Sydney
Dance Company 'Ellipse'
The Sydney Dance Company's latest production 'Ellipse' reunites three
distinctive designers with whom Graeme Murphy successfully collaborated
on the 1999 production Air and other invisible forces. They are Australian
painter Gerard Manion, Japanese-born Australian fashion designer Akira
Isogawa and lighting designer Damien Cooper.
The premiere season
of Ellipse saw Sydney Dance Company return to the Opera Theatre of the
Sydney Opera House for the first time since Body of Work in 2000. Ellipse
then follows with tours to the Queensland Performing Arts Centre, the
Victorian Arts Centre and the Canberra Theatre Centre.
Ellipse places
the spotlight firmly on Sydney Dance Company's finely-honed ensemble of
dancers as it takes its place in an evolving repertoire of intensely theatrical
works.
Lighting designer Damien Cooper summed up his work on Ellipse with the
following piece written by him especially for ALIA:
"It's rare that
a production is conceived around a lighting element, but that was the
challenge director Graeme Murphy and I set ourselves. Ellipse is Sydney
Dance Company's latest work. It has been built around an idea of light
being able to change direction and location. Moving light has always fascinated
me. I love the idea of just a simple light swinging through space. Shadows
leap out, extend, shorten. Performers and scenery suddenly have a new
life. The light is alive. Kinetic energy combined with the one element
that allows us to visualise.
The spec went
out: A 4k HMI fresnel with an automated yoke for pan and tilt. Zoom 60
degrees down to a 5 degree narrow beam. Louvres to dim and a colour scroll
on top. PLUS..... it has to be able to move 12m along a track and be able
to lower from a 10 metre height to the deck. All controlled by DMX. Easy
to say, much harder to find. Associate lighting designer Hugh Hamilton
went to work. Does this lamp exist, do we build it, can we afford it?
We found one after a few weeks of intense internet research with help
from many of Australia's lighting and automation companies. The Italian
company De Sisti had exactly what we were after...lucky?
When this light
is on full flood, blazing down lighting the whole stage then it slowly
zooms into a narrow beam of light on one performer while arcing over head......
fun! And lots of programming to boot. Every cue has to be broken down
into 7 part cues to give us timing control over the different parameters
of the lamp. So what is a 100 cue show is in fact several hundred part
cues with complicated links and delays.
Light coming
from extreme angles, from the floor, into the audience, a metre from a
performer, the ability to over expose the eye, how does it react to colour
when the pupil is shrinking back to its smallest aperture? The sets moving,
so is the lighting and the dancers....your perspective as an audience
member is weird."
What do Dick Pratt, Molly Meldrum and John McFarlane - chief executive officer of the ANZ Bank - have in common?
They all strutted their stuff on stage during Australia's first corporate battle of the bands held at the Hordern Pavillion on May 25. This was a rare change to see the nation's leading bizoids in a way they've scarcely been seen before.
Corporate Countdown, sponsored by Sydney City Lexus, aimed to bring the huge pool of musical talent that usually resides in the nation's boardrooms out onto the stage in a unique fund-raising event for the Alzheimer's Association of NSW. Fifteen bands performed on the night, and they had to include a senior executive to qualify for inclusion.
Chameleon Touring Systems were also one of the sponsors that night supplying the latest in lighting technology. Lighting designer was Michael 'Simmo' Simpson who worked closely with the event producers Harrow Productions.
"We wanted to show people our latest 'toys' that we've purchased over the past six months so I had nearly everything Chameleon own that is new," said Simmo. "I had two MA Lighting grandMA desks (one for the stage and one for the room), and the new Martin MAC2000 Performance fixtures. I also had the new Vari*lites and Quartzcolor 1K fresnels making the system top of the range."
Peter Lothian operated one of the grandMA desks to run the stage, whilst Simmo concentrated on the room lighting.
www.chameleon-touring.com.au
Tweenies
Live!
The
Tweenies are some of the UK's biggest stars and the were brought to life
in Tweenies Live!, the largest children's production ever to hit the Australian
stage. In an eclectic cross between Play School and a pop concert, the
young and the young at heart enjoyed hit songs while having fun.
The production featured a stage shaped like the Tweenies clock, a brilliant
sound system, massive screens, video animation relay, pyrotechnics and
the largest lighting display ever seen in a kids show. It also featured
uncannily lifelike animatronics created exclusively be Neil Scanlan, the
Australian that brought the world Babe. These animatronics enabled the
characters to come alive and appear real, an essential ingredient in stirring
up the imagination of kids and their real-life carers.
Bytecraft Entertainment supplied the lighting which included: 10 x High
End Studio Color "S", 20 x High End StudioColor 575, 12 x High
End StudioSpot CMY, 26 x Icon Luminaires, 64 x Par 64, 20 x 8 Light Molefey,
22 x Colour Scroller, 3 x 48way Bytesize APC Touring racks, 2 x F100 Smoke
Machine, 4 x DF 50 Diffusion Fogger and, of course, lots of truss.
Crew Chief was
Matt Burden, Board Op was Dion Weeks (pictured right) and the token Irish
crewman was Fergal O'Sullivan.
www.bytecraftentertainment.com
Sydney
Symphony Orchestra at the SuperDome
The Sydney Symphony orchestra made its debut performance at the Sydney
SuperDome in spectacular style. In an attempt to break away from the stuffiness
often associated with classical music performance, promoters Creation
Entertainment and producers Accolade Events incorporated a massive lighting
system, lasers and an immense PIGI projection into the show.
The production was a careful combination of three elements - moving lights,
generic lights and projection. Lighting designer Brad Gander was told
that a rock'n'roll type rig was required and then the design was left
to him.
The lighting rig, supplied
by Chameleon Touring Systems, was dominated by Martin fixtures with 24
x MAC500, 46 x MAC600, 16 x MAC2000, 6 x MAC2000 Performance and 14 x
Pro400 for truss warmers. Added to that were about 420 par cans of various
sizes and lamps. Eight
Studio Due CityColors provided colour wash on the screen when the PIGI
was not projecting images.
Peter Milne of The Electric Canvas operated the PIGI system and Light
Design supplid the lasers.
Control was by two
MA Lighting grandMA desks, one for analogue and one for moving lights.
www.chameleon-touring.com.au
Rhythm
of the Night
Conrad Jupiters Casino, Gold Coast opened their new Showroom production
last week - Rhythm of the Night - a bright a vibrant spectacular of song
and dance. The lighting design, by leading designer Trudy Dalgeish, features
High End Systems x.Spot HO fixtures. 
These new x.Spots feature
a 2:1 zoom for increased output that truly rivals competitive fixtures.
While the x.Spot with its impressive range of features was the preferred
fixture for the installation, the output of 2:1 Zoom confirmed the decision.
Equipment provider for Rhythm of the Night, including the x.Spots was
ULA dealer Venutech. There is a also a host of other High End Systems
equipment in the design, including: 20 x Cyberlights, 16 x Studio Colors
575, 1 x Wholehog 2 and 2 x F-100’s.
www.highend.com
www.ula.com.au
Elton John played to packed Entertainment Centres around Australia through April and May. Lighting designer was Kevin 'Stick' Bye with Bytecraft Entertainment supplying the lighting equipment. Equipment included 42 x VL5 Arc Luminaire, 26 x VL6 C Spot Luminaire, 8 x VL2c Spot Luminaire, 21 x Source Four Leko 575W 19 degree, 12 x8lite Molefay w/ colour changer, 8 x 4lite Molefay and 2 x Virtuoso Consoles. Kevin Bye was particularly impressed with the Byteraft crew of Sean 'Motley' Hackett (Crew Chief), Rohan Harrison (Technician/Vari Lite Tec)h, Andrew Mitchenson (Technician) and Kerry Paff (Technician).
www.bytecraftentertainment.com
Destinys
Child
US pop group, Destinys Child have been touring Australia. Lighting equipment
for the tour was supplied by Bytecraft Entertainment. The rig included
High End Systems Studio Spot, Studio Color and Cyberlight fixtures, controlled
from a Avolites Diamond II console. Lighting designer was Shane Preston.
www.bytecraftentertainment.com
Dominating this years Logie Awards held at Melbourne's Crown Casino was the projection work of the High End Catalyst. Visible in nearly every scene, the Catalyst provided a wealth of interesting looks. Lighting designer Rohan Thornton was also using the new Vari*lite VL1000 ERS fixtures that arrived in the country just in time for the Awards.
Also in the lighting rig were 32 x Martin MAC2000, 48 x VL5, 16 x VL2402, 12 x High End Studio Beam, 162 x ETC Source IV, 160 x Par 64, and more. Control was a Compulite Ovation console. Bytecraft Entertainment, Chameleon Touring and Clearlight Shows supplied the lighting equipment.
Shaolin
Kung Fu Monks
Currently touring the country is the Shaolin Wheel of Life show - a Kung
Fu, martial arts, theatre spectacular, featuring the soldier monks of
China's ancient Shaolin Temple. The lighting was originally designed by
Patrick Woodroffe but has been adapted over the two years of touring.
Bytecraft Entertainment
supplied the lighting equipment including 16 x Martin MAC500, 21 x Martin
MAC600, 54 x Par 64, 2 x Lowel Tota light, 3 x Terra strobes, 2 x Lycian
Starklite HMI1200 followspots, 1 x Red Devil smoke machine, 2 x DF50 diffusion
foggers, a WholeHog II, Lil Dmxter DMX tester, and Jands dimmers.
www.bytecraftentertainment.com
Every year on Good Friday a fund raising charity day is held in Melbourne on behalf of the Royal Children's Hospital. For many years Channel 7 have been involved in this event including an evening variety show held at whichever venue donates a week of space to the appeal. Many of the production crew do not work directly for HSV-7 but take a week off their usual jobs to help out.
This year the concert was held at the Concert Hall in the Victorian Arts Centre. The concert goes live to air in Melbourne with highlights shown elsewhere in the country. Acts this year included Marina Prior and the Umbilical Brothers.
The majority of the lighting equipment was supplied by Cliftons Productions including Coemar CF12 for the wash lights, and CF7 HE's for the profiles. Lighting Lab donated some SGM Giottos as well as Futurelight 660s and 640s. Show Technology and Lightmoves generously arranged for an MA Lighting grandMA and a grandMA ultra-light desk to be used on the show.
The Victorian Arts Centre also allowed HSV-7 to use their inhouse rig.
"As it's all for charity the lights, audio and general production is all done well and truly below cost or even donated," said David Tidy, lighting director for Channel 7.
The 47th Annual IES Lighting Convention was held recently in conjunction with the lightEX trade show. The Convention culminated in the IES dinner featuring the presentation of lighting awards and entertainment. The dinner was held in the Harbourside Room at the Sydney Convention Centre.
In the past these dinners had been rather conservative and so this year Steve Furzey, with the aid of BLM Productions, decided to produce a night to remember.
"I wanted to make sure the wives were entertained too!" laughed Steve. "I wanted people in the industry to enjoy the night and want to do it again. We've cut the award presentation time down to 35 minutes and introduced an element of fun."
The Three Waiters, moonlighting members of the Australian Opera, supplied the fun by pretending to be actual waiters. Their comedy routine coupled with excellent singing evoked a rousing ovation.
Steve used the night to present the new logo and IES image to the members in a spectacular lighting production that lasted seven and a half minutes. The show featured three dancers and a strong AV factor with a projection screen as a backdrop.
"Many of the IES members are unaware as to what production lighting really is and so we decided to show them," said Steve. "In fact the real purpose of the show was to show lighting. The dancers were only there as one element to enhance the lighting which is why we didn't front wash the stage. We weren't lighting the dancers."
As all of BLM Production's Martin MACs were already deployed in the actual lightEX exhibition, Steve turned to Chameleon Touring who gave him a special 'mates rate' deal and sent Luke "trusswalker' Radin looked after the system.
In the entire rig contained 21 x Martin MAC250, 6 x Martin MAC300, and 7 x Martin MAC600. Analogue lighting consisted of 20 x Selecon Pacific 1kW Profiles. Martin MAC600s were used to wash the ceiling and walls of the room with an entrancing dappled effect that intrigued many of the guests.
Control was via two Martin LightJockeys and one Martin Proscenium.
Oracle Lasers supplied an Oracle 1W Argon Laser for effects.
www.iesanz.asn.au
www.blm.com.au
Bytecraft
bring out the Catalyst
Channel 9's Fight For Life programme saw the debut of the High
End Catalyst in Australia. Purchaesd by Bytecraft Entertainment, the Catalyst
offers new tools that integrate the video and lighting industries. Features
include dynamic image manipulation, revolutionary orbital projection movement
and flexible DMX control.
The heart of the system the Catalyst Digital Media Server (video processing
computer) offers an unlimited range of real-time image processing capabilites.
Load your own still or moving images or select from an extensive library
of stock files. Then scale, rotate, zoom, edit, morph, color mix, overlay,
blend to create your desired effect.
Project your image anywhere in three-dimensional space with Catalyst’s
orbital movement system. The head provides 250º movement on axis
one and 360º on axis two and can be fitted on most high-powered rental/staging
video projectors. (A 3-chip DLPTM projector is recommended.)
For stunning beam effects, Catalyst gives you Liquid LightTM the groundbreaking
new effect that fully animates the beam in air, creating excitement that
goes beyond just straight projection.
Pictured right is Megan McGahan working with the Catalyst at Bytecraft
Entertainment's Melbourne office in preparation for Channel 9's Fight
For Life programme filmed in Brisbane. The show, designed by Rohan
Thornton, also used 2 x WholeHog II, 25 x Cyberlight Turbo, 32 x PC Beam,
4 x Bytecraft APC tour rack, 288 x PAR64, 14 x chain motors and 24 x 8ft
pre rigged truss.
Rohan used the Fight
for Life programme to get a grasp of the potential the Catalyst can
offer. He intends to use the Catalyst to the max on the upcoming Logies
Awards Show with Bytecraft supplying the equipment. Another piece of equipment
making its debut on the Logies Awards will be the Vari*lite 1000 purchased
by Chameleon Touring Systems.
www.bytecraftentertainment.com
Amélie
- a magical Parisian fairytale
For those of you that have seen the fantastic French film Amelie
and marvelled at the wonderful cinematography.
Amélie is shaping up to be one of the most popular foreign
films of the year, having won numerous international awards after it made
a record-breaking killing at French box offices (more than seven and a
half million tickets sold).
Cinematographer Bruno Delbonnel had a large pair of shoes to fill when
he agreed to shoot "Amélie from Montmartre," a modern-day
fairy tale directed by Jean-Pierre Jeunet. Jeunet's previous features
"Delicatessen" and "City of Lost Children" were widely
acclaimed and helped bring cinematographer Darius Khondji, ASC, AFC the
international renown he now enjoys.
Read this fascinating account written by Jon Silberg in the recent Amercian
Cinematographer.
Amélie
Auckland based Oceania Lighting, recently purchased a further Avolites ART 2000 dimmer rack. Now being used on the Spirit of Dance tour in New Zealand, Oceania selected ART 2000 for Avolites dimmers legendary reliability and robustness.
Oceania purchased their first ART 2000 in 2001, which was first used on NZ Fashion Week.
"We have two 48way ART2000's, and we love them," said Simon Garrett, Oceania's lighting manager. "Most dimmer racks here are distro and dimmer racks lashed up from
Theatrelight or Jands rackpacks in 19" roadcases. They suffer from the standard kit set problems of high weight and poor centre of gravity caused by chassis designed to be strong as a single rack unit.
"In my opinion the AVO, which is designed as a unit, achieves high dimmer density and superb balance. Indeed I can set the unit up myself after rolling it to the gallery as it takes one man to stand it up. Its' patch system is idiot proof and the mains input is very well thought out. Motor power and 3 x 16amp Ceeform FOH power supply's one on each phase with a brain whose phase supply can be selected make it simple to keep console and rack in phase.
"Another issue we liked was the rating, 16A or 4kw per channel means we have no trouble with 2.5kw loads and 4 x Pars per dimmer makes for a powerfull TV or fashion dimmer distro system. The 16amp hard power module can run 2 x Cybers per channel or up to 4 x Studiospot575s... bloody handy.
"We run Jands and Theatrelight dimmers in our smaller systems but I just felt the product development we could buy into with this company in terms of dimmers made it the clear choice..... hey, and AVO and ULA made the purchase very attractive!"
Avolites ART2000 Dimmers are 48x16A 100% duty cycle dimmers. The rack comes as an intergral unit with mains socapex patch, central electronic control module (set dimmer curves, switching or dimming, max ouput, etc), socapex or weiland outputs, utility outlets. There are also a range of options including breaker bays/switching modules.
Equipment used for the Irish dance tour entitled Spirit o fthe Dance includes the following analogue: 40 x ACL's, 26 x Selecon Pacific 23/50's, 24 x ETC Source4 26, 8 x 6bars pars, 10 x single scroller pars, 4 x Molefay8 lites, 10 x Wybron 7110 par scrollers and 4 x Colourset 8lite scrollers (thanks to Chameleon). Obedient equipment, as Simon phrases it, includes 8 x High End Cyberlight turbo, 4 x High End Cyberlight SV, 8 x High End Studiocolours, 6 Martin MAC600 (thanks Spotlight systems), 7 x High End Technobeams and 8 x High End Studiospot250. Control is Control 1 Whole Hog II (just bought it last week), 1 AVO Art2000, 1 TL36 dimmer and 1 4 universe 16way splitter.
From left to right: the new Avo dimmer rack, prepping the Cyberlights, the new Whole Hog 11.
www.oceania-audio.com
Roger
Waters completes Australian Tour
The Roger Waters "In The Flesh" tour presented, for the
first time, a comprehensive overview of Waters' music including early
Pink Floyd material. The shows utilised elaborate large-scale video projections,
theatrical set-pieces, and a dazzling array of special effects to underscore
and accentuate the power of the music which was delivered via a state-of-the-art
360° quadraphonic sound system immersing the audience in a 3-dimensional
hyperworld.
On the "In The Flesh" 2002 World Tour, Waters is accompanied
by his hand-picked group of world-class musicians: Andy Fairweather-Low
(guitar), Snowy White (guitar), Chester Kamen (guitar and vocals), Graham
Broad (drums), Harry Waters (keyboards), Andy Wallace (keyboards), Norbert
Stachel (saxophone), Katie Kissoon (vocals), Linda Lewis (vocals), and
PP Arnold (vocals).
Lighting design was by Andy Gibb
with a liquid lightshow provided by Peter Wynne Wilson WWG Ltd. The rig,
supplied by Bytecraft Entertainment included 2 x 48 Way Bytecraft APC
Touring Dimmer Racks; 136 x Par 64; 20 x ETC Source 4 Profiles; 4 x DF
50 Diffusion Foggers; 10 x lengths pre-rig truss; 20 x High End Studio
Color S; 28 x LSD Icons; 1 x LSD Icon mini-console; 14 x Loadstar 1 ton
Chain motors; and 4 x Loadstar 1/2 ton Chain motors.
www.bytecraftentertainment.com
UV/FX scenic productions of Los Angeles have recently completed the set design and painting for Shaggy's current tour. The Grammy nominated artist wanted a muslin backdrop (28ft x 40ft) and two side legs (28ft x 12ft) which would portray a traditional Jamaican beach scene under normal light and transform to a magical night scene of the beach under UV illumination.
UV/FX president Richard Green told us: "We had been speaking with Shaggy's people for a while and we finally decided to do a mixed Day to Night and Dual Image style." With the addition of the side legs and some smaller scrims designed to work in the front of the stage, the set had many lighting options and the multiple scenic elements gave incredible depth to the stage. The scenery was designed to work well under any lighting conditions and to simulate different times of the day based on the type of colored light used. When LD Bobby Baskin added the UV light, the audience receives the total transformation and responds with collective wows of amazement according to the tour production manager, Paul Lee.
Pictured right are two views of the same backdrop: the day and night scenes created for Shaggy by UV/FX.
www.uvfx.com
John Calhoun, of Lighting Dimensions magazine, reports on the cinematography for this remarkable HBO series currently showing on Channel 9. DOP Alan Caso uses a number of techniques by which Six Feet Under nails its style. “It's a long list of factors that come together to make up a slightly different view of the world than is usually presented on a TV series,” he says. “Lighting-wise, it's very naturally motivated: moody, yet not stylized like so many network TV shows now, which go for a very high style. We've denaturated the color quite a bit, because a funeral home is not Technicolor, it's much more of a somber, earth-toned kind of thing.”
Six Feet Under
Oh
What a Night!
Lighting designer Gavan Swift has lit the musical
production Oh What a Night! currently playing at Sydney's Capitol
Theatre after a successful Melbourne season. The lighting, supplied by
Chameleon Touring Systems, includes: 8 x 2K
Fresnel, 6 x 4 circuit groundrow, 8 x Acclaim Fresnel, 8 x Altman Zipstrip,
6 x Auto yoke, 24 x Coloram II 10", 12 x Mac 250, 15 x Mac 500, 13
x Mac 600, 1 x Molefay duet, 25 x MR16 Birdie, 32 x P36 ACL, 6 x P36 Pinspot,
24 x Pacific 12-28, 72 x Par 64 MFL, 32 x Par 64 NSP, 8 x Par 64 VNSP,
5 x Prolite F - No Lens, 1 x Prolite F - with lens, 3 x Robert Juliat
2.4K HMI Followspot, 16 x Shakespeare - 15/36, 9 x Shakespeare - 30/55,
7 x Shakespeare 05°, 44 x Shakespeare 20°, 32 x Shakespeare 30°,
3 x Shakespeare 40°, 2 x Shakespeare gobo holder, 12 x Shakespeare
Top Hat, 20 x Source 4 - 10°, 8 x Source 4 - 36°, 2 x Strand 520
Console, 2 x Strand SL 15/32, 2 x UV Fresnel, 2 x 24" Mirrorball
and 1 x 36" Mirrorball.
www.chameleon-touring.com.au
The Queen and 900 guests were treated to a showcase of Australian talent at the Opening Ceremony of the Commonwealth Heads of Government Meeting on Saturday 2 March 2002, at the Hyatt Regency Coolum.
Great Big Events was appointed to create and direct the Opening Ceremony, considered a prestigious and important component of CHOGM. The show, hosted by television personality Ray Martin, was staged in a purpose built tent with a magnificent stage and state of the art lighting and design.
Chameleon Touring Systems (Brisbane), with Brian O'Connor in charge, were contracted to supply the lighting. Providing the main lighting source for this important event were 20 x Martin MAC500 and 36 x Martin MAC600. Generic lighting included 16 x Selecon Pacific profiles, 24 x 2K fresnels, 2 x 5K fresnels and 4 x Voyager followspots.
Lighting Designer: Sydney Bouchaniche
Set Designer: Michael Scott Mitchell
Console Operator: Ian (Couch) Blackburn
Lighting/Moving Lights: Dave Mayer
Moving Lights: Troy Strybis
Lighting: Julio Rene Salazar
Rigger: Derek Weith
www.chameleon-touring.com.au
Gone South, Tasmania's big one-day rock festival, was staged at the Tasmanian Cricket Association ground in Hobart, on March 16th. In weather typical of Hobart, it was a warm and sunny day, but rained a few times anyway. To cope with the vagaries of weather, the promoters brought in an Edwin Shirley Orbit structure with a 20metre opening, to provide a sheltered stage and rigging points for the truss system.
Phaseshift from Melbourne, in the guise of Chad Spencer and Stuart James, supplied, fitted-up and operated the generic lighting rig. The system, based around Hugh Taranto's set-up for headliners silverchair, consisted of 72 x Par64 cans, 8 x Strand SL zoom profiles, 12 x Two-way Molefays, 12 x MAC600 washlights and 12 x MAC500 spots. Control was 72 channels of LSC dimmers in touring racks, driven by a Jands Echelon 1000.
Due to the illness of vocalist Daniel Johns, silverchair were forced to pull out of the festival just a few days before the show, and Hugh Taranto didn't actually get to use the rig. However it was put to good use by Chad Spencer for Something for Kate, Anthony Petruzio for Grinspoon, Graham Jelly (DB) for US act Incubus, while last minute substitute, Killing Heidi, were lit by Kait Hall.
Britney
Spears' Tour Makes a Big Splash
All of the (very)
young people who are now counting Britney Spears' most recent tour
as their first live show ever will no doubt be disappointed by every other
concert that follows — at least when it comes to sheer spectacle.
With 18 trucks of equipment, a full band, eight dancers, the requisite
massive lighting and video system, myriad costume changes, and every major
special effect under the sun, the reigning princess of pop gave all of
her screaming young fans what was by far 2001's largest arena tour.
Although the tour never reached Australia, this amazing production is
well worth a look at.
Click on the link below to read the article by Catherine McHugh from Entertainment
Design magazine.
Britney
Spears
The
Tea Party
Melbourne based lighting designer Cam McKaige recently toured Australia
with the Canadian band The Tea Party. Lighting production was supplied
by PhaseShift. Equipment included 3 x High End xSpots for all of the projection
work on the three octaganal screens. The centre screen measured 17'-17',with
the outer screens measuring 12'-12'.
The moving element of the show was provided by 14 x Martin MAC500 whilst
six Martin x MAC600 were the base of the stage wash. Cam used 24 x 500w
QI (8 around each screen) for the punchie open white look.
Read
the full story in the April edition of Lighting Magazine
The RADLite, which combines images, vector shapes, text and video to create a range of visual effects, received its debut on the recent tour of Australia by The Chemical Brothers. Lighting designer Andy Liddle first saw the RADLite at PLASA 2001: "It really lived up to my expectations. It can produce so many effects that it’s actually quite hard to decide which ones to use! The ability to insert your own video clips and images, as well as create your own shapes, means that you can really have the show you want."
The Chemicals have hired the RADLite from XL Video. The system comprises a heavy-duty rack mountable black box that holds a hi-spec PC inside, including dual processors and a dual head graphics card. The system is ethernet ready, supporting both ArtNet and Enttec protocols. An Artistic Licence NetLink I/P box is included in the RADLite package for DMX users allowing the RADLite to be controlled through any standard lighting desk. The output is via a projector, videowall, plasma screen or any video display device.
IRAD, the development company behind RADLite, are currently working on upgrading its list of features. The system currently has 44 parameters including full RGB colour mixing for both foreground and background, palette cycling, shape 1, shape 2, rotation, strobe, video overlay, aspect ratio and zoom. IRAD can also offer simple graphics packages to load into the RADLite system or can produce customized graphics, animations and videos.
Lighting was supplied by Bytecraft Entertainment including: WholeHog II, 8 x High End Dataflash, 12 x High End Cyberlight Turbos, 12 x High End PC Beams, dimmers and distribution as well as 264ft of truss.
Bytecraft Crew: Fergal O'Sullivan, Trent O'Connor.
www.irad.co.uk
www.bytecraftentertainment.com
Production News until 02-03-02