely on. These include the GLP XBar 20, ETC Revolution IM/SM,VL1000TS,VL1100AS,VL3000Q, MAC 700, Robe Mini Me, Chroma-Q ColorForce 72 and, of course, a healthy dose of ETC Source Fours and Par Cans”.

With the previous show closing on the Saturday evening and All or Nothing opening the following Tuesday, there was a limited load-in time. Peter says: “This wasn’t a straight remount of last year’s tour as we’d added additional effects and sequences, so the overall lighting plan needed completely updating. Although we had limited time in the space, I’d thankfully invested in the Capture software, so I was able to pre-viz a large majority of work ahead of time with my Programmer Tom Davis – something that paid in dividends.”

All or Nothing ran at the Arts Theatre until 11 March and then transferred to the Ambassadors Theatre, where its run will continue until 2 fJune.

Having received two nominations for an OffWestEnd Lighting Design Award this year, All or Nothing marked Peter’s West End debut. He says: “There is a certain level of expectation when

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White Light helped create a gaming experience with Gfinity at Vue Cinema in Fulham. Photo courtesy of Joe Brady Photography

you’re working in the West End for obvious reasons.Thankfully, I had a great team behind me, which included Adam Squire, Tom Davis, Abbi Fearnley, Liam Cleary, Alex Gooding and Elliot Roberts who, were nothing short of incredible throughout the entire production process. I also want to say thanks to Louise Hambley, Bryan Raven and everyone else at WL, without whom this project wouldn’t have been possible.”

It’s game on for White Light at Gfinity Esports Arena White Light has helped to create the ultimate gaming experience with the Gfinity Esports Arena in London.

Gfinity is a world-leading esports entertainment group with a reputation for delivering the best live experiences with the highest production values. The organisation recently created the Gfinity Esports Arena at Vue Cinema in Fulham to allow fans to watch head-to-head competition as gamers battled in the Gfinity Elite Series before their very eyes.

WL worked closely with Production Designer Paul Sudlow and Stage Builder Scott Fleary to create an unforgettable gaming experience. WL’s Project Manager Tom Cass says: “We needed to turn an empty space into an immersive gaming environment that featured three custom-built stages and would house a sold-out arena of gaming fanatics. We saw the 3D model, so we were aware of how Paul envisaged the space. We then had to supply the technical equipment and expertise to make this a reality.”

The turnkey solutions that WL supplied included the lighting, video and truss structure. Tom says: “When the players enter the gaming arena, they walk through a hexagon tunnel. We lined the walls with LED video tubes and

positioned LED tape on the exterior. Similarly, as the players walked to their gaming booths, we installed pixel flex on the staircase in order to perpetuate the mesmerising effect created by the tunnel.”

The gaming action is live-streamed on two LED video walls, which are situated behind the presenters’ desks. The content is run using the d3 4x4 media server. Tom says: “We used the d3 4x4 as it is one of the few servers powerful enough for a project like this. The gamers are positioned in 10 individual units on the stage above and, for each booth, WL supplied Philips ePar 180 LED lights.”

With the Gfinity Elite Series shown on linear TV and streamed online, WL had to draw on lighting that would be suitable for broadcast. The Phoenix Profile was used to light both the gamers and broadcasters, whereas the Galaxia LED Soft Lights were used for studio lighting. Tom adds: “Having worked on high-profile broadcasts such as the Rugby World Cup, Euro 2016 and the ITV Racing season, we were able to draw on our experience and offer a suitable solution.”

The main lighting rig within the arena consisted of ROBE 300s and Spikies to provide even coverage. This was controlled by a LX300 LSC lighting console.

For the build itself, WL had two weeks to work with the designers and acquire the necessary equipment. The company then had just over a week on site to install all of the technology; ensuring the arena was ready for the launch.

Tom adds: “Gfinity is a great example of us working on a high-profile project with a very tight deadline. We were able to enter a space, work closely with the creative team and deliver the exact technical solutions required.”

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sponsors’ directory

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: sales@ac-et.com ~ Web: www.ac-et.com/film-tv 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 (David March) Aurora Lighting Hire Ltd, Unit 21, Ockham Drive, Greenford Park, London UB6 0FD Tel: 020 8813 2777 ~ Email: Dmarch@ver.com ~ Web: www.auroratv.co.uk B360 (Barry Denison) 33 Lindlings, Hemel Hempstead, HP1 2HB Tel: 0203 9534 360 ~ Email: info@b360.tv ~ Web: www.b360.tv 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 Studioworks (Karen Meachen) Room N101, Neptune House, BBC Elstree Centre, Eldon Avenue, Borehamwood, Hertfordshire WD6 1NL Mob: 07970 115 998 ~ Email: karen.meachen@bbcstudioworks.com ~ Web: bbcstudioworks.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 Professional (Michael Brooksbank) Unit 1C, Brookhill Road Industrial Estate, Pinxton, Notts NG16 6NT Tel: 01773 511115 ~ Email: mbrooksbank@chauvetlighting.com ~ Web: www.chauvetprofessional.eu 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 (Ian Muir) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.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 Claypaky 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

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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) Zero 88, Usk House, Lakeside, Llantarnam Park, Cwmbran NP44 3HD Tel: +44 (0)1633 838 088 ~ Mob: 07802 464484 ~ Email: enquiries@zero88.com ~ Web: www.zero88.com Elation (David Martin, Key Account Manager) Elation Professional B.V., Junostraat 2, 6468EW Kerkrade, The Netherlands Mob: +44 (0) 7495 051413 ~ Email: david.martin@elationlighting.eu ~ Skype: ElationDavid ELP (Ronan Willson, 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 ETC (Mark White, Jeremy Roberts) Electronic Theatre Controls Ltd, Unit 26-28,Victoria Industrial Estate,Victoria Road, London W3 6UU Tel: +44 (0)20 8896 1000 ~ Email: uk@etcconnect.com ~ Web: www.etcconnect.com 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 GLP (Noel Smith) 7, Heron Units, Heron Road, Sowton Industrial Estate, Exeter, Devon EX2 7LL Tel: 01392 690 140 ~ Email: N.Smith@glp.de ~ Web: germanlightproducts.com Green Hippo (Tom Etra, James Roth, Anastasia Nikolaou) Unit 307 Parma House, Clarendon Road, Wood Green, London N22 6UL Tel: 020 3301 4561 ~ Fax: 020 8889 9826 ~ Email: jamesr@green-hippo.com ~ Web: www.green-hippo-com Hawthorn Lighting (Dave Slater, May Lee) Crown Business Park, Old Dalby, Melton Mowbray, Leicestershire LE14 3NQ Head Office: 01664 821111 ~ London Office: 020 8955 6900 ~ Email: info@hawthorns.uk.com ~ Web: 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

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sponsors’ directory

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, Richard Bunting) 15 Woking Business Park, Albert Drive, Woking, Surrey GU21 5JY Tel: 01483 764 646 ~ Fax: 01483 769 955 ~ Email: richardb@lsiprojects.com ~ Web: www.lsiprojects.com Martin by Harman (Ritchie Reed at Harman partner Sound Technology) Sound Technology Ltd, Letchworth Point, Letchworth Garden City, Hertfordshire SG6 1ND Tel: 01462 480 000 ~ Email: info@soundtech.co.uk ~ Web: www.soundtech.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 MULTI-LITE (UK) Limited (Martin Carnell) 15 Airlinks, Spitfire Way, Heston, Middlesex TW5 9NR Tel: +44 (0) 208 561 4501 ~ Mob: +44 (0) 7970 224313 ~ Fax: +44 (0) 20 8561 8041 ~ Email: MCarnell@Multi-Lite.co.uk ~ Web: www.multi-lite.com OSRAM Ltd (Terri Pearson, Andy Gilks) 268 Bath Road, Slough, Berkshire SL1 4DX Tel: 01925 273 360 ~ Email: displayoptic@osram.co.uk ~ Web: www.osram.com/pia Panalux Limited Panalux Broadcast & Event, Unit 30, Perivale Park, Perivale UB6 7RJ 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 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 PRG XL Video (Kelly Cornfield, Mat Ilot) The Cofton Centre, Groveley Lane, Longbridge, Birmingham B31 4PT Tel: 0845 470 6400 ~ Email: kcornfield@prg.com / milott@prg.com ~ Web: www.prg.com/uk Pulsar (Dave Cowan, Mitesh Mistry, Paul (Snowy) Johnson, Katie McGovern) 1 Pembroke Avenue, Waterbeach, Cambridge CB25 9QP Tel: 01223 403 500 ~ Fax: 01223 403 501 ~ Email: sales@pulsarlight.com ~ Web: www.pulsarlight.com

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Please mention Set & Light when contacting sponsors

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) Blanchard Works, Kangley Bridge Road, Sydenham SE26 5AQ Tel: 020 8659 2300 ~ Fax: 020 8659 3151 ~ Email: contact@rosco.com~ Web: www.rosco.com Schnick-Schnack-Systems GmbH (Solveig Busler) Mathias-Brüggen-Strasse 79, 50829 Köln, Germany Tel: +49-221-992019-0 ~ Email: marketing@schnickschnacksystems.com ~ Web: english.schnickschnacksystems.com SGM Light UK (Anthony Van-Sertima) Unit 8, St Johns Court, Sevington, Ashford, Kent TN240SJ Tel: +44 (0) 1233 460 400 ~ Mob: +44(0) 7769 711 594 ~ Web: www.sgmlight.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 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 ~ Email: tmb-info@tmb.com ~ Web: www.tmb.com Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ Email: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk Version 2 Lights Ltd (Nick Edwards) Unit 4 Wessex Road, Bourne End, Buckinghamshire SL8 5DT Tel: 020 3598 6938 ~ Email: info@v2lights.co.uk ~ Web: www.v2lights.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 ~ Email: info@WhiteLight.Ltd.uk Web: www.WhiteLight.Ltd.uk ~ Hire Tel: 020 8254 4820 ~ Hire Fax: 020 8254 4821 ~ Sales Tel: 020 8254 4840 ~ Sales Fax: 020 8254 4841 XTBA (Chris Cook, Fiona Fehilly, Simon Peers) Unit 2, The Old Curatage, The Street, Caston, Norfolk NR17 1DD Tel: 020 8882 0100 ~ Email: dmx@xtba.demon.co.uk ~ Web: www.xtba.demon.co.uk

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sponsors’ directory

Please mention Set & Light when contacting sponsors

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

sponsors’ directory The STLD’s interactive Sponsors’ Directory is a useful tool, both for the STLD and, we hope, for those of our sponsors who use it. Its main advantage is that it enables the society to display up-to-date and accurate information about your company on its website. In doing so, it helps us update our records and ensures that we have accurate mailing and invoicing details.

STLD sponsor companies can make use of this facility by contacting Bernie Davis at sponsors@stld.org.uk with the name and email address of the person who will become the company’s ‘sponsor user’. They will be registered on our secure database and will then be able to modify their company’s information within the Sponsors’ Directory.

Please note that the directory enables company searches by category and area.

Bernie Davis – STLD Sponsor Liaison

index of advertisers ClayPaky 10 Doughty 33 Elation 30 ELP BC Green Hippo 9 Lee Filters IBC PLASA 4 SGM 14 Unusual Rigging 20 Vitec Videocom 32

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membership application

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membership application

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 membership fee, the STLD’s bank account details and the subscription fee due payment date.

The best and the preferred method for paying for your membership is by direct bank transfer to the STLD’s account using the following format as the payment reference.

YOUR SURNAME/INV*** (INV*** being the number of the STLD’s membership invoice) 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

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society committee

Chairman Stuart Gain 07774 161 996 chairman@stld.org.uk

Deputy Chair Andrew Dixon 07885 731 865 andrewdixon@stld.org.uk

Secretary John O’Brien 07717 170 288 secretary@stld.org.uk

Treasurer Mike Le Fevre 07956 305 662 treasurer@stld.org.uk

Sponsors Liaison + Administration Officer Bernie Davis 07860 662 736 sponsors@stld.org.uk

Exhibitions + Membership Chris Harris 07775 846 972 members@stld.org.uk

Magazine Editor, Sponsor News, Assistant Sponsor Liaison + Advertising Sales + Diary Emma Thorpe 07850 709 210 editor@stld.org.uk

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

Website Ian Hillson ianhillson@stld.org.uk

Student Representative John Piper johnapiper@yahoo.com

Robert Horne 07762 562 434 roberthorne@stld.org.uk

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

Alan Luxford 07867 536 522 alanluxford@stld.org.uk

Paul Middleton 07720 446 921 paulmiddleton@stld.org.uk

Jane Shepherd 07710 511 547 jane.shepherd2009@gmail.com

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Elstree Light & Power Lighting - Power - Rigging

Hire of equipment and services for Studio - Location - Events

Cardington: 01234 744222 Manchester: 0161 300 2922

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