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Distortion Studios launches Bristol Virtual Production space based on Stage Precision software
21/05/2024
Gearhouse Splitbeam invests in Ayrton Rivale Profile for South African production of “Mamma Mia!”
17/05/2024
Tim Goodacre relies on Astera
15/05/2024
Showtec, Infinity und DMT bei „Pump Up the 90’s“ in Hardenberg im Einsatz
DPL Licht en Geluid, niederländischer Anbieter von Beleuchtungs- und Audiolösungen, hat bei der jüngsten „Pump Up the 90’s“-Veranstaltung in der Evenementenhal Hardenberg (Overijssel) wieder die 1990er Jahre zum Leben erweckt: Am 20. April 2024 traten Künstler wie Charly Lownoise, T-Spoon, Flamman & Abraxas, Critical Mass, DJ Potato, DJ Zany und Don Cartel unter der Lichtshow von Showtec, Infinity und DMT auf.
Für die „Duikboot Area“ wählte DPL Produkte aus, die eine immersive Atmosphäre schaffen sollten. Dazu gehörten vier neue Infinity-Raccoon-S420/4-Scheinwerfer, ein Strobe/Wash mit sektionaler Steuerung, RGBW-Wash-LEDs mit einem CRI von 92 und 35 CW-Strobe-LEDs mit über 70.000 Lumen. Diese wurden von zwanzig Infinity-Raccoon-P14/4-RGBM-Pars, drei Infinity-TF-300-Fresnels, 32 Showtec-Phantom-180-Wash-RGBW-LED-Wash-Moving-Heads und sechs Showtec LED Octostrip Set MKII für insgesamt 48 Meter mit sektionaler Steuerung unterstützt.
Für Lichteffekte sorgten zwei Sets des neuen Showtec Stage Blinder Flex Blaze mit insgesamt sechzehn warmweißen (3.000 K) 100-W-LED-Blinder-Pods. Jeder Pod ermöglicht eine traditionelle Wolfram-Dimmsimulation mit integrierten gelben LEDs und bot RGB-Blaze-Effekte. Um Farben und dynamische Beleuchtung zu erzeugen, wurden 150 Showtec Spectral M800 Q4 IP65, wetterfeste RGBW-LED-Pars, in zwei Hallen platziert, die von zwei Showtec-Lampy-20-2U-DMX-Konsolen gesteuert wurden.
Die Banner wurden von zwanzig Showtec ACT Profile 50 WW, warmweißen Theater-LED-Ellipsoid-Scheinwerfern, beleuchtet. Die Hauptbühne wurde von einer vierzig Quadratmeter großen DMT-Premiere-Series-4.6-G2-Outdoor-LED-Leinwand dominiert.
(Fotos: DPL Licht en Geluid/Highlite)
Nick Jevons immerses at Terminal V Festival with Chauvet Professional
For this year’s tenth edition of the Terminal V Festival in Edinburgh, Scotland, which took place in April at the Royal Highland Centre, the V2 Stage (now Area V2 Stage), a mainstay of the annual EDM event since 2017, was turned into a 360-stage. The team at 19MIL, which designed the Area V2 Stage and the adjacent Terminal Stage, therefore called in Nick Jevons, lighting designer and president of Nick Jevons Designs Ltd.
Working in Depence 3, Jevons created 3D renders of his design to share his vision for the V2 Stage and the gritty industrial look of the Terminal Stage. At the Area V2 Stage, Jevons had twenty Chauvet Professional PXL Bar 16 motorized battens and sixteen Color Strike M motorized strobe/washes supplied by Marc Callaghan and his team at Liteup.
Jevons arranged the batten units around the bi-level central video screen that surrounded the DJ booth, and used the Color Strike M units to frame the video screens in the four corners of the expansive room. He also brought in Auratecture to run the Area V2 Stage.
At the Terminal stage, Jevons ran the show himself. He used twenty Colorado PXL Bar 16 to make the massive video screen stand out against a hard-edged background to create greater audience interaction. “I had ten of the PXL Bars line the top of the screen and ten line the bottom”, he says. “They were the main element of my design in this setting.”
(Photos: Chauvet Professional/Nick Jevons Designs Ltd.)
SJ Grevett and DMX Productions create the looks for Mobo Awards with Chauvet
The 26th annual Mobo Awards, held at the 11,000-capacity Utilita Arena in Newcastle, once again was the UK’s biggest celebration of Black music and culture. Supporting the music on stage was a lighting design by SJ Grevett, operated by Liam Griffiths and Kris Goodman, that featured 98 Chauvet Professional fixtures.
The kit included 24 Maverick Storm 4 Profiles, thirty Maverick Storm 3 BeamWashes, 32 Strike 1 units and twelve Colorado PXL16 motorized tilting battens. “We went for the big and bold look with brightest fixtures, so we could really punch through against so much LED screen space on camera”, says SJ Grevett.
At times, Liam Griffiths would endow the stage with a bold multi-layered background, then have it disappear to be replaced by a more subtle, dreamy panorama. Throughout the show, he changed color combinations to coordinate them with video content. Kris Goodman expanded and contracted the amount of dark space and key light to ensure that the looks were varied and interesting for both the live audience and television viewers.
The looks that were conjured up were reflective of the aspirations of the performers on stage. “We didn’t see content until a few days before the show, so everything was a bit of a stab in the dark, then tweaked on site. It was a real team effort to bring the creative ideas of the artists to life”, says Grevett who set these looks within a clearly defined framework on his 12-meter trim stage.
“Essentially, when it comes to award shows, in my opinion are two options - either frame a stage as we did in this case, or just go huge on the back with massive open stage”, he explains. “Budget dictated that we framed it for this show.”
(Photos: Chauvet Professional/DMX Productions/Mobo Awards)
Chauvet fixtures selected for Jon Batiste’s Coachella show
During his appearance at Coachella’s Outdoor Theatre, Jon Batiste, his band, and a variety of special guests took fans on a musical odyssey that included everything from covers of Beatles songs to the classic from his hometown New Orleans, “When The Saints Go Marching In”.
The set on Batiste’s stage reflected the rich diversity and creative spirit of his music, with a tree in the middle of the stage, a clothesline to the left, a recording studio to the right, and a utility pole thrown in for good measure.
Accenting the set pieces and reflecting Batiste’s music and stage persona was a Shepherd Lowrey lighting design on a rig that featured twelve Chauvet Professional Color Strike M motorized strobe washes from Ariel Afar and his team at SLX Productions.
Describing the vision behind the production of the Jon Batiste show, Lowrey says: “It was all about the tree of life. Once we surrendered the right of way to the tree, everything made sense. We used some light as roots that carried this electric current of the tree. Others, like the Color Strike Ms, were almost like budding flowers, or maybe even weeds underneath the tree, depending on the roll they played for each song.”
Lowrey achieved this effect by positioning the Color Strike M fixtures upstage left and upstage right, as well as across the downstage deck. He ran the fixtures at 65 percent to achieve the desired level of brightness and coverage.
“In this show, I used the Strikes for candy light”, continues Lowrey. “Like candy, they were not absolutely necessary for your everyday diet - but they were oh so delicious. They were really used to accent the music as opposed to washing the stage or keep anyone visible. The Strikes had no responsibility to keep anyone covered, so we could use them freely to spice up the show with stabs of white or chase effects.”
On the subject of white light, Lowrey says “ain’t nothing like a blast of white to break it up!” He used white lighting in the show to accent drum hits. “We wanted to support the drums with blasts of white so that the sound connects with the lighting and locks the whole thing in for an immersive experience”, he explains. “White is full on. So, we gave the down beats blasts of white to command the visuals.”
Jon Batiste’s Coachella show was the product of many collaborative hands, which in addition to Lowrey included the SLX team, creative director Jemel McWilliams, production designer Eighteen Twenty-Six Studio, scenic designer Winston Studios, content designer Cameron Leahy, and video director Raux Rau.
(Photos: Charles Detwiler/Mach Shot)
Innlights steuert Videowand mit 840 Quadratmetern LED-Modulen zur ITB 2024 bei
Während der offiziellen Eröffnungsveranstaltung der Internationalen Tourismus-Börse (ITB) vor 3.000 Gästen in Berlin erstrahlte am 4. März 2024 auf 105 Metern Breite bei einer Höhe von acht Metern eine zusammenhängende Video-Wall mit der Vorstellung des diesjährigen Gastlandes Oman. Gebaut und geliefert wurde die Video-Wall von Innlights Displaysolutions aus Wuppertal im Auftrag der Berliner TSE AG.
„Es ist die größte LED-Wand an einem Stück, die wir für ein Indoor Event bisher realisiert haben“, sagt Kolja Birkenbach von Innlights Displaysolutions. Für das Video Processing der insgesamt 17.640 x 1.344 Pixel setzte Innlights seinen Video Controller InnVision SCXR Pro 7U ein. In seiner Maximalkonfiguration ist der Controller mit elf Input- und elf Output-Karten ausgerüstet, die jeweils 4K-Auflösungen steuern.
Für das Event zur ITB mit 840 Quadratmetern LED-Modulen wurde der InnVision Controller über sieben Output-Karten in 10-Bit-Farbtiefe mittels Glasfaser-Leitungen zwischen Regie und LED-Wand verbunden. Der Controller bot dabei über sein Multiview Board eine ständige Diagnose zur Videosignalqualität. Für den Aufbau der Hardware setzte Innlights Displaysolutions zehn Techniker und weitere sechs Helfer ein. Das Team benötigte insgesamt zwanzig Stunden für Installation und Inbetriebnahme.
(Fotos: Innlights Displaysolutions)
4Wall energizes Detroit Lions new uniform reveal with more than 100 Chauvet fixtures
This spring, the Detroit Lions football team unveiled their new uniforms for the upcoming 2024 season. NFL regulations allow teams to change the look of their uniforms every five years. The Lions held a reveal event for the new uniforms at their Ford Field home, drawing thousands of fans. The same stage was also used for the Detroit Lions NFL Draft Party. Both events were executed with the help of 4Wall Entertainment’s Detroit crew.
Led by VP of Live Events Joe Leahy, the 4Wall team of Kareem Harris, Gary McGarity, Ross Zhang, Xavier Williamson, Jason Dunk, Robert McGoldrick, Jon Sogoian, Johnny Pike, Michael Gallacher, Brian Lavender, Tommy Minkowski, Joshua Ruhlman, and Rahul Samuel set a stylish, upbeat tone for the reveal event.
Helping them in this effort were 113 Chauvet Professional fixtures, including 14 Maverick MK3 Washes, 48 Colorado PXL Bar 16 motorized battens, 14 Color Strike M strobe-washes, 14 Strike Array 4 blinders, 20 Epix Strip IP one-meter linear units, and five Cloud 9 foggers.
Working with a 58’ x 38’ mobile stage with an 80’ T-shaped thrust and 29-30’ trim, the team created a bold setting on the field. Three large video walls ran the width of the stage, and a horizontally oriented screen ran across its top, all of which were supplied, installed, programmed, and operated by 4Wall. The video content displayed during the reveal event was shot at the 4Wall Detroit warehouse utilizing Chauvet gear.
At the start of the actual reveal, the stadium became dark, with almost all the light coming from video walls, which displayed narrated images. When the video ended, the Colorado PXL Bar 16s positioned on the runway deck bathed the arena in the Lion’s blue team color.
Next, as players entered wearing the new uniforms, the rig’s Mavericks created crossing beam patterns, while the Color Strike M units strobed accenting the fog from the Cloud 9s, and the Epix Strip fixtures on rolling truss carts served up some dynamic backlight.
(Photos: Chauvet Professional/4Wall Entertainment/Detroit Lions)
Distortion Studios launches Bristol Virtual Production space based on Stage Precision software
Distortion Studios, specialists in virtual production, recently opened the doors of its new Bristol-based studio, backed by an in-house team of immersive digital arts specialists. The space can be utilised by anyone looking to shoot virtual production content, as well as serving as a training and community hub.
“At Distortion Studios, we want to play a part in upskilling the next generation of industry professionals locally”, remarks Nick Diacre, Technical Director at Distortion Studios. “So, we’re looking to invite technical people in and run training in the space, alongside the usual studio hire. Remaining technologically agnostic was therefore important to us.”
Diacre first encountered SP by Stage Precision in the software’s early beta phase, which coincided with his exploration of XR setups using Disguise technologies during the Covid-19 pandemic. “SP slotted into a gap when we needed to take our productions to the next level and be more versatile”, recalls Diacre. “With SP we didn’t need to program custom code from scratch to build integrations anymore.”
Diacre designed the VP workflow at Distortion Studio based on Stage Precision. Distortion’s commitment to remaining platform-agnostic allows for adaptability to different tools and technologies based on project and client requirements. With Stage Precision at the centre of operations, Distortion Studios can switch between platforms, software, and systems. “Unreal Engine, TouchDesigner, Pixera; all of these can be connected into a single interface in SP. The software just does its job and puts out the correct data”, adds Diacre.
Distortion uses SP’s seamless integration with Stream Deck to control camera positions and lighting functions. Stage Precision’s Shield plug-in for Unreal Engine 5 is also in use at the studio. “Shield has become a potent tool for us, taking the legwork out of controlling Unreal”, says Diacre. “Our green screen workflow is elevated as Shield facilitates a closer control and monitoring of Unreal Engine.”
(Photos: Stage Precision/Distortion Studios/Andre Pattenden)
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Magnum PA and SR Productions field Martin Audio WPL for Admiral Insurance ASM
Cardiff-based Magnum PA Ltd and SR Productions enjoy an ongoing strategic partnership, with Martin Audio’s Wavefront Precision series line array at the heart of it. While Magnum PA carries the WPL in its inventory, SR supports the WPC in its hire fleet - so that between the two companies, the Martin Audio box count exceeds 150. To further strengthen the offering, both companies frequently partner with Bristol-based SWG Events.
Long-standing SR Productions client Orchard Media and Events Group recently required a solution to cover delegates for Admiral Group’s annual staff general meeting at Utilita Arena Cardiff. A main hang of twelve WPL per side was supported by an outfill of eight WPC per side, while centre fill duties were carried out by four Torus T820 and monitors by four LE200s. This created an end-to-end Martin Audio solution.
(Photos: Admiral Insurance ASM/Magnum PA Ltd/Martin Audio/SR Productions)
Forbidden City Concert Hall uses Green-Go for Juan Gomez gig
For Colombian singer-songwriter Juan Gomez’s concert at Forbidden City Concert Hall in Beijing, China, the ethernet-based Green-Go digital solution was chosen to improve efficiency. The Concert Hall’s main stage measures 23-metre wide and 14-metres tall, offering more than 1,400 seats on two floors. The venue hosts both international tours, the Beijing International Music Festival and concerts by the China Philharmonic Orchestra and Beijing Symphony Orchestra.
China Green-Go dealer and AV expert EZPro was tasked to provide an intercom system for sound engineers and stage staff for the show. Inside the Concert Hall’s main auditorium, the team configured a Green-Go Wall Panel X - a wall mount station with direct access to three channels and an integrated speaker and a headset connection - at the FOH position, for use by sound engineers. At this point, a Green-Go Beacon call indicator was also rigged, which emits a flashing red signal when receiving a call ensuring the sound engineers can communicate effectively in low-light environments.
Four Green-Go Wireless Beltpack X units were used by the stage staff, enabling them to make use of 32 available channels, a program audio channel and an extra channel for direct user communication. This allowed them to talk directly to other stage staff or within multiple groups. In addition, a Green-Go Wireless Antenna was located at the rear of the Concert Hall, serving the four Wireless Beltpack X devices.
(Photos: Green-Go/ELC Lighting/EZPro)
Gearhouse Splitbeam invests in Ayrton Rivale Profile for South African production of “Mamma Mia!”
Theatre and professional rental specialist Gearhouse Splitbeam of Johannesburg, has made its first investment in Ayrton, purchasing a consignment of new Ayrton Rivale Profile fixtures from Ayrton’s South African distribution partner Planetworld.
The decision came after a concerted post-pandemic fact-finding mission to secure new LED moving lights with which to update Splitbeam’s aging lighting stock, spurred on by the requirements of Showtime Management’s production of “Mamma Mia!” later in the year and a need to increase its stock of LED moving lights. Departing from its traditional manufacturers, Splitbeam decided in favour of Ayrton Rivale Profile following a shoot-out between major manufacturers’ products and a visit to the Ayrton factory just ahead of the launch of Rivale Profile.
“We are essentially a theatre and long-term lease company working only on theatre productions, and therefore concerned with the finer details of moving lights”, explains Splitbeam’s managing director Alistair Kilbee. “Previously we’d experienced problems with colour mixing in LED moving heads, but Michael Althaus (Ayrton’s Global Sales Director) promised me Rivale would solve these problems. And he was right.” Kilbee placed his first Rivale Profile order with Mike Summerfield of Planetworld for 36 units, which were turned around quickly and immediately went out on tour with “Mamma Mia!”.
“Mamma Mia!” features a full South African cast, crew, and band, and is headed by an award-winning South African creative team. The production’s lighting and set designer is Denis Hutchinson. The tour kicked off on 6 March 2024 at the Artscape Opera House, Cape Town, playing to full houses before transferring to Teatro, Montecasino, Johannesburg, on 12 April where it will run until 9 June.
(Photos: Christiaan Kotze/Alistair Kilbee)
Tim Goodacre relies on Astera
Tim Goodacre, a freelance gaffer and lighting specialist based in Sydney and working all over Australia, primarily on TV dramas, has invested steadily in Astera to help drive his business over the last two years, most recently purchasing one of the new LeoFresnel products from Astera’s Australian and New Zealand distributor ULA Group, which is added to his existing stock of AX3 Lightdrop and NYX Bulb kits and workhorse Astera Titan and Helios Tubes.
Goodacre immediately utilised the LeoFresnel on season two of the Netflix “Heartbreak High” reboot, specifically for a forest night scene shot on location with the Heartbreak High students camping out under the moonlight. In a different scenario, a moving light might conventionally be used, however the practicalities of the location demanded a wireless lighting solution. Goodacre rigged sixteen Titan Tubes on a “Moon Box” with the LeoFresnel positioned in the centre, which was hoisted above the action pointing right down with the LeoFresnel acting as a spotlight.
Controlled through the Astera app, the need for a board operator to run the moon-box was averted. Goodacre created different cues and looks which provided the moonlight and a cost-effective way of lighting the scene with a clearly defined central lightsource surrounded by shimmering light from the softened tubes which combined to produce the effect wanted by director Neil Sharma and DoP Campbell Brown.
Goodacre has also used Astera fixtures for night scenes along roads, in the bush and other “run-and-gun” situations without needing a generator, PD, cables and extensive prep time. He recalls a night beach scene on another project, always a galvanising place in to find lighting positions for soft sources, which in this case were needed to back-light three people. Here his water resistant LeoFresnel was rigged on a stand with an 8x4 bounce reflector attached that facilitated the creation of a soft source in the right place. He’s also used the LeoFresnel on comedy drama “Ladies in Black”, shot in Adelaide.
Goodacre says he will often use his AX3 LightDrops for quick deployment and architectural requirements, together with AX5s and AX9 LED PARs for general purpose lighting of buildings, sets and structures. The NYX Bulbs will be used for a myriad of set practical applications. Also, for cityscape effects like bokeh dots and twinkling lights in the background, run in festoon style in the distance with authentic and random looking “living, breathing” colours and looks dialled in just like a real city.
(Photos: Tim Goodacre/Josh McDowell)
South African sound engineer Simphiwe “Smooth” Mhlanga chooses DPA Microphones
Dedicated to the art of music engineering, Simphiwe “Smooth” Mhlanga spent years training and honing his skills as a freelance sound engineer for both broadcast and live music. With a growing reputation, he has become the top choice for some of South Africa’s most promising talents, including the likes of Jabulani “Sjava” Hadebe, a singer, rapper and actor, as well as Kiernan Forbes, the late rapper and producer known as AKA.
Additionally, as Sub-Saharan African music has recently seen a surge in music sales and an increase in streams on popular music platforms, Mhlanga’s experience is needed now more than ever. This global recognition for the musical style has opened the door for artists, producers and engineers from the region to showcase their talents and compete on an equal footing to their colleagues in more established markets.
Working with DPA Microphones specialist Keith Karimi from ApexPro in South Africa, Mhlanga selected the DPA 2028 Vocal Microphone to benefit all of Mhlanga’s production work. “The DPA 2028 is a handheld vocal condenser mic that can be used wired or wirelessly. It is specifically designed for the live stage”, says Karimi.
The benefits of the 2028 go beyond the artist’s performance on the engineering side - Mhlanga has found that the response and EQ issues he previously experienced were solved once introducing DPA into his workflow. “The mic is sensitive enough to allow more gain before feedback, but rugged enough to hold up on the road and during live shows”, he says.
Mhlanga began his sound engineering career while still in high school, when he joined the production crew at Hope Restoration Ministries in Gauteng, South Africa. This experience led him to a passion for the art and the subsequent pursuit of formal training, specializing in film, television, radio and broadcast.
Now, as a freelance sound engineer, he often collaborates with other like-minded young professionals to provide live production, outside broadcast and post-production services to creative and corporate clients in the region.
Pictured: Keith Karimi and Simphiwe “Smooth” Mhlanga. (Photo: DPA Microphones)
Luis Torres creates celestial looks for Phoenix Lights with Chauvet
Taking place on the Raceway in Phoenix, Arizona, at the end of March, the Phoenix Lights 2024 festival featured a wide range of EDM performances, supported by a light and video show created by Luis Torres on a 100-foot wide and 48-foot tall rig. Torres channeled the musical energy into visuals with help from forty Chauvet Professional Color Strike M and thirty Maverick MK3 Wash fixtures supplied by Hardwired Productions.
Like the rest of the lighting fixtures in his rig, the Color Strike and Maverick units were spread throughout the truss structures. Torres did this to create unexpected visual moments and convey the kind of uncertain spontaneity that was in keeping with the festival’s supernova theme. “I wanted the rig to have different moments and surprises”, he says. “That’s why I had lights on the video trusses but also in between the video strips. This way, when video was off, I could have the lighting pop up and fill the gaps.”
Using his Color Strike M fixtures as strobes, Torres arranged them in four rows of ten units each, having five located on each side of the circular truss that held the main video screen. “As strobes, these fixtures helped give the rig that important width and symmetry”, he says. “I like doing this sort of thing in my designs. Having the strobe in rows, open the chance to create some neat chase effects.”
“Given that the theme of the show was ‘Phoenix Lights Supernova’, having the Color Strike Ms cover the width allowed me to create effects that could reflect a supernova - an explosion of a star in the galaxy”, he continues. “Probably my favorite look in the show was when we had all the strobes on in full output around the circle.”
Torres placed twelve of his Maverick fixtures on each side of the circle. He arranged the units in rows of six pieces. “The MK3s gave me that bright pop I was looking for in between the video strips. The other MK3 units were used for key light for the DJ and the dancer platforms that were in the outside corner of the scaffold structures.”
Radiating light in different patterns around the circular truss, the Color Strike and Maverick fixtures gave this central video element a floating celestial look that also played into the festival’s theme. The often-surreal images displayed on that video screen conveyed an even greater space-like vibe.
(Photos: Chauvet Professional)
Martin Audio WPS provides weight for The K’s album launch at Warrington’s Parr Hall
After playing a stretch of intimate in-store shows at independent record shops across the nation to announce their debut album “I Wonder If The World Knows”, The K’s arrived at one of their local concert venues, the 1000-cap, Grade II-listed Parr Hall in Warrington on April 10, 2024.
Martin Audio rental partner DBS Solutions were brought in to provide their flagship WPS (Wavefront Precision) scalable line array. This was set in a ground-stacked configuration, as due to weight limitation flying the PA wasn’t an option. The WPS was mounted, six-a-side, on a single SXCF118 cardioid sub, while a further six WS218X subs were arranged in a broadside array in the pit. Providing front fill coverage were four Martin Audio WPM, in 2-box stacks.
In the balcony of the building Martin Audio XD15s were deployed as fills in biamp mode, tied into the venue’s Torus T1230 constant curvature short throw speakers. DBS Solutions deployed a pair of iKon amp racks, each housing three iK42. They were able to power the main PA in the optimum 1-box resolution.
Systems engineer Daniel Clare designed the rig in such a way as to provide coverage to both the primary standing area and the initial parts of the balcony, where the house Torus system in this Victorian venue took over to provide even coverage into the furthest recesses of the upper balcony. The band’s FOH engineer was Ben Hubbard.
(Photos: Natalie Persoglio)
CTC Events realisiert Beiratskonferenz für Versicherungskonzern
Für den Kunden R+V Allgemeine Versicherung hat CTC Events zum wiederholten Male die Planung und Durchführung der Zentralen Beiratskonferenz realisiert. Der Corporate Event mit 250 Teilnehmern fand Anfang März 2024 im Atlantic Hotel Heidelberg, im Automuseum Dr. Carl Benz in Ladenburg und im Heidelberger Kultur- und Konzerthaus Halle02 statt.
CTC zeichnete für die Konzeption und Umsetzung der Konferenz der Bankvorstände verantwortlich. Zum Leistungsumfang der inhabergeführten Agentur mit Sitz in Wiesbaden zählten unter anderem die komplette Organisation, das Teilnehmermanagement, die Koordination der beteiligten Gewerke sowie die Transfers zu den einzelnen Locations.
Der Event startete mit einem Welcome und einer Keynote im Hotel, führte im Anschluss zur Abendveranstaltung zum Automuseum im benachbarten Ladenburg und setzte sich am zweiten Tag in der Halle02 unter anderem mit einem Plenum, Strategie-Talk und Deep-Dives in den verschiedenen Räumen des Kultur- und Konzerthauses fort. Ein Business Lunch bildete den Abschluss der zweitägigen Veranstaltung des größten deutschen Versicherers.
Jede Location erforderte eine individuelle Herangehensweise und Lösungskompetenz seitens CTC. Für das Automuseum gab es wenig Erfahrungswerte, da dort nur selten Events von externen Veranstaltern stattfinden und nur eine Standard-Bestuhlung innerhalb der Ausstellung vorhanden war. Die Halle02 indes musste als Industriehalle ohne direktes Tageslicht für eine Tagungssituation umgestaltet werden.
Das Atlantic Hotel schließlich sorgte für eine außerordentliche Herausforderung: Noch vor seiner offiziellen Eröffnung eine Woche später mussten im Rahmen der Veranstaltung 250 Gäste übernachten, zudem fanden hier auch Welcome und Keynote statt. Dies war nur mit einer Sondergenehmigung der Stadt Heidelberg im Hotel durchführbar.
Mit der Ausstattung der Veranstaltung wurden Professional Sound Service, Hafenwerk und Dumbo and Gerald sowie Vosseibert, TLS und Baiant Dienstleistungen beauftragt. Das Team von Taste of Now & Guerilla Chefs verantwortete das Catering und präsentierte einen Mix aus Flying- und Live-Stationen im Automuseum. In der Halle02 sorgte das Team der Location unter anderem mit Ingwershots und Energyballs für die Verpflegung in jedem Raum, während Taste of Now einen Business Lunch in Weckgläschen servierte, verteilt aus Air Trolleys und im Flying - auch als Doggy Bag für Schnellabreisende.
(Fotos: CTC Events)
Hippotizer selected for Finnish TV show “Tähdet, tähdet”
Finland’s TV contest “Tähdet, tähdet”, produced by Moskito Television, returned for 2024 with a host of singers belting out numbers ranging from 1980s pop to Eurovision classics. Broadcast on Finnish channel Nelonen, audiences watched performances backed by nine ROE Vanish V8T LED screens with live and pre-made content manipulated using TVOne’s Green Hippo brand of Hippotizer Media Servers.
“The set design required visual appeal tailored to the viewers both in the studio and at home”, explains Varpu Sipilä from Finnish visual design company Visual45, which was brought in to create the lighting and visual elements. “Lighting design and operation, as well as video content production and operation, played a significant role. Particularly, the use of video surfaces was emphasized to enhance the atmosphere of the performances.”
On stage, the Visual45 team deployed the nine ROE LED panels, all of which measured 2 x 3 metres, creating an enveloping canvas. More than 250 Sceptron LED tubes were positioned at the edges and at the top edges of the stage to create a sense of wider space, and more LED tubes were embedded in the judge’s table in a custom structure to reflect the shape of the stage. The Sceptrons were operated in hybrid mode, using a GrandMA2 light console and a Hippotizer Boreal+ MK2 Media Server linked to a laptop running ZooKeeper.
The design was led by Tero Kärpijoki from Visual45, whose expertise includes lighting design and visual design for TV productions. Content was created by Visual45’s Motion Graphics Designer Jani Saranpää, designed to complement each performance and drawing inspiration from the songs. The team created the content to act as a whole, with the lighting design in mind, but adapted the overall design to be individually distinct for every singer. In some numbers, live footage from cameras was played back on the screen, fed through the Hippotizer’s live inputs.
The Hippotizer Boreal+ MK2 Media Servers were supplied by Creative Technology Finland, which also provided the technical execution for the project.
(Photos: Green Hippo/TVOne/Visual45)
Martin Audio WP rigged in twelve minutes for UB40 show at St. Andrews Stadium
Within 15 minutes of completing victory over Preston North End on Easter Monday, Birmingham City’s St. Andrews stadium had been transformed into a rock concert venue. The production team behind the staging - enabling local legends UB40 to kick off their world tour and announce their new “UB45” album release - was Martin Audio partner 22live.
At the same time the football club was able to reveal its new branding. Henceforth known as St. Andrew’s @ Knighthead Park, the stadium provided the setting for this post match entertainment. But first 22live, led by Paul Timmins, had many challenges to overcome - not least where to site the fifteen ground stacks of Martin Audio WPC and WPS line array, as well as the speed of deployment to get the show underway immediately after the final whistle.
Two days’ rehearsal in Digbeth helped new monitor engineer Harry Le Masurier settle in, while staging options were debated and the fact that 56 channels were required, choice of stage was paramount. Timmins also knew this was no mere playback event - the band were going to perform live.
After dismissing other options they decided to construct the staging in the “sterile” area - or empty block of seating - segregating the home and away fans in the Gil Merrick stand. “The seats were removed, and the staging company built a two tiered stage because of the raking - set high up to avoid obscuring sightlines”, says Timmins. “Although big LED screens and lighting were able to be flown from the roof, in view of weight loading, audio was always going to be a pitch side perimeter speaker system.”
From past experience Paul Timmins was aware of safety implications, cabling challenges and the fact the speakers would need to be located behind the LED wall or advertising hoardings without blocking the access. But because of distance variations each stand required its own unique treatment. “The Main Stand is quite shallow and didn’t need as much power as the Kop side, so I chose WPS, four stacks high”, he explains. “On the Kop stand I used WPCs, four high because I needed more power. At the Tilton End I used WPC, three high, because I knew I could get away with less, with just two stacks WPS four high required on the Gil Merrick stage end - because coverage was only required on either side of the large centre section.”
Each stack was supported by an SXH218 sub. Torus T1230 speakers filled dead spots in corners between the Gil Merrick and the Kop stands and further T1230s and an SX118 subwoofer provided reference sound at the FOH mix position, which was located underneath the stands. Critical to the success of the optimisation was tilt angles. 22live knew that since they would be raking the system back into the stands, rather than have it tip forwards as would be customary, they could dispense with the standard WP grids in favour of straps. After verifying this custom approach with Martin Audio deployed this solution, which would also ensure each stack could be deployed swiftly as a single self-contained unit.
Crew boss Glen Little worked closely with extra local crew, who were experienced in dealing with Martin Audio boxes. Unlike a typical average home gate of around 19,000 this event drew 25,000 (since there was no increase in ticket price). DJ Jenny Powell led into the band, who played a full hour long set.
Production had to remain nimble and responsive to 11th hour requests. “In addition to the live sound we discovered we had to provide a broadcast mixdown from stems to Birmingham FC TV, and at the last minute they also wanted to record it - so we brought in Phil Wright, who is such a safe pair of hands, with his own kit to do the streaming”, concludes Timmins. “On top of it all, Birmingham City, after a wretched run of form, won the game, the sun came out for the concert and UB40 played a blinding set. It was one of those days where everything worked.”
Other key personnel who contributed to the event’s success included tour manager Yaron Levy, with Russ Tite mixing at front of house. Jason McAvoy was control tech, Rylan Machin and Ryan Bass were the two system techs on duty, while other techs were Chris Wilcock and Jack Davis.
(Photos: Martin Audio/22live)
PRG nutzt GLP Impression X5 Compact für jüngste „Feuerwerk der Turnkunst“-Tourneeproduktion
Die Turn- und Sportfördergesellschaft mbH, eine Tochter des Niedersächsischen Turner-Bundes, feiert seit 34 Jahren Spitzensport mit Europas erfolgreichster Turnshow, dem „Feuerwerk der Turnkunst“, und wirbt gleichsam um Aufmerksamkeit und engagierten Nachwuchs.
Von Ende Dezember 2023 bis Ende Januar 2024 inszenierte der Veranstalter mit der Tournee „Heartbeat“ eine Hommage an die Tanzfilme der 1980er Jahre: „Dirty Dancing“, „Flashdance“, „Hair“. Die Tour umfasste 36 Vorstellungen in 22 deutschen Städten. Über 200.000 Besucher schauten sich die Turn- und Artistik-Show an.
PRG betreute die Tournee komplett mit Licht-, Ton- und Videotechnik sowie Rigging und realisierte alle Sonderbauten und die technische Planung. Das Lichtdesign von Marc Brunkhardt fundierte dabei auf GLP Impression X5 Compact und Impression X4 Bar 20, um die Spielfläche für die Artisten, Künstler und Turner gleichmäßig und sportgerecht auszuleuchten. Besonders wichtig sei es gewesen, die Sportler während ihrer meist sehr anspruchsvollen Auftritte nicht zu blenden.
Mit insgesamt 44 Impression X5 Compact, dem kleinsten Vertreter aus GLPs X5-Serie, erfüllte das PRG-Team verschiedene Beleuchtungsaufgaben. Zum einen wurden insgesamt sechzehn X5 Compact im Rigg jeweils in Vierergruppen in einem Follow-Me-System als Verfolger eingesetzt. Weitere zwanzig X5 Compact hinterleuchteten die transparente LED-Bande.
Zusätzlich zu den X5 Compact wurden hinter der LED-Bande auch Impression X4 Bar 20 verbaut. „Aufgrund der Abhängung hinter der Bande war die gesamte Technik für die Zuschauer nicht zu sehen“, so Tom Kaczmarek, Account Manager PRG.
(Fotos: Detlev Klockow)
Jimmy Olausson brings element of surprise to Avatar’s winter tour with Chauvet
Lighting designer-programmer Jimmy Olausson was with his client Avatar on their European tour, when the metal band suddenly released the new song “Make It Rain” and asked him to program looks for it. “Normally, I prefer to do my programming in my office where I can focus on the details, so creating the lighting for ‘Make It Rain’ during the tour was a unique challenge”, he says. “But it turned out to be a fantastic addition to our set and gave me the opportunity to think outside the box, crafting a visual style for this song that stands out from the rest.”
Turning up the intensity level on his twelve Chauvet Professional Colorado Panel Q40 rectangular washes, Olausson created pixel mapped sequences that evoked the turbulent mood of an approaching storm. He coupled this with a “waterfall” effect that he created with house lights to immerse audiences in the moment.
“When programming this song, I focused on highlighting the pixel effects of the Q40 fixtures. I wanted to make it clear to the audience that these are multi-functional fixtures”, he explains. “Normally, I prefer a more subtle approach, using the unique features of a fixture to enhance the overall look without overwhelming it. But this particular song is intense and demands a lot, so I pushed the Q40s to their limits. They added a dynamic layer to the performance that aligns perfectly with the song’s energy.”
Olausson also served up some unexpected visual delights of his own during the two-hour seventeen-song set. “What sets this show apart from our previous tours is its element of surprise and its theatrical nature”, he states. “I’m constantly looking for new ways to surprise the crowd and keep the light show dynamic and engaging. We’ve incorporated more drama and unexpected moments, which is something we’re considering developing even further in our future designs and tours.”
Helping Olausson create his novel looks was a Chauvet Professional floor package, which, in addition to the Colorado Panel Q40, featured sixteen Rogue R2X Wash and ten Rogue R2 Beam fixtures, as well as four Cloud 9 foggers. “For this show, we kicked things off with an ‘everything at once’ approach,” he says. “It’s a bit of a shift from our last album cycle for ‘Hunter Gatherer’, where we started with a minimal setup and gradually added more elements. I really enjoy the immediate impact we created when the band played the first note. But not to worry, it’s not full-on intensity all the time. I carefully choose which fixtures to use and when, ensuring there’s a nice flow and balance throughout the set, so each song and moment feels just right.”
Olausson kept the mood going all show long, moving from intense monochromatic washes, to dark, shadowy looks punctuated by sharp, side-angled light. At times he changed things up going with bold aerial effects, then moving to crowd lighting. The use of atmospherics played a key role in his design plan. “When it comes to atmospherics, my key approach is to have a solid reason for using them in each part of the show”, he concludes. “For a piano ballad, it feels almost natural. I aim to let the low fog dominate the stage, using minimal lighting to spotlight the singer. Essentially, I’m crafting an ambient, enveloping environment - and hopefully one that is full of surprises.”
(Photos: Chauvet Professional)
Mitch Rowland turns to Britannia Row for headline solo tour
Singer/songwriter Mitch Rowland found notoriety as Harry Styles’ guitarist and co-writer, and the pair toured the world together for two years during “Love on Tour”, which saw Britannia Row Productions supply audio for all 169 shows. When the time came for Rowland to take the spotlight in his own right, the American multi-instrumentalist turned to Britannia Row for live audio services on a much smaller scale.
Forming a close-knit bond after “Love on Tour”, audio engineer Christian Zuniga was welcomed back into the fold as Rowland’s Monitor Mixer and Production Manager. He comments: “Mitch is not an up-and-coming artist, he’s been touring arenas and stadiums for years, so he’s used to high-level touring. However, when he presented this new project, he wanted to play in small theatres instead of opening for a big tour. Every place has been special as each venue carries history.”
As the first artist signed to Harry Styles’ Erskine Records, industry backing doesn’t come much stronger, and the same can be said for Rowland’s audio team who were keen to support the new venture. Working closely with FOH Engineer Miguel Tapia, Zuniga continues: “Miguel is one the finest mix engineers out there, and Lez Dwight, Director of Britannia Row, and Ops Coordinator Shawn Dier from Clair LA’s office have all been so supportive of us. I thought that smaller tours wouldn’t get the same attention as the big ones, but I was wrong.”
The tour is running a pair of Allen & Heath DLive CTi1500s at both monitors and FOH with DMO MixRack and DX012, fitted with a pair of GigaAce cards for gain sharing. Each console has a Waves card for multitrack recording and virtual soundcheck, with everything running native and no outboard. “We wanted a small yet powerful footprint that could take us from festival appearances to clubs, as we’ve played some tiny stages”, says Zuniga.
“Miguel introduced me to Allen & Heath on my previous tour with Mexican pop act RBD. Most of those venues were stadiums and Miguel was mixing on a large format DLive”, he adds. “In previous meetings with Mitch and Rob, they wanted to produce a show that sounded like Mitch’s record ‘Come June’, with analogue tubes etc. An analogue system was out of the question due to venue size, but we were very pleased with how this sounded.”
Zuniga uses Shure PSM 1000s for Rowland and drummer Sara Jones, Rowland’s wife, on JH Audio Roxannes, with the rest of the band, Matt Schuessler (bass), Rob Schnapf (guitars) and Aiden Finn (keys) opting for D&B Audiotechnik wedges. “Mitch and Rob are very particular with their guitar sounds. We travel with two vintage Ampeg Geminis and a vintage Fender Custom Deluxe for their rigs. We use a mixture of Shure KSM32 and Beyerdynamic M60 mics, with the vocal mic being an SE V7”, Zuniga concludes.
(Photos: Britannia Row Productions/Clair Global)
Stage Sound Services combines Brompton Technology and Infiled for theatre productions
UK touring musicals “I Should Be So Lucky” and “Just For One Day” both utilise Brompton Technology LED processing and Infiled displays provided by audio visual equipment rental company Stage Sound Services (SSS) who worked with system designer and engineer Dan Trenchard, and video designer Andrzej Goulding on both productions.
“We first used LED with Brompton processors in 2021 on ‘The Drifters Girl’”, says Stage Sound Services owner Phil Hurley. At the end of 2023, SSS purchased a number of 4K Tessera SX40 LED processors and Tessera XD data distribution units: “We added more Brompton Tessera products for the Old Vic’s production of ‘I Should Be So Lucky’, a new musical based around the Live Aid story, which started at the end of January 2024.”
Dan Trenchard, with over ten years experience in theatre, touring musicals, plays, opera, live events, and concert touring, including Coldplay’s latest world tour, is also no newcomer to Brompton LED processing. For “I Should Be So Lucky” he collaborated with Andrzej Goulding to select both the equipment and supplier, as well as designing and installing the system.
“I feel the combination of SSS, Brompton Technology, and Infiled have brought LED to theatre in a much bigger way than ever before”, states Trenchard.
(Photos: Marc Brenner/Manuel Harlan)
ChamSys MagicQ Stadium Connect selected for record-breaking Lado Bizovicar live show
Slovenian comedian and TV personality Lado Bizovicar set lofty goals for his live show “Slovenska Muska A-Z”, in which he went through the entire Slovenian alphabet, linking it to a recording artist (“A” for Avsenik Ensemble), or genre (“R” for rap) to reflect on the state of music in his country.
For Bizovicar and his many guests on stage, the production team that supported this show - which took place on January 27, 2024, at the sold-out 13,000-capacity Arena Stozice in Ljubljana - created a 360-degree stage and worked with hang points that reached 34 meters. The team included director Nejc Levstik, set designer Greta Godnic, and TD Rok Lozar, along with lighting designer/programmer Crt Birsa.
“This was the first 360-degree stage in the history of Arena Stozice”, says Birsa. “There were 540 fixtures in the show, probably the most in any project in Slovenia’s history. Programming and focusing for a two-hour circular stage show, along with an hour of supporting acts, was a challenge.” He chose to use a ChamSys MagicQ Stadium Connect console at this show.
“Being winter, there is always the possibility of snow here, and we had to take that into account when considering the total load of the arena roof structure”, continues Birsa. “As a result, we were limited to hanging just twenty tons of equipment in the central part of the arena. Due to that situation, we could not make a proper mother grid that would allow us to make the most of the rigging points on the floor. This slowed down the rigging process.”
Complicating matters, there were a lot of bridles and points attached directly to the roof steel structure, which is 34 meters high. Moreover, there were no catwalks and classic steel grids in the arena. Birsa and his team, including assistant Klemen Krajnc, had to come up with ingenious rigging solutions, and figure out ways to run cables to their center round stage without obstructing views. They also had to use the arena scoreboard as part of the set, running square truss under the scoreboard to connect to fingers of the center stage.
“Greta Godnic and I wanted to achieve a central ‘lighting pillar’ that would start above the stage center and rise up and spread out in the end”, explains Birsa. “We wanted to include the scoreboard as IMAG, but also wanted to have lights below it. This was quite challenging, because the scoreboard is built like a cone and getting the trusses under the board was very hard. The main idea was to build eight lines of lights that would go all the way up. So, if you look at the rig from this perspective, it was very simple - everything was multiplying by eight.”
Directing light up from floor mounted fixtures, and down from units flown on the overhead truss structure, Birsa wove together a matrix of light that rivetted attention, while at the same time supporting the performance on stage.
(Photos: Marko Alpner/Jani Ugrin/Anze Vrabl)
Gerdon Design uses SP by Stage Precision at Nukranox Festival
Gerdon Design, based in Mainz, Germany, specialises in show, content and lighting production. In late 2023, the team at Gerdon Design were approached to work together with client Revolution Event on the upcoming Nukranox Festival, a celebration of hardstyle music, which was to be held in December 2023 at a 5,000-capacity arena venue in Salzburg, Austria.
“Revolution Event had come up with an idea for an immersive festival experience”, recalls Marek Papke, CEO at Gerdon Design. “They wanted to take a holistic approach and provide a narrative for the upcoming show and future shows in the series. The concept for Nukranox was to create a realistic forest environment and tell an ever-evolving story throughout the night through visuals, special effects and, of course, music.”
“A 24-metre LED wall covering the entire back wall of the stage was the focal point of the design”, continues Papke. “On the screen we planned to synchronise the visuals, depicting a dynamic, constantly changing forest environment with lighting effects to mimic day, night and weather conditions such as fog, rain and snow.” Gerdon Design introduced a 360°-backdrop printed with the same forest scene as on the LED screen. They also incorporated scent machines emitting forest aromas and burning wood scents, along with snow machines to create a multisensory experience.
Stage Precision’s SP software acted as the backbone of the system architecture. The team played real-time content from Unreal Engine on the LED walls, allowing for dynamic interaction during the show as different DJs played on stage. “Stage Precision’s Shield plug-in gave us the possibility of interacting with the visuals during the show”, says Papke. “With the forest environment inside of Unreal Engine, SP acted as the control cockpit for this content. We can manipulate everything through SP and also control the video switching inside the Barco E2 through the same user interface.” The Nukranox festival series will continue in 2024.
(Photos: Stage Precision/Gerdon Design)
Ayrton Cobra, Huracán Profile and Ghibli light Amsterdam’s biggest EDM event
The Amsterdam Music Festival (AMF) is the biggest electronic dance music event of Amsterdam Dance Event which takes over the Dutch city annually each October. AMF’s popularity in its first year saw it move from the RAI Amsterdam to the 40,000 capacity Amsterdam Arena (now the Johan Cruiff Arena). Lighting designer, and owner of The Art of Light, André Beekmans chose a wealth of Ayrton Cobra, Huracán Profile and Ghibli fixtures to light the 2023 edition.
The show’s lighting and rigging were supplied by Ampco Flashlight with Light Specials providing the LED lines. The Art of Light operators - André Beekmans, Rik Verschuren, Kasper Dijksterhuis and Jaap Kamps - were responsible for programming, operating and facilitating all the guest operators for the event. Guest operators included Michael Seeverens as the touring LD for Armin van Buuren and Tom Pietermans with Afrojack whom they supported with positions, presets and any additional needs.
Beekmans chose 54 Ayrton Cobra fixtures specifically for its laser source and narrow beam to highlight the outline of the stage and to add an extra dimension to its depth. He then placed 74 Ghibli spot fixtures within the stage area, rigged in between the separate LED screens that formed the backdrop, and directly in the field of vision of the audience. Twenty-two Huracán Profiles were used as front light, but with an additional line of sixteen Huracán Profiles behind the stage to emphasize the depth behind the semi-transparent stage.
“We used Ghibli and Huracán Profile fixtures together because in André’s vision they formed a great combination due to the fact they have the same features, the same gobo wheels but different light outputs”, says The Art of Light’s Romy van Schijndel. “The AMF stage concept and lighting design is based on three core colours: blue, red and white and has always been very technical. Within these guidelines we try to work with large numbers of lights, often with smaller wattages which allows us to use higher quantities.”
“It is important, even though AMF is a dance event, to maintain a certain look and atmosphere with the lights, so it’s not just ‘flashy moving lights’”, continues van Schijndel. “Throughout the night we work on building-up the show, starting with using just some of the lights, and only after a few hours, during the official opening of the show, revealing all lights together for the first time.”
(Photos: ALDA/Tom Dieleman/Boy Hoogvorst/Insomniac)
Transmission’s “Elysium” in Arnhem lit with Robe
Trance music festival Transmission transposed to the Gelredome in Arnhem in the Netherlands for the first time, presenting its newest “Elysium” show concept at the end of 2023 and keeping the international production and supply teams that have helped make the event a success in its native Czech Republic and globally.
Organisers United Music turned to their long-term lighting, audio and LED screen supplier Ministry Rentals to supply the production kit - every bit of the kit came from Banska Bystrica in Slovakia - and lighting designer Bas Kempers to create a visual environment to work in conjunction with their scenic design. The first Transmission NL was the final event of a busy year for the brand which also staged sold out events in Australia, Poland and Thailand.
Kempers’ lighting scheme included over 250 Robe moving lights, a dynamic combination of Fortes, MegaPointes, Pointes and BMFL WashBeams, together with strobes and LED washes. He started with United Music’s creative team’s vision of 400 square metres or so of LED screen - masked into a spherical shape upstage evoking a large modern pros arch. Kempers specified 66 Fortes, 96 Mega Pointes, 96 Pointes and six BMFL WashBeams.
To complement the stage set up and LED and give the design a bit extra, he added six vertical trussing towers positioned along the arena floor which were scenically clad. In addition to injecting some structural form into the space, they created prime lighting positions in the middle of the action. MegaPointes rigged to the towers offered a contrasting perspective to lights on the ceiling flown trusses and enabled beams to be layered and crisscrossed to fill the space with density and texture, immersing the audience in light.
Each column comprised two 6-metre-high sections - top and bottom - with 1.25 diameter circles on both the end sections that met in the middle. The top halves of the towers were on an automation system and lifted higher into the ceiling. Eight MegaPointes were rigged to the top circle and eight to the bottom, giving sixteen fixtures per tower, totalling 96.
The 66 Fortes were rigged on the over-stage and audience trusses and used to highlight the arch and for the big signature beamy looks filling the space, with 24 luminaires on additional audience trusses. A mixture of Fortes and iFortes featured, and while the IP rated iForte wasn’t needed as it was an indoor show, Kempers wanted to be able to mix both types of Fortes in the same design as they are identical both physically and in features.
Forty-eight of the Pointes were positioned on the arch, with the rest on the over-stage trusses with 24 on the floor and 24 on side trusses. They shot beams all over the place and worked with the MegaPointes for beamy trancey drops, accents and punctuative moments. The six BMFL WashBeams were used as front light for the DJs.
Kempers worked closely with his regular Transmission programmers, Zis Ankone and Martijn Deenen. Rudo Tucek, owner of Ministry Rentals, states that having mostly their own crew on site ensured everything went “smoothly and with no glitches”. For this first Netherlands show, United Music together with High Energy events, Ministry Rentals and the Transmission technical crew worked alongside local production company Axiom.
(Photos: Palci)
