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Archive by David Steinberg

Main Light Expands Its Extensive Clay Paky Rental Inventory with New Shotlight Wash Fixtures

Main Light Industries, Inc., the Wilmington, Delaware-based firm, which has become one of the largest rental houses in the country, has further expanded its inventory with Clay Paky Shotlight Wash fixtures. A.C.T Lighting is the exclusive distributor of Clay Paky lighting in North America.

In the last two years Main Light, which serves all of the professional lighting industry, has acquired complements of Clay Paky Alpha Spot QWO 800s, Alpha Profile 800 STs, Sharpys, Alpha 700s and Alpha Spot HPE 1500 fixtures. Now, Main Light has continued to diversify its impressive Clay Paky offerings by investing in Shotlight Washes.

“A.C.T Lighting provides some of the best support within the industry. Our longstanding relationship with A.C.T, along with the superb products they distribute for Clay Paky, make our latest purchase a win-win situation for us,” says Main Light’s head of client relations, John DiEleuterio.

Shotlight Wash is a totally new kind of projector that combines an extraordinary 1500W discharge lamp washlight and a 3000W Xenon lamp strobe in one device. The two-wash/strobe functions are perfectly integrated and can be operator controlled with either simultaneous or separate operation and special effects. The “strobe” function is provided by two semicircular Xenon lamps working independently, so they can flash together or separately at different frequencies.

“The Shotlight is very unique combining the wash and strobe elements in one fixture,” DiEleuterio explains. “The dual use of a wash fixture plus two insanely bright strobes give the fixture twice the functionality – something you don’t see in any other fixture. And they’re Clay Paky, which means they’re high quality.”

He notes that Main Light also saw a market opportunity to get out in front of other rental houses with the desirable new fixture. “Our clients will use them as very specific design elements. They will be perfect for certain artists and electronic music.”

Over the years, Main Light customers, including the Red Hot Chile Peppers, the Ultra Music Festival and the Electric Daisy Carnival, have become fans of the company’s extensive Clay Paky inventory.

About A.C.T Lighting

A leading importer and distributor of lighting products, A.C.T Lighting, Inc. strives to identify future trends and cutting-edge products, and stock, sell and support their inventory. The company provides superior customer service and value for money to all of its clients.

For more information call 818-707-0884.

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Evolve Media Group Adds Lightware MX-FR33L Modular Matrix Frame to Rental Inventory

Evolve Media Group has taken delivery of a Lightware Visual Engineering MX-FR33L Modular Matrix frame for its rental inventory. This addition is the third Lightware acquisition for Evolve; the company also has two 16×16 Lightware Slim routers. Its new Lightware MX-FR33L is a 33×33 digital crosspoint router frame with redundant power supplies, built-in control panel and CPU2 processor board. Lightware U.S.A. is the US distributor for Budapest-based Lightware Visual Engineering products.

With offices in Orlando and Atlanta, Evolve Media Group is a one-stop, high-end video equipment rental company servicing rental and staging firms across the country.

“We rent to other rental companies and to rental and staging companies when they need larger routers for big events – and the 33×33 is a lot of router,” says Tyler Mayne at Evolve Media Group. “Other routers have compatibility issues, but the Lightware products have been solid and solved issues we have had with different router brands.

“Typically, routers are the brains of a job and have to be well constructed,” he notes. “Lightware routers are very rugged. We ship gear everywhere, so it has to be well built and ready for the road. We’re very happy with it and have experienced no problems whatsoever.”

The MX-FR33L purchased by Evolve is populated entirely with DVI HDCP boards. The HDCP matrix offers many additional features, including pixel accurate reclocking and a second pixel accurate reclocking chip on the input and output cards to compensate for low or weak signals; an advanced frame detector to show timing parameters of the input signals; and HDCP shut off. Colorspace conversion is available on the outputs. Users can set the output mode for HDMI or DVI so the monitor gets a constant bit rate for a cleaner switch between sources. In addition the DVII-HDCP-IB converts analog inputs to digital HDMI signals and handles HDCP with all the features noted above.

About Lightware U.S.A.

Lightware U.S.A. is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. For more information on these products, visit www.lightwareUSA.com.

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A.C.T Lighting Supports Stagecraft Institute Las Vegas 2013 with Clay Paky Fixtures and grandMA2 Consoles

Sometimes what happens in Vegas leaves Vegas. Just ask the participants of Stagecraft Institute Las Vegas 2013 (SILV) who left town with valuable knowledge about live entertainment production they didn’t have before. Once again, A.C.T Lighting, the exclusive distributor of Clay Paky and MA Lighting in North America, was pleased to be among the representatives involved with SILV providing equipment and participating in sessions.

SILV annually strives to fill a need that traditional schools cannot provide. In a full range program made up of a series of eight independent one-week summer sessions, which begin in early June, students receive valuable training for employment in state-of-the-art live entertainment production. SILV takes a hands-on approach to education with working professionals sharing their knowledge and experience about what it takes to develop today’s skills.

“SILV is a great program that attracts some really talented young people who have a future in the industry,” says George Masek, vice president of automated lighting at A.C.T Lighting. “The event helps create a solid knowledge base and trains future users of Clay Paky fixtures and grandMA2 consoles. It also strengthens our bonds with the designers and programmers who staff the classes.” Many instructors hail from Disneyland, Disney Imagineering, Cirque du Soleil, anddomestic and international concert tours, he notes.

Chaos Visual Productions provided a large complement of Clay Paky fixtures to SILV 2013: six Sharpy Washes, 18 Sharpys, 18 Alpha Spot HPE 1200s, six Alpha Spot HPE 300s and 12 Alpha Profile 700s. On the control side A.C.T Lighting supplied three grandMA2 consoles.

“SILV 2013 was the biggest I’ve seen yet in terms of equipment and participation,” says Masek. “The response to the quality and performance of the largely Clay Paky rig was very positive. The gear worked exceptionally well, especially considering the heat of the venue and the fact that everything ran all day for weeks.”

Accoridng to Director Jane Childs “Watching the students go from bad (watch your finger) typists on a console to full-out on-the-fly-touch-typing while watching the images they were producing was truly amazing. This is the kind of hands-on learning experience that my husband Donald envisioned when we started SILV!”

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Clay Paky Sharpys Work Packed Houses at the 2013 ESSENCE Festival in New Orleans

Crowds turned out in record numbers for the 19th annual ESSENCE Festival in New Orleans. A-list artists including Beyoncé, LL Cool J, Jill Scott, Tamia, Janelle Monáe, and others packed venues throughout The Big Easy. The festival was staged by ESSENCE Communications and produced by Solomon Group, a New Orleans-based entertainment production company, which supplied various equipment including Clay Paky Sharpy lighting fixtures to eight stages across town.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, comments, “This is a very high profile and exciting event to be involved in and we’re proud to be a part of it. The Solomon Group is a very talented company and we’re proud to be working with them.”

“With support from VER, Solomon Group supplied gear to several stages, including five in the Mercedes-Benz Superdome, two in the Ernest N. Morial Convention Center and one in Woldenberg Park,” says Matt Foucheaux, Senior Production Manager at Solomon Group. “We used a total of four grandMA2s. The Main Stage at the Superdome had two grandMA2 full-size units accompanied with two fader wings. Both the Center Stage and the Empowerment Experience Stage in the Convention Center had grandMA2 Lights.”

Foucheaux deployed 65 chrome Clay Paky Sharpys for the Main Stage at the Superdome, which he says looked striking against the black truss that Solomon Group utilized onstage. “We built vertical columns between the LED screens and hung Sharpys inside of them to create the ability to show some really powerful aerial beam looks,” he says. “We also hung some above the IMAG screens, which were programmed at times to rake would go out into the audience.”

Foucheaux and festival programmer, Ryan Stumpp, built many presets that would help the guest designers. Since there was such limited time to program, it helped for these designers to come in and have a good amount of presets in their back pocket” “All of our NPUs and networking for the main stage was behind the stage which was around 350′, so we utilized a fiber network to carry all 22 universes of data”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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WorldStage Teams with Artist Rafael Lozano-Hemmer on “Voice Tunnel”, A Large-scale Interactive Art Installation

The New York Department of Transportation’s Summer Streets 2013 arts festival featured many unique installations but none more unusual than Mexican-Canadian artist Rafael Lozano-Hemmer’s “Voice Tunnel,” which opened the 1,400-foot vehicle tunnel on Manhattan’s Park Avenue to pedestrians for the first time ever. WorldStage filled the interactive art installation’s needs for an extensive lighting package and a custom audio system that delivered the once-in-a-lifetime experience to art lovers of all ages on three Saturdays in August.

The tunnel, which runs on Park Avenue from 33rd to 40th Streets and date back to the 1830′s, featured a sound and light installation that came alive when pedestrians spoke into a microphone at the center of the tunnel triggering 300 pulsating spotlights and 150 loudspeakers. Called “part architecture, part performance art” by one critic, “Voice Tunnel” invited the public to play with the very unique space around them.

WorldStage had previously teamed with Lozano-Hemmer on “Pulse Park” in Madison Square Park, “Levels of Nothingness” at the Guggenheim Museum and “Pulse Room” at the Madison Park Conservancy Gala. “We love working with Rafael,” says WorldStage president Joshua Weisberg, “He challenges us technically and the results are always magical.”

And the feeling is mutual. “I’ve worked with WorldStage in the past and been very pleased,” says Lozano-Hemmer. “Our collaboration process for ‘Voice Tunnel’ was great – I got WorldStage involved at the beginning to make sure my numbers and logistics were right. When I work with WorldStage I can get all of the lighting, staging and sound from a single source. My projects are all about the integration of these elements in unique ways, so to work with a company that’s comfortable with all the AV disciplines is very beneficial.”

WorldStage provided 300 Source Four Lekos, 150 self-powered 50w speakers and many miles of cable for the tunnel. The artist said he didn’t want to create “a big intervention” in the tunnel. “It’s quite pretty with beautiful rock shapes and metal cladding so I didn’t want to bring a big installation into it.” Instead he preferred to “work with something more ephemeral, like lights” and sounds that would “create a sense of choir.”

WorldStage mounted the spotlights along the tunnel floor base, sitting on 18″ curb at either side of the tunnel and spaced six feet apart, to produce glimmering arches of light. Pedestrians were able to influence the lights’ intensity by speaking into an artist-supplied intercom at the tunnel’s center, which recorded their voices and looped them. The trailing voices of the last 78 participants were heard as pedestrians strolled through the tunnel; the voices were played back on 150 loudspeakers, one beside each light arch and synchronized with it. As each new participant spoke into the intercom, older recordings were pushed one position down the light array until they left the tunnel. In this way the content of “Voice Tunnel” changed constantly. Lozano-Hemmer described the voices as “quiet…more like little memories of the tunnel.”

Josh Weisberg likened the experience to “visiting an old cathedral in Europe where the light is streaming in and you hear the low murmur of tourists’ voices out of which you can pick a lot of individual voices. It was a swirl of light and sound activity, sometimes chaotic, sometimes calming and sometimes totally absent.

WorldStage staff audio engineer Kate Brown led the team that worked with the artist’s programmers to craft a unique audio solution for the installation. She opted to use a digital audio network run over fiber optic cable to eliminate noise induced by the extensive runs of lighting cable and achieve a distance not possible over copper. Each group of 8 to 16 self-powered speakers was connected to a Yamaha Rio digital stage box. The Rios were connected to the fiber switch network, which was linked to the artist’s computer. The computer was outfitted with a RedNet sound card to output 75 streams of audio into a matrix that Brown configured using Dante network protocol. The 150-channel matrix output then fed the individual speakers.

Some 30 WorldStage crew members were on site for the install, which had a very short load in. “We had to pull an overnight prior to each Saturday exhibition, and install the system from scratch each time” Account manager, Terry Jackson points out. “It was a monumental amount of work, but we had Phil Alfieri and a great crew from Local 1 and they really made it happen..”

Lozano-Hemmer says, “one of the things I love about WorldStage is that they maximize the impact of the show for the available budget. This show was a big one, but WorldStage is able to respond to any size budget and get the most out of it.”

At WorldStage Terry Jackson, who handled the account is vice president and director of lighting, Daryl Carmen was brought in to manage the production and Erik Perry, WorldStage senior project manager, was the site manager.

WorldStage Inc., the company created by the merger of Scharff Weisberg Inc and Video Applications Inc, continues a thirty-year legacy of providing clients the widest variety of entertainment technology coupled with conscientious and imaginative engineering services. WorldStage provides audio, video and lighting equipment and services to the event, theatrical, broadcast and brand experience markets nationally and internationally.

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Electrosonic Completes Final Phase of Global Immersion Acquisition and Launches New Immersive Theater Website

Electrosonic announced today that it has completed the final phase of its previously announced Global Immersion acquisition. The Global Immersion team of digital giant screen cinema and planetarium experts is now part of Electrosonic’s Entertainment business and will operate under the Electrosonic brand. A new website that highlights Electrosonic’s immersive theater solutions can be found at: www.ElectrosonicImmersion.com

“The acquisition of Global Immersion in 2012 provided Electrosonic with a talented team of professionals with deep experience in the giant screen and planetarium markets,” says Jim Bowie, President of Electrosonic Group. “They have helped expand our range of markets serviced, and ensured that Electrosonic continues to build on its reputation of delivering the best visual systems in the world. We look forward to providing exceptional value and innovation to the giant screen and planetarium markets as they transition to digital systems and expand the range of content that can be displayed.”

Electrosonic delivers an extensive range of services to the immersive theater market including theater planning, design, integration, specialist media and software, and maintenance. State-of-the-art integrated systems have been developed and optimized for the unique needs of each immersive theater environment. The GSX(tm) Giant Screen Cinema series, for giant screen flat, curved and dome theaters, offers the highest display performance and the broadest range of content compatibility in the market. The Fidelity(tm) range offers an optimum balance of performance, reliability, functionality and value for today’s digital planetarium. In addition to leading edge theater technology, Electrosonic offers a comprehensive immersive media and show library to ensure that theaters have access to the best content.

Electrosonic also offers tailored support services to meet each theater’s unique operational requirements. Support services include a 24/7 network operations center and a cost-effective projector lamp replacement program.

About Electrosonic
Electrosonic is an international audio-visual company that creates tailored, state-of-the-art solutions for a wide range of markets including theme parks, museums, control rooms, and corporate meeting rooms. Since its founding in 1964, Electrosonic has built a strong reputation for working on complex projects, both large and small, and has developed lasting partnerships with customers and suppliers. Beyond complete integrated systems, Electrosonic provides a comprehensive scope of services including technical design, projector lamp sales, maintenance and operational support.

Learn more about Electrosonic. Visit http://www.electrosonic.com

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HRS Control Launches HRS KP Automation App to Simplify Control of Multiple AJA Ki Pro Units in Production Environments

HRS Control has introduced two new software products for automated control of AJA’s popular Ki Pro family of file-based recorder/players including Ki Pro, Ki Pro Mini, Ki Pro Rack and Ki Pro Quad. HRS KP Automation and the next-level HRS KP Automation PRO are dedicated Mac OSX applications that provide simple, easy control of multiple Ki Pro units.

“HRS KP Automation has been designed from the ground up to enhance the out-of-the-box experience of Ki Pro customers,” says Drew Taylor with HRS Control. “We saw a lot of interest from AJA customers who wanted gang control capabilities for their Ki Pros. They were looking for a simplified, cost-effective solution for Ki Pro only control; they didn’t need to build customized solutions with our UDC (Universal Device Control) product. So we devised a completely new application to control multiple Ki Pros from one location.”

“Our Ki Pro products have been incredibly popular for live event, professional AV and on-set broadcast and film productions. Many customers use multiple Ki Pro’s and we’re pleased that the smart engineers at HRS Control have provided a plug-and-play solution for automating gang configuration, record and playback for AJA’s Ki Pro customers,” said Nick Rashby, president, AJA Video Systems.

Developed for Mac desktop computers, HRS KP Automation is HRS Control’s first Apple desktop based app. “It’s groundbreaking for us,” Taylor says. “All of our other products are Windows-based, but a large majority of Ki Pro users have Apple computers because of the strong ties between AJA and Apple.

“The new app can be downloaded and used right away,” he reports. “There’s no learning curve, and no training is required. You put HRS KP Automation to action immediately.”

HRS KP Automation is a base-level product offering all the features and functionality that most Ki Pro users require and supports Ki Pro, Ki Pro Rack, Ki Pro Quad and Ki Pro Mini. With Ki Pro Automation “you can execute gang playback and record, download clips and do file transfers to your local Mac or network hard drive for back up,” Taylor explains.

Major features of HRS KP Automation include:
* Configuration of unlimited Ki Pros
* Downloading multiple Ki Pro clips to local and network storage
* Gang playback
* Gang stop
* Gang recording
* Gang loading of matching clips
* Loading individual clips, including stop or play after load

The app also displays current time code, current clip name and shows the progress of clip downloads as well as proving users a range of additional status information for each Ki Pro. It also permits scheduling of recording, playback and downloads.

HRS KP Automation PRO includes all the features of HRS KP Automation and more. The PRO version adds RS422 control (supported by Ki Pro, Ki Pro Mini and Ki Pro Rack, but not by Ki Pro Quad) for the ability to load a clip and jump to a specific point in the time code. It also gives you the ability to upload clips from a network or local computer and to transfer clips from Ki Pro to Ki Pro. In addition, it enables users to store hot keys on the fly for any Ki Pro product that load a clip and jump to time code – a playback utility that people with more demanding live productions, such as sports replays, are looking for,” explained Taylor.

The apps’ clean and clear interface design looks and feels familiar to users of AJA Ki Pro products. The layout features two columns. The left-hand column features buttons for transport commands and a download button for each Ki Pro unit. The right-hand column always shows clips on the selected Ki Pro; downloading is tracked with a progress bar. Selecting more than one Ki Pro unit for control triggers gang control with easy one-button execution.

HRS Control will be taking orders for HRS KP Automation at IBC in mid-September and shipping the app after the show. The company is accepting pre-orders for HRS KP Automation PRO, which is expected to release later this year.

“No dongles are required, and customers can sign up for a 30-day free trial before purchasing and downloading the app,” Taylor points out. “HRS KP Automation users can upgrade at any time to the PRO version.

“Ki Pros are great products – their users are really happy with them. We’re proud to provide an automated tool to make multiple Ki Pro systems even easier to use in production environments.”

About High Resolution Systems

High Resolution Systems, known as HRS Control, is a company with a strong systems engineering and applications background. Its founders have decades of experience in the audiovisual rental and staging industry, broadcast applications, A/V installations and system design. This combined experience allows them to provide the highest possible quality solutions to its customers in the most efficient manner. For more information, visit www.HRScontrol.com.

Clay Paky Sharpys Rock with Rush as Band Wraps Clockwork Angels Tour

Photo: Steve Jennings

Rock band Rush just wrapped its Clockwork Angels Tour in the US in support of its eponymous album, and Clay Paky Sharpy fixtures went along for the ride.

Rush began its US tour last September on the heels of a successful European leg. Dates in Phoenix and Dallas were recorded for a DVD release later this year.

“We had 55 Sharpys on the tour for the duration,” says Howard Ungerleider, lighting designer for Rush. “Sharpys are one of the most versatile and exciting lighting fixtures I’ve used in a while. I can really get a lot of looks out of them. I definitely work them without over-using them.”

Ungerleider positioned the Sharpys, which were provided by Premier Global and Production Design International, on moving parts of the truss so they could descend at any time for automated moves. He maximized their application, deploying them to different effect for various songs in the set.

He used Sharpys with gobos for a laser simulation for “Red Sector A” where he also had the fixtures simulate laser effects. He tapped them as accent points for “Body Electric.”

Ungerleider used very three-dimensional theatrical effects for “The Wreckers” in which a video showed a storm at sea and the Sharpys emulated rain with their atmospherics. The lights also created a Jacob’s Ladder effect and a barricade for “The Pass.”

The lighting designer believes Sharpys are “a superior light” whose “performance is amazing. I love the beam and the ability to use gobos. The Sharpys’ size and weight are incredible, too. The light source and what it produced filled the bill for what I was trying to accomplish for Rush on tour.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, adds, “It’s great to be part of this imaginatively designed tour and great to collaborate with Mr. Ungerleider who is a great talent.”

A.C.T Lighting is the exclusive North American distributor for Clay Paky.

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Alcorn McBride’s A/V Binloop Delivers Multimedia Content for Kent State University’s New May 4 Visitors Center

Kent State University in Kent, Ohio, marked the 43rd commemoration of the tragic events of May 4, 1970, with the dedication of the May 4 Visitors Center. This center includes multimedia exhibits that inform guests about what led to the confrontation between students and the National Guard during the Vietnam War. This historical event left four students dead and nine wounded. The university selected Alcorn McBride’s A/V Binloop to playback the audio and video in the exhibit.

The dedication ceremony featured film director/producer Oliver Stone and PBS news anchor Gwen Ifill; Ifill moderated a panel discussion on the “Historical Significance of May 4 and the Visitors Center” and Stone shared his thoughts on “History and Memory in Film.”

Bryan Molnar, electronics technician supervisor with Kent State who oversaw the integration of the technology for the May 4 Visitors Center, chose the A/V Binloop for Gallery 1: The Context. This space delivers background information on the Vietnam War: A Nation Divided; the Generation Gap between students and their elders; and the Struggle for Social Justice.

“There are three CRT TVs,” Molnar explains, “each one playing a nine-minute video loop about the war, generation gap and social justice. Visitors can see all three TVs at once. But the audio changes to a different TV every three minutes, so the programs loop with two three-minute videos with audio and one three-minute video without audio.”

The A/V Binloop’s four video cards accommodate these requirements with the first three slots in the Binloop playing back the video feeds to the TVs and the fourth slot the audio. “Thinking about getting all that synched was crazy,” Molnar recalls. “That’s why the A/V Binloop was perfect – it’s designed to do exactly that. Most players don’t have this type of synchronization, but the Binloop could handle all the displays at once. And it can be adjusted any way I need.”

Alcorn McBride’s A/V Binloop is the ultimate frame-accurate synchronized audio and video player. With no moving parts, it provides up to 16 channels of ultra reliable playback that outlasts any other.

“Alcorn McBride was great working with us,” says Molnar, to ensure the equipment delivered the functionality that Gallery 1 demanded. “The system is working beautifully. The A/V Binloop comes on every morning and goes to sleep every night. I’ve never had a problem with it.”

The designers of the May 4 Visitors Center are Cybelle Jones and Carl Rhodes of Gallagher & Associates. For more information about Kent State’s May 4 Visitors Center, visit www.kent.edu/may4.

About Alcorn McBride:
Founded in 1986, Alcorn McBride is the leading manufacturer of show control, audio and video equipment for the themed entertainment industry, and a rapidly growing provider of audio and video systems for retail environments and transportation applications. Staffed by some of the industry’s best engineers and backed by outstanding customer support, the company has demonstrated great agility in bringing new designs to market. A hallmark of Alcorn McBride products is their durable, zero maintenance design. The company’s products provide consistent, reliable operation for audio and video playback applications worldwide. For more information, visit www.alcorn.com.

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grandMA2 and MA VPU plusHelps Create Dazzling Fourth of July Pixel-Mapped Light Show on the Empire State Building

The city that never sleeps put on a Fourth of July show that extended well beyond the 37th Annual Macy’s Fireworks Spectacular to the Empire State Building (ESB) where a grandMA2 console and an MA VPU plus video processing unit controlled a dazzling pixel-mapped lighting display on the landmark. A.C.T Lighting, Inc. is the exclusive distributor of MA Lighting in North America.

The ESB and Macy’s partnered on the 37th? annual fireworks show. As part of the celebration the ESB tower light show was created by world-famous lighting design artist Marc Brickman and choreographed to music curated by Usher for the finale of the fireworks. Last year the ESB unveiled its one-of-a-kind new LED tower lights with a show Brickman designed. The pixel-mapped LED lighting system features four types of Philips Color Kinetics RGB and white fixtures located on the ESB’s top four tiers.

For the Independence Day spectacular the light show competed for attention with the fireworks by displaying dramatic and fun bursts of color, ripples, sweeps and chases on the top tiers and spire of the ESB. More than 3.900 LED fixtures rapidly flashed solid colors and washed the tiers with breathtaking multi-color displays; some lighting effects swirled around all four sides of the structure like a rotating beacon.

“We were synched to the Macy’s [fireworks] show,” says Marc Brickman. “We were given a pre-visualization of what they were going to do to inspire our design.”

Key to meeting the complex pixel-mapping challenge – with over 17,000 parameters of lighting and video control – was an MA VPU plus, a video processing unit for displaying video in full HD, ensuring the highest frame and DMX synchronicity, scaling video and creating myriad effects.

Brickman, who used a grandMA2 last year for the ESB’s pixel-mapping debut, reteamed with A.C.T Lighting for the Fourth of July celebration. He tapped a grandMA2, with 80 universes, as his primary controller and had a grandMA2 light on hand for back up.

The grandMA2 was set up to send KiNET to more than 3,900 Color Kinetics LED fixtures. The VPU’s pixel map was configured to control all the LED lights on the building and output 76 universes of Art-Net to the grandMA2 desk; the Art-Net universes were merged with the grandMA2 patch and subsequently converted to KiNET in order to control the Color Kinetics fixtures. The pixel map was patched to the same DMX channels as the patch in the grandMA2 desk.

This process enabled Brickman to quickly choose between video pixel map effects or direct lighting control from the grandMA2, all controllable by the grandMA2 software. He could send video pixel map data and standard lighting control effects simultaneously allowing for seamless cross-fades between desired looks.

Thanks to pre-visualization and rendering software, all the programming and rehearsals were done prior to the event, first in Los Angeles and then from the 72nd floor of the ESB. “Most of the work was done at A.C.T’s Agoura Hills, California office,” says Brickman. “The team worked with programmer Dietrich Juengling to create an easier, more efficient system that was smaller and more compact than previously used at ESB. We also put ESP Vision in line, which helped us do the pre-visualization.”

The Fourth of July show was the first time anyone saw the programmed show live on the sides of the landmark. “It all worked great – it was incredible!” Brickman declares.

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Stay up to date on the latest technology news. Select press representatives post company news several times a day. Check back often to get the latest news on product releases, mergers and acquisitions, and product applications. To be included in this virtual press conference, please contact The Wire.

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