Set & Light: Spring 2019 (Issue 126)

Set & Light

www.stld.org.uk

Issue 126: Spring 2019

from the Society of Television Lighting and Design

INSIDE: AGM REPORT | KING’S VISIT | BVE | RICK DINES REMEMBERED STLD_126 pp1_xx.indd 1

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editorial

A new committee for a new year Firstly, I would like to apologise for the delay to our Spring issue. I wanted to ensure the magazine included our AGM report for the benefit of those readers who were unable to attend the meeting in person.

Thank you to all of you who did make it to our 45th AGM, which took place at ETC’s premises on 12 March – and a big thank you to ETC, too, for its hospitality.You can read the Chairman’s report on page 3. At the AGM, Stuart Gain announced he was stepping down as Chairman and we welcomed his successor, Bernie Davis. Stuart may have stepped down but he will not be disappearing; instead, he will be staying with us as Secretary. Former Secretary John O’Brien is now Admin Officer.

Please contact Chris Harris, our Membership Secretary, at members@stld.co.uk to ensure you don’t miss out on our meeting invitations, which now go by email. Due to GDPR, it is now necessary to opt in to receive our emails, so if you haven’t already, please email Chris to let him know you’re happy to receive communications and he will ensure that you go on our mailing list. 2019 is set to be a busy year, with many visits being organised already.

Our next issue will be out in the summer. The deadlines for this are 21 June for advertising and 28 June for editorial.

Please contact editor@stld.org.uk for a full media pack.

Emma Thorpe Editor

contents 4

AGM: Chairman’s report

6

STLD visit: Carols from King’s

12

Sponsor focus: Kino Flo

14

Event: BVE

15

Profile: Fernand Jacopozzi

17

In memoriam: Rick Dines, Tony Escott and Fred Foster

19

Information: Backup news

20

Sponsor news

40

Committee contact details

41

Sponsors’ directory

44

Index of advertisers

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: King’s College Chapel by Bernie Davis

Printed by: Gemini Print Deadlines for the next issue: Editorial: 28 June 2019 Advertising: 21 June 2019 Advertising is accepted only from sponsor members of the Society

© Society of Television Lighting and Design 2019 Set & Light | Spring 2019

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agm

Chairman’s report

A sad farewell to two stalwart members The 45th AGM of the STLD was held on 12 March. For the benefit of those members unable to attend, Chairman Stuart Gain’s report is published below I would like to welcome you all here tonight for the 45th AGM of the STLD. We had hoped, as in previous years, to arrange a bigger meeting in order to encourage attendance. Unfortunately, our plans did not go the way we had hoped and, as time was marching on, we had to act quickly. I am, therefore, grateful to Mark White for offering ETC’s premises for us to use tonight and to Andrew Dixon for being the go-between!

The year started well with an excellent meeting at Television Centre.

After hearing about the various 4K standards at BBC R&D, we had a tour of the studios across the road, followed by the AGM and refreshments.

Chris Harris has been busy with the exhibition stand this year, visiting Stage Electrics at Bristol, BVE (both North and South) and PLASA North and South. We thanks Chris for his work with exhibitions and of course as Membership Secretary, both of which he excels at.

We visited RML, Signify at the Royal Opera House, the National Film School with GTC and The Questors theatre, courtesy of Andrew Dixon.

We also visited Sky Studios to see the new glass cube studio, which has the interesting feature of there being no cameras on the studio floor. These are all on rails fixed from the ceiling.

Our thanks go to Richard Bowles for arranging this meeting.

During PLASA, the annual Knights of Illumination Awards took place at the Eventine, Hammersmith. Over 500 LDs and colleagues from television, theatre and concert touring came together to witness the event. This year, in the Television section, we saw a first in the KOI’s 10-year history when LD Andy Stagles picked up two awards in one night. Congratulations go to all the winners, many of whom are STLD members, and of course, especially to Andy for his achievements.

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Sorely missed: the late Ian Dow, who, along with Rick Dines, was an active member of the STLD. Turn to page 17 to read Rick’s obituary

The year finished with a visit to Kings College Chapel in Cambridge, home of ‘Carols from Kings’, now in its centenary year. Our thanks go to Bernie Davis for setting this up and producing an excellent article, which you can read on pages 6–11.

There are already plans for meetings this year, including a visit to the studios of ITN and a tour of the National Theatre complex on the South Bank, with a chance to see a dress rehearsal of one of the National Theatre Live Productions.

We have again held training courses at Evesham and had excellent feedback from the delegates. Our thanks go to Iain Davidson and Charles Osborne for organising these.

Unfortunately, both Iain and Charles are stepping down this year. Iain is retiring and moving down to Cornwall and we wish him a long and happy retirement. We are looking into other ideas on training and hope to be able to run courses in the future.

This section of my report would not be complete without mention of those members we said goodbye to last year. It was particularly sad as we lost two of our stalwart members: Ian Dow and Rick Dines, both of whom

will be sorely missed. I’m sure many of us have many fond memories of them and we send our deepest sympathies to their families. I would also like to mention the recent passing of Fred Foster, who, as you will know, had a particular connection to this building.

I think many of us were shocked at his departure and send our condolences to his family and to ETC. I would like to thank the whole committee for all the work it has put in during the year. I would particularly like to thank John O’Brien, who is standing down as Secretary this year.

John has been an excellent Secretary and a great support to me over the last few years. I’m glad to say he will be staying on the committee and will still be assisting me with organising the KOI awards on behalf of the STLD. Finally, I would like to thank the membership for their support over the last 12 years of my Chairmanship, as I too have decided to stand down. As many of you will know, I have had a difficult couple of years in my personal life and I feel I am not able to lead the society as I would wish to. I have enjoyed being your Chairman enormously and I feel I managed to achieve a few of my goals. However, the one I did not manage was to increase our membership. I know this is something the new Chairman is keen to see happen and the new committee will be working hard to do something about this. I would ask all the members to do as much as they can to encourage potential members and spread the word. It is only by us all working towards recruiting new members that our society will flourish. I too will be staying on the committee and look forward to seeing the society grow.

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

Stuart Gain Chairman

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Clockwise from top: PLASA; Sky Studios with Richard Bowles; Andrew Dixon at The Questers theatre; double-winner Andy Stagles at the Knights of Illumination Awards; the National Film Theatre School with Iain Davidson and Bernie Davis; and some familiar (yellow) faces at Sky

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stld visit

Carols from King’s

A King-sized lighting challenge Words: Bernie Davis Photos: Bernie Davis and John O’Brien

2018 saw many commemorations remembering the end of The Great War, giving all of us a reason to look back at the trials and tragedies of a generation mostly no longer with us, and to think of those to whom we pledged ‘We Will Remember Them’ having given the ultimate sacrifice serving their country. Back in 1918, when the Armistice was announced, the Dean of King’s College Chapel, Cambridge, decided to hold a service of Nine Lessons and Carols that Christmas Eve as a gift to the City of Cambridge – a service that has been held every year since then.You would know that service better by its radio and television programme title Carols from King’s, which for many viewers around the world announces the real start to the Christmas period.

As 2018 marked the 100th anniversary of this world-famous service, the STLD was invited to look around the chapel as the broadcast was being prepared. After lunch at The Eagle, kindly provided by ELP, we started with a guided tour of the chapel.

The Chapel

The building is of Perpendicular English Gothic design, and when you first walk in, the sight of the world’s largest fan-vault ceiling takes your breath away. The chapel was commissioned by Henry VI and the foundation stone was laid by him in 1446. Work continued despite the War of the Roses and the roof was finally added between 1512 and 1515.

The perpendicular design allows for much larger windows than were previously possible, filling the chapel with natural light. The chapel’s beautiful stained glass was finished by 1531.

The building survived Cromwell’s dissolution of the monasteries between 1536 to 1541, largely thanks to his troops being billeted in the chapel (being winter, they chose not to smash the windows). Despite soldiers and horses living in the chapel, it survived largely unscathed, although in one area of the wall near the altar you can just make out what appears to be the remains of some graffiti depicting a soldier on horseback, believed to have been drawn by one of the soldiers.

This page: members inspecting the chapel, top left; the Rubens under the East Window, top right and above. Opposite page: Greg Fitzgerald, bottom right

During the Second World War, the city was concerned that bombing could destroy the windows and so they were removed and stored in the cellars of other Cambridge buildings. Luckily, that part of Cambridge escaped the bombing Set & Light | Spring 2019

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stld visit

This page, clockwise from top: a picture from the Radio Times in 1928 and how it looks today; OB trucks, c. 1954; BBC Cameraman Don Mackay with a Marconi Mk1B from MCR10 in 1954

and the windows were replaced soon after the war ended.

The east end of the chapel over the altar is the magnificent Adoration of the Magi, painted by Rubens in 1634 and bought in 1959 for a world-record sum by a benefactor who then donated it to the chapel in 1968.

The BBC

King’s Chapel not only has its own fascinating history, it has also been the setting for some broadcasting history. Back in 1928, the BBC first broadcast The Festival of Nine Lessons and Carols live on Christmas Eve, making this year the 90th anniversary of the BBC’s involvement. A photograph in the Radio Times shows the entrance to King’s College looking remarkably different from how it looks today, the current look not enhanced by the TV trucks, necessary as they are.

Listeners were able to receive the broadcast on 2LO and 5XX (London and Daventry respectively), with the BBC’s first charter only having been granted in 1927. Apart from just one gap in 1930, the service has been heard on BBC Radio every year since then.

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The service was first shown on television in 1954 when MCR10, a Birmingham-based three-camera unit broadcast the festival as part of the Television Continental Exchange. This enterprise for the exchange of programmes, now known as Eurovision, only started in June that year, linking Belgium, Denmark, France, Italy, the Netherlands, Switzerland, the UK and West Germany with one month of experimental exchange of programmes via thousands of miles of newly installed circuits and optical standards converters joining our 405 lines to the 819 lines, 625 lines and 441 lines used abroad. The press and the public saw this as a great success and, despite the high costs involved, the exchange was extended to include a Christmas programme, and so Carols from King’s was broadcast live to nine countries on 23 December 1954 and the BBC took Midnight Mass live from Paris on Christmas Eve and Winter Sports from Switzerland on Boxing Day. A film-recorded copy of this broadcast was shown on the BBC in 2014 as part of its celebration of 60 years of Carols from King’s on television. Although that was the 60th anniversary, television did not actually cover the event every

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Carols from King’s

year; indeed, it was 1963 before the BBC visited a second time and there have been a few gaps since then, including one when the BBC was barred from the chapel following some damage to the walls. I can’t find out exactly what was done, or who was to blame, but I have seen scars on the walls over the choir where I was told scaffolders had fitted pipes to mount 2K Fresnels used to light the choir.

I have the names of many of the people who have lit King’s in the past, although the further I went back the more vague were the memories! I can’t find a record of who lit the first broadcast in 1954, but when the BBC returned in 1963, Barry Hill, from BBC Birmingham, is credited. Barry was a muchrespected Midlands-based TV lighting director and, of course, Cambridge came under the Midlands in the old BBC Regional division of programmes. In 1972, Bryan Wilkes, former Head of BBC OB Lighting was involved, soon followed by Hugh Cartwright, Harry Thomas, Alan Woolford, Peter Greenyer and Bert Robinson. In 1991, Peter Webb was asked to take on the lighting, and to reassure the chapel that more care would be taken, a policy was followed by which continuity of staff year on year was maintained as far as possible. Peter left the BBC in 1999 and handed the show to me, and I have managed to stay with it since then.

So how do you light a building for multicamera coverage of a service that happens in real time when you want to look in all directions, including up to the roof?

The lighting design changes very little year to year, although there have been a couple of landmarks in the past. Camera technology advances have brought about key changes, going back to the early 1950s when the Image Orthicon cameras, with their improved sensitivity, enabled the broadcast to be made at all for the first time. I mentioned earlier that 2K Fresnels were used at one point, which is how the transmission would have been achieved in the Plumbicon days, and LDK5s were still the camera of the day when Alan changed the lighting design from scaffolding over the choir to the use of scaffold towers. With careful draping, it proved surprisingly easy to make the towers invisible to the cameras.

Peter Webb was asked to improve the design with two aims: to remove the scaffolding and to make the lighting look more natural and candle-lit. He had the benefit of the new, more sensitive CCD cameras that were just being used by the BBC and so was able to use much smaller fixtures. However, he took another approach, which resulted in a story that lives in BBC Outside Broadcast history now. The candles used extensively throughout the choir were almost bright enough to give satisfactory and very natural lighting of the choir – almost, but not quite enough. They sat in candle holders containing10W pygmy bulbs, used to light the choir’s music.

This was part of the 1960s installation of electric lighting into the chapel for the first time: a refurbishment that included two Patt 23s hidden behind the altar’s electric chandelier and used to light the Rubens painting behind the altar. The Patt 23s were still in use in 2018, although we did have to fix one this year.

Peter had the idea that if a spacer tube could be inserted under the candle holders with a small window, the pygmy

Pictured right: one of two Patt 23s lighting the Rubens, top; centre and bottom, the windows of the candle holder adapters let out light at the base Set & Light | Spring 2019

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stld visit

Above, from left: truss in the choir stalls; truss west of the choir stalls; note the Lighting Director’s chair

bulbs could also contribute to the choir lighting from a very natural angle. He invited Dave Yates of BBC OBs Mechanical Workshops to come up with a design. Dave drove back to Kendal Avenue wondering where he could source some metal tube of the right size and on arrival, he noticed that the swing pole vehicle barrier had yet again been caught by a truck and was lying snapped off to one side of the entrance.

He thought it looked remarkably close to the size he needed and measured it. It proved to be perfect, and the aluminium tube was taken to the workshop, sawn into suitable lengths, with windows milled into them and they were sprayed gold.

The result on camera was a very natural look, with no possibility of unnatural shadows, and these fittings are still carefully stored and used every year. The only improvement I have made since taking over is the addition of reflectors made from Rosco reflective material, and diffusers on the windows to improve the spread. We also had them powdercoated one year to tidy them up. Peter replaced the 10W bulbs with 15W to get the level up, but these have to be removed after we go as, in summer, 15W is enough to make the candles droop. So, every year, King’s starts and finishes with the ritual of the fitting and removing of the candle tubes and the changing of the bulbs.

For the rest of the lighting, Peter placed small fixtures such as birdies and pin-spots on the woodwork over the choir and used these to light the congregation, organ pipes, vaulted ceiling and other architectural details. This was the design I inherited, and it served well for a few years until Health and Safety got involved. The only way this design could be rigged was to walk along a wooden ledge about 4.5m high and about half a metre wide, which was also where the lights were placed.

Access meant treading carefully between lights, avoiding cables and other obstacles, with no hand rail and nowhere to harness on to. What’s worse, the ancient woodwork was getting dilapidated, and you had to think twice about making fine adjustments for fear of moving something else. So we set about designing a new way of lighting the chapel, but in such a large and open building, where do you put the lights, especially when cameras want to look everywhere?

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With help from contractor ELP and scaffolders Bristol and Principality (namely Justin Denchfield and Brian Hamley) I managed to place four vertical trusses, one in each corner of the choir area. At the east end of the choir, we fitted chemical bolts into the wall to which we attached short tubes to secure the trusses, and when we are not there, a small grey plastic cap leaves the bolt hole almost invisible. The west end of the choir proved more tricky as the oak woodwork prevented us from attaching to the wall behind, but with extreme care, we managed to tuck a vertical truss into the corner of the choir stalls themselves and to secure it with soft ratchet straps to the ancient woodwork. This is not structural enough to allow climbing but is perfectly adequate for keeping the truss upright. A scaffolding T-piece at the top provided a platform for better fixtures than we had used before, such as Source 4 Profiles and 500W ARRI fresnels. The choir is still lit using the adapter sleeves, and the additional lighting is for architecture and for congregation mostly. Source 4 profiles enable the very dark woodwork to be lifted out of the gloom, and a few carefully placed fixtures keep the walls visible after the sun goes down. The wonderful ceiling was more of a challenge and, of course, it is heavily featured in the programme. The wide shot from east to west has the whole of the ceiling in it, right over the organ loft up to the west window, so a few lights on our trusses would not do much.

The solution I came up with was a small corral of lights placed in the ante chapel some way west of the organ, firing over the loft. From this one point, you can see every bit of the roof, although the distance varies enormously as you look from east to west. By using an array of different fixtures, I broke the ceiling down into sections, using appropriate lenses to keep levels and spread the same. So each side of the roof uses one 5° Source 4, one 10°, one 26°, one 36°, one 50° and one ARRI 2K Fresnel. It looks more like some lights have been dumped out of the way, but they are out of the way and very effective.

To help with the fact that recording starts in daylight – sometimes with direct sunlight still on the north walls – through to full darkness, we light through the windows from outside with four 4K MSRs and three 1.2 pars. This way, the

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Carols from King’s

Clockwise from left: the ceiling is lit in sections; one of three remote cameras used – the other five are manned; one Dedo backlights the choir at the altar; roof lights at the west end

light through the windows is maintained to the end of the recording. It might not be natural but it does look nice.

Eight cameras are used, three of them remote pan-and-tilt heads, three on peds just west of the choir, one in the organ loft and one hidden near the back of the choir. Careful focusing of the lights and the use of flags keeps the cameras pretty well invisible, even though most wides would include at least half the cameras in frame.

One of the challenges is that we have to record the service as a complete package and can only do retakes at the end.

This means that we might well be recording part of a carol in daylight, with a patch recorded after dark. The vision team does great work, using its own recording to quickly check how it looked on take one and then matching the retake insert as best it can. There is nothing I can do to help either;

it is that large cool daylight lift that disappears.

So, what’s the future? Well, the lighting works so there is no urgency to fix it but one project that is already under way is a new house lighting installation. The lights introduced in 1968 have had their day and the chapel is a gloomy place even with all the lights (before 1968, there was only candlelight). A company is already adding LED lighting that can help with lighting the congregation, and to light some of the architecture. Thanks to good co-operation, the fixtures have already been tested for flicker and they are all colour tuneable. What’s more, they are DMX controlled, so we can drive them ourselves when the installation is complete. I look forward to seeing what they offer, but I think it might be a while before the candle holder sleeves become redundant.

I would like to see that tradition continue into the future.

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sponsor focus

The brains behind the Kino Flo Words & photos: Bernie Davis In February, the British Society of Cinemaographers (BSC) held its epic BSC Expo at Battersea Evolution, London, and can I say that it is well worth visiting next year if you get the time.

While I was there I met up with Frieder Hochheim on the Cirro Lite stand. Frieder is the brains behind the iconic lighting fixture the Kino Flo, which, thanks to its robust lightweight design and accurate colour rendition, has been a fixture of choice for film and TV since the 1980s. But Frieder’s work did not stop in the 1980s, and he was keen to talk through his latest research and development into the use of LED light sources.

As an electrician, Frieder came up with the idea of using fluorescent tubes to make soft lights for filmwork. Of course, as we all know, there are many types of tube and many of them have doubtful light spectrums in danger of causing typically green casts and poor skin tones. Frieder realised that tubes could be made to fluoresce in a much more photographic way at a cost, and once he sourced the right tubes, he was able to make very efficient, lightweight soft lights. It then took a friendly sound man to point out that if he didn’t patent the design and start selling them, someone else would, and the Kino Flo was born.

Fast forward to recent times and, to meet market demands, Kino Flo developed an LED range. That research opened up a whole area of complexity that Frieder had not expected. He was able to get the specification of Kodak and Fuji film and match the lighting pretty well to that but, of course, film companies are now using more and more electronic cameras, and that is where the problems started. The camera companies were not happy to share their specifications with him and so he had to conduct his own research into how they responded to colour.

Many light meters are not up to giving accurate readings of colour spectrum distribution as most have limited sensors for checking at all wave lengths.

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Frieder Hochheim

Celeb 450 Q

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Kino Flo: Frieder Hochheim

In the end, Frieder settled for a Sekonic Spectromaster C-800, which has a native camera space that is an average of HDSLR cameras. It has the CIE XY chromaticity functionality that enables the reading a light source and then matching it by dialling in the coordinates on a fixture. But even this meter would not give out quantifiable data that he could work with, and so Kino Flo set about developing its own spectrometer to measure the actual responses of cameras using the Macbeth,or Colour Checker chart to plot accurately the camera response curves.

Frieder then looked to see which cameras were generally in use and the most common seemed to be the ARRI Alexa. He set about measuring its response to a wide spectrum of light, using incremental steps of 5nm to get accurate data to work with. The results proved to be not a long way from the human eye, which is what you would hope, but when he looked at how the Alexa responded to different sorts of LED fixture, the complexity of the problem grew.

Now I am not going to get overtechnical as I will only show myself up but most of you will have seen the CIE Chromaticity chart: that slightly lopsided loop plotting a graphical relationship between all wavelengths of visible light. The outer curve takes you through all the monochromatic colours from 400nm to 700nm, and the colourful bits in the middle represent the mixing of these wavelengths.

Saturated colours are on the outside and in the centre is white, although there are, of course, a range of ‘whites’, from a very warm to very cool, and we are used to representing these whites by colour temperature as they are the light produced by heating platinum to that range of temperatures usually quoted in Kelvin. These whites follow a curve on the chromaticity chart from red through to blue known as the Planckian curve.

For years we have used tungsten filaments to produce a range of colours on that Planckian curve, right from just-visible at the red end up to about 3,200K. Sunlight is about 5,900K, with the actual colour temperature being affected by scatter in the atmosphere, easily taking it up to 20,000K in some

CIE Colour Chart

circumstances. The evenness of daylight and tungsten give them both very good colour rendition.

Fluorescent tubes work by producing UV light, which excites the phosphors that line the inside of the tubes to generate light, and the spectrum of that light depends on the phosphors used.

But they don’t necessarily produce an even spread of wavelengths – just enough to trigger the cones in our eyes to produce coloured vision. Frieder’s achievement, which saw the start of Kino Flo, was to source fluorescent tubes with phosphors that gave good colour rendition. However, LED sources are not continuous spectrum and so different cameras can respond differently to the same LED lights.

A white LED is white thanks to the phosphor doping producing white light somewhat like a fluorescent tube, and this way you can make warm-white and cool-white LEDs. By having both in a fixture, you can blend them to vary from tungsten to daylight colour temperature. Except you can’t. Going back to that chromaticity chart: if you plot two points on the Planckian curve (daylight LED and tungsten LED) and mix between them, you take a straight line between those points, which takes you off the curve, so introducing a magenta error. It might be small but it is there.

Adding LEDs of different colours broadens the colour gamut, but Frieder’s painstaking research showed that different cameras responded somewhat differently to different LEDs. His next step was to tailor the fixture to the camera. As he puts it, the classic

artists went to great effort to mix their favourite palette of pigments, and maybe we in lighting have been more worried about the brush than the paint.

The light source might be fine to reproduce white, and to capture scenic colours, the most critical thing is flesh tones. What Frieder found was that the camera might well detect a small green shift in a source, and you could filter that out. But that green shift might vary as you dim the fixture and with how you blend the LEDs. Making a precise lighting instrument was demanding some very complex algorithms driven by complex maths. In some ways, solving this problem is Frieder’s greatest achievement since the original Kino Flo tubes.

The approach Frieder has taken across the Kino Flo LED range is to use two full-spectrum white LEDs (one at 2,700K and one at 6,500K) to ensure good skin tones, and to use red, green and blue LEDs to compensate for any colour shifts, so extending the colour temperature range to 2,700K to 9,900K. Further colour correction can be added in the dimming mode to correct colour shift as the unit is dimmed using complex mathematical algorithms. This way, the unit can ensure a neutral white throughout the entire Kelvin range. Beyond that, there are sufficient controls to alter the colour as creativity dictates.

Colour Gamut selection has been included as a means of allowing the selection of a common gamut to which manufacturers can map their RGB colour points, including REC 709, P3, REC 2020 and the new ESTA recommended Gamut for LED lighting.

Frieder has also incorporated output frequency adjustments for frame rates greater than 1,000fps. The native frequency of 30kHz can be increased to 300kHz, which has been needed in extreme cases of high-speed photography. So far, they have had no reported flicker problems.

All of this can be set up by use of the comprehensive menu, and included in that menu is the all-important factory reset button. As Frieder says: “We make it as good as we can, then you can do what you want with it and the reset just gets it put back afterwards.”

For more information about the Kino Flo Celeb 450Q, visit kinoflo.com.

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event

BVE

Eye-catching products on display BVE, which took place in February at ExCeL London, was an opportunity for industry members to catch up with colleagues, look at new and interesting equipment and generally get a feel for how things are going.

Apart from the STLD stand, which was organised by Chris Harris (thanks Chris!), there were four STLD sponsor member companies exhibiting: Doughty, DeSisti, Photon Beard and Stage Electrics. Bernie Davis went to see them...

The Doughty Engineering stand was promoting a few new products that looked interesting.

Doughty now makes Custom Pole Operation Yokes, which, thanks to a new design, can now be supplied to fit your fixture of choice. The clever modular design separates out the main components such that the tubes can be cut to length as required, giving you a custom yoke at an affordable price, delivered with a fast lead time.

Doughty Engineering originally got into lighting with a humble hook clamp and it has gone on to make a vast range of hook clamps and barrel clamps. Now, it has come up with yet another one. Its invention, the trigger clamp, which designed for safe and secure hanging of fixtures, has been a top seller for many years, but Doughty has developed a new model that fits neatly into the range. The Quick Trigger Clamp is still a market leader, taking up to 250kg, and the newer Twenty Clamp is a slim design that takes up to 20kg.

The new clamp is the Fifty Clamp: still a slim and neat design but able to take up to 50kg at a very competitive price.

Doughty has also come up with another clever idea – Heavy Duty Boom Arm – consisting of a one-metre boom arm with the neat addition of a discreet brace, making it stable enough to take a 50kg moving light without any additional bracing.

Stage Electrics is an agent for Philips Lighting and it was showing the Philips Strand 400F LED TV Fresnel. On the surface, this looks like a well-built old-style Fresnel, but it is much more. Supplied in either daylight or tungsten versions, and as pole operation or conventional yoke, its 380W LED source delivers 950 lux at 5m throw at full-flood (866 lux in silent mode), at a high TLCI rating.

Optional dimmer curves allow it to match performance with existing legacy lighting. For smaller needs, Stage Electrics also makes a 180W 200F model.

On the stand too was the Chamsys MagicQ 500 Stadium lighting desk, looking very business-like with its two highresolution multi-touch screens mounted on an adjustable flip-up panel. This top-of-the-range desk can run up to 200 14

universes with no external processing and includes 3D visualisation software. It has 15 sub faders and also AB playback faders and a dedicated mater fadern – all for under £10K. Stage Electrics also supplies equipment from Admiral Staging Essentials, and on the stand was its Vintage Luminaire: its version of a period set-dressing light source. With a 60W lamp and gold reflector, this fixture is strictly for decorative purposes only, but I bet you see them on TV soon.

Photon Beard has been supplying lighting equipment for 136 years, which is quite an achievement. At BVE it had a greenscreen area lit comfortably with just four of its Highlight range of soft lights. Unlike most manufacturers, Photon Beard uses its characteristic angled reflector, giving a 60-degree spread rather than wasting light going wider, giving an added efficiency. There are four sizes in the range, modelled on multiples of the smallest HL 90 body. Using blue LEDs that drive remote phosphors, the Highlight range comes in daylight or tungsten versions and gives very high CRI and TLCI ratings. The design is similar looking to Photon Beard’s earlier florescent source, which are still popular, and one of the four units lighting the green screen was in fact a fluorescent version, demonstrating that they are still a good energy-efficient fixture. A sign of Photon Beard’s confidence in its products is that they come with a three-year guarantee.

There is a lot of competition in the market for this sort of lighting, but Photon Beard has still managed to win contracts to equip many news studios, including YouTube’s studio, in recent times.

Among the DeSisti TV lighting on display was its Super Series of LED Fresnels. They span from the tiny Super LED F4.7 60W Fresnel, to the powerful Super LED F14 HP 580W – all available in tungsten or daylight CT and all with high CRI. The F14 HP in tungsten is equivalent to a 5K Fresnel and the daylight version to a 1.5 HMI. All can be supplied as conventional stirrup or pole operation. Rain-proof versions for location use are now available for many of the Fresnels.

DeSisti’s soft lights span from the small Softled 1 at 60W through to the Softled 8 at 360W. Also shown were the XL versions of each, where the soft surface is doubled, as is the wattage, to make for true large-scale softlights.

Both Fresnel and Softlight Vari-White versions can be used with a continuous variation of colour temperature (2,800K to 6,500K) aimed at the theatre or in 400K steps for TV. A new extruded aluminium structural beam called D Beam system was launched. It enables low-height studios to hang lighting grids easily; the beam carries the lighting bars, power cabling and sockets, with a segregated containment for DMX, Ethernet, audio, video and other services. It has a high-loading capacity requiring few ceiling fixings.To complement this, De Sisti has a push-pull self-locking drop arm: pull the luminaire down to the required position and it automatically locks in position; push it up and it can be repositioned or pushed up to its top dead.

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profile

Fernand Jacopozzi

The Magician of Light Words: Jane Shepherd My introduction to Fernand Jacopozzi came over a leisurely lunch with a designer friend as he described the homework set for his French conversation class. He had been given an article, which he had to translate, and as he gave me a precis of the contents I thought that here was a subject that intrigued me and might interest members of the STLD – or at least those like myself who had never heard of ‘The Magician of Light’.

Born in Florence in 1877, Paris became Fernand’s adopted city, where he earned his living dressing shop windows. A self-taught electrician, his ideas were innovative: he swopped fabrics and paint for light bulbs and created installations like miniature stage sets, coloured lights turning on and off in planned patterns, a series of tableaux particularly effective in the night-time streets lit only by street lamps.

At the outbreak of the First World War, Paris was an inviting target for aerial bombardment. It shone brightly even in the early hours of the morning, but pre-radar, the lumbering Zeppelins that carried out attacks were dependent on visual navigation and target recognition. The intention of the night raids was largely to damage the morale of the city, but derisive Parisians took binoculars onto rooftops and hired chairs and telescopes in the Montmartre to scan the skies, refusing to be cowed.

Technical advances in aerial warfare, however, meant that by late 1917, the German High Command was in a position to increase its bombardment of Paris using the Gotha G.V. bomber: a bi-plane with a higher load capacity and much greater speed and manoeuverability.

In 1918, the first Minister Georges Clemenceau conceived the idea of building a decoy Paris to divert the German bombers. Fernand was entrusted with the planning and development of the scheme to protect the city and work began on building simple structures to look convincing from the air on three areas of open land.

The most ambitious part of the plan was to make a copy of the city centre in a largely rural area 15km north west of the capital in a loop of the river resembling that of the Seine. It was meant to replicate the circle of railway that incorporated five major central stations, as well as the Champs-Élysées, Place de l’Opéra and Montparnasse. The intention was to attract the attention of the airmen but not to arouse their suspicions: to give the impression that they were flying over a badly blacked-out Paris, while the real Paris was invisible from above with a rigorously enforced blackout.

A second area was planned to simulate the industrial area to the east of Paris and to the north east, it was planned to fake the factories of the major urban area around the Gare de l’Est and Gare du Nord stations.

The reconstruction of Paris’s railway layout was crucial as the tracks were used by pilots to navigate on moonlit nights and to locate their targets. Jacopozzi’s project began with the decoy Gare de l’Est – the tracks to lure enemy aircraft to the artificial site being painted on canvasses laid on the ground.

Jacopozzi’s grave in Père Lachaise cemetery Credit: Pierre-Yves Beaudouin / Wikimedia Commons / CC BY-SA 4.0

The locomotives were simple wooden blocks on flatbed trucks carrying storm lamps in different colours to light up clouds of steam in appropriate sequences. The framed canvas carriages had apertures to act as windows, through which light was projected outwards, but to create an illusion of the movement of the train the lighting fired in sequence over a distance of 1,800 to 2,000 metres. Jacopozzi is said to have viewed the fake train from a platform on the Eiffel Tower to ensure that it looked convincing.

The station itself was constructed in timber and canvas, with platforms and buildings marked by stationary lights.

Factory buildings had translucent panels inset as roof lights and clouds of smoke were illuminated to imitate the glow of furnaces in an industrial hub.

Such was the attention to detail that transformers were installed to give the impression of normal city lighting at 15,000V, reduced to an output of 110V to mimic the state of blackout under an attack.

Meticulous though the planning was, the scheme was never tested; it was not ready before the last German raid in September 1918 – a month before the end of the war. By the Armistice in November 1918, only a few industrial buildings and one fake train station had actually been built and they were never used in action. They were quickly disassembled in an attempt to hide the ambitious plan but its inventor received a secret Legion of Honour in recognition of his patriotic and classified work.

After the war it was discovered that the Germans had plans for a similar scheme, and although never tested, it opened the way for similar projects in the Second World War, and several decoy towns were built in England during the Blitz.

After the war, Jacopozzi’s contribution to the attractions of Paris was to illuminate several of its most prestigious buildings : the Arc de Triomphe, the Louvre Museum, the Palais Garnier and the Moulin Rouge.

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profile

Fernand Jacopozzi

approached André Citröen to fund the project in return for ‘An advertisement on a scale never seen before... the beacon of Paris, the city of light’. The automobile manufacturer with a genius for publicity only agreed when Jacopozzi threatened to start talks with Henry Ford.

A major diffculty with this ambitious scheme was that no electricians were willing to scale the Iron Lady. To install the necessary 90km of electric cable, Jacopozzi recruited riggers, sailors and acrobats, whom he encouraged with lavish refreshments of sausages and champagne. Two hundred and fifty thousand coloured bulbs on timber frames were mounted on the tower over the course of nearly two months, the work being completed at the cost of only one broken arm. On 5 May 1925 the display was switched on: the name of Citröen in letters 30ft high. Five different ignitions followed, one after another, showing in two stages the name of the sponsor as well as animals, flowers and clowns. The ‘Citröen Tower’, as it was called then, became the world’s first illuminated advertisement, the lights remaining until the 1930s.

In 1926 Jacopozzi added yet more bulbs to create the illusion of cascading water, and in 1927, he simulated lightning: the tower ablaze with flashes zigzagging 400m down to the ground. He repeated the display every year for a decade, it becoming ever more complex. Charles Lindbergh said that he used the advertisement as a beacon for his landing at Le Bourget airfield at the end of the first solo transatlantic flight in The Spirit of St. Louis in 1927.

Jacopozzi went on to illuminate other monuments, and in 1930, he was offered a contract to light the facade of Notre Dame. He refused the fee of 3000 francs and provided his skills for nothing. The bulbs were concealed behind the cornices of the facade to avoid dazzle and the art of indirect lighting was born.

The first person to conceive the idea of illuminated advertising hoardings, Jacopozzi returned to his first passion: masterminding spectacular window displays for major Parisian shops such as the Galeries Lafayette, La Samaritaine and Le Bon Marché. For several years during 10 magical days over Christmas and the New Year, Parisians and provincials flocked to see elephants spraying water at monkeys in palm trees, elves sliding down the rays of a comet and storks flying over a village, all realised in sequences of coloured light bulbs.

The artist brought so much delight to the inhabitants of his adopted city that his sudden death at the age of 54 in 1932 caused great sadness. In tribute to a much-loved man, the public lighting in the city was turned off for three days and Paris was plunged into darkness. He is buried in Père Lachaise cemetery.

At the end of my researches into this endearing character, I decided the column should carry a night-time photograph of the illuminated Eiffel Tower. My family archives produced a beautifully lit image but I was cautioned that there could be a publishing restriction. Gustave Eiffel, designer of the tower, died in 1923, so the tower came out of copyright as a work of art 70 years later in 1993, but the lighting was installed in 1985 and will be in copyright for many years to come.

This means that not only would it be illegal to publish the photograph, but it was actually illegal for me to take it!

Most countries waive the restriction for panoramic shots that include copyrighted buildings but France has chosen to retain it. Sorry about that...

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in memoriam

Rick Dines: A clever and creative mind Early this year we lost Rick Dines after four years of fighting cancer, writes Bernie Davis. I served on the STLD committee and the Showlight committee with him, and his tireless work and meticulous attention to detail will be missed. His life was celebrated by friends and family at his sailing club in Heybridge Basin – sailing was another passion for Rick. Earlier that day, a service at the crematorium was led by Katie Deverell and she kindly allowed us to quote from her eulogy.

“Rick was a kind, thoughtful and generous man, appreciated for his friendliness and good sense of humour. He was loyal and reliable, always ready to help others and put his knowledge and skills to use. Through his work, Rick built up a reputation as a clever and valued colleague, admired for his technical abilities and problem-solving skills. He was on the committee of the STLD and was often called on to give advice or technical assistance. Over the years, he helped design several studios and his work took him all over the world.

“Rick made many close and enduring relationships with numerous friends overseas, as well those he had made locally.

In fact, it has been a challenge for his family trying to track everyone down, with Rick’s phone book full of friends from work, his years at the BBC, the committee and, of course, those made through the sailing club. I know his family have

been very touched by all the lovely letters and messages they have received, many of which mention Rick’s clever and creative mind and his tales of boats and adventures.

For Rick, his boat, family and friends were the most important things. He loved to socialise and live well, enjoying meals out, trips abroad or going up to London to see shows.

For a calm person, he was full of energy, always busy doing something and keen to pack the most into his days. Even in his last few weeks, Rick was still planning modifications for his boat and talking about when he would get back on it.

“While at college, Rick got involved in the Enfield College Theatre Association. He was in charge of the lighting, developing his interest and skill in lighting design. After qualifying as a chartered engineer, he began work at Strand Lighting and, from there, went on to work at the BBC as a studio designer – a job he excelled at. He would sketch everything out, using his technical drawing skills to solve problems and design equipment. As a senior project engineer, he developed reliable and user-friendly lighting control systems, earning a reputation as a valued and respected member of the industry. His knowledge and friendly personality led to his involvement as a committee member of the STLD, as well as the Showlight committee.”

Tony Escott: ‘His hospitality was legendary and lifelong’ I first met Tony Escott at a meeting of the STLD at Pebble Mill Studios circa 1980, writes Mike Baker. His immaculate suit, tie and gleaming teeth went well with his charisma and charm. He was a larger-than-life character in more ways than one! At that time, I was working in BBC Glasgow as a junior lighting director but was looking for promotion possibilities. Tony waxed lyrical about BBC Wales and said he thought there would be some jobs coming up in the near future as S4C, the Welsh language channel, was about to be launched.

I applied and spoke to Tony just before I travelled down from Glasgow for the interview. “Mike,” he said, “I’m looking out of the window here in South Wales onto sunlit fields of bright yellow daffodils.” My mind was made up.

Oliver (Bill) Dyer provided more background on Tony’s earlier career: in the early 1950s, he was a bobby on the beat in Cardiff until, a few years later, he joined BBC Wales, gaining experience in

sound and cameras before finding his niche in TV lighting.

He became a lighting supervisor, later to become a TM1, and for some 30 years worked on a variety of major dramas such as The Old Devils, The District Nurse and The Life and Times of Lloyd George.

Socially, he was the epitome of a bon vivant: a gregarious character who was never happier than when playing host. His hospitality was legendary and lifelong.

In 1989, Tony and his wife Mary retired to Italy, to an apartment in the village of Cima on the shores of Lake Lugano.

They both became fluent Italian speakers and spent 25 years teaching English, making many new friends in the process.

Retirement also allowed Tony to pursue his passion for painting – in particular, his penchant for intricate pen-and-ink sketches of quaint Italian locations.

I spoke to Tony a week before he died on 29 January. He was 11 days from his 90th birthday and I had already posted his card, which he would never read.

He had been planning a birthday party on a boat in springtime. I had intended to call him on his birthday, as he always did me, and I reckon the conversation would have started thus: “Mike, the sun is shining here; the temperature on the terrace is 27 degrees and the fields opposite are full of flowers!”

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in memoriam

Fred Foster

Fred Foster, 1957–2019 Fred Foster, Co-Founder and CEO of Electronic Theatre Controls (ETC) died on 8 February 2019 at the age of 61. He was known personally to many STLD members and has been warmly remembered, writes Jane Shepherd.

Born in Wisconsin, in 1957 Fred was drawn towards the theatre. Working all-nighters as a stage hand, learning his stage craft and developing a life-long love of models, wood, sawdust and scenery, theatre became his passion. A showman at heart, he described the theatre as ‘a bunch of people who get together to make magic’.

Fred and his older brother Bill founded ETC in 1975 while still students at the University of Madison, Wisconsin. Fred was studying lighting design and his brother physics when they decided they could produce a cheaper and more compact lighting console than the cumbersome installation in the university theatre. They began production from their parents’ home, combining computer technology with traditional theatre lighting. The brothers maintained a healthy work/life balance that led an early client to describe them as ‘those flakes from Wisconsin who’d rather be sailing’.

In 1979, following the tradition of maverick entrepreneurs such as Walt Disney, Harley-Davidson and Bill Gates, they moved their company into a rented garage. Fred bought an early software package from Microsoft and thought he’d probably spoken to Bill when calling for technical support.

ETC developed the first microprocessor-based computerised lighting control console and, from there, went on to become a leading manufacturer of lighting fixtures, controls, dimming and networking equipment, and rigging technology in the global entertainment market. Expanding into architectural lighting, its equipment now illuminates the world’s tallest building, Dubai’s Burj Khalifa, as well as Disneyland, New York’s Broadway, the Hollywood Bowl, Moscow’s Bolshoi Theatre and London’s Royal Opera House and still prides itself on the target it set in its early days: a 15-minute worldwide callback, the theatrical mantra of ‘the show must go on’.

In 1990, ETC acquired Lighting Methods Inc, a New York-based manufacturer of entertainment dimming systems, and in 1995 it took over the lighting control division of London-based ARRI GB. In the next few years, it opened offices in Hong Kong, Copenhagen and Rome and continued to increase its European presence.

Over the years Fred performed virtually all the roles at ETC: inventor, engineer, designer, technical support and salesman, becoming president and, finally, CEO. His stated philosophy was to put more positive energy into the world than is taken out.

The focus of the company as it grew remained what it had been in its earliest days. ETC has employees in 10 countries and maintains a corporate culture in which every employee should be heard. Fred believed that the heart of the business was its employees. His great talent was to bring people together and inspire them with his vision. ‘Our success is the people who have dedicated their careers to us’ and ETC runs a stock ownership programme for employees, as well as student mentorship schemes. Fred Foster exercised his philanthropy on a public and a private level and the company 18

Credit: ETC

runs a large philanthropic grant organisation in the external community. It operates a fund to support theatrical and performance groups and also one focused on the most basic human need for food and shelter, providing relief and humanitarian aid locally and globally.

When building the current ETC headquarters in Madison, Foster recognised that the company needed a central gathering place to promote this unique corporate culture.

This vision turned into one of his greatest architectural achievements: ETC’s 1940s Town Square, a New York-style neighbourhood backdrop where employees gather for lunches, events, collaboration and fun.

In an anonymous industrial unit in West London ( ‘Still a garage but just a bigger garage’) STLD members who attended the 2019 AGM at ETC’s London HQ were ushered into an auditorium complete with proscenium arch and crimson tabs, surrounded by an audience meticulously painted into the circle and boxes of a two-dimensional theatre. In pride of place in the stalls were a painted Fred and his wife, Susan, Fred’s benign eye still overseeing his London ’family’. Fred himself planned the trompe l’oeil, creating the intricate CAD drawings, routing the pillars and mouldings with a CNC router and producing this intricate tribute to his passion for the theatre. It is the perfect showcase for the company’s product, with that extra ‘mandible jaw factor’ at which the showman Fred excelled. Fred was warmly remembered at the AGM as, first and foremost, a theatrical practitioner but also as a visionary innovator and contributor to the field of entertainment technology.There was a real sense of personal loss and our thoughts go to his wife Susan, daughter Kate and son James, who continue to work at ETC, and to Fred’s family of colleagues.

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information

Backup news

Step up for Backup In 2018, Backup, for the technical entertainment charity, granted over £32,000 in support of nine colleagues whose lives have been turned upside down because of serious illness or injury.

When Lighting Designer John Bishop was diagnosed with prostate cancer and had to cancel a number of contracts, Backup came to his aid. He said: “I was truly overwhelmed by the generosity of the Backup grant. It went a very long way to alleviating my financial problems and gave me and my partner the chance to take a deep breath and help me to get back to normal. Thank you all so very much.”

Grants have also been given to those who have sustained severe injuries or had mental breakdowns. Backup has provided ongoing support and therapy where needed and recipients are all making good progress.

Such grants would not be possible without the help of its supporters and Backup has a number of events planned this year to raise more money to support those in need, beginning with Bikefest on 18 May. The inaugural fundraiser offers participants a choice of two routes. The first is a 100km ride through the Sussex and Surrey countryside, taking in much of the Prudential RideLondon-Surrey 100 route, including Leith Hill – the highest point in Surrey – and the famous Box Hill Zig Zag. For the less lycra inclined, there is a 50km route.

For more details and to book, visit backuptech.uk.

Kartfest is back for a fifth year on 4 July. Chauvet has signed up as the headline sponsor of the karting competition and this year’s theme is Independence Day. Last year, the karts sold out two months prior to the event, so if you want to take part, make sure you’re ready to sign up when tickets go on sale later this year. Watch out for the Kartfest e-shot.

Comfest is also back in the autumn. Further details of the line-up and venue will follow later this year, so keep your eyes peeled.

Backup needs more volunteers to support these events.

In particular, the charity is recruiting helpers to the following roles at Bikefest: n Start/finish volunteers looking after rider registration, providing teas and coffees, way finding and general support n Mobile way finders on motorbikes to help riders onto the route, with some direction and marshalling n Route marshalls to help riders at various junctions n Midway-point teams distributing Deep Heat, cups of tea and bags of Haribos to riders n Rider sweep teams of van/crew van owners able to sweep the route, offering riders support and transport if required n Other services, including printers, bike repairers, qualified first aiders, sponsors, crewing companies, etc.

All volunteers will be fed and watered, so if you can help, email info@backuptech.uk.

Finally, if you are planning your own fundraising event on behalf of Backup, find out how the charity can support you by emailing info@backuptech.uk.

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sponsor news

AC ET Vista 3 by Chroma-Q software Release 2 now live

Following its successful launch last September,Vista by Chroma-Q is pleased to announce Release 2 (R2) of its crowd-pleasing Vista 3 lighting and media control software.

Since its launch last year,Vista 3’s intuitive yet powerful approach to lighting and media control has been embraced by major rental companies, production houses and international lighting designers. It has also been used on a number of international tours – notably, for Cliff Richard and Don Broco.

As part of Chroma-Q’s ongoing commitment to increased functionality and enhanced capability,Vista 3 R2 highlights include expanded fixed installation and external trigger capabilities, including an astronomical clock and new auto show-load options. Other additions include a further improved FX engine, expanded command line functionality and an updated factory library.

R2 has been designed to provide new and existing users with an even more intuitive user experience for creating and delivering fantastic-looking shows.

For a complete list of new features and improvements, or to download the free demo software, visit vistabychromaq. com/download

Seeing is Believing at NovaStar UK training event

A.C. Entertainment Technologies Ltd. (AC-ET) hosted the first UK Seeing is Believing event, featuring leading video brands NovaStar, PROLIGHTS and Green Hippo, with nearly 80 delegates attending the training and demonstration day on 6 March.

Held at leading live events community Production Park in Wakefield, the day provided specialist training for professional video users on NovaStar’s award-winning LED display processing solutions,to get the optimum picture results out of video screens.

The products were demonstrated using PROLIGHTS’ flagship OmegaPIX LED displays, which feature NovaStar’s A8s card to deliver stunning image quality. Content was fed from a Green Hippo Hippotizer V4+ Boreal media server.

The event was geared for all levels of video user, from novices through to highly experienced professionals, and attended by rental companies, designers and AV installers from a wide range of sectors.

John Harrison, Entertainment Manager for Brittany Ferries, said: “I was interested to attend as video is an increasingly important creative element of our ships’ entertainment production. It was very well organised and easy to understand as a video novice.”

James Voakes, Senior AV Technician at Paragon Creative, added: “The event made excellent practical use of the products to aid the training and I was impressed by the flexibility of the NovaStar and PROLIGHTS system.”

Stuart Burdett,Video Sales Manager for A.C. Entertainment Technologies, said: “We are delighted with attendees’ feedback. Those new to NovaStar’s products, as well as experienced users, found the training to be beneficial and 20

From left: event organisers Matteo Di Fusco, Angus Zheng, Neil Vann, Miles Marsden, Stuart Burdett and Fabio Sorabella

got a lot out of the day. It was also great to learn what some of the industry’s leading video professionals thought of NovaStar’s high-quality display processing solutions and the stunning image results achieved using them with PROLIGHTS’ OmegaPIX LED screen technology. We are definitely considering repeating this training in the future.”

Miles Marsden, Industry Partnerships Director at Production Park, said: “It has been fantastic to collaborate with our industry technology partner, A.C. Entertainment Technologies, to share with attendees the knowledge to achieve the highest standards of video display setup and performance for live events and installations. I hope that together we can build on this experience by hosting many more of these great events at Production Park.”

Quasar Science provides a beacon of light for Ember Films’ Refugium theatrical trailer

AC-ET supplied Quasar Science RGB-X Rainbow linear LED fixtures to Ember Films to provide ambience to increase the production values for the shoot of promotional film trailer, Refugium.

Ember – an Emmy Award-winning content creator devoted to crafting visually stunning imagery for broadcast, cinema and the web – was approached by Canon to shoot a cinematographic film trailer using the brand’s new 4K digital camera to showcase its quality and technical capabilities.

Ember’s creative team had the idea of creating a dystopian world, which would emotionally engage the audience, as well as meeting Canon’s requirements. Ember storyboarded the trailer for Refugium, a film set in a near future in which humanity fights for survival as food chains have broken down and reserves have reached a critical low.

For the main set’s underground interrogation scene, Ember Creative Director Jonathan Jones wanted to create a cyber sci-fi space where the actors were lit purely by incidental lighting.

Jonathan utilised eight Quasar Science RGB-X Rainbow fixtures to achieve the striking neon-like soft lighting in the scene, with the output reflecting beautifully off the actors and the concrete surfaces.

He said: “I had a vision of how I wanted the main scene to look and the Quasar lights really delivered. When we took the project into HDR with an output at 1,000 nits, the overall tone of the image was epic. The fixtures created an overall mood for the main scene between our two lead characters.”

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Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

He added: “They are incredibly easy to fix in any position, the output quality is great and consistent, and they gave out a great soft light, which was beautiful for skin tones.”

B360 Over the winter months, B360 has been busy working on a new game show with LD Martyn Rourke, alongside Boom Cymru, for S4C. Y Siambr is truly unique, being the first to utilise the caves of Zip World Bounce Below. B360 provided the full power, lighting and crew for this game show. As the production was filmed underground, we faced many challenges, including power distribution and on-site logistics, as well as adverse weather conditions. Using our collective in-house experience, and with intense planning and thinking outside the box, we overcame all the challenges to ensure the installation was a success, with a great outcome.

Alongside Y Siambr, we have been involved with many other projects, providing technical knowledge, support, planning, kit and studio installations. We have provided a lighting package for Action Women of the Year and crew for Shadow Project. We were pleased to continue our work with the BBC by providing power, lighting and crew to the Remembrance Sunday location studio. For the third year in a row, we have provided the complete lighting and crew package for UK Dance 2019. We have also worked closely alongside ChristieLites, providing crew and full pre-production for this year’s Cisco Live in Barcelona.

B360 also provided crew for several stands for the BSC Show 2019 (pictured, above right); lighting and crew for the red carpet for the Brit Awards 2019; and the crew for an Adidas x Stormzy event in London. In addition, B360 supported the studios within Chiswick Park to celebrate the Iranian New Year, providing crew and a full lighting package to cover several events.

B360 is continuing to work closely with a variety of clients within our consultancy role, ensuring that their projects are running smoothly and that they are meeting all necessary legal standards, guiding and assisting them from conception through to completion. We are also supporting several clients with full technical support for their already-established studios, helping to identify and resolve current network issues, as well as exploring options to upgrade their current systems.

B360’s OB division has been kept busy through the winter, providing unfaltering power to assist with the broadcast of many football games, including National League, Woman’s Super League, UEFA League, U21s, Women’s International Friendlies, Rugby and the FA Cup. Our generator has also provided power for the broadcast of MotoGP and SailGP, the BBC Live Lesson for World Book Day, an invite-only Little Mix concert and the JW Anderson Fashion Show within London.

B360 is continuing to expand our dry hire lighting division to meet the growing demands: we have increased our stock of cables and distros and we have added the popular Astera AX5, as well the Astera Titan Tubes, to our hire stock. Both of these also come with a wireless system. We have also added a WDMX system to go alongside our existing Astra Litepanel 6x stock.

We are very happy to welcome Louis Bransgrove to the ever-growing team. Louis has come from the lighting industry and is also an experienced HGV driver. Louis is both our Lighting Technician and also our Logistics Manager. To contact Louis, email Louis@b360.tv or call 07935 217270.

BBC BBC Studioworks kickstarts 2019 with new titles: Productions to record across Studioworks’ sites

BBC Studioworks has welcomed two new productions to its Television Centre and Elstree facilities.

At BBC Elstree Centre, Studioworks is facilitating Blockbusters for Comedy Central. Produced by Thames, 20 episodes of the nostalgic game show will be recorded in Studio D. The show will remain true to the original 1980s format and will be hosted by Dara O’Briain.

At Studio TC1 at Television Centre, Talkback’s dating game show, Your Face or Mine, begins a 22-episode residency across the first three months of the year. Also airing on Comedy Central, and fronted by Jimmy Carr and Katherine Ryan, the quiz sees couples pitted against each other to win cash prizes.

Both productions will benefit from Studioworks’ full studio and technical services.

Studioworks also saw the return of four titles to Television Centre in JanuaryL Shiver Productions’ Peston for ITV in Studio TC2; So Television’s The Graham Norton Show for BBC One; Open Mike Productions’ The Last Leg and Sky’s and Avalon’s The Russell Howard Hour for Sky One, all in Studio TC1.

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sponsor news

Strictly Come Dancing – The Live Tour has also returned to Studioworks’ post-production facility. The project involves producing VTs for the live arena tour, which consist of freshly shot interviews and archive material from the 2018 shows, amounting to over 1,700 hours of content to draw from. The work follows Strictly Coming Dancing’s four-month residency at Studioworks’ Elstree production hub for series 16 of the show.

Produced by Stage Entertainment and Phil McIntyre Entertainments, The Strictly Live Tour is edited on Studioworks’ Avid Symphony suites, with delivery of Pro-Res master files via Aspera.

“January marked a particularly strong start to the year across our service proposition and our studio locations,” said John O’Callaghan, Head of Studios and Post Production, BBC Studioworks. “By continuing to embrace new technologies and providing consistency across our portfolio, our facilities complement each other perfectly. Combined with our flexibility and first-class customer experience, we always seek to provide an attractive proposition for clients.”

Channel 4’s Sunday Brunch moves to BBC Studioworks for 2019 show broadcast live from Television Centre in White City

BBC Studioworks’ 3,430 sq ft studio TC2 has become home to Sunday Brunch.

The three-hour show, produced by Remarkable Television, will be broadcast live every Sunday throughout the year at Television Centre.

BBC Studioworks is providing the show with full studio and technical services, as well a range of support services, including studio management, engineering, electricians and scenic staff.

The show is captured using BBC Studioworks’ Sony HD 1700 cameras and recorded via its EVS XS4K tapeless recording system.

Sunday Brunch is one of six shows that BBC Studioworks currently facilitates live every week from Television Centre.

“For many, Sunday Brunch is a weekend ritual and we’re delighted to play a role in its continued success,” said Meryl McLaren, Commercial Manager, BBC Studioworks. “It’s a very welcome addition to kickstart the year at Television Centre, which has rapidly re-emerged as a thriving place in which to make television.”

Each programme features Simon Rimmer cooking with Tim Lovejoy together with the week’s guests and includes highlights from television and film, guest interviews and the ‘Sunday Brunch Playlist’, which is a selection of music videos chosen by the presenters and guests.

Sunday Brunch is broadcast on Channel 4 on Sundays from 9.30am to 12.30pm.

BBC Studioworks welcomes returning productions: ITV Studios, Hot Sauce, Expectation and Dice Productions return to Elstree and Television Centre

BBC Studioworks welcomed back four returning titles across its portfolio in February.

Having facilitated The Voice UK live semi-finals and finals for many years, the eighth series returned to Studioworks.

The ITV production, based on a Talpa format, recorded its 22

knockout days in the 15,700 sq ft George Lucas studio in Elstree and both its live semi-final and final.

The Voice Kids also returned to Studioworks in the same studio for the second consecutive year, and third series overall. Back in the studio from February, the series will air on ITV later this year.

Over at Television Centre, Hot Sauce returns with the 14th series of ITV’s The Jonathan Ross Show. As a weekly visitor, the primetime Saturday night show will record in front of a live audience in the 10,800 sq ft Studio TC1. The show also benefits from Studioworks’ on-site post-production facilities, ensuring on-the-day VT editing.

Also in TC1, Expectation and Dice Productions brings back the second series of The Big Narstie Show for Channel 4. The eight 60-minute episodes will see popular Grime MC, Big Narstie, give his unique take on current affairs and modern culture. The show, which includes special appearances from celebrity guests, also records in front of a live audience.

All shows are supported by Studioworks’ state-of-the-art technologies, ranging from 4K studio cameras and the latest in gallery control desks, to EVS tapeless recording facilities.

They will also draw upon the expertise of the Studioworks team, including electrical, engineering and scenic staff.

“It’s always a pleasure to welcome returning clients and we’re always appreciative of their support and loyalty; it’s a real testament to the service we strive to offer,” said Meryl McLaren, Commercial Manager, BBC Studioworks. “We aspire to be the home for all shapes, sizes and complexities of studio productions and offer a range of flexible solutions across an array of genres and production formats.”

CHROMA-Q Chroma-Q celebrates its 15th year of LED lighting innovation with new website

Chroma-Q has launched a new website celebrating its 15th year as a producer of premium performance LED lighting solutions, topping off an exceptional 12 months that has seen the launch four new products.

Designed to deliver a better overall user experience, chroma-q.com features a cleaner design, improved menu functionality with faster navigation and is now fully responsive, adapting to the best layout for viewing on mobile, tablet and desktop.

The website also reflects Chroma-Q’s evolution over the past 15 years to its position today as a leading global player in the supply of premium performance LED lighting solutions to the entertainment, film and architectural markets.

In the past year alone, Chroma-Q has launched four products offering genuine innovation in their markets. Studio Force II is a high-quality LED white light featuring an extended CCT colour palette. Brute Force is a powerful LED alternative to traditional light sources such as a quarter Wendy light. Inspire MD is a white output LED house light, which connects directly to a traditional dimming system.

In addition to these LED products,Vista 3 is a dynamic, next-generation lighting and media control system.

Chroma-Q’s Global Brand Manager Paul Pelletier said:

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“As with our goal to achieve brilliant solutions for our customers, we developed the new website to offer a great user experience befitting the brand.”

Check out the new website now atchroma-q.com.

Expanding UK event hire and production company Colour Sound Experiment has invested in Chroma-Q’s awardwinning Space Force and Color Force II 72 premium performance LED fixtures,to provide its film, entertainment and live events clients with the very latest innovations in creative lighting.

The Space Force fixtures were utilised on prestigious Esports competitive gaming tournament, FACEIT Major London 2018, which culminated in a live final at the SSE Arena, Wembley, in front of 10,000 fans and a global TV audience of millions.

Colour Sound MD Haydn Cruickshank said “As an LED fixture, Space Force’s cool running and no fans mean no noise, which makes it perfect for the demands of film and production work. Color Force II has, in my opinion, significantly raised the performance bar again for an LED alternative to traditional cyc, wash and effects lighting sources. Colour Sound has been using Chroma-Q LED fixtures for more than a decade. With such innovative products, we’ve built up an extremely strong offering for entertainment lighting over the years and we have now expanded into our fourth warehouse this year.”

CLAYPAKY Audiolux stocks up with Axcor Profile 600s

Audiolux is one of the first Italian rental companies to stock a large number of Axcor Profile 600s. Claypaky has recently launched this LED spot profiler and it has been an immediate success among industry professionals and workers.

The Lodi-based company has purchased 100 standardversion Axcor Profile 600 units in order to add a successful reliable light to its stock for use in the numerous shows and theatrical, musical and television events in which it is involved.

Ettore dell’Orti, owner of Audiolux, told us that a lot of thought went into choosing the Axcor Profile 600. He analysed and discussed it with his employees, right down to the last detail. “We set up our showroom with all the most competitive models on the medium-high power LED spotlight market. After that, we invited the biggest names in Italian lighting design in the theatre, television and concert businesses to drop in over the course of two weeks, including Marco Filibeck, Aldo Solbiati, Ivan Pierri, Franco Fratus,Valerio Tiberi, Massimo Pascucci, Daniele Savi, Franco Busi, Marco De Nardi, Marco Piva, Steve Gray and many others.”

“We did some in-depth testing with each of these professionals and compared all the models offered by the various manufacturers. In the end, figures in hand, we chose the ones that turned out to provide the best compromise between performance, light quality, reliability and value for money. The Axcor Profile 600s scored very high values in all

parameters. They did not really show any weaknesses at all.”

The light source that the Axcor Profile 600 fits is based on a 500W white LED engine. The wide zoom range from 5.3 to 47.2 degrees (1:9 ratio) means the light can be used in a versatile way in every situation, including those for which a narrow angle is best. Its luminous efficiency is one of the highest recorded among lights in the same power category and, if necessary, it can be boosted by about 25 per cent thanks to boost mode. This also makes the Axcor Profile 600 an excellent unit for touring.

The completeness of its colour section; the possibility of using it as a wash light; its great wealth of visual effects; andits award-winning, patented Claypaky framing system, implemented with technological devices that enhance its precision and versatility, all make the Axcor Profile 600 an essential benchmark for every modern entertainment use.

Axcor Profile 600 debuts in Italy

The Teatro del Maggio Musicale Fiorentino hosted the return of Leonard Bernstein’s West Side Story, 100 years after his birth (from 13 to 22 December).

Lighting Designer Valerio Tiberi drew inspiration for his work from the new adaptation and the atmosphere of the Upper West Side of New York in the mid 1950s, using the new Axcor Profile 600 from the Claypaky Axcor series for the first time in Italy. Two versions are available on the market: one with an extremely bright 500W 6,500K white LED source, and the other with a colour temperature of 5,600K and CRI of 90.

Axcor Profile 600 lights mean top-ranking performance, with excellent light quality and high luminous efficiency, which may be increased by up to 25 per cent using a boost function.

Thanks to these features, they will spread successfully to use in tours and major events.

The enormous stage and scenery recalled the urban jungle of New York, where the Jets and Sharks try to get the upper hand in an atmosphere of hatred and intolerance, until this is broken by the star-crossed romantic love story between Tony and Maria and its tragic epilogue. The performance of the six Profile 900s with which the theatre is equipped integrated with 24 new Axcor Profile 600s arranged both on the ground in the wings and above the stage on the battens.

Which particular scenes did you illuminate with the light you were looking for?

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Higher luminous efficiency The HY B-EYE is extremely bright thanks to the combined effect of its light source and its special optical unit, which was designed by Claypaky and optimised to make the most of the power of the LEDs. this lighting design, and with the entertaining, romantic choral scenes. However, I particularly remember the endings of the first and second acts with great satisfaction, since I was able to illuminate them with precisely the light I was looking for.

“The contrast between light and dark prevailed at the tragic end of the first act thanks to the position of the units and the angles, but above all thanks to the power of the white light from the Axcor Profile 600s, which proved to be a successful fundamental feature.

“The same thing happened in the final scene of the second half – the most intense and dramatic one. This is also marked by the contrast between powerful white lights and long cutting shadows, which accompany the final clash between the actors, the arrival of the police and the last moments of Tony’s life.”

The lights were programmed by Emanuele Agliati, who used a Grand Ma2 console. The Axcor Profile 600s were provided by Audiolux srl Milan.

The new frontier in LED wash lights

The B-EYE has revolutionised the way we think of LED show lighting. Its innovative optical unit enhances the uniformity and efficiency of the light output. The rotating front lens and the possibility to control each single LED individually have made spectacular kaleidoscopic projections and charming eye-candy effects possible. A sophisticated effect engine has made it easier to routinely use macro effects, which would otherwise be difficult to program. Today, Claypaky markets the HY B-EYE with the same successful features, which have been enhanced and further enriched: the HY B-EYE is more powerful, more efficient, more interactive with the media server (Kling-Net protocol included), more versatile and even quieter than ever.

More powerful The HY B-EYE fits 40W Osram Ostar RGBW LEDs. They are twice as powerful as the LEDs found in the original B-EYE.

Above: an example of applications with the B-EYE. Credit: Ralph@Larmann_com_7

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More intelligent and easier to program The HY B-EYE is the first Claypaky light to be developed with Kling-Net protocol built in. Kling-Net is an advanced plug-and-play control protocol developed by the digital media specialists ArKaos. The benefits of using Kling-Net are all aimed at enhancing the lighting designer’s creativity, while making the management and synchronisation of LED light parameters and functions more simple.

More versatile The HY B-EYE is not only a new, more powerful wash light, but it also projects extraordinarily visible aerial effects, thanks to the light beam being twice the original power.

Thanks also to the 4°-60° linear zoom (with automatic retractable lens when the projector is turned off), the HY B-EYE is now a truly universal light, able to adapt magnificently to small stages and rigs, and to large events.

More silent It is even quieter than the previous model. Several HY B-EYE units can be used in TV studios, without fear of disturbing the show in any way. A new compact, functional body with a practical, elegant design makes the HY B-EYE ergonomically simple to install on any stage.

From the B-EYE to the HY B-EYE Bigger only in its performance, the HY B-EYE K25 has the same dimensions as its predecessor and weighs only 27.5 kg (60.63 lb). The K15 version, more suitable for small stages, is only 49cm high (19.29 inches) and weighs only 21kg (46.3lb).

DEDOLIGHT The magic of parallel light and its reflections

Dedolight, the Academy Award-winning German lighting manufacturer, has expanded its own unique parallel beam lighting system, Lightstream, for work with reflected light.

The new tools are parallel beam light fixtures and highly developed optical systems, which function with Dedolight focusing lights enabling the cinematographer to light in extremely high efficiency. Lightstream produces the character and the illusion of natural light coming from a very far distance, thus minimising the effect of the inverse square law.

The parallel beam adaptors are available for Dedolight classic and LED range, from the smallest DLED3 up to the DLH1200, the 1,200W HMI light (pictured). This also augments the use of reflected light systems for the producer who does not have a lighting truck and a big staff but has to work with few people and transport everything in an estate car.

“We have built a very special parallel beam light: a big one with super high efficiency, outstanding homogeneity within the beam and far reach,” says cinematographer and inventor

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22,500 lux at four-metre distance to 130,000 lux (near 12,000 fc): a value close to the performance of the big parabolic light head DPB70.

The beam diameter is considerably smaller than the one of the big light. By focusing the DLH1200 fixture, the beam can be widened to cover more than one reflector.This combination allows the smaller production to use Lightstream lighting from a smaller vehicle, like a station wagon.

The weight of the big attachment makes it easier to use with a new version of the light head, incorporating a new movable yoke to find perfect balance, with or without this attachment.

Dedo Weigert. “This is a perfect light for drama production and it is being used already in many blockbuster films, like the future James Gray film Ad Astra shot by Hoyte van Hoytema.’

Dedo adds: “Furthermore, we have developed some new optics for all our focusing lights, which have already been recognised two times by the Oscar Committee of the Academy of Motion Picture Arts and Sciences. We now have developed the so-called parallel beam intensifiers, which can be added to the front end of the light fixtures. Some of these new developments of the parallel beam intensifiers give us up to 10 times the intensity in comparison to the intensity already reached in the spot position.”

Lightstream parallel beam adaptors have been carefully calculated to match the performance of the optical system and each of the focusing Dedolights.

Parallel beam light Parallel beam light with its special merits, and mainly as a prerequisite to the world of reflected light, finds growing interest and application. The large and super-efficient DPB70 HMI light is often the main tool for Lightstream reflected light in drama productions.

For all the focusing Dedolights, there is now a complete range of parallel beam intensifiers with astounding performance.

For many of these focusing lights, there is a choice of small intensifiers, providing double or more output over the spot performance. New parallel beam intensifiers with larger optics enhance the spot value up to six times or more.

One of the latest is the DPBA-1821 for the 1,200W focusing HMI light head. It is a large-diameter attachment with some weight to it, which boosts the spot output with

DE SISTI

The main studio at Al Ghad TV in West London

The new year has been busy, with a large number of projects to be completed in 2019. The year started with the award of a project to equip 17 studios in Turkey with nearly 600 motorised lighting hoists and 55 scenery hoists, over 2,500 LED De Sisti pole-operated Fresnels and softlights, a complete range of 270 pantographs, and 360 telescopic drop arms with 22 touchscreen De Sisti AED control hoist control systems.

The project is to be completed in 2019, with the client completing the installation supervised and designed by De Sisti.

February and March saw the final completion and focus for the Al Ghad TV complex in Acton. The large studio, with significant set-mounted video screens and a large video wall supplied by White Light, has been completed, allowing De Sisti to rig the studio with their multiple positions to camera all lit with De Sisti Vari-White Fresnels and softlights. The rig comprised F4.7VW for backlights, F6VW for front keylights with the SoftLED 4VW with honeycombs to control lighting over the screens and video wall. The two ‘down the line’ studios were lit with Piccoletto Fresnels and further SoftLED 4 Vari-White fixtures.

Piccoletto has seen a wide uptake in a variety of markets as it is ideal for low-height venues staging events such as fashion shows, museums where cold controlled light is required to avoid damage to exhibits, control rooms needing a very controlled lighting level and where colour temperature is required to match multiple screens and within low-height Set & Light | Spring 2019

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spaces such as radio studios. The range has now been extended with Vari-White Fresnel versions and also mains and battery-powered versions for location use. The true Fresnel uses a 30W array (20W for architectural applications with preset intensity) – ideal for location applications where a true controllable key light is required, which, with its wide flood angle, makes an ideal small soft source with some diffusion in the colour frame.

March saw the completion of the new Virgin Radio studio for Chris Evans. This was supplied and installed through the radio system integrator IPE and utilised Piccoletto Daylight and SoftLED 1 daylight suspended from a De Sisti-supplied lighting track with power and data connections, together with coupling to allow rectangles and square rigs to be designed. The entire IPE installation of Virgin, Talk Sport and Talk Radio studios were equipped and installed with these solutions.

Design work has been completed to install shortly updated lighting and scenery hoist controls for BBC Scotland in their large Studio A at Pacific Quay. The updated De Sisti AED controls have also been delivered to BBC Television Centre and BBC Wales, and are being delivered to Riverside Studios and the Turkish TV project mentioned earlier.

De Sisti displayed a selection from the Super Series of LED Fresnels and SoftLED softlights at BVE in February. The Fresnels span from the compact Piccoletto 30W mains or battery unit through to the Super LED F4.7 60W Fresnel, over 2,800 of which have already been delivered, AND powerful Super LED F14 HP 580W – all available in tungsten, daylight or Vari-White and all with high CRI figures of between 91 and 96. The F14 HP in tungsten is equivalent to a 5K Fresnel and the daylight version is equivalent to a 1.5kW HMI. All can be supplied as conventional stirrup or pole operation. Rain proof versions for location use are now also available for many of the Fresnels.

The softlights start with the small Softled 1 at 60W, through to the Softled 8 at 360W. Also shown were the XL versions of each where the soft surface is doubled, as is the wattage, to make for true large-size format softlights. Again, all are available with manual or pole operated yokes and have CR figures of 95 and above. Both Fresnel and Softlight Vari-White versions can be used with a continuous variation of colour temperature (2,800K to 6,500K) for theatre, or in 400K steps for TV, making plotting a show quicker. All colour temperature variations are DMX controlled from the lighting console, negating the need to modify camera matrices.

A new extruded aluminium structural beam, called the D Beam system, was launched, which enables low-height studios to easily hang lighting grids. The extruded multi-compartment beam can carry the lighting bars, power cabling for production, house lighting and motive power with their respective power sockets, with a segregated containment for DMX, Ethernet, audio, video and other services. Importantly, the D beam has a high structural loading capacity requiring, 26

few ceiling fixings. To complement this, De Sisti showed a push/pull self-locking drop arm, where you pull the luminaire down to the required position and it automatically locks in position; push it up and it can be repositioned or pushed up to its top dead. The D Beam makes an ideal structure for most forms of entertainment venues where a large amount of technical services need to be installed overhead.

Combining suspension, hanging points, power services and low-voltage cabling all within one unit saves considerable site installation time, as well as leaving a clean ceiling without multiple services.

De Sisti have launched a range of LED houselights called Ludi.

These are available in 75W and 240W, aimed specifically at large areas such as stages, TV studios, sport and other arenas, and for use as working lights in venues requiring a high light level. They produce soft, even lighting without shadows, ideal as studio houselights.

ELATION Elation Rayzor 760 successfully auditions on Super Bowl LIII Halftime Show

Los Angeles-based Elation Professional’s home team, Rams, might not have come out victorious in Super Bowl LIII but the company was a winner nonetheless as its new Rayzor 760 LED wash/beam light played an integral role on the American football championship’s celebrated halftime show.

Held on 3 February at Mercedes-Benz Stadium in Atlanta, and broadcast live on CBS, the Pepsi Super Bowl Halftime Show featured a headline performance by Maroon 5, along with rappers Travis Scott and Big Boi. Production design was

by Bruce Rodgers of Tribe Inc, with lighting design by Bob Barnhart of 22 Degrees for what is traditionally the mostwatched musical event of the year in the US. The Super Bowl Halftime Show marked the live show debut of Elation’s Rayzor 760, a unique LED luminaire with seven 60W RGBW LEDs, five to 77-degree zoom, continuous pan and tilt, and new SparkLED technology. Barnhart, who has lit over 20 Super Bowl Halftime Shows and says he was happy to audition the fixture, positioned 45 Rayzor 760s in an impressive 60-yard row behind the large M stage at field level. “When we lay out a Super Bowl Halftime light plot, we look for different layers that give us effect, scale and diversity,” he said. “When Eric Loader showed me the new Rayzor 760, I immediately told him I had a place for them on the Super Bowl.”

Barnhart placed the Rayzor 760s on a field truss all the way upstage, close to the first row of seats. “I wanted to use the 760 to colour the air in the background, which becomes a nice layer to offset the beams in the foreground,” the designer explained. “We used the continuous pan and tilt to give a different tool for tempo and scale. The quickness of the LED engine allowed us to dual purpose the fixture as a strobe.”

Although the designer did not get the chance to feature the fixture’s patent-pending SparkLED effect – white LEDs placed inside the fixture’s seven oversized lenses, which

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strive to bring new technologies to market: those that want to make a difference and are passionate about what they do.

We do this for our customers, because our customers are always looking for new creative looks alongside their confidence in the return on investment. There is no doubt in my mind that Elation is breaking new ground and truly offers our customers excellent products for the job. All of us at Entedi are very proud to be working with Elation and look forward to sharing all they have to offer.”

Elation names Anthony Velazquez and Shawn Butcher as new product specialists create a unique sparkle effect – he anticipates employing it in the future. “I think the venue was too large to properly show off the SparkLED,” he said, “but we did play with it and I look forward to having that option on other shows where it can really shine.”

The Rayzor 760s produce a well-defined mid-air beam, or can spread exceptionally wide for an even wash coverage, and performed well during the 12-minute musical halftime performance, holding their own against 100s of other higher power lights around them. “The fixtures performed really well and not one needed attention from the crew,” Barnhart said. The Rayzor fixtures were supplied for the Super Bowl Halftime Show by PRG. Other Elation lighting fixtures were used elsewhere in the stadium, namely the company’s new feature-rich Artiste Picasso LED profile moving head, employed as front key lights on the CBS Sports stadium broadcast studio, and the Colour 5 Profile LED ellipsoidal spot, which was used on the field set. Leading up to the Super Bowl, Elation products were spotted all around Atlanta, supporting the numerous events surrounding the game.

Entedi new Elation distributor in UK

Elation Professional is pleased to announce that technology equipment solutions provider Entedi is now distributing Elation Professional products in the UK. Entedi was formed in 2016 by a team of experienced industry professionals to service the ever-growing demand for professional high-end equipment in the UK and Ireland. The company serves both rental and installation customers across the wide spectrum of dynamic lighting applications.

Elation is pleased to be co-operating with Entedi in what is an expanding market for intelligent lighting technology. “As the recent PLASA show demonstrated for us, there is growing demand for Elation products,” said Marc Librecht, Head of Sales and Marketing for Elation in Europe.

“Expanding our brand in such an important European market is an essential piece of our growth strategy. Entedi is a company that appreciates that relationships are the key to success and we are delighted to be working with them to spread the Elation brand.”

With the exclusive partnership, Entedi expands its professional portfolio to include Elation’s complete range of innovative lighting products, allowing the company to offer its customers more complete solutions. Cally Bacchus, Managing Director for Entedi, said: “Since the start of Entedi, we have always focused our partnerships with manufacturers who

Elation Professional is pleased to announce that two of its talented young employees, Anthony Velazquez (below left) and Shawn Butcher (below right), have assumed new roles as product specialists, effective from the start of the year.Velazquez has been named Antari Product Specialist while Butcher assumes the role of Control Product Specialist, which encompasses Elation’s new Obsidian Control Systems line of professional lighting control products.

“We are excited to promote from within both Shawn and Anthony, who have proven over the years to be strong team players with a passion for servicing our customers,” said Elation Sales and Marketing Director Eric Loader. “Their focus and dedication on developing these product categories will be key to our growth plans for each brand.”

Velazquez has been with Elation for over four years and moves from a position in inside sales. His new responsibilities encompass broad management of the complete range of Antari special effects machines and include launch and promotion, product training, inventory and market analysis.

“When I started at Elation, I was new to the industry and excited about the Elation product line,” said Velazquez. “I was especially excited about the Antari line of atmospheric effects and the possibilities it presents. It has always been a goal of mine to one day become a specialist and I look forward to the challenge ahead.”

Butcher has been with Elation for two-and-a-half years as a lighting designer and programmer. His new role as Obsidian Control Systems Specialist also encompasses other Elation control solutions, including Digidot LED controllers and Capture lighting design software. He will work closely with the Obsidian Control Systems development team and will also help to manage new product launches. “I have seen the company grow and develop tremendously in my nearly three

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years here and I am excited to be a part of the new and exciting things happening,” said Butcher. “Having been a programmer for a number of years, it is important for me to provide our customers with the support and products needed to make their shows go on and I look forward to being able to do so in this new role.”

ETC ETC CEO Fred Foster passes away at age 61

Fred Foster, ETC Co-founder and CEO, has passed away at the age of 61 (Obituary, page 18). Foster was a visionary, an innovator and a role model. The ETC culture of family, support and encouragement is attributed to Foster and his vision of a creating a people-focused environment. It’s difficult to put into words what it has been like to work for and with such an inspiring leader.

One of Foster’s greatest qualities was his ability to bring people together and rally them around a goal or vision.

Whether it was a new product technology, a tradeshow booth design or an employee meeting space, he was always creating, always making and always giving. His ideas were big and his heart bigger.

Foster is credited with countless industry contributions, ranging from product innovations to student mentorship programmes. He has been recognised repeatedly for his philanthropy by a number of organisations.

Foster announced his cancer diagnosis in the summer of 2015 and went through extensive treatment to prolong his life. Those who knew him best would confirm he was a nature lover and enjoyed activities such as pond yachting and downhill skiing. Foster died peacefully surrounded by family and loved ones. Both of his children, Kate and James, as well as his wife, Susan, are employed at ETC. You can read more about Foster and his life of giving at etcconnect.com/Fred-Foster

ETC announces new Paris office with acquisition

Local French distributor Avab Transtechnik France (ATF) has been selling and supporting ETC products for over 15 years and has always shared strong values of service and innovation.

When the owners of ATF, Jean-Louis Pernette and Christian Rezgui, retired in May, an opportunity arose for ETC to acquire the French company and increase its presence in the European market. With this acquisition, ATF becomes part of the ETC family and is officially named ETC France.

All ATF employees joined ETC as part of the acquisition.

“The men and women of this organisation are our first force,” says Atika El Sayed, new General Manager of ETC France. “We want to continue to develop our presence in France thanks to this close relationship with the market that the team has been weaving for many years.”

El Sayed’s experience in managing high-tech product companies for many years, coupled with the professionalism of the ATF team, is expected to bring quick growth in the French market.

ETC France is supported by current Regional Sales Manager Daniele Peroni, as well as Field Project Co28

ordinators Philippe Roy for ETC products and Konstantinos Vonofakidis for the High End System’s brand.

While the entertainment technology market is increasingly controlled by large financial groups, ETC stands out as a privately held company, still owned by its founders. In 2015, the company set up a programme to redistribute one-third of the company’s shares to employees in order to emphasise the importance of the human connection within the company and guard against any loss of independence. ETC France will now also benefit from this unique corporate culture.

A High End team for ETC

ETC Ltd and ETC GmbH have announced three new employees in their continued effort to grow a dedicated team to evolve the High End Systems brand. Tania Lesage has been appointed as High End Systems Brand Manager, Markus Farncombe-Fischer as Regional Sales Manager with Konstantinos Vonofakidis as Field Project Co-ordinator.

In his new position, Konstantinos will be responsible for High End Systems projects in the Southern European, African, Middle Eastern and Indian territories. He will manage sales arrangements for key accounts in these regions and work in co-operation with distributors and dealers.

Konstantinos joins ETC following a role as international sales manager for the High End Systems brand at AED group.

He worked there for three-and-a-half years and, during this time, managed sales and concentrated on developing the dealer network in Southern Europe, Russia, Turkey and Africa.

After completing his studies in electrical engineering, Konstantinos began his career as a service engineer working on the High End Systems account for 10 years. Following this, he was responsible for large-scale lighting projects, including the Bahrain National Theatre, Onassis Cultural Centre and National Theatre of Greece.

Tania joins ETC as Brand Manager for High End Systems. She previously worked for AED Group on the High End Systems account and brings years of experience working with High End to the newly created position at ETC. Her role will involve working closely with product managers to oversee successful product releases and market introductions in our EMEA sales territories. As the key contact for providing marketing support to end users and dealers, Tania will cover several key regions, including Russia, Middle East, Europe and Africa.

Tania began working on the High End Systems account while living in China and working as an account manager at

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Konstantinos Vonofakidis

Tania Lesage

Markus Farncombe-Fischer

Barco. Following this, she moved back to Europe and took up the role of business manager for the Nordics and Western European countries on High End Systems. Based out of Belgium, she will be working closely with ETC’s Holzkirchen and London offices.

As Regional Sales Manager for High End Systems, Markus looks after the sales territories of Germany, Austria, Switzerland, Eastern Europe, Russia and CIS countries.

Markus joined ETC GmbH in 2008 after having worked as a freelance console expert for the company. He has a background in lighting design and programming and technical production management.

ETC welcomes Konstantinos, Tania and Markus to the team. Their wealth of expertise and knowledge of the High End Systems brand makes them valuable additions to the company as its range of products and services grows. The team is sure to deliver great results in its EMEA sales regions and will continue driving the business forward.

HARMAN Sound Technology, distributor of Martin by HARMAN in the UK, has further expanded its professional lighting division with the appointment of Darren Jackson as Head of Lighting Sales and Ferenc Vacha as Architectural Lighting Application Engineer.

Darren has over 20 years’ experience in the lighting industry, with positions at Global Design Solutions and Chauvet. “I am very excited to be working with such an amazing team at Sound Technology, and to be representing such a world-famous and high-profile brand as Martin is a real honour. Martin has been a market-leading and innovative lighting manufacturer for many years, having massively changed the lighting industry with what has now become industry-standard lighting,” said Darren, “With more in the pipeline, it’s a very exciting period and I am looking forward to the challenges ahead.”

Ferenc joins from Lightworks Architectural, where he worked on office, retail, art & culture, and leisure lighting projects as a technical design engineer. He will be providing pre-sales advice and application support for Martin’s architectural lighting product range.

“I’m very pleased to have joined the amazing team at Sound Technology and to have the opportunity to support clients hands-on with the world-leading Martin Professional dynamic architectural lighting solutions,” said Ferenc.

For more information please contact Sound Technology on 01462 480000 or visit www.soundtech.co.uk/martinpro.You can contact Darren on 07741 145260 or email darren. jackson@soundtech.co.uk and Ferenc on 07741 145259, email ferenc.vacha@soundtech.co.uk.

The new Martin ELP Series LED ellipsoidal fixtures are now in stock and shipping in the UK. Martin ELP fixtures are available in two versions: ELP WW (warm white) offers industry-leading colour rendering and brightness, while ELP CL (colour) delivers rich, saturated colours and class-leading output. ELP fixtures feature industry-first advances in lighting functionality, including the highly efficient gear-based fine focus adjustment knob and the fast focus feature, which allows the fixture to be focused without data flow.

The ELP WW delivers 7,000 lumens of output and an industry-leading 97 CRI at 3,000K colour temperature for the truest colour representation on any surface. The ELP CL fixture offers an impressive 6,900 lumens and a CRI of 85 in high output mode, and 5,900 lumens and 90 CRI in high quality mode, with a colour temperature of 6,000K (open white). Both models offer flicker-free operation for consistent light output – on and off camera.

ELP combines legendary Martin quality with a suite of next-generation features to deliver new levels of performance, functionality and ease-of-use. Innovative gear-driven fine focus adjustment allows for precise, nuanced control and enables users to lock focus exactly where they want it, instantly. The innovative fast focus feature brings the fixture to full output for 60 seconds enabling users to focus Set & Light | Spring 2019

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the fixture during set-up without data. Halation colour correction removes atypical blue and brown halos when using Martin lens tubes. ELP fixtures also offer 16-bit dimming with four selectable curves. Additionally, tilt knobs are placed out of the way of framing shutters to allow quick, easy position adjustments.

ELP fixtures can be configured with one of four Martin lens tubes in 19, 26, 36 and 50-degree beam angles. Compatibility with third-party lens tubes, gel frames and gobos make sELP fixtures highly flexible and allow for seamless integration with existing rigs.

HSL Making it big for Prodigy

Sonic and visual mayhem on a scale to match the big-beat anarchy and sounds of the Prodigy – that was the goal for Lighting Designer Tim Fawkes.

Tim has worked for the Prodigy since 2012 and was their lighting designer for last year’s No Tourists tour before the sad death of frontman Keith Flint in March this year.

HSL was again the lighting supplier as Tim went for a massive, wide and ‘epic’ look for the stage.

“I wanted to get away from the postage stamp look of some shows in arenas, where only a tiny part of the actual venue is involved,” Tim explained. In addition to feeling the energy and atmospherics of the lighting, the band wanted to embrace the whole audience and pull them kicking and screaming into the Prodigy live trip – and lighting plays an instrumental part in this process.

Tim was also involved in drawing up and developing the set design which was based on an idea from the band inspired by the album artwork involving the iconic Routemaster bus.

In the middle of the stage were two AEC Routemaster front-engined double-decker buses, 6m high, 2.5m wide and 3m deep. Built by Brilliant Stages, Tim worked alongside Prodigy Production Manager Tyrone Brunton and Brilliant Account Handler Bullet to perfect the scenic elements As this was a Prodigy show, these were no ordinary London buses – Tim calculated how many lights he could squeeze into the space and filled them with Martin MAC Quantum Washes, Atomic LED strobes and ColorBlock II LED battens to illuminate the scrolling signs on the front,

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with Cob FC LEDs for the headlights.

The band were not keen on having onstage video as they felt the concept has been overworked but with a definite need for extra onstage craziness, the buses were a great solution. ‘Brickwork’ panels linked the stage to the wings each side, so the space was connected and conjoined rather than having a gap, and these scenics, lit with Chauvet SIXPAR 200IPs, also worked as a shield for monitor world and other technical areas. The zigzagged trussing over the stage and wings was based on the apex roof architecture of typical London bus depots.

The overhead rig was designed to be as much of a retinal onslaught as possible to match the SPLs and intense sub-base characteristic of FOH Engineer Jon Burton’s mix.

The four main 20m LX trusses above the stage were all lined with Martin Sceptron LED battens and there was 136 of these on the rig.

The main ‘general’ lighting fixtures were 58 Robe Pointes – their multifunctionality effectively tripling the available lights on the rig – 62 Atomic LEDs and 32 GLP JDC1 strobes, making a total of 98 strobes, 42 two-lites, 16 four-lites, plus 16 Robe MegaPointes on the moving pods (see below).

There were also 33 Robe LEDBeam 100s, which followed the curve of the band’s backline risers, including the two on/ off ramps.

Fourteen Vari*Lite 4000 Spots were divided between the stage: six at the back for silhouetting and six downstage for key lighting, with the other two at FOH for gobo projections during the intro.

There were six original PixelLine 1044 LED strips in the footlight position along the front lip of the stage – still going strong after many years’ service and proving virtually indestructible.

There were six vertical truss towers upstage, which filled the gap between the top trusses neatly, and for a true Prodigy-tastic back wall look, there were four drop rows off the upstage truss, all loaded with Quantum Washes.

The wing trusses were 6m in width and angled to form alternating angled up/down diamond-style lines/apexes.

Over the stage, there were four 4m sections of truss, each suspended on two 500kg Liftket motors running with Kinesys Elevation 1+ vari-speed units. These added some more upstage madness, positioned between LX trusses three and four and operated by Steve Major using a Vector system stationed on stage right, with a spotter positioned on stage left.

These pod trusses were also lined with Sceptrons and each loaded with four Robe MegaPointes, five JDC1 strobes, five old-school PAR CP60s and four active Sunstrips, all adding to the maelstrom of lightsources and visual options for Tim’s show, which was full tilt from the first to the last chord of the set.

To add another raw touch to the environment, six PATT 2013 ‘big dish’ reflector lights on drop arms loomed over the stage like giant industrial pendants.

There were some serious atmospherics to ensure all these lights looked super cool at every touch of the flash-buttons, delivered by five of HSL’s HazeBase Touring smoke machines Tim programmed and ran the show on a Whole Hog Full Boar console, with another running as hot backup. He ran everything live, illustrating his superlative timing and familiarity with the music.

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“It was a tough one timewise,.” he said, “but the rig definitely had the ‘bigness’ that I envisioned. I worked with a fantastic crew from HSL, who ensured everything went up effortlessly each day, and Prodigy are a hugely dynamic band for lighting, so I enjoyed evolving the show!”

HSL gets hysterical for Def Leppard

Rock legends Def Leppard continued their 2018-19 Hysteria tour in UK and Irish arenas just before Christmas, celebrating 31 years since the release of their seminal Hysteria album, which was played in its entirety in track order, reaching out to their many fans, original and new.

HSL supplied lighting equipment, plus rigging – with over 100 motors, including a 25-way Kinesys automation system – to the tour, which features a striking lighting design by Kenji Ohashi. He’s lit the band for the last 17 years, helping to ensure they look every bit as awesome as when the rock heroes first formed in Sheffield in 1977!

The lighting and rigging, which also included supplying motors for video and PA, was co-ordinated for HSL by Jordan Hanson, who was ‘delighted’ to be back working alongside Production Manager Chris Adamson and ‘universal’ Lighting Crew Chief Kevin Cassidy again. He says: “It was interesting to see Kenji’s work and the vitality and energy his lighting brought to a great-looking and sounding production.”

Kevin, together with his two touring technicians, Kinesys Operator Christian Alvarado and Calvin Mosier, who looked after their touring Follow Me remote spotting system, went to HSL’s HQ in Blackburn to prep the gear ahead of the three-week tour.

They were joined on the road by four technicians from HSL: Crew Chief Dave Dickinson, FOH and Systems Tech Tim Dunn, Moving Light Tech Tom Soltan and Andy Whitt who looked after dimmers. Rigger Ian ‘Tuffy’ Bracewell was also working via HSL. A steelyard of trussing and metalwork in the roof provided lighting and video positions, as well as an architectural element to the performance. There were five straight runs of trussing, three of which were each split into three sections, with all nine of these moving on the Kinesys system to create a range of different imposing structural looks as the band powered through classics like ‘Armageddon It’, ‘Animal’ and ‘Pour Some Sugar on Me’.

All the trussing was HSL’s pre-rig and populated with six main types of fixtures.

The primary wash fixtures were Vari*Lite VL3500 Wash FXs and the main profiles were Claypaky Scenius Unicos (with the shutters). These were joined by CP Sharpies for the beams; GLP JDC1 LED strobes; CP A.leda 20s with B-Eye lenses for additional washes and soft key lighting; and, naturally, shedloads of blinders, which were CUEPIX Blinder WW4s from Elation.

Amounting to over 200 fixtures in total, these were densely populated on the trusses, while on the floor were another 12 Sharpies and 12 Martin MAC Viper Profiles.

In addition to these, 10 Robe BMFL Spots rigged on their own truss were utilised as follow spots, all run via five operators – positioned side stage – using the Follow Me control system. The operators controlled the pan/tilt parameters of the spot movement, with two BMFLs assigned to each band member. Kenji had control of iris, colour,

dimmer, etc, through his grandMA console, which was running multiple protocols, including MANet and SACN, as well as ArtNet for the Follow Me system.

In addition to the large upstage LED video screen supplied

by Stageworks, a front ‘crown’ screen was flown downstage, which came in as a mask during the changeover from opening act Cheap Trick.

As Def Leppard started their set, this slowly rose up to trim height to form a header for the show, receiving both the IMAG/camera mix, which was directed by Chris Keating, and colourful, eye-catching playback content, all working in unison with the images on the upstage screen.

All the trussing and screen movement was achieved utilising a mix of one-and-half-tonne motors with Kinesys Elevation 1+ drives and Vector control. They also use Kinesys in the US, where the vendor is Upstaging.

The automation elements of this design emanated from a US co-headliner tour by Def Leppard and Journey, for which the stage/lighting design was a collaboration between Kenji and Kevin ‘Deuce’ Christopher. Everyone liked it, so it stayed as part of the production design.

Kenji’s lighting treatment makes an already substantial rig look even bigger. He has all those sumptuous big-rock looks that you’d expect, delivered with his own nuances and finesse, which keep everything clean and clearly defined, with sharp, distinctive colours and combinations, sometimes almost minimal to keep elegance and power paramount.

The main challenges for the lighting crew came with the accuracy of the rigging requirements and getting all the moving parts in exactly the right places at each venue. Also, to accommodate the LED ‘crown’, they needed to achieve a maximum trim height each day, so the rigging mark up at the start of the get-in was a major task for Dave and the experienced HSL crew.

The upstage screen was hung on seven two-tonne motors, and the L-Acoustics PA took 24 motors alone. Audio was supplied via a combination of Sound Image kit from the US, with racks and stacks from SSE in the UK. Sound was mixed with studio-perfect precision by FOH engineer Ronan McHugh.

Kevin started with the tour earlier in the year; he and Chris go back a long way – in particular, working for Tom Petty. Kevin clocked up 27 years for the late artist, latterly as his creative director and co-LD. This UK and Irish leg of the tour was finalised quite rapidly in a short timeframe. Kevin says Jordan and the team at HSL Set & Light | Spring 2019

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were ‘super helpful’ with the many small and all the larger details. He adds: “I really appreciate the hard work and efforts

by HSL. They are great people to work with; the kit is in good condition and nothing is ever too much trouble.”

said. To explain how HD camera technologies ‘see’ white light and the colour gamut, Hochheim walked the audience through critical challenges such as ‘balancing’ on the high wire that is the Plankian Locus, and a section covering Response Curves – phototopic curves and HD camera spectral distributions.

KINOFLO

Camera look-up tables for LEDs Like other innovations over the years, Kino Flo’s new LUTs and gamut-control features represent another step in pioneering a new generation of broad-spectrum LED softlights and pushing the colour space to new artistic levels, according to John Daly, BSC, who attended the seminar.

“It was a great presentation by Frieder on colour science and how the Kino Flo range of LED fixtures can be finetuned with camera LUTs,” said Daly. “The colour can be dialed in to match the sensors of all major digital cinema cameras, thus ensuring natural-looking skin tones.”

The Kino Flo True Match firmware 4.0 comes loaded with camera look-up tables for the following four cinema cameras: Arri Alexa; Panavision DXL; Sony Venice; and Panasonic Varicam.

More camera manufacturers will be added to the LUTs in upcoming firmware releases, Hochheim said.

Kino Flo Lighting Systems’ True Match FreeStyle LED tubes are specially designed for operation in FreeStyle T44 fixtures for film production or stage design lighting. The FreeStyle LED tubes display Kino Flo’s True Match white light and RGBWW colour management system found in Kino Flo’s LED lighting fixtures. The tubes are 4ft (1.2m). On camera, FreeStyle LED tubes photograph with the same softness, the same subtle colour reproduction as Kino Flo’s award-winning T12 high-output lamps. In addition to the >95 photo rendering index, cinematographers will see the difference the 310-degree LED tube makes when operated in a fixture or out of the fixture as a remote ‘sabre of light.

Paired with the FreeStyle T44 fixture’s light-intensifying reflector, the tube projects soft light forward at a 100-degree beam angle at about the same light levels you’d get from a 1000W tungsten softlight.

Kino Flo turns the tables on HD cameras

The British Society of Cinematographers hosted Kino Flo Lighting Systems’ Colour Science seminar during the recent expo here. The half-hour session detailed recent advances in LED lighting technology for cinema production, with special focus on gamut control and new camera look-up tables programmed into LED fixtures.

More than 100 directors of photography and students of cinematography, gaffers and production lighting technicians were on hand to hear Kino Flo President and Founder Frieder Hochheim tie together the art and technology of LED colorimetry for HD image capture.

“The colour science of LED lighting is to cinematographers what natural pigments were to the Old World art masters like Rembrandt and Vermeer,” said Hochheim. “With new features like camera look-up tables and advanced gamma controls, cinematographers can mix their own LED ‘dye, colour and shading’ to control the look of the final image.”

Understanding colour gamut Hochheim guided the audience members on tour through some of our industry’s ongoing challenges to making artificial light sources render colour naturally on HD cinema cameras.

Points of interest along the way included a discussion about the tools for measuring spectral indexes, and how they relate to the reproduction of true white light for modern motion picture and television production. This section dove into a comparative report on the Colour Rendering Index (CRI), the Television Lighting Consistency Index (TLCI), IES TM-3015, and the Spectral Similarity Index (SSI).

Kino Flo’s development of a high-end bias spectrometer for measuring the response of lighting sources and camera light sensors has long been the company’s basis for a tight design and manufacturing control over the quality of white light, he 32

Colour science history Since developing a colour science department for its True Match tubes in the 1980s, Kino Flo has been at the forefront of LED design and manufacturing, creating a colour-correct, colour stable line of tungsten and daylight LED emitters, according Hochheim. The company has maintained colour quality for more than three decades of fluorescent and LED design, across all product models.

From film to digital cinema cameras, to other colourcritical industries such as smartphone calibration and art restoration studios, Kino Flo is recognised for unrivaled colour management.

Gaffers and set lighting technicians enjoy a growing collection of premium softlight ‘brushes’, like the new FreeStyle LED Tubes, to paint spaces and faces with white light, colour and effects.

Kino Flo has been expanding its wireless DMX production lighting, moving beyond its legacy fixtures with new FreeStyle LED portable systems, adding new designs for the Celeb LEDs, debuting a value line of Image LED studio fixtures, and expanding options for video lighting with new Diva-Lite LEDs. Kino Flo has been invited to present the colour science seminars at a number of industry events through June.

MATTHEWS Matthews’ newest support: The Trio C+ Traveller

Matthews Studio Equipment is rolling out several unique tools to address the changing face of support in the first part of 2019. First up is the Trio C+ Traveler Kit: a new way to address the needs of crews who are constantly on the road.

“Last year, we talked to everyone, from seasoned grips to the new content creators, as well as film, television and various content makers to see what they needed to make productions run more smoothly,” explains MSE Executive Vice President Tyler Phillips.

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“Everyone said they needed a way to get their bulky gear from the vehicle to set without busting their knuckles. They love our RoadRags and RoadFlags kits, but the sore thumb (literally) are the C-Stands. So, we streamlined the experience and created the C-Stand Rolling KitBag.” The C-Stand Rolling KitBag is fully customisable, with padded Velcro dividers strong enough to hold an array of C-Stands and accessories. With high-density silicon skate wheels, it’s easy to roll to and from set.

“It was a no brainer that, once we had the C-Stand Rolling KitBag done, to make it a kit just like our super popular RoadRags and RoadFlags kits,” said Phillips.

Enter the Trio C+ Traveller Kit: taking the Matthews Rolling KitBag and filling it with three of the 40-inch C+Stand Kits (removable turtle base C-Stands, Gobo Arms, and Heads).

“The creator out there with a three-light kit – whether it’s tungsten, florescent or LED – should have a RoadFlags or RoadRags kit and the Trio C+ Traveler Kit. These are the tools that will give them the edge and the ability to really illuminate their talent,” said Phillips.

PHILIPS (SIGNIFY) Philips Vari-Lite VLZ Profiles keep it cool and beautiful for Gary Numan’s Savage tour

Signify’s Philips Vari-Lite VLZ Profile LED luminaires were chosen to meet some specific stage lighting demands on the recent Savage tour by British electronic music pioneer Gary Numan.

For special tour dates, including a showcase performance at London’s Royal Albert Hall, Numan and his band were joined on stage by an orchestra and choir. In response to this, the visual design, by Luke Edwards of Cue Design, successfully referenced the post-apocalyptic theme of the Savage album, while combining softer theatrical touches to complement the orchestra’s presence, both on the stage and in the music.

“To light the orchestra, we needed fixtures with a really nice light quality,” said Edwards, “but with so many tunable instruments on the stage we also needed lights that wouldn’t throw out lots of heat. The VLZ Profile was a great option: the optics are beautiful, the colours and the colour temperature are beautiful, and it keeps the orchestra members and their instruments cool.”

Placed on high side-trusses at each side of stage, the VLZ Profiles gave side-light, colour and texture for the orchestra and choir in the upstage area, as well as for Numan and the band downstage. “Mostly, we’re using the gobos and prisms to put textured light on the orchestra, to light them in an interesting way,” said Edwards. “But I’m also using the VLZs a lot in open colour, just frosting it slightly to soften the light and get everyone lit really beautifully.”

In covering such a broad stage area, Edwards was aided by the powerful output of the VLZ Profile, as well as its wide zoom range. “Being able to light that big a surface area with a minimum amount of fixtures, with that zoom range, is a big plus,” he said. “I can point them forward and have these tight beams coming from the side trusses, or they can go extremely wide. They’re amazing fixtures to have on the show.”

Signify became the new company name of Philips Lighting in May 2018. Signify Entertainment Lighting comprises the Philips Vari-Lite, Philips Strand and Philips Selecon brands, as well as the Philips Showline range of LED stage luminaires.

From subtle solos to riotous rock, Philips Vari-Lite’s VL10 BeamWash delivers for Tom Odell

Signify’s Philips Vari-Lite VL10 BeamWash delivered a dynamic performance for British singer-songwriter Tom Odell’s European tour (pictured above).

Lighting Designer Joe Beardsmore is among the first lighting designers in the world to use the VL10 BeamWash on a touring show. With a set ranging from gentle, solo ballads to big, high-energy rock numbers, he looked for lighting fixtures capable of producing endless effects versatility. The VL10 BeamWash delivers this, along with the brightness, beam quality and coloUr palette typical of the Vari-Lite brand. “The VL10 honestly blew me away,” he says.

“Tom trusts me to complement his show with my best design ideas,” says Beardsmore, who has worked with Odell for two years. “For this tour, I wanted to add some more theatrical elements to supplement some of the quieter songs in particular. On the UK leg, I used six VL10s on the rear truss for big looks, scaling down to single spots for each band member, and punching up for big beam looks and bright washes for the rockier songs. I love that Tom is happy to have a dark stage. I like dropping down to a blackout between most songs and then building again.”

The VL10’s flexibility helps Beardsmore to deliver a show rich in contrast and atmosphere – a fitting visual complement to Odell’s varied musical palette. And as the UK tour transitioned to Europe, Beardsmore experimented further with the VL10’s impressive battery of effects. “In Europe, I was aiming for more flexibility,” he says. “On some shows they went onto back- or mid-trusses in the air, while for others I placed them in an arc on the floor, for a mixture of mid-air effects and silhouette looks.”

Beardsmore adds: “Other fixtures come nowhere near to the precise subtlety of this light. When we drop down to maybe one or two lights for a solo number, if I have a gobo rotating or animating, it needs to be super-smooth to not detract from the music; the VL10 just delivers.”

PRG PRG chooses to network with ELC

Production Resource Group (PRG) has made a significant investment in ELC Lighting’s GBX Distribution System.

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Specifically tailored for live entertainment applications, the GBX Distribution System transforms how DMX can be distributed from an ethernet network. Recognising this, PRG has purchased multiple units, including ELC’s switchGBx10 and switchGBx18 switches, nodeGBx8 nodes, and the innovative new nodeGBx8 Slave node.

Bob Walpot, Director of Operations and Asset Strategy at PRG Europe, says: “With this investment, we evaluated various brands and involved our technical teams from our various markets and segments. ELC was the preferred choice because of the technical and financial efficiency of the products. The Slave node is the perfect example of this. It has been really well thought through. Without losing any technical advantages, they have cut costs drastically.”

The new Slave node is an important part of the ELC GBX Distribution System, of which the dmXLAN switch (GBx10 or GBx18) forms the backbone. With the switch as master, up to 15 slave nodes can be daisy-chained via the ethernet ports. The slave unit serves as a substitute for a DMX splitter rack, with all DMX ports fully programmable as output, input, merge, backup and more as node ports, meaning significant savings in hardware cost. Supporting all open protocols, including sACN, Art-Net and ShowNET, the system revolutionises ethernet/ DMX network distribution and delivers major new efficiencies to the event production market.

Walpot adds: “ELC also listened clearly to our specific needs and provided a tailor-made solution.”

That solution included the addition of Neutrik opticalCON Advanced Duo fibre optic ports, mounted directly onto the units, as requested by PRG. “This will make the units even more flexible in their use,” says Walpot. “As a global company, it is essential that the equipment we buy is widely applicable. We provide a 360-degree service in various market segments, all with specific needs. With the flexibility of the new ELC range, we are able to serve all these markets in a cost-efficient way.”

The new ELC GBX Distribution equipment will be based at PRG Belgium, serving mainly the Belgian, French, Dutch and German markets, but will form a key element of PRG’s extensive global stockholding, available for transfer and use between more than 40 PRG locations worldwide.

ROBE Slovenia’s got Robe talent

Lighting Designer Ziga Kranjne utilised Robe moving lights for the seventh edition of Slovenia’s Got Talent (SGT).

The series was recorded for broadcaster POP TV in Studio 4 of its complex in Ljubljana, and Ziga’s rig included Robe’s MegaPointes, Spiiders, LEDWash 800s, Pointes, MMX Spots, CycFX 8s and a BMFL Blade – all supplied by Event Lighting, a leading Slovenian rental company for which Ziga works full time as an LD and programmer.

Ziga has lit all the SGT shows since it started in 2010, and for this one, he worked closely with Set Designer Milan Mukadin, who was also the video designer. They took some of the most popular aesthetic moments from last year’s show and reimagined them for this one, adding new and original 34

Credit: Miro Majcen

visual ideas to keep things moving and looking different.

There was a wide range of artists appearing, so the studio design for the semi-finals and final, which see 35 hopefuls battle it out, must be very flexible. The auditions before this are staged in a theatre venue with no moving lights.

Ziga utilised all the studio’s available lighting positions and his first choice of moving lights – for the last year – has been MegaPointes. Eighteen were rigged on the roof, following the curvature of the main video screens. Ziga describes it as a ‘brilliant’ luminaire, although he adds it was slightly overbright for this studio environment!

Ziga made extensive use of the animation wheel in the fixtures and also the gobo effects, with some special ones created to combine with low fog. He’s used MegaPointes since the first batch was purchased by Event Lighting.

Eight MMX Spots – a reliable favourite of Ziga’s – were positioned in the roof, where they were perfect for backlighting dancers and props and for use as specials.

Another two MMX Spots on the floor at the front of each side of the performance area provided low front cross light for singers, and their animation wheels and gobos were also used extensively.

A total of 16 Pointes were used: 10 on the deck and six on the roof for effects, ad bumpers, intros and special lighting scenes at the start of the show. “Pointes are one of those ‘essential’ lights to have on a rig if you need to be fully versatile,” says Ziga.

The eight Spiiders were pixel-mapped for effects, in addition to being used for conventional washing of the performance space and for support lighting on groups of dancers. They worked in conjunction with the 12 LEDWash 800s, providing rear and front wash light.

Extras included 12 CycFX 8 units, which were located on the stage and used to light props and for assorted disco effects. “They were great for interacting with some of the dance acts,” says Ziga.

A single Robe BMFL Blade was used as a manually operated back follow spot, with dimmer and colours controlled by Ziga via his grandMA2 lighting desk.

Ziga used some other lights on the show, including small beam lights around the back of the audience, LED strobes/ wash lights and Sunstrips.

In total, there were 14 DMX lines fed into the console, running with OnPC. A Command Wing was used for backup and controlling the Madrix system – programmed by Ziga’s

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Event Lighting colleague Matija Kacin – which was used for mapping the video content to the screens and some of the LED luminaires, including the Spiiders.

A selection of the dance act shows were run to timecode, while others were operated fully manually.

Ziga, Matija and Milan have all worked together on this show for the last five years. Ziga has lit the show enough times to know the basic requirements well, but the main challenge for lighting each series is the amount and intensity of live programming needed in a short timeframe to accommodate seven new and totally diverse performances – from bands to acrobats – per week.

“I enjoy the buzz of this, and I definitely need the adaptability of the Robe fixtures” says Ziga. “Using these, I have multiple options and can create many different looks quickly and easily.”

Robe lights 2019 TPi Awards

Robe was a major part of delivering a stunning production design for the 2019 Total Production International (TPi) Awards, produced by TPi Magazine, part of Mondiale Media, and staged at the Evolution venue in Battersea, London.

The event honours some of the best creative and technical achievements in the world of entertainment technology and this year was hosted by comedian Romesh Ranganathan.

Over 300 Robe fixtures were used by Lighting Designer Nathan Wan and Associate LD Andy Webb to ensure that the 1,600-plus attendees and award winners were treated to a dazzling visual extravaganza – a task for which they worked closely with the video team from Visual Edge.

The main room theme for this year featured a 1980s big rock show – think GNR / Van Halen classic LA rock – lots of extravagant hair and glitzy neon, skulls and fast motorbikes!

This was Nathan’s creative starting point.

Two other areas were also imaginatively lit for the occasion: the reception/foyer and Robe’s own VIP room, which proved popular for special guests who wanted respite and a few moments to chill away from the relentless networking action and hubbub of the main area.

Robe used the opportunity to give some of its NRG (Next Robe Generation) initiative students the chance to work hands-on on a high-pressure, high-profile gig.

Nathan was joined by Alex Merrett from the University of South Wales in Glamorgan as Assistant Lighting Designer, and Owen Yelland from Kent-based Rose Bruford College worked as Lighting Systems Tech for the second year following his success and aptitude for the job at the 2018 event.

The main bar area – an extremely important space as the entry portal through which everyone walks to gather for the show-stopping evening ahead – was designed, programmed and operated by Espen Karlsen, also from Rose Bruford, assisted by Ben Linwood from Guildford School of Acting.

The vibey Robe VIP lounge lighting design was a collaboration between Jasmine Williams from the Royal Welsh College of Music & Drama in Cardiff and Georgia Wren from LIPA (Liverpool Institute of Performing Arts).

Nathan said that, once again, the standard of NRG hopefuls who applied for the available crew posts at TPi 2019 was ‘really impressive’, and it was difficult to choose the six! He added that although it was great that women made up one third of the team this year.

“Andy and I enjoyed working with all the NRG students.

They brought vitality, fresh perspectives and lots of enthusiasm to the project, and I hope it was a characterbuilding experience for them to know what it’s like being under pressure at the sharp end of the industry.”

The challenges of lighting Evolution for this event include dealing with the low headroom, especially with the amount of production in the space, as well as being judged by the who’s who of the technical production industry in the room.

Four long diagonally flown lighting trusses were installed in the roof, following the contours of the ‘winged’ video screen design, meeting up in the centre of the room. Nathan approached it as a multi-zoned space, with a nucleus of fixtures in the middle area that were available to pull the visual focus to the stage at any time.

Sixty MegaPointes and 50 Spiiders – Robe’s best-selling moving light to date – were right at the heart of the rig, chosen for their versatility and multifunctionality, giving Nathan plenty of variety for the big spectacular signature looks.

Fifty of Robe’s new SuperSpikies were also key lightsources on the rig, and these were used for making razor-sharp beamy contrasts and accents cutting across the washes, together with 64 LEDBeam 150s.

Vital and elegant key lighting was provided by 20 of Robe’s new T1 Profiles – an LED source with a rich, high-quality output and a range of excellent tuneable whites, among other features, that are perfect for camera.

“Overall coverage of the room was also tricky and required lots of detail,” said Nathan, together with getting the right ambience: cool and intimate for the dinner section of the event; lively and animated for the awards section.

It is the third year that Nathan and Andy have delivered lighting for this event, so ensuring it looks different and fresh each time is paramount. “It’s very easy to go with what you know works, but we make every effort to push the parameters each year” said Nathan.

Four Robe BMFL Blades running as a RoboSpot remote controlled follow spot system were positioned around the room, so that those accepting awards could be picked up as soon as they stood up, and followed on and offstage.

In the reception area, the Robe crew worked with ArKaos, which provided the dynamic video mapped central screens forming a large box above the bar. This also dictated the positioning of the lighting trusses and the fixture choice by Espen and Ben, who deployed a combination of Pointes, Set & Light | Spring 2019

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MegaPointes and Tarrantulas – Robe’s biggest LED wash beam. This ensured they got the bright-and-ballsy ambience needed for this space: the hub of the pre-show anticipation and excitement.

Upstairs in the Robe VIP area, Jasmine and Georgia created a total contrast with a tranquil and more sophisticated environment to provide respite from the freneticism and adrenalised action of the main room.

Lighting control for the main room was an Avolites Arena console running with a TigerTouch II as backup, with TigerTouches in both the bar/reception area and Robe VIP. The bar/reception console was running ArKaos Kling-Net protocol to pixel map the Tarrantulas and other pixel-fixtures.

In addition to supporting the show, Robe’s UK and International teams and their guests enjoyed a fantastic evening, with Robe again sponsoring the Lighting Designer of the Year Award, which was presented by CEO Josef Valchar and won by Tim Routledge, whose recent credits include Sam Smith, Rita Ora and Stormzy, as well as X Factor UK. Other winners of the night include LCR for the first time, picking up Favourite Lighting Rental Company, and Universal Pixels, which walked away with the Favourite Video Rental Company, also for the first time.

Roger Waters’ incredible Us + Them tour (Lighting designer Pryderi Baskerville) won the Live Production of the Year and Richard Turner took the Des Fallon Video Visionary of the Year title in an action-packed evening.

Congratulations to all nominees and winners and thanks to TPi and Mondiale for another evening of networking, fun and recognition for a vibrant industry that keeps innovating and using technology with great imagination to entertain so well.

attention to specific facts, ideas and quotes on the tapestry.

On the third floor of the museum, visitors are taken on a theatrical journey through the stories of the Old Testament inside The Hebrew Bible Experience. This exhibit features light, sound and theatrical haze effects provided by the Rosco Intelligent Fog System. The IFS is a modular solution that delivered Rosco Fog Fluid to three ceiling fog heads via one centralised pumping station.

ROSCO

Stage Electrics win contract for Riverside Studios

Tourable LED tape does exist: RoscoLED® Tape

Arctic Monkeys recently toured across the UK and RoscoLED Tape VariWhite took centre stage with the rock band.

Nearly 100m of RoscoLED Tape was integrated inside a moving hexagonal structure overhead and was used to illuminate the MONKEYS lettering on the top of the stage.

The ability to control the light intensity and colour temperature via DMX was appealing to Lighting Designer Paul Normandale. He also found that its thicker copper base compared to most other LED ribbon products minimised potential for damage to the electronic circuits during handling and installation, allowing it to live up to the vigorous environments of rock ‘n’ roll touring.

Theatrical effects enrich a museum’s experience

Washington DC’s Museum of the Bible aims to be among the most technologically advanced and engaging museums in the world – and it employs several lighting and special effect techniques to enhance its exhibits.

Among the museum’s rare artifacts and immersive displays is the exhibition Bible in America, which utilises Rosco Custom Gobos projected onto a tapestry to illustrate the Bible’s American history. The gobos not only project messages, but they also fade in and out to draw visitors’ 36

Rosco video paint – Chroma Key

Rosco Chroma Key Paints have been formulated with the assistance of video technicians throughout the United States.

They are manufactured to provide the high-luminance values and colour saturation for keying effects. Chroma Key Paint is quick to apply, provides the ability to scale up in size and makes post-production easy – all advantages experienced

by TA Films.

When TA Films began shooting basketball footage for a collegiate conference in the United States, the Big South, their fabric green screen was no match against the dynamic moves of the athletes. Quickly becoming wrinkled and damaged as the players showcased their moves, TA Films traded in their fabric green screen for a painted cyc wall using Rosco Chroma Key Paint. The painting was done in a day and made the shoot both safer and more efficient, as the athletes didn’t have to worry about slipping on a fabric screen and the production crew didn’t have to stop shooting to adjust the screen and fix the wrinkles.

STAGE ELECTRICS

Stage Electrics have announced they have won a £2 million contract for the supply and installation of specialist production lighting and audio-visual infrastructure for Riverside Studios, Hammersmith.

The broadcast, arts and entertainment venue closed in 2014 for demolition and redevelopment and is scheduled to fully reopen its doors again in 2019. The new 90,000 sq ft Riverside Studios will comprise three studios: small, medium and large, as well as public and community spaces, including a two-screen cinema, rehearsal space and a number of restaurants and bars.

The design of the medium studio is particularly flexible, allowing for the easy alternation between theatre, music, events and television. During the consultancy phase of the project, Stage Electrics advised on the supporting infrastructure to allow it to function as a multipurpose space.

The smaller studio is intended to be mainly used as a theatrical space, with broadcast facilities being integrated into the audio-visual facility panels.

The package also includes a high-quality PA system for the public areas of the building, rigging systems for the smaller studio and the cinema.

Starting on site in early 2019, working for main contractor Mount Anvil, Stage Electrics’ work will facilitate the installations of the Broadcast Systems Integrator, ATG Danmon and TV Lighting Hoist Integrator, DeSisti.

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VERSION2 Version 2: The new name in TV lighting rental

Version 2 has entered the television market, headed up by former Aurora Lighting Hire Managing Director Nick Edwards. The exciting new brand will provide specialist equipment and support to the UK broadcast and event industry. The company boasts a new state-of-the-art inventory covering the full spectrum of moving lights and LED technology, through to tungsten and grip.

Despite launching into a saturated market,Version 2 are confident that dedication, coupled with a commitment to excellence, will prove successful in the long term. “We’re passionate and ambitious. As such, our aim is to be the most trusted independent provider of specialist equipment rental and support to our industry,” said Nick.

The company aims to raise the bar in every aspect of its service, including introducing new proprietary systems for the benefit of its end users. The first in-house development has been Smart Distro: a new mains distribution system that enables remote power monitoring and detailed power usage reports. “The system is in direct response to television production managers and their electrical reporting requirements under the BAFTA Albert initiative” explained Sam Crook,Version 2’s Technical Director.

The company are geared up to handle trade hire, as well as studio-based and outside broadcast television or live events.

The projects team are seasoned professionals from the industry and are able to support their clients with creative elements such as CAD and WYSIWYG. Version 2 first broadcast project has been Love Production’s The Great British Bake Off: An Extra Slice.

Version 2 broadens team with new appointment

Television lighting rental specialists Version 2 have appointed Laura Byrne to their account management team.

Laura brings a wealth of experience from the film, TV drama, commercial and music video genres to the company.

Starting her career with rental giants Panalux, Laura was part of the rental desk team at the company’s busy Waxlow Road operation. A move to global lighting company Cinelease subsequently followed as her career progressed. Most recently, Laura worked with leading equipment supplier LCA, where she was able to further expand her product knowledge.

As Account Manager at Version 2, Laura will be liaising with DoPs, LDs, gaffers and production managers to offer support and advice on all aspects of the production process.

Managing Director Nick Edwards said: “I’m excited to be welcoming Laura to our management team; I see many similarities between our career paths. Her enthusiasm for the industry is

clear. Laura has not only a proven in-depth equipment knowledge, but she also understands the importance of strong customer support.”

VITEC VIDEOCOM LITEPANELS

Towers of power: Litepanels’ Gemini lights up the stars of Dancing On Ice

Litepanels’ Gemini 2x1 Soft LED panel was the behind-thescenes star of Dancing on Ice (DOI), which recently aired its 11th series on ITV. For the latest series, the show’s producers turned to an innovative new lighting strategy: 40 Gemini panels mounted on five towers around the on-set ice rink.

Controlled with a remote lighting console, the Geminis provide outstanding colour accuracy and the flexibility to apply different effects and intensities in an instant.

“I’ve been a satisfied Litepanels customer for a long time, and I still have quite a few earlier-generation Litepanels LEDs in my kit,” said Roger Laxon, Director of Photography.

“Litepanels was the first company to come out with a 1x1 panel with consistent broadcast-quality colour rendition, and they’ve really raised the bar on 2x1 panels with Gemini. For DOI, we knew the Geminis would be perfect for helping us execute our new creative vision in a way that could meet our extremely tight timeframe and budget.”

Laxon and Producer Sam Rees-Jones enlisted Gaffer Daf Cook to help them turn their vision for the tower-mounted Geminis into reality. Cook then contacted Nick Edwards, Managing Director of Version 2, a UK-based rental house that had recently added a large quantity of Gemini 2x1 Soft LEDs to its inventory.Version 2 supplied a complete lighting and rigging package, including 40 Gemini 2x1 Soft LED panels.

The ingenious lighting design includes five towers with eight stacked Gemini LED panels on each tower. Cook is able to control the lights’ colours, intensity and effects using a HedgeHog 4X console from High End Systems. This makes it easy to adapt the lighting from show to show as required

by Laxon and Director Dave Sutton.

“The light towers were a fairly big departure from our traditional approach to lighting DOI, but everyone on the production has been pleased with the result. The Geminis have performed perfectly, and we appreciate the support Set & Light | Spring 2019

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we have received from Nick and Version 2 in providing a one-stop shop for the lights,” Cook said. “Any other 2x1 LED would have required a lot more structural rigging for this configuration, but the Geminis are ideal because of their light weight and their built-in power supply, which made them much easier to rig high up on the towers.”

Laxon added: “The Geminis gel, HSI, and CCT modes mean we can dial in any colour we like without having to apply gels to the lights physically. In an instant, Daf can fine-tune the intensity of the colours to get the exact effect we’re going for, and in a hue that looks best on screen. There’s no way we would have had this kind of flexibility using gels.”

Byron Brown, Product Manager, Litepanels, said: “Speed is always critical on any production and Gemini is the complete package: a soft light that can be rigged extremely fast and in many different and complex configurations, but also provides outstanding and consistent colour accuracy for any type of film or video project. The new season of DOI is a great example and we’re very proud that Gemini is playing such an innovative role.”

WHITELIGHT White Light commits to training days across UK

White Light has recently held a series of open days across the country to allow students and clients to engage with the very latest technology.

As a company that is passionate about investing in the very latest technology, WL is just as passionate about nurturing the next generation of industry professionals. Over the past few months, the company has held a range of open days and training courses, which cover a variety of disciplines. These include the Audio KnoWLedge Day at WL’s state-of-the-art Studio15. Working alongside some of the biggest audio manufacturers, including SHURE, Riedel, DPA Microphones, Yamaha, d&b audiotechnik, K-array and Astro Spatial Audio, WL hosted the event so students could get hands-on with the latest audio technology, take part in Q&A forums, as well as have one-on-one sessions with industry professionals.

The day was organised by WL’s Head of Audio Lee Dennison, who said: “With the KnoWLedge Day, we wanted to offer students something that would prove invaluable, which they wouldn’t receive anywhere else. It’s not often they get the opportunity to speak to industry leaders about their products, so this was their own audio trade show where they

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were given time to ask those important questions and have quality hands-on tuition they wouldn’t normally be afforded.

The feedback we received was fantastic and it’s great to work with such highly regarded manufacturers and make their products so accessible.”

WL also used the day to allow students to register for their crewing database for when they graduate.

The same day, WL also supported the New Technology Showcase. Taking place at the Central School of Speech and Drama, and held in conjunction with the ALD, the showcase was aimed at lighting designers and technicians to explore and compare the latest lighting technologies on the market.

Over 60 students attended and some of the latest lighting manufacturers on show included ETC, Robe and Martin. WL’s Managing Director Bryan Raven said: “We have supported the New Technology Showcase since it first began. It’s a fantastic opportunity for students to experiment with the latest lighting technology and get to grips with products that they will be using frequently throughout their professional life.”

WL has also hosted a range of Hog training days alongside ETC at universities across the country. Co-led by WL’s Product Manager Stuart Porter, WL was recently at LIPA, where it offered students Hog console training. Stuart said: “As part of an incentive to introduce students to the benefits of using the Hog console, we are travelling across the country to familiarise them with the product by offering first-hand training. With the Hog console not only being extremely affordable, easy-to-use and having more options than ever before, it’s one which we’re finding many professionals are now drawing on; hence we are introducing it to students during their formative years.”

WL also held Zero88 Training at its state-of-the-art Studio15, which offered participants in-depth training with Zero88 consoles.

White Light goes Gently Down the Stream

White Light recently provided the lighting equipment for Gently Down the Stream at London’s Park Theatre.

Set at the turn of the 21st century, Gently Down the Stream is a delicate examination of the relationship between Beau, a 62-year-old piano accompanist from New Orleans, and Rufus, a 28-yea-old bi-polar lawyer, set over the course of 13 years in Beau’s London flat. It is written by Martin Sherman, directed

by Sean Mathias and features a lighting design by Jamie Platt.

Jamie says: “The majority of the show is set in Beau’s apartment, which is beautifully designed by Lee Newby. We wanted this to feel as real as possible, so as a result, most of the lighting for these scenes was committed to creating a totally naturalistic world. That said, Sean was very keen to make the monologues that are dotted throughout the play feel incredibly poignant and sentimental as they tell us of Beau’s history in dealing with homophobia, AIDS, loss and heartbreak.

Therefore, the aim of these moments was to focus on Beau and try to make the flat disappear into the background.”

Jamie approached WL – which had supplied a range of his shows throughout 2018 – to provide the lighting on this production. He explains: “I wanted to use the expansive back wall of the Park Theatre as a blank canvas for the monologues; it lends itself so well to washes of colour. WL offered me the PixelLine 1044 LED battens. These fitted perfectly into the rig

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Compiled by Emma Thorpe ~ email sponsornews@stld.org.uk

Photo courtesy of Marc Brenner

and their multi-cell function also allowed me to close down gently to the exact areas I wanted to highlight.”

He adds: “I also knew that each monologue was likely to be in a different position on the set, so I specified two Martin MAC TW1s with narrow lenses. I love the tungsten quality these offer, and the ability to perform a subtle live colour change over a five-minute speech was a big plus for me.

Finally, I put two Vari*Lite VL1000s into the rig and I was able to use them to perform live shutter moves to close in on various characters over the show. The lack of fans on the tungsten VLs and the TW1s was of supreme importance from a noise perspective on such a delicate play.”

This marked the European premiere of the production, with Sean Mathias having also directed the show’s premiere on Broadway in 2017. Jamie says: “We wanted to make this version not feel like a copy of the previous production. The Park 200 space offered a vastly different setting (thrust vs pros. arch) and I was keen to use colour in a much bolder way to differentiate the monologues from the naturalistic world in the scenes.”

He adds: “This has been a fantastic show to work on and we’re proud of the response we’ve received from both critics and audiences alike. I’d like to thank our Production Manager Patrick Molony for doing such as great job, as well as Bryan Raven and Simon Arnold at WL for their continued support.”

White Light makes the Newsies at ArtsEd

White Light supplied the lighting equipment for Disney’s Broadway-smash musical Newsies, which recently had its UK premiere at ArtsEd. Set in turn-of-the-century New York, Newsies tells the story of Jack Kelly, a charismatic newsboy and leader of a band of teenage ‘newsies’.When titans of publishing raise distribution prices at the newsboys’ expense, Jack rallies the newsies together against the unfair conditions to fight for what’s right!

The show was a smash when it played on Broadway and the lighting designer for the UK premiere is Nic Farman. Nic says: “I hadn’t seen the original Broadway production but the moment I read the script and listened to the score, I knew it was going to be a great show to work on.The key for the creative team was creating a production that had the high production values associated with a show on a larger scale. It was also incredibly exciting as it’s the first time the show has been done in the UK, so we knew the expectations that this carried.”

Having become familiar with the show, Nic began to formulate his design. He says: “I approached the show in the same way I do with my other work: developing a concept that helps frame the action, which is appropriate to the location and time in which the piece is set. I was lucky to be working with Luke Sheppard (Director) and David Woodhead (Set Designer), who had created a beautiful set that was full of texture. So a lot of my initial work was finding ways to light the architecture of the set cohesively to promote that texture. We also had a clear idea of the colour palette we wanted to use, which included lots of cold whites, moving through to rusty warm tones, and to dial in saturation and help lift the musical numbers.”

Once Nic knew what he wanted his design to look like, he approached WL to supply him with the fixtures to achieve this. He explains: “Early in the process I sat down with Jonathan Haynes to discuss trying out the VL2600 Profile on the show. I knew that having a versatile moving profile overhead was going to be important and I was really pleased with how they performed. These would go on to become the real workhorses in the show. I asked a lot of them, doing live shuttering and tracking the action, which they dealt with consistently. They’re also nice and punchy, which gave me good options for impact cues.”

Nic adds: “The varied colour palette also called for some flexibility, especially as time was tight for the get-in and focus, so Lustr2s and Colorsource Spots gave me options for both set dressing and side light. Completing the rig were MAC TW1s, which I love using for their warm tungsten output and soft edge.”

As this marked the show’s UK premiere, there was a lot of anticipation and the entire run quickly sold out. Nic says: “This was a special show to work on. It’s a wonderful show with brilliant music, so it was a joy to get to put my design spin on it. As a creative team, I think we created a version of the show that sat really well in the intimacy of the Andrew Lloyd Webber Theatre. I’d like to say a big thanks to the team at ArtsEd: Di, Phil, Chris, Molly, Leah and Fran, for their hard work in delivering the show.”

Alongside Newsies, Nic is lighting the UK tour of David Walliams’ Billionaire Boy, which WL is also supplying. Nic says: “It was great to work with WL once again on this project, especially Jono and Chris, who offered great support in helping me realise my design. It was a fantastic service, which I have come to expect from them.”

© Robert Workman

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

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

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

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

Administration Officer John O’Brien 07717 170 288 admin@stld.org.uk

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

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

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

Website Ian Hillson ianhillson@stld.org.uk

Student Representative John Piper johnpiper@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 janeshepherd@stld.org.uk

Bruce Wardorf 07702 741 338 brucewardorf@stld.org.uk

David Bishop (co-opted member) 07971 796 742 davidbishop@stld.org.uk

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Robert Horne (co-opted member) 07762 562 434 roberthorne@stld.org.uk

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sponsors’ directory

Please mention Set & Light when contacting sponsors

A.C. Entertainment Technologies Ltd (Ian Muir) Centauri House, Hillbottom Road, Sands Industrial Estate, High Wycombe, Buckinghamshire HP12 4HQ Tel: 01494 446 000 ~ Fax: 01494 461 024 ~ Email: sales@ac-et.com ~ Web: www.ac-et.com/film-tv Anna Valley (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 B360 (Barry Denison) 33 Lindlings, Hemel Hempstead, HP1 2HB Tel: 0203 9534 360 ~ Email: info@b360.tv ~ Web: www.b360.tv 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 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 DeSisti (Nick Mobsby) 25 Rowtown, Addlestone, Surrey KT15 1EF Tel: +44 (0) 7785 233073 ~ Email: nick@desistilighting.co.uk ~ Web: www.desisti.it Doughty Engineering Ltd (Julian Chiverton, Mark Chorley) Crow Arch Lane, Ringwood, Hampshire BH24 1NZ Tel: 01425 478 961 ~ Fax: 01425 474 481 ~ Email: sales@doughty-engineering.co.uk ~ Web: www.doughty-engineering.co.uk 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

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sponsors’ directory

Elation (Larry Beck) Elation Professional B.V., Junostraat 2, 6468EW Kerkrade, The Netherlands Mob: +44 (0) 7495 051413 ~ Email: larry.beck@elationlighting.com ELP (Ronan Willson, Darren Fletcher, John Singer) Cardington Studios, Cardington Airfield, Shortstown, Beds MK42 0TF Tel: 01234 744 222 ~ Email: info@elp.tv ~ Web: www.elp.tv 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 GLP German Light Products UK (Simon Barrett) Unit 23 The IO Centre, Salbrook Road Industrial Estate, Redhill RH1 5GJ Tel: 01293 228 660 ~ Email: s.barrett@glp.de ~ Web: germanlightproducts.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 (Mark Burnett) Crown Business Park, Old Dalby, Melton Mowbray, Leicestershire LE14 3NQ Head Office: 01664 821 111 ~ London Office: 020 8955 6900 ~ Email: info@hawthorn.biz ~ Web: www.hawthorn.biz 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 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 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 Vitec Videocom Lightpanels (Andrew Woodfin) Mob: +44 (0)7860 785 046 ~ Email: andrew.woodfin@vitecgroup.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

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Please mention Set & Light when contacting sponsors

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, Emma Woolf) 268 Bath Road, Slough, Berkshire SL1 4DX Tel: 01925 649 106 ~ Email: sp@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 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 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 (Paul Johnson) 1 Pembroke Avenue, Waterbeach, Cambridge CB25 9QP Tel: 01223 403 500 ~ Email: snowy@pulsarlight.com ~ Web: www.pulsarlight.com Richard Martin Lighting Ltd (Steve Wells) Unit 24, Sovereign Park, Coronation Road, Park Royal, London NW10 7QP ~ RML Admin: Lantern House, Old Town, Moreton-in-Marsh, Gloucestershire GL56 0LW Tel: 020 8965 3209 ~ Email: info@richardmartinlighting.co.uk ~ Web: www.richardmartinlighting.co.uk Robe UK Ltd (Ashley Lewis, Mick Hannaford, Steve Eastham) 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, Northampton NN3 8RQ Tel: 01604 741 000 ~ Fax: 01604 741 041 ~ Email: info@robeuk.com ~ Web: www.robeuk.com Rosco (Cristian Arroyo) Blanchard Works, Kangley Bridge Road, Sydenham SE26 5AQ Tel: 020 8659 2300 ~ Fax: 020 8659 3151 ~ Email: contact@rosco.com~ Web: www.rosco.com 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 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

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sponsors’ directory

Please mention Set & Light when contacting sponsors

Unusual Rigging (Mark Priestley) The Wharf, Bugbrooke, Northamptonshire NN7 3QB Tel: 01604 830 083 ~ Fax: 01604 831 144 ~ Email: mark.priestley@unusual.co.uk ~ Web: www.unusual.co.uk Vari-Lite / Strand Lighting (Shaun Robertshaw) Strand & Vari-Lite Centre, Unit 24 Sovereign Park, Coronation Road, Park Royal, London NW10 7QP Tel: 07918 161179 ~ Email: shaun.robertshaw@signify.com ~ Web: www.philips.com/entertainmentlighting 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

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

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

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

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

Bernie Davis – STLD Sponsor Liaison

index of advertisers

ClayPaky IBC Doughty 19 Lee Filters IFC Unusual Rigging 16 Version 2 BC

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membership application

V18-070818

Society of Television Lighting and Design Membership Application Form Section1

Personal Information

All personal information submitted to the Society of Television Lighting and Design is treated in accordance with the GDPR Regulations 2018

Surname:

First Name(s):

Address: Mobile:

Twitter/Instagram:

Web site:

Employer/Freelance:

Membership Category

Full Membership

Affiliate Membership

Section 3

Postcode:

Telephone:

Email:

Section 2

Mr/Mrs/Ms/other:

For those whose occupation involves or is associated with television lighting, design or related crafts

Overseas

For those who fulfil the criteria above but not resident in the UK

Retired

For those who fulfil the criteria above but retired and not working

Student

For students in full time education with an active interest in lighting or design

Please complete section 3 with details of your involvement with the television industry

Please complete section 3 with details of your involvement with the television industry

Please complete section 3 with details of your course and or interest in television lighting and design. Give recent productions

Relevant Information Please complete this section with the relevant information about yourself

P.T.O. Set & Light | Spring 2019

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membership application Section 4

Proposal for Membership

I, the undersigned, being a current member of the STLD, certify that I know the applicant in section 1 and recommend that they are accepted into the membership of the STLD in the category applied for in section 2.

One full member/tutor for student membership.

Overseas applications do not need to provide a proposer, but it may be helpful to support your application.

Proposers Name:

Proposers Membership No:

Proposers Telephone:

Proposers Signature:

Proposers Email:

Method of Payment

Section 5

Annual subscription fee for Full Membership - £75, Affiliates - Retired and Overseas - £50, Students - £25 NB a limited number of FREE sponsored Student memberships are now available each year. Please contact the membership secretary by email at the address at the foot of this page for further details.

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 for future years. The best and preferred method for paying for your membership is 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: GB45MID40071411171518

Account Name: 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 Memberships rates are available at http://www.stld.org.uk/membership.php Application Declaration

Section 6

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I, the undersigned, wish to apply for membership of the Society of Television Lighting and Design.

I agree to abide by the rules of the Society (available at http://www.stld.org.uk/pdfs/STLD-Rules.pdf ) I would like to receive correspondence from the STLD Email opt in Tick if you would like to receive correspondence from the STLD by email Tick if you would like to receive correspondence from the STLD by post Post opt in

MY

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I would like to receive correspondence directly associated with the STLD from their Sponsors Email opt in Tick if you would like to receive correspondence from STLD Sponsors by email Tick if you would like to receive correspondence from STLD Sponsors by post Post opt in N.B We may need to contact you by telephone to verify membership details, but we will not pass your telephone details on to any third parties.

Signature:

Date:

Print Name:

Notes (for STLD use):

Membership Number:

Membership approved:

Renewal Date:

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 46

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KOI-UK_A4_Press_Ad_art.pdf

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THE ULTIMATE SHOWCASE OF LIGHTING & VIDEO DESIGN

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headline sponsors:

award sponsors:

supported by:

organised by:

Nominate NOW at www.knight-of-illumination.com

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tv lighting rental Version 2 are creative, independent providers of quality lighting equipment and specialist support to the broadcast and event industries.

Working alongside the industry’s finest Lighting Directors and Crews, we proudly deliver innovative solutions, technical assistance and dependable service, covering the complete production spectrum.

Our blend of equipment and experience has helped establish us as one of the UK’s most trusted suppliers. Whatever your project, our knowledgeable, friendly team are always ready to advise and assist with any aspect of your lighting requirement.

Version 2 - your perfect production partner.

TV STUDIO I OUTSIDE BROADCAST I REALITY TELEVISION I LIVE EVENTS 0203 598 6938 v2lights.co.uk

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