AS/NZS 3760 In-service safety inspection and testing of electrical equipment - has now reached the final draft stage. The EL-036 committee met in Sydney last Wednesday (23/7) to consider all of the comments raised from the June draft of the standard, and produce a final draft for voting and acceptance as a standard.
The comments raised by ALIA were addressed at this meeting, and will be reflected in the final draft. The committee addressed our concerns regarding a precise definition of what constitutes a hire, and exactly when equipment for hire should be inspected and tested. It also examined our question regarding the possibility of defining specific test and inspection regimes, based on a risk assessment.
The final draft is likely to contain the following changes of interest to those in entertainment production. The exact wording is likely to change in the editorial process of preparing the Standard.
Definition of a Hire
The definition of a hire will be something along the lines of:
"A hire situation is created when the Hirer provides electrical equipment to a person or business external to the Hirer's organization and the equipment passes out of the control of the Hirer. Situations where equipment is supplied and operated by the Hirer is not considered to constitute a hire." Therefore only "Dry Hires" are covered by the Hire clauses in the Standard.
Test and Inspection intervals
In the draft, Hired equipment, including cables and distribution gear will be required to be Inspected before every hire and Tested (and tagged) every three months. RCD (earth-leakage) devices offered for hire will be required to be push-button tested before every hire, and tested for operating time every three months.
Variation to Test and Inspection intervals for Hired equipment
All risk assessment processes require an evaluation of the risks and hazards associated with particular activities. Therefore, the possibility of varying the inspection and testing intervals for hired equipment, based on risk assessment, is considered to be impossible to achieve because of the unforeseeable level of equipment abuse when it is not under the control of the Hirer.
Phase testing on plugs and sockets
Of particular concern to the committee was the possibility that a Hiree could incorrectly replace a re-wireable plug or socket on Hired equipment. This has led to additional emphasis on the checking of plug and socket wiring during the Inspection process prior to each hire. If you don't have transparent re-wireable plugs and sockets on your equipment to allow for visual phase checking, now is a great time to consider a program to ensure that all of your plugs and sockets are either transparent or not re-wireable (i.e. moulded).
Whilst it is highly unlikely to be mandated in the 2003 revision of the standard, it is almost certainly going to become an issue with regulators. In the future, it is possible that if you can't verify the phasing visually during inspection, you may be required to verify it with an electrical test before every Hire.
Andy Ciddor, who attended the meeting on behalf of ALIA, be available via the On-line Forums for discussion of Test and Tag issues.
In view of the large number of comments arising from the most recent Postal Ballot Draft 1.2 of the standard, the EL-036 committee will again be meeting in Sydney next Wednesday, July 23rd, to discuss the responses and finalise the 2003 revision of this standard.
As ALIA are now members of the EL-036 committee, and in particular because of ALIA's response to the last draft on matters relating to equipment hire, we have been invited to attend this meeting.
A copy of the aggregated ALIA response to the Postal Ballot Draft is available from the ALIA website. Any further comments about matters which need to be raised at this final meeting should be sent to Andy Ciddor andy@alia.com.au by Tuesday night.
Although not raised in the current draft, there is a further issue that should be of considerable interest to ALIA members. This the suggestion, raised at the June EL-036 committee meeting, that the existing Standard AS/NZS 4249 "Electrical safety practices - Film, video and television sites" should be revised and extended to include all aspects of entertainment and event production. This would be an opportunity for us to participate in setting safety standards that are directly relevant to the entertainment industry. However dealing with the broad range of operating environments found in entertainment and event production will no doubt provide some interesting challenges for our industry. Join in the discussion on this proposal on the ALIA On-line Forums
Stage engineering and automation specialist Stage Technologies announced a worldwide partnership with Siemens during a recent Open Day held at the Göteborg Stadsteater in Sweden. The event coincided with the production of Siemens' 400,000 MasterDrive, and the end of a highly successful first season for the Stadsteater using Stage Technologies state-of-the-art power flying solution (see June L&SI).
Co-hosted by Siemens and Stage Technologies, some of the entertainment industry's leading consultants were invited to the event to tour one of the latest automation solutions resulting from the partnership. Mark Ager, Stage Technologies' managing director and Ian Bowman, director of marketing and communications for Siemens, explained the dividends connected with an integrated drive solution - namely its cost effectiveness and compact nature.
The installation, featuring Stage Technologies MaxisID (integrated drive) technology, not only fits neatly into the existing 1934 grid, but also gives the Stadsteater the ability to expand the system to incorporate extra motorized axes as and when required by the production manager.
www.stagetech.com
Theatre
prop operator fined for death of stage hand
A theatre operator
has been fined $45,000 over the death of a backstage mechanist, after
the NSW IRC rejected its claim that it could not expect workers to wear
protective headwear unless on-stage performers did too.
The Commission, in Court Session, heard that a casual mechanist working
at the theatre but not employed by the operator died from head injuries
after being hit in the head with a counterweight from the backstage pulley
system used to move props.
In its investigation of the incident, WorkCover NSW found that the operator
did not use common safety mechanisms such as rope locks or counterweight
restraints, and did not conduct regular risk assessments of the site or
the pulley system.
The operator also failed to require people working backstage to wear hard
hats or other protective equipment, it found.
A senior supervisor at the theatre told the Commission that he eschewed
the use of rope locks because he had seen one fail while working backstage
at another theatre some years earlier.
However, Justice Frank Marks said that "his one experience on that
occasion could not justify the failure to have inserted those devices".
Similarly, he rejected the supervisor's argument that the operator did
not require backstage workers to wear hard hats because the theatre performers
were "equally at risk and should also be required to wear them".
"A comment of this kind is, to say the least, facile," Justice
Marks said.
"It is obvious that actors and entertainers are unable to wear hard
hats on stage ... the situation is somewhat different to persons who are
employed backstage, particularly in setting up and dismantling sets and
in organising and operating the flying prop system," he said.
Justice Marks said while there was no evidence that the mechanist would
have survived the incident if he had been wearing protective equipment,
"there can be no doubt that the consequences of the incident would
have been lessened if he had been wearing a hard hat at the time".
He fined the operator $45,000 for the safety breach, after first deducting
30 per cent for its early guilty plea and its contrition and remorse.
Inspector Swadling v Empire Talkies Pty Ltd [2003] NSWIRComm 191 (30 June
2003) http://www.lawlink.nsw.gov.au
Reproduced with kind permission from OHS Alert http://www.ohsalert.com.au/
Bytecraft Entertainment has expanded its range of services with the introduction of the Show Drape Division. They now boast Australia's largest soft goods workshop, fully equipped and able to handle any request.
The new Show Drape sales and production team bring with them the necessary experience and the dedication to provide finished product of the highest standard.
They will carry in stock a wide range of specialised fabrics, all sourced from overseas manufacturers.
Bytecraft Entertainment can also offer supply only or installation onto their theatre tracking.
www.bytecraftentertainment.com
Draft 1.2 of the proposed update to AS/NZS 3760 has been released for comment by members of EL-036 committee and members of organisations such as ALIA.
The draft includes one change that is of great interest to the entertainment technology industry. The interval for Testing and Tagging hired equipment is now proposed to be THREE MONTHS, with an inspection of every item before EVERY hire.
Whilst the current draft does not reflect all of the changes discussed in the committee meeting at which ALIA was represented, it goes a long way towards dealing with our objections to the previous draft.
Due to the preliminary nature of this draft, it is not available for public release, however ALIA members are welcome to a copy of the draft which is available from ALIA. To receive a copy ALIA members should send an email to draft@alia.com.au
It is up to us as an association to respond to the current draft with any further comments or suggestions about its impact on our industry. Our response should be prepared by next Wednesday, July 9. On-line discussion of the draft will be held in the Current Affairs forum of the ALIA web site.
Osmond
Electroncs in Adelaide have taken delivery of the new Martin MAC250 Krypton
fixtures"They are certainly a great improvement on the MAC250+," stated Justin Accatino, Lighting Hire Manager at Osmonds. "They are particularly easy to maintain as you can get into both sides of the head - which can make life easy. They are also much faster which should be good for nightclub work. I really like the new gobos too. I find that the glass reftector means a higher light out put. The 5pin and 3pin data makes life easier when it comes to rigging because we have lights that have 5pins (eg.Clay Paky) and ones with 3pins (eg. Martin) This means that you don't have to use 101 5pin to 3pin or 3pin to 5pin converters."
www.osmondelectronics.com.au
AVI
take delivery of first JEM ZR 24/7 haze machine
Always quick off the mark, Audio Visual Innovations in Queensland have
become the first hire company to purchase the new JEM ZR 24/7 haze machine.
"The ZR
24/7 is a great little machine and it will be a valuable asset to our
busy hire department, " said Steve Grimes, managing director of AVI.
"It can really pump out the haze and you can adjust the angle of
the haze output. The LED user interface makes it easy access DMX set-up,
haze density and output control. The heat up time seems fairly short and
it has a low fluid cut off system that eliminates any possibility of running
the pump dry.
"As they
say in the brochure - it's the ideal canvas of haze for today's intelligent
lighting systems!"
Pictured right is Steve Grimes with his JEM ZR 24/7.
www.audiovisualinnovations.com.au
Standards Committee EL-036, the body revising the Testing & Tagging Standard, has received, processed and considered a huge flood of submissions and comments from the Entertainment Technology Industry. The committee invited Tony Davies (representing Juliusmedia's new venture, Entertainment Technology Association), and Andy Ciddor (representing ALIA, the Australasian Lighting Industry Association) as observers, to attend the first day of its two-day meeting to examine the proposed revisions to AS/NZS 3760.
In responding to the submissions from the Entertainment Industry, the committee was anxious to make it clear that they had not been aware of the impact on the industry of the amendments put forward in their recent draft proposal. They were very concerned to produce a reasonable and workable standard, that would also produce the best possible safety outcomes for users of electrical equipment.
In an effort to accommodate the nature of the Entertainment Industry's structure and work processes, significant changes to the draft Standard were discussed. The resulting revised draft of AS/NZS Standard 3760 "In-Service safety inspection and testing of electrical equipment", will shortly be made available for further discussion, before being ratified.
The CTPA is a non profit, independent organization of Control System Programmers and other interested parties dedicated to advancing the art and science of Control System Design and Programming.
Members may be independent contractors or employed by a design firm, installing contractor, etc. Special memberships are available to manufacturers and other interested parties.
Their goal is to share information on control technologies which will benefit their members and clients through education, interfacing with manufacturers, and involvement with various trade organizations and standards committees which impact their projects.
www.ctpa.info
CDA are now distributing the RADlite Visual Manipulation System - Image and Video manipulation system. RADlite is a high-powered PC based system that allows the control and manipulation of graphic's, video and live camera feeds by way of a DMX lighting desk (as specified by designers for performances by Dandy Warhols, Blue, Coldplay, The Chemical Brothers, S Club, Ronan Keating, Carlton TV "Starfinder" to name a few).
www.cdaust.com.au
www.irad.co.uk
Chameleon
purchase 100 Martin MAC2000 Wash fixturesChameleon Touring Systems have taken delivery of forty-two Martin MAC2000 Washes, the first of an order totaling one hundred units.
These initial units will be shipped to Resolution X in Melbourne for an upcoming production.
"At Chameleon we have been very impressed by the output and reliability of both the MAC2000 Profile and MAC2000 Wash," said Tony Davies, Managing Director of Chameleon Touring Systems. "The MAC2000 Wash has quickly established itself alongside the MAC2000 Profile and MAC2000 Performance as industry standard. It has an extremely high light output, full CMY colour mixing, plus the flexibility of multiple front lens options and much more."
Pictured are the MAC2000 Wash units arriving at Show Technology's headquarters in Sydney.
www.chameleon-touring.com.au
www.martin.com eases locating Martin Professional international Web Site
Martin Professional is proud to announce an additional URL address for the company’s international Web Site, www.martin.com
The more common ‘dot com’ address will make it easier for Internet users to locate the Martin international Web Site. For users not familiar with Martin as a Danish-based company, it was not always obvious to use the Danish .dk ending in the company’s international www.martin.dk Web Site address. The www.martin.dk address that users have come to know over the years will remain functional however.
Martin’s subsidiary and regional website addresses remain the same.
Martin US: www.martinpro.com
Martin UK: www.martinpro.co.uk
Martin France: www.martin.fr
Martin Italy: www.martin.it
Martin Germany: www.martin-professional.de
Martin Singapore: www.martin.com.sg
Martin Scandinavia: www.martinscan.com
Other Martin Professional website addresses include:
Martin Architectural: www.martin-architectural.com
Jem Smoke: www.jemsmoke.com
Mach Speakers: www.mach.dk
Clearlight Shows in Melbourne would like to point out that they are still distributors of ELC Lighting products as well as Show Technology.
"Clearlight Shows P/L is and has been the distributor of ELC products since September 2000," said John McKissock, managing director of Clearlight. "Show Technology have also been appointed as a distributor of the product in Australia. This in no way effects our long standing relationship with ELC and we look forward to supplying and supporting ELC in the future."
Melbourne-based Showtech, a private company providing rigging and staging services to the arts and cultural industries, is leading a campaign to lobby government and business on rising public liability insurance premiums.
The company says it has information that underwriters will now not insure anyone in the entertainment industry, a situation which it argues will basically destroy cultural life as we know it.
Good is so concerned she has circulated a questionnaire on the issue, which asks arts and entertainment organisations about their current cover. Although some of the information required may seem personal, Good argues that she needs to find out who the brokers and underwriters are, and what people are actually paying, to make a stronger case to government.
The questionnaire information will be collated by Good, for a report to assist in showing government the real impact of public liability premium rises on the cultural industries.
To read Tiny Good's open letter to State and federal governments and the insurance companies click here
To access the questionnaire click here
www.showtechaustralia.com.au
grandMA
for SCE EventsShow Technology has sold an MA Lighting grandMA console to SCE Events in Singapore.
"The sale came about from some correspondence back in February and then, before I went to Frankfurt in March, I stopped over in Singapore and met up with Mr Paw Sorenson, SCE's head lighting designer," explained Andrew Winslade, Show Technology's Professional Products Manager. "I listened to his requirements and presented him the MA console with all of its features and benefits. I also left him with a CD-ROM of the offline editor and the 3D Visualiser."
SCE sent three of their technicians, including Paw Sorenson, to be trained in using the console at Show Technology's Sydney headquarters.
After spending time behind ETC and Hog consoles, the guys found the grandMA to be very versatile and powerful. They were impressed at how much the console suited their needs and are looking forward to using the console back home.
After an intensive two days of training the guys spent a couple of days seeing the sights of Sydney as it was their first trip to Australia.
www.showtech.com.au
Re: DR 03931 CP, Draft for AS/NZS 3760 In-Service safety inspection and testing of electrical equipment
A significant proportion of the ALIA membership is involved in lighting for the entertainment industry, where temporary electrical systems are the norm, and where a substantial part of many production systems is hired in for the duration of the production.
Electrical safety is integral to the work practices of the entertainment lighting industry, as it is a natural outcome of the requirements for operational reliability and commercial competitiveness. As entertainment production works to extraordinarily tight deadlines and budgets, successful hire and production companies depend on their reputations for being able to work within these constraints to remain in business and to prosper.
It has long been industry practice for every piece of equipment to be inspected and tested for full operational capacity before being packed or loaded for a production. This reduces (or hopefully eliminates) the need for the supplier to provide costly on-site maintenance, and enhances their competitive reputation as provider of safe and serviceable equipment.
Similar practices are followed at the production end of industry. Every item of equipment, whether sourced in-house, or hired in for the production, is inspected, tested for operability, and in the case of more sophisticated devices, also operationally configured, immediately before being incorporated into the system. This process is essential, as the majority of lighting equipment is rigged to overhead suspension or support systems, and is thus not readily accessible for service once in place.
The proposed amendments to AS/NZS 3760 appear not to take the circumstances of the entertainment production industry into consideration, and may actually present a situation that could cripple the industry both operationally and financially, without meeting its intended aim of raising the standard of end-user safety.
ALIA would like to raise the following points for the consideration of the EL-036 committee.
A. That there are effectively two distinct types of hire customers:
Casual - End-users with limited experience at assessing the safety or operability of the equipment being hired.
Technically Competent - Experienced end-users who are aware of the potential problems associated with their equipment and who are constantly making assessments of the safety and operability of the equipment they are using.
Whilst clearly intended to improve electrical safety for the casual hirer, unfortunately the proposed standard does not include provision for the technically competent hirer, whose testing practices already exceed the proposed standard, in every area except the fitting of tags.
To provide for the two levels of hirer expertise would entail changes to:
Section 2.1 relating to Frequency of Inspections and Tests, in particular to 2.1.2, which states "Hire equipment is excluded from this option."
Table 4 "Testing And Inspection Intervals For Electrical Equipment", specifically row 5, Hire equipment.
B. That there is a clear need to examine and clarify the recommended schemes for tag colour and expiry dates.
Consideration is needed as to how these can successfully be implemented in the quite common situation involving equipment from a single source, that may be employed in a variety of operational environments, including film and television production (covered by AS/NZS 4248), shows and carnivals (covered by AS 3002), and areas deemed by regulatory authorities to be construction or demolition sites (AS/NZS 3012).
There is also some concern regarding the proposed implementation of a "Ready for Service" scheme, where special-purpose or season-specific equipment, having been tested on return from hire and placed in storage, would later require re-testing because of tag expiration, despite the equipment not even being handled in the interim.
ALIA's members are determined to maintain their existing high standards of electrical safety and improve upon them wherever possible and practicable. We are anxious to work with Standards Australia and Standards New Zealand to ensure that real, workable improvements can be made to safety practices, and are willing to work with the El-036 committee to further enhance the proposed standard.
Proposed
changes to Electrical Test & Tag Standards
There has been discussion around the entertainment industry in the last
few days, over proposed amendments to AS/NZS 3760, the document which
recommends standards for "In-service safety inspection and testing
of electrical equipment". The issue in question has been a change
in the recommended testing interval for Hire Equipment.
The proposed amendment would see a change of test interval from "
Inspect before each hire. Test monthly" in the 2001 standard, to
"[Test] After return from hire." While this will doubtless produce
a safer environment for casual hirers of lawnmowers, cement mixers, impact-drills
and electric barbecues, it is unlikely to add further to the safety of
an already careful production crew who are cabling up their lighting,
sound, communications, video or stage automation system. What it will
do is add significant cost to the business of production.
In discussions with Nelson Procter at Standards New Zealand, the convener
of the EL-036 committee, ALIA raised the notion of distinguishing between
casual or "driveway" hire customers and responsible, experienced
technical hirers.
The implication of this distinction is that whilst we should take all
reasonable steps to protect the hirer of a fogger, two pin-spots and a
mirror ball for young Debbie's 18th birthday party, by testing the equipment
before each hire, the very industry practices which we use every day to
ensure that we don't rig dud gear, provide us with a practicable level
of safety.
ALIA has been asked to put forward a submission to the EL-036 committee,
suggesting such an amendment to the standard. We are seeking your input
on this approach to the situation.
Make
your contribution via the ALIA On-line Forums
Show
Technology to supply the DMX tools you've dreamed about
Show Technology is
proud to announce that they are now the official distributor of ELC DMX
tools.
"We are excited to partner with ELC as they engineer and supply excellent
product for what is becoming an essential infrastructure in entertainment
technology," stated Emmanuel Ziino, managing director of Show Technology.
"Specialised DMX distribution, Ethernet and DMX tools and control
equipment are a great addition to our existing range of products. Now
we can offer complete packages to our clients. The ELC product line up
is extremely well regarded throughout the world and we are proud to be
able to represent the company in Australia."
ELC's DMX tools are a complete range of devices for the control, distribution
and management of DMX control systems. This includes dmxLAN a complete
DMX over Ethernet system, which includes input/output nodes, a distribution
hub and a PC based software package which combines a full network control
and configuration system, with fixture control and management.
The increasing number
of channels of a moving head has made the 512 channels of the DMX protocol
a little bit short. As well, the demand for a new protocol, allowing not
only a much higher number of channels, but also a higher speed and bidirectional
transmission, has opened the way to Artnet, the new protocol for DMX on
Ethernet. ELC's dmxLAN System will offer you not only the conversion of
DMX to Ethernet and back, but also a fully integrated solution, allowing
the complete network management by means of a PC or Pocket PC software.
All the functionality of an Ethernet basic network, like switches for
multiple access point or wireless LAN, will be supported. The system will
support all the functionalities of the new and future RDM and ACN/BCN
protocols.
The dmXLAN PoCket from
ELC Lighting is an application for pocket PC's such as Compaq and Toshiba,
it provides a functional use of ELC's dmxLAN software. Its wireless operation
allows for control of DMX nodes, patching and merging of universes, study
of DMX channels and control of fixtures, from any place on the stage or
in the hall. Download of the software is free.
The showSTORE is a
real time DMX recorder ideal for exhibitions, museums as well as shop
and lighting desk backup. It can record up to 99 shows with up to 99 indexes
per show. Other features include: up to 26 hours of storage on a 2 GB
harddisk; 1.2Mbyte / Minute Disk usage; Internal Real Time Clock &
Timer; DMX Fail/Backup function and Multishow where four shows can run
simultaneously, output HTP merged.
The miniSTORE is a
reduced version of the famous showSTORE. It allows to record in real time
a DMX show from any lighting desk with up to 64 channels or up to 20 minutes,
depending of the selected frame rate. It is ideal for exhibitions, shops
or store windows.
dmXPOINT is a unique
and universal programmable merger/splitter unit, build up of a DMX merger
and an output matrix. The unit has two DMX inputs and six programmable
outputs, a DMX merger/processor and an easy to use LCD control. The six
outputs can be programmed to give the DMX from input A or from input B
(as a splitter), or from the output of the DMX merger/processor. dmXPOINT
FI has the same posibilities as the dmxPOINT. The only difference is that
the dmxPOINT FI has fully isolated outputs.
The AC 612 Architectural
Lighting Controller is designed for use in hotels, bars, conference rooms
and shopping malls. This mini DMX desk can control 6 or 12 channels. Its
small size means you can also have it in your hands like a palmtop remote
desk. On the box, 16 illuminated pushbuttons allow different operation
modes like 6 x channels up/down, 12 channels selection with master up/down,
or as direct memory recall (scenes recall).
Thanks to the LTP (Last
Take Precedence) Merge function, many AC612 can work in parallel on the
same DMX channels. As well, a main DMX lightcontroller can be also connected
at the beginning of the chain (In that case, the highest DMX channel cannot
be higher than 192).
Further, thanks to the programmable DMX Start adress (from 1 to 181),
16 remotes (or groups of remotes) can be daisy-chained using the DMX adresses
from 1 to 192. The AC 612 XL Architectural Lighting Controller can control
120 channels.
www.showtech.com.au
The popular Hungaroflash T Light features heavily on the current Rolling Stones worldwide tour and a number of well know large rental companies such as LSD have added these products to their inventory. Call CDA today for a demonstration of the Hungaroflash products.
Hungaroflash was established in 1994, specializing in the manufacture of strobe lights in many forms.Technically, the Hungaroflash strobes feature unique characteristics that provide huge flash output and more capabilities than the average strobes on the market. The evolution of our product line has been remarkable since the introduction of the TURBO in 1992. they then created the QUASAR in 1994. The QUASAR was the first strobe also capable of working as a continuous light source at 15kW power. Then they added color to the mix. Their research and development enabled them to produce dichroic color filters that resulted in being able to offer strobes with heat resistant COLORS and from that came the RGB strobe in 1996. Just last year, in response to a client request, they developed a WATERPROOF strobe rated at IP65 and from that they are currently working to create an UNDERWATER version. Last year the EUDMX strobe replaced the TURBO which offers the same great performance in a smaller and DMX controllable format. They are not stopping at this and have a number of other new developments in the pipeline so look out for these in the coming months.
Products:
T-light - 85,000 Watts (Imitate lightning) - This model is the latest developed by Hungaroflash. A product that can go up against "Lightning Strikes" and you can actually purchase it. It requires a 63A single phase supply and is IP34 rated (rain proof) with stainless steel body.
It is supplied with its on controller which can be trigger by DMX if required. The flash length is adjustable from 1/24 sec to 3 Sec. Weighing 20kgs the unit comes complete in a Peli case with wheels and trolley. You can adjust the beam from a SPOT through to a wide beam, barndoors and colour filters are available.
RGB - The first strobe ever capable of mixing colors. There is no competitor! This revolutionary system uses three Quasars® equipped with special color filters to create virtually any color. While the color filters don't transmit the full range of visible light, you can still achieve approximately 45 kW of light power! If you need to create a special tint or to display changing colors, this is the strobe for you.
Quasar is such a versatile product that just trying to imagine all that you can do with it would be a difficult task. To put it in a nutshell, this strobe can be used virtually anywhere that flash or constant light is required, from low-output applications to lightning effect. It is suitable for disco, theatre, stage, and rental company applications. And it can be controlled in four modes: DMX, ANALOGUE, IMPULSE, and SELF. All this is offered at a highly competitive price.
The WATERProof Quasar® - IP65 is such a versatile product that just trying to imagine all that you can do with it would be a difficult task. Very few companies manufacture strobes for water/rainproof applications.We are offering a high power QUASAR that is both waterproof and suitable for rainy applications.The WaterProof Quasar can be controlled by DMX.
EUDMX Normal - strobe with a plus. This unit can be run in TURBO mode offering you twice the standard output. Manual in built control plus DMX control as standard. Another feature of this unit is its tiny dimensions allow you to hide it easily from view.
www.cdaust.com.au
The Victorian Arts Centre is a major public cultural institution. Its core purpose is to enrich the lives of Victorians - culturally, educationally, socially and economically.
Responsibilities include:
· Managing the the Arts Centre facilities, precinct and venues
· Presenting and promoting a broad range of performing arts programs
· Providing leadership in and opportunity for artistic development and audience development
· Managing and promoting the public collections of art and performing arts memorabilia
The Trust operates in a commercial environment, generating 70% of its annual revenues from trading and fundraising activities.
The Arts Centre is committed to a sustainable business vision. Healthy survival in a commercial environment remains a constant challenge.
Criteria for business decisions include:
· Environmental responsibility
· Cost effectiveness
· Efficiency
· Value
· Waste management and reduction
Preference will be given to companies demonstrating a willingness to provide creative solutions for service delivery.
Tenders must be in a sealed envelope addressed to Mr David Campbell - Manager, Stage Technical Services clearly marked:
'Tender Specification - Supply of Stage Lamps 2003'.
Delivery to:
Level 8 Reception, Theatres Building, Victorian Arts Centre,
100 St Kilda Road, Melbourne, Victoria, 3004, Australia
or posted to
PO Box 7585 Melbourne 8004,
Victoria, Australia
Tenders close at 2:00pm on 25 June 2003.
Late tenders or tenders filed by electronic means, e.g. Fax or e-mail will not be accepted, nor will notification of a pending submission.
Victorian Arts Centre Trust reserves the right not to accept the lowest or any tender.
More information at: http://www.vicartscentre.com.au/aboutus/tender/tender.htm
Bytecraft Entertainment have totally redesigned their web page to deliver more information to those wishing to find out more about the company. Go to www.bytecraftentertainment.com
The following letter was from Rex Gilfillan of Theatrelight, an ALIA member, was received yesterday:
"I would like to draw your attention to some difficulties a New Zealand company, Theatrelight Ltd, has got into with our Joint Venture Company in Zhuhai, China. Theatrelight is a manufacturer of Theatre and Television lighting control equipment founded in 1972. In 1994, Theatrelight entered into a joint venture partnership in China called Zhuhai Tai Li Theatrelight Ltd ("Tai Li") in China. Much of the background of this dispute can be seen on Theatrelight's website www.theatrelight.co.nz. It involves a staggering story of counterfeit copies of the company seal of Theatrelight, and forgeries of my signature both as Managing Director of Theatrelight, and as Legal Representative of Tai Li.
Last year after the discovery of losses of USD1,500,000 in New Zealand involving a then Director of Theatrelight who was also the son of our Chinese partner, the partner took over sole control of the joint venture and its company seal. Theatrelight has taken legal action in China, but with slight effect to date due to the gross deficiencies in Chinese law. The New Zealand Trade Representative in Guangzhou has greatly assisted with complaints to the government of the Zhuhai Special Economy Zone regarding the ineffectiveness of its government departments, but these complaints have so far met with the same result.
We now find that the "joint venture" is manufacturing re-branded versions of products in which the copyright is the intellectual property of Theatrelight. The Tai Li website (www.zhtaili.com) now purports to be the property of a company called Tai Lighting Ltd, and not that of the joint venture company Zhuhai Tai Li Theatrelight Ltd. No reference is made to Theatrelight as a partner in this company. There is a reference to Top Lighting, a New Zealand company owned by the wife of our Chinese partner. This company has already made an attempt to use Theatrelight's "TL" logo in New Zealand, and has been warned of severe penalties if it persists.
A number of Theatrelight designed products are shown on the Tai Li website with different branding. Theatrelight gave no authorisation for these changes. China is now a signatory to the World Trade Organisation, and the World Copyright Convention. Theatrelight has never assigned its copyright to the Chinese partner by a genuine signature, and this re-branding is therefore a flagrant abuse of our copyright."
Rex Gilfillan, Legal Representative, Zhuhai Tai Li Theatrelight Ltd
Managing Director, Theatrelight Electronic Control and Audio Systems Ltd
Email: rex@tls.co.nz
1000th
maXim shipped!May 16th 2003 was an historic day for Australian lighting equipment manufacturer, LSC Lighting Systems, as the 1000th maXim rolled off the assembly line. The lucky recipient was ADB S.A., LSC's distributor for France.
Alan Graham, LSC's Marketing Director commented. "The success of the maXim has been beyond our expectations and can be directly contributed to the design team at LSC and our committed distributors worldwide. We feel the maXim is now the market leader in the low to mid range of our market and the recent release of the Effects Engine and Fan Generator software has culminated in an extremely powerful desk for its price. The fact that ADB has taken delivery of the 1000th maXim produced is rather appropriate, as they have now purchased over 20% of all maXims shipped - a tremendous effort in itself!"
The historic maXim is a MAX/XL model, serial number 16559 and is pictured with LSC maXim technicians David Knopp and Steve Burns holding it aloft.
www.lsclighting.com.au
Catalyst
for ELSGold Coast based ELS (Entertainment Light & Sound) have added to their already extensive High End Systems inventory with the addition of a Catalyst Media System as well as two of the Catalyst Orbital Heads. The mirror heads will find immediate use on ELS's new 12000 ANSI lumen Panasonic projectors.
Says ELS's Phil Stafford, "Looking forward, it was important for us to have Catalyst capabilities for both our touring and corporate work, and as well as purchasing Catalyst and projectors, we've added another technician, specifically to ensure our clients continue to get the best".
www.els-productions.com.au
Haycom Staging has increased their stock of Martin MACs to be used in Sydney, Melbourne and Brisbane. Four Martin MAC2000, eight MAC600 and twelve MAC250 fixtures were purchased to meet an ever growing demand for the products on the various events Haycom Staging service.
"We find the Martin MACs work fabulously and the more we have the more they go out of the door!" said Steve Leiter, Haycom Staging Sydney's Lighting Director. "At Haycom we don't do lots of big shows but smaller to medium sized events and the MACs work really well.
Most of the shows that Haycom Staging in Sydney provides are staged in hotel ballrooms that are smaller than their Melbourne counterparts. Consequently they prefer the smaller size of the MAC250's whilst Haycom in Melbourne has to deal with much larger venues and so they opted for the MAC600's and MAC2000's.
Having said that, Haycom Sydney did keep four of the MAC600 so they could have a strong wash light when required.
Haycom Staging have just been appointed preferred supplier to the Rugby World Cup and no doubt Martin MAC's will be seen at many a corporate event next October.
www.haycomstaging.com.au
Coemar De Sisti Australia is proud to announce that they are now an Australian distributor for Interactive Technologies. Interactive Technologies manufacturers several families of professional stage lighting control products and other associated accessories. The following list outlines their basic product families:
Figment DMX - console power in the Palm of your hand
Sidewinder 2 - Portable interface for Figment software
Sidewinder XR2 - Rackmounted stand alone playback
Radio DMX - high performance wireless DMX distribution
Micro Tech DMX - essential DMX tool for demanding techs
CueTouch - ethernet based architectural lighting control panel
Schusters Lighting have recenty purchased a Radio DMX, which is available for rental if needed. This unit was purchased to be used in the new upcoming television series "I'm a celebrity - Get me out of here".
www.cdaust.com.au
Design
Quintessence announces Stage Tools TrussingLooking for a new, more secure and attractive way to rig your lighting set-up? Stage Tools Trussing is now available in Australia, thanks to Design Quintessence. Stage Tools Trussing is not only amazingly strong and durable, but is also priced affordably to fit the budget of virtually any lighting user.
Stage Tools deliver a line of highly affordable aluminum trussing that is designed to accommodate the growing market of lighting users who would like to move up to a more elaborate and professional rig-type set-up.
"Stage Tools is an exciting product to have introduced to this country," said Ian Wood, managing director of Design Quintessence. "Unlike Australia, there have been many changes and developments in the truss industry throughout the rest of the world. Demand and use of European
designed, quick connection pin and spigot system truss has expanded rapidly across the world to the point that almost all major international manufacturers are producing truss to the same design and specification as Stage Tools. Given its worldwide popularity, speed of assembly, strength and, most significantly, extremely competitive pricing, our excitement has been well justified since our first shipment late last year."
The lightweight aluminum trussing is great for touring companies, production/rental houses and tradeshow designers. Stage Tools' affordability and high-quality fabrication also makes it ideal for all types of permanent installations - from churches and concert halls, theatres and nightclubs, to convention centres and airports.
Strength is assured with the use of 6082-T6 extruded aluminum alloy - a material so strong, rigid and corrosion-resistant that it is used by the aviation industry for aircraft construction.
In addition to high-grade structural alloy, Stage Tools products utilise a conical coupling system that offers a number of distinct advantages. For one, the conical shape of the couplers helps to maintain overall rigidity, especially at key stress points, which allows for more secure structuring. In fact, the conical coupling system was adapted from a technology called "mouse-key" construction used in oilrig structures. As you'd imagine, oilrigs must be able to withstand forces from all directions at all times. How's that for stability! There is also a more precise line-up of chords and fastening points, and the conical parts themselves are very difficult to damage, so they are better able to withstand the rigors of road use. The big advantage for production companies is the considerable reduction in assembly time and we can all appreciate the benefits of saving time.
You may have noticed Stage Tools Truss is currently being used as the main design element on Channel 9's (NRL) "The Footy Show".
"I particularly like the fact that Stage Tools truss has more webbing than other trusses so that when you shine a light down it's length it shows up the truss more," said Andrew Veitch, Channel 9's lighting supervisor. "Also it's really easy and fast to connect the truss pieces together. It's lightweight and can be constructed into any shape you want with the aid of twists and corners. Overall, it's a very good product for its price."
Another satisfied Stage Tools customer is David Pfeiffer of Fifalite Effects Lighting, Queensland.
"I'm the proud owner of some Stage Tools F34 Square Truss (box truss) and I love it!" he said. "All of my customers who have seen it so far, have commented on how good it looks, how well it is made (the welding is perfect), and how simple it is to put together. I've used it recently with some Geni Mojo Colours in it - they fit neatly inside the truss, and because of all the extra diagonal struts (compared to other trusses), it lit up beautifully.
"I'm looking forward to increasing my inventory with more lengths, corners and T-pieces in the near future. And because Stage Tools truss is so economically priced, I don't have to "save my pennies" for very long before I can afford to buy it - it's excellent value-for-money."
And finally an endorsement from Neale Mace of Entertainment Installations on the Central Coast:
"Stage Tools is just a great, cheaper alternative to the truss we had been using."
For further information on Stage Tools trussing please contact Ian Wood of Design Quintessence on 02 9648 3322 or email designq@ozemail.com.au
Ballarat
Theatre Production course set to close
On Thursday, 8th May 2003 the University of Ballarat called a meeting
between the Arts Academy staff and the students of the Bachelor of Arts
(Theatre Production). The announcement was made that no further applications
would be accepted, but that all currently enroled students would be seen
through their courses.
Lobbyists question the logic of having no student technical support for
Ballarat University’s glorious new (largely tax-payer-funded) performance
facilities, and point to the fact that production graduates are far more
likely to gain employment than the performing arts students they so often
support on stage.
The students and staff of the course are commited to fighting the decision
with the aim of having the course continue at the Arts Academy.
The students are organising an on going peaceful protest movement. Events
to date have included:
Demonstration which the Courier attended
Interviews on WIN TV
Silent protest at graduation ceremony
Vocal protest at staff meeting
These events will continue, and will be publicised on their web site -
http://stick.by/production
Oceania
Lighting purchase x.Spot XtremesNew Zealand has a well established reputation for the Xtreme, and now Auckland based Oceania Lighting have taken delivery of their first shipment of the new x.Spot Xtreme's. With further shipments due by early June, Oceania will have a total of 12 x.Spots.
Already the x.Spots' have got the thumbs up! Oceania's Simon Garrett commenting, "these things rock! We've always prided ourselves on having the best gear, and have based our rig substantially around HighEnd gear as a result."
Simon continues, "We knew the x.Spot was going to be good, but the looks we're getting are awesome - really great theatrical gobos are fantastic for a lot of our gigs. As well as our concert work, we do a lot of corporates and being able to give every event something truly special is important."
In the short time Oceania has had the x.Spots in their inventory, clients have been continually been impressed with the performance of the fixtures, "people can't believe how much coverage we're getting and how bright they are - x.Spot simply outclasses anything else in the market", says Simon," and we're also finding that the theatre designers are really responding to these units too, its looks and colour saturation are winning them over".
The Oceania inventory already includes Cyberlight Turbo, StudioSpot575, StudioColor575, StudioSpot250, StudioColor250, Technobeam as well as WholeHogII.
Along with x.Spots Oceania also purchased a HandShake, which not only is a portable console in itself, but allows also for fast, easy uploading of new software to multiple fixtures simultaneously, plus with TalkBack™ (RDM) built-in all the HighEnd fixtures can report their status and have DMX addressing done remotely. Says Simon, "I was really impressed with the ease of uploading software with handshake - it basically does it for you. In the past I have had my tech staff upload and then xload using laptops and dongles or a borrowed Status Q and the whole process takes an afternoon. This took me 15mins from hitting the HES site to having x.Spots with 4.1 uploaded....including a familiarisation call to Dave Jackson, and I am no computer geek."
www.ula.com.au
For several years now, designers have turned potential lighting slowdowns onsite into productive work time using Prelite's Mobile visualization system - an interest which has led the company to launch Prelite Onsite.
Prelite Onsite systems are custom built CPUs configured specifically for the demands of 3D visualization. To optimize for speed, they have only the necessary software installed and large amounts of RAM, as well as state-of-the-art professional-grade graphics cards. Each system includes all necessary DMX interfaces and dual flat screen monitors, which can duplicate the same image on both screens - for local use by a programmer and remote use by a designer - or be placed in extended view, allowing a single view to span both displays.
Design teams can opt to have a Prelite system administrator onsite to handle every aspect of implementing this virtual system, if they so choose. Additionally, the system allows seamless and simultaneous integration between the digital and physical worlds, allowing programming at any and all stages of the load-in.
www.prelite.com
Concert
& Corporate launch new web sitePerth's Concert Corporate have launched their new web site http://www.ccpwa.com. The web site is comprehensive with sections including about us, services, equipment, projects, gallery, feedback, links and contact us.
The much-awaited ALIA On-line Forums are now up and running.
If you have a piece of news to share, a lighting issue to discuss or a question to ask, then come and join us in the forums. Reading the forums is as simple as using your web browser, and participating in discussions is as easy as sending an email. Access is free to everyone in the Australasian lighting industry, although some posting areas are only open to ALIA members.
Discussion areas now open include:
Current affairs (yes it's a bad electrical joke)
What's happening in the lighting world? Interesting projects that you have seen or been involved with. Regulatory and safety issues. New gear you have heard about or used. Interesting places that you've found on the Web.
Tips Hints & Solutions
If you're seeking help with a design, technical or operational problem or if you've been around long enough to know a few answers, this is the place to ask your questions and share your experiences. If you've been around in lighting for a while, this forum is the place to give back to others the benefit of your hard-won knowledge. There will be special sessions where guest LD's, tech gurus and wizard programmers, will be available to answer specific questions.
How did they do that?
Seen something recently that you would like to understand better or maybe even try out for yourself? This forum is where you can share your experiences or wonderment.
Where can I find...?
Looking for a DMX to D54 converter, a left-handed shifter, a colour scroller for a Patt 45 or a plan of the Invercargill Entertainment Centre? Use this forum to tap into the collective knowledge of the Australasian lighting industry.
Lighting Expertise Required
This forum is the place to advertise for non-commercial lighting assistance. If you have a project or production where you require operational, technical or design expertise, seek help here from those in your local area who want to gain more practical experience.
Seeking Lighting Experience
Looking for a chance to get more lighting experience working on non-commercial productions? Use this forum to advertise your availability for lighting assistance.
Buy and Sell
A place to buy, sell or trade lighting gear.
Who IS an ALIA member
You are an ALIA member if you have paid your current membership subscription.
OR
If you are on the members list of an organisation or institution that is a current member of ALIA. (eg. NIDA, Hobart College, WAAPA, Lake Tuggeranong College, etc)
OR
If you are a nominated employee of a company that is a corporate member of ALIA (eg. Clearlight, Philips Lighting, Selecon, Bytecraft, Sylvania, etc)
New
LSC Information ToolsAustralian lighting equipment manufacturer, LSC Lighting Systems, have launched this month, a web based discussion forum for the range of maXim lighting consoles and a totally revamped Resource CD.
The maXim Discussion Web was created and launched in response to the continuing need for open interaction between owner/operators of the maXim control desks and LSC distributors, technical support and design staff. The forum covers various topics such as software and hardware issues and feature wish lists. It provides a great on-line opportunity for direct communication with essential people within the LSC organisation and other users of the maXim. The forum is also an ideal avenue for interested purchasers to seek independent opinion on the worthwhile benefits the maXim provides.
The LSC Resource CD provides a comprehensive information source on all products currently manufactured by LSC. Operator manuals, brochures, line drawings, consultant specifications are available as quick downloads in an easy-to-print format. Thumbnail and large format images are available for each product, plus a detailed project section for recent LSC equipment installations. The CD is free and is available by emailing marketing@lsclighting.com.au
www.lsclighting.com.au
Show Technology is pleased to announce that they have been appointed the exclusive Australian distributors of the innovative ChromaRange from Pulsar. This new state-of-the-art family of LED lighting fixtures offers endless colour changing possibilities to enhance your environment. The infinite colour palette ranging from pretty pastels to deep intense hues makes these products ideal for entertainment, architectural and retail applications.
Each fixture houses powerful high efficiency LEDs, comprising of a mixture of Red, Green and Blue types to allow endless RGB colour mixing - making 16.7 million colours possible. The LEDs have a rated life of 25,000 hours at full power white but this is greatly increased if the fixture is dimmed or producing coloured light as in normal use. There is no lamp to change and heat output is minimal.
The fixtures are exceptionally robust, durable and very cost effective - making them easy to install, run and maintain. The units can crossfade slowly from any colour to another or strobe if required as they feature fast response electronics. A selection of optional clip-on lenses are also available to change or modify the beam shape. So whatever your application - there is a fixture available in the family to suit your needs.
"There's a lot of excitement about the benefits of LED technology particularly in the areas of running costs and control," says Emmanuel Ziino, managing director of Show Technology. "They are also cool sources, last for tens of thousands of hours, are considerably more efficient, more durable and much less fragile than their glass filament equivalents. So obviously the applications are wide reaching. Pulsar has been producing LED products for quite a time now and, of course, they have extensive experience in electronics so they also produce excellent control solutions for the various LED fixtures.
"I waited to see how the product was received in Europe and now I'm totally convinced - Pulsar certainly appear to be the leader in creating innovative LED fixtures. I am sure their success will continue into Australia."
When staff at Show Technology unpacked the Pulsar ChromaRange products they were amazed at their sheer brightness, intensity of colour and ease of control.
"It's a revolution and we're cynics!" stated Emmanuel Ziino. "We see a lot of products and, as a result, it takes a lot for us to get excited."
In Europe the ChromaRange products have been seen in many architectural installations, television where their brightness is particularly favoured and entertainment such as the Commonwealth Games Opening.
Show Technology will debut the ChromaRange at lightEX in Melbourne May 8th - 11th.
www.showtech.com.au
www.pulsarlight.com
VMB manufacture quality trusses and towers for the entertainment industry. They provide innovative, safe and practical solutions for stage working. VMB's purpose-built lifters have been available in Europe and the U.S. for many years and now they are finally available for the Australian market thanks to Design Quintessence of Sydney.
"After looking at various international brands we couldn't go past the engineering and quality of the VMB Towerlifts and the European market obviously agrees with our sentiment as VMB sells more lifters in Europe than any other manufacturer," said Ian Wood, managing director of Design Quintessence. "To top it off, VMB's patented unique Auto-Lock Security gives that added piece of mind of fail-safe operation - a must for the industry's complete commitment to occupational health and safety"
Design Quintessence will stock the entire VMB range of towerlifts from the TE-034, a handy mini-tower that is only 1.29 metres high yet it can lift 100Kg up to 3.8 metres, through to the TL-070, a towerlift that can take a load of 250Kg up to 6.8 metres with total stability and safety.
Steve Grimes, managing director of Audio Visual Innovations, recently purchased two TE-076Pro towerlifts that can reach a height of 6.5 m and carry a maximum load of 200Kg.
"I'm very happy with the VMB TE-076Pro, they have been fantastic," says Grimes. "Winch-ups are no longer at home here! In fact I'll probably buy another half dozen. I'm very confident with their safety aspect and they also look good."
Levi Boes, managing director of Illawarra Production Services, recently used two VMB TE-076Pro towerlifts for the Wollongong Carols by Candlelight production.
"The VMB TE-076Pro is very good and much better than a winch up, in fact I believe it's only a matter of time before they become the industry standard," says Boes. "They're a lot more stable than a winch up. Yes, they're also heavier (with a much greater load and height capacity) than a winch up model but they come with wheels so moving them around is not so difficult. The VMB lifter is a good design and they are so much safer because it's easier to level them."
For further information on the VMB range of towerlifts please contact Ian Wood of Design Quintessence on 02 9648 3322 or email designq@ozemail.com.au
Photo Credits left to right:
VMB1 - Audio Visual Innovations used two VMB TE-076Pro towerlifts to raise four Martin MAC2000 fixtures behind the band. The towerlifts are cleverly masked by two red drapes.
VMB2 - Two VMB TE-076Pro's were used for the Wollongong Carols by Candlelight
IIR Exhibitions and its joint partners, China Theatrical Equipment Association (CTEA) and China Council for the Promotion of International Trade Beijing Sub-Council (CCPIT), announced today the postponement of CALM Expo 2003. CALM Expo is a major annual industry event for China’s professional sound, light, and music industry. This exhibition is expected to be the biggest ever, with 600 exhibiting companies from 15 countries represented, occupying a total exhibition area of 46,000 sq. m (511,100 sq. ft.). Previously scheduled for May 16-19, 2003, at the China International Exhibition Centre in Beijing, the new show dates will be made available soon.
The decision to reschedule the exhibition was made following consultation with exhibitors in light of the Severe Acute Respiratory Syndrome (SARS) outbreak in China and in view of the new SARS statistics released from China over the weekend, said Rosalind Ng-Seah, deputy managing director of IIR Exhibitions. "The attendees’ health & safety is of utmost concern; therefore, we have decided to postpone the event to a later date," Ng-Seah said.
For more information on CALM Expo 2003, visit www.iirx.com.sg
Show
Technology win Martin Award
Show Technology's Managing Director Emmanuel Ziino was both thrilled and
surprised to discover that Show Technology had won the Martin Professional
Lighting's Stage, Studio and Event Distributor of the Year awarded
at a recent conference and Gala dinner held in Denmark.
"At first I was speechless, especially being in front of my colleagues
from around the globe, I had no idea it was coming," said a delighted
Emmanuel Ziino. "It is an honour to be recognised in this way and
it shows that the dedication of the Show Technology team has paid off.
However, the real applause must go to the hundreds of sales partners,
lighting designers, operators, light jockeys and industry people around
Australia who continue to support both Show Technology and Martin on a
daily basis. Thank YOU.
"Both Andrew Winslade and myself have been out of the office for
almost two weeks, but we view this as part of our training and development
of our company and product range. Participating in such an event keeps
us at the forefront of where a major partner like Martin is heading for
the future. Not only do we learn about new products and other technical
information but, more importantly, it allows us to "synchronise"
our respective strategies so that we are moving in the same direction.
My hat goes off to the entire Martin team for offering such a professional
and smooth event - well done!"
www.showtech.com.au
Perth Audiovisual have added two Martin MAC2000 Performance, 4 Martin Atomic Strobes and two Studio Color CityColor 2500s to their hire/production stock.
"The MAC2000P gives us an endless capability in terms of visual projection with the use of the effects and gobo wheels," said Mike Bird, Lighting Manager at PAV. "The framing feature gives us the ability to create interesting projection and shapes with colour and gobos plus perfect framing of any object. They also have the biggest and brightest beam as well as very good optics."
The two Martin MAC2000P were put to work on the traditional lighting of the Australian Flag from a helicopter at the Lotto Sky Works held on the Swan River on Australia Day. This year PAV were contracted to light the 15ft x 20ft flag and the client requested the flag be lit brighter than ever.
"The demand for the CityColors has been awesome because of their huge coverage, intensity and range of colours they can produce," added Mike. "Nothing beats them for a big effect. And what can I say about the Martin Atomic strobes except they are very, very bright!
"The current range of MAC2000P, MAC600, MAC300 and MAC250's that we have in hire/production enable us to produce any desired lighting requirements that our clients need."
Other recent major events that Perth Audiovisual used their MAC's on was the Nova FM Perth Launch at the Ilama Bar (above) for which they used MAC300s, MAC250s and MAC600s. The Water Shed for The Festival of Perth used 8 x MAC250, 8 x MAC300, 4 x MAC600, 2 x Studio Due CityColor and 4 x Martin Atomic strobes.
www.showtech.com.au
www.perthav.com.au