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Archive by David Steinberg

Sound Investment A/V Invests in Vista Systems Spyder x20

Chicago-based Sound Investment A/V has purchased a Vista Systems Spyder x20 image processor for its production inventory. By stepping up to the Spyder, Sound Investment A/V is now equipped with the next level of professional tools that can attract new clients with multi-image needs or offer greater creativity and production efficiencies to existing customers.

Parent company Sound Investment, a consulting firm, founded Sound Investment A/V with Peter Vanek in 2000 as a rental and staging company offering sound, video, lighting, scenic and staging solutions. It has become a top-tier provider for the industry both nationally and internationally.

“The Spyder is our first Vista Systems product,” says Vanek. “We plan to use it for large-format corporate events, such as general sessions featuring multi-screen, multi-projector situations.”

Vanek says the Spyder was chosen for its “ease of use and flexibility as a system. It can accomplish anything producers might throw at us on the fly. Or we can prebuild a show and be ready to go when we arrive on site. With other systems you have to do all the work once you get to the venue.”

He also notes that the Spyder was an affordable choice. “The price point is great considering the number of inputs and outputs you get,” he reports.

Sound Investment A/V already expects the Spyder to experience heavy usage right off the bat. “We have some big projects coming up,” Vanek says. “One is a 13-screen show with projection mapping, various projector blends and multiple outputs. That’s typical of how we’re going to deploy Spyder. We’re really excited about adding it to our inventory.”

About Vista Systems
Vista Systems’ switchers have become the industry standard for live multiple-destination video and data mixed signal switching with real-time windowing and composition. For more information on Vista Systems, visit their website at www.vistasystems.net.

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Alcorn McBride Names Electori Co., Ltd. in Tokyo as its 2013 Distributor of the Year

Alcorn McBride, the leading manufacturer of control, audio and video equipment for the themed entertainment industry, has named Electori Co., Ltd. in Tokyo as the winner of its 2013 Distributor of the Year Award. Competitors for this first award from Alcorn McBride included all of the company’s international distributors.

“Electori has been our distributor in Japan for three years and has done a terrific job. They bring a high level of technical capabilities as well as strong relationships with top clients, including Tokyo Disneyland and Universal Studios Japan, which have helped build and sustain our ties in Japan,” says Larry Howard, Alcorn McBride Director of Sales.

Electori distributes the full range of Alcorn McBride products in the audio, video, control and lighting categories.

“It is a great honor to receive this award – we were quite surprised!” says Electori president Ted Hirakawa. “We believe that we were not merely evaluated by our business achievements but also by the attitude, stance and engagement of our sales, technical and marketing team. I’m very proud of that. I think the award will enhance the team’s confidence and increase their motivation in the future.”

Howard notes that as a specialty equipment company “before and after sales support is incredibly important” to Alcorn McBride. “Electori supplies technical expertise for our products across the board.”

“It’s an honor to distribute these products in Japan and to work with the great people at Alcorn McBride who are always so supportive of us,” adds Hirakawa. “We plan to extend our distribution and sales promotion for Alcorn McBride in this market so we can justify our Distributor of the Year Award more than ever!”

Howard says that since Electori came on board as the Alcorn McBride distributor in Japan the company has experienced significant growth in the region. “International expansion is a big focus for us while we work to maintain our very positive domestic sales levels, too,” he reports. “Solid Distributor partnerships are critical to our success.”

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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Prelite Studios Helps Lighting Designer Bob Barnhart Envision Super Bowl XLVIII Halftime Show

Preparations for Super Bowl XLVIII’s Halftime Show began early and for lighting designer Bob Barnhart they involved using Prelite Studios’ previsualization services to get a jump on working with the actual lighting rig on site at New Jersey’s MetLife Stadium.

Barnhart had 16 previous Hafltime Shows under his belt starting as a gaffer and working his way up to primary lighting designer on four of them. “I hadn’t used Prelite before, but it proved to be a fantastic application,” he says. “We set up at PRG in Los Angeles where we worked for about seven days then moved the entire studio to the basement of the stadium. Because of the bad weather in the east we got the rig two days later than we wanted, but Prelite allowed lighting director/lighting programmer Pete Radice to continue to work with the timecode track three or four days before rehearsal began.”

Prelite’s Tom Thompson configured two Prelite systems, one with WYSIWYG software and one with Vision software, at PRG on January 7. The systems complemented each other with Vision used for its UVW-mapping abilities and WYSIWYG for its performance.

“There were over 200 Magic Panel 602 fixtures, which WYSIWYG ran really well, along with Clay Parky Sharpys, Best Boys, Color Blocks, Solaris Flares, RGB LED Tape, a moving drum set, four on-stage lifts and all of the video,” explains Prelite partner Tom Thompson. “The Vision system had all of the video, the Sharpys, the Flares and the Best Boys. Using the two systems enabled everyone to previsualize things without compromise.”

Thompson worked closely with WYSIWYG developer CAST to make sure he had current fixture files for instruments such as the Clay Paky A.leda B-EYE K20s. “CAST even provided a new executable file that extended to cover 200 universes,” he reports. “The current release is only good for 100 universes, but that gets eaten up rather quickly these days with Magic Panels fitting three to a universe. So we asked for a new file and CAST responded two days later. We also got excellent service from ESP, Vision’s developer, regarding files for the 8-channel Solaris Flare.”

“The Hafltime Show was so massive in terms of its integration, universes and channeling size,” says Barnhart. “We spent our time in LA figuring out how to get the entire system working. The virtual world showed any problems we might encounter, things we would only have discovered with the rig in realtime when everything is more expensive and it’s later in the schedule. We actually found out that we needed to rewrite some software for faster Ethernet and fiber optic systems that we didn’t know would be a problem.”

By the time Barnhart, Peter Radice and lighting director David Grill arrived at the stadium they had “a rough idea of the focus and color palette and a very good idea of the cueing,” Barnhart says. “So when we were working in realtime we knew what overall adjustments to make.”

Radice recalls the crew working “in brutal winter weather conditions” at the stadium. “We loaded in Monday two weeks before the game and rehearsals started Tuesday of the following week. We could modify cues while the guys were checking the rig. We weren’t waiting for each other so we made the most of our time. When you have a limited amount of time at the venue and a big show it helps to lay the groundwork before you get there. With Prelite we could even see where the lights hit the back of the stadium, which we couldn’t see in the booth.”

Radice says the Halftime Show was the first time he used any previsualization, and it made an impressive debut. “Tom provided a great Prelite set up; it helped us a lot.”

Jason Rudolph was the video programmer/director for the Halftime Show and Bruce Rodgers the set designer.

About Prelite

Prelite was founded in San Francisco February 2000 by Tom Thompson and Norm Schwab as a place for lighting designers and programmers to use technologies to previsualize lighting projects. Its success led to the launch of Prelite NY in June 2001 by Kim Grethen and Rodd McLaughlin. The bicoastal company provides studios where previsualization and creativity take center stage away from the distractions and interruptions of a chaotic work environment and where clients save time and money and minimize stress. Prelite also offers on-site previsualization services for those who prefer the convenience of working at the venue. For more information, visit www.prelite.com or contact Thomas Thompson at 415-883-7727.

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Clay Paky Igloos Domes and Sharpys Shine a Light on Holiday Trees for “Illumination: The Lights at The Morton Arboretum” in Chicago

Christmas trees were not the only magical trees during the holiday season. Visitors to “Illumination: The Lights at The Morton Arboretum” in suburban Chicago discovered magic of a different sort along a one-mile, gently rolling paved path where tree lighting effects were created by Clay Paky Sharpy fixtures in Igloo domes, which were programmed on grandMA consoles. A.C.T Lighting is the exclusive North American distributor for Clay Paky.

The Morton Arboretum was founded in 1922 by Morton Salt magnate Joy Morton whose father inaugurated Arbor Day in the U.S. The “Illumination” event featured stunning lighting effects along an outdoor path through the trees and offered opportunities to interact with the trees to change the color and intensity of the lights.

Lighting designer John Featherstone of design firm Lightswitch specified 28 Clay Paky Sharpys for “Illumination” choosing them to light the path and provide lighting effects. Their tight beams, long range and low power consumption were well suited to the tasks. The Sharpys were fitted into custom outdoor domes and a dozen Igloo domes from Clay Paky. Igloos are sturdy enclosures that offer protection against the elements while maintaining a perfect working temperature. Quick to install and simple to use, Igloos are indispensible for outdoor events, festivals and installations. Injection molded from UV-resistant transparent polycarbonate, Igloos ensure flawless projections without loss of light or image distortion.

“The fixtures and Igloo domes held up great – they sat outside from early October to mid-January, and we had almost no failures,” reports Matt Pearlman, senior account executive with Intelligent Lighting Creations (ILC), a Chicago-based lighting rental company. “We used wireless DMX control in the Igloo domes, which cut down on a lot of cable.”

Pearlman says the Sharpys created aerial patterns in some areas. “In one area the fixtures were placed within the landscape architecture of a massive hedge garden allowing the shafts of light to visually extend the pattern of the garden,” he notes.

The light show was programmed on a pair of grandMA2 consoles. “The programmers were able to share the show file and make adjustments in real time,” Pearlman says. “For the show run we ended up using solid state computers running grandMA onPC software with multiple nodes over a wireless network. The control system worked flawlessly.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a great application of our Igloo Domes and a very interesting project. We’re glad they chose our product lines for this application.”

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High Resolution Systems’ UDC Gives Easy Front-End Control to Fibertech Networks’ Videowall

Rochester, New York-based AAVS (Advanced Audio Visual Solutions) selected High Resolution Systems’ UDC (Universal Device Controller) software for front-end control of a videowall at Fibertech Networks’ operations center in town. Fibertech Networks is a leader in building and operating fiber optic networks in the eastern and central region of the US. AAVS sells and integrates audio, video, lighting, communications, surveillance and control equipment in new and existing construction. It is the leading AV integrator and rental company in upstate New York.

To monitor T1 lines and fiber networks Fibertech uses a 64 ft x 8.5ft videowall and an RGB Spectrum video wall processor. Sixteen PCs feed the Spectrum; inputs can be displayed anywhere on the videowall and can be stretched between walls and minimized and maximized to fit the location. Six projectors, all edgeblended, can display any of the inputs to any part of the overall raster. Windowing is performed by the Spectrum.

“The advantage of using UDC as the front-end controller is the ease of moving things around,” says Graeme T. Poluch, vice president of sales at AAVS. “We have programmed some presets, but UDC is also fully customizable, so any of the 16 inputs can be any size and in any location on the wall.”

AAVS chose to employ UDC with a Windows RT 8 tablet interface. “We like that UDC enables us to use any type of Wi-Fi tablet we like,” says Poluch. “UDC has multiple output resolutions so it looks great on any tablet interface. We can select an input on the tablet then select the desired location for it. Typically, we’ll work with one of the existing templates, but if we want something customized we can modify from that point. Its ease of use and flexibility make it easy to love!”

Poluch notes that Fibertech Networks is “thrilled” with UDC control and more projects may be in store with the customer.

About HRS Control

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 audio visual 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.

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Doug Aitken Premieres New Video Installation “The Source (evolving)” with AV Support from WorldStage

Renowned artist Doug Aitken marked the U.S. premiere of his installation “The Source (evolving)” at New Frontier at the Sundance Film Festival in Park City, Utah with AV support from WorldStage, which provided design consultation, equipment and programming.

New Frontier at Sundance champions films that expand, experiment with and explode traditional storytelling. “The Source (evolving)” is a kaleidoscope of fast-paced, candid conversations with pioneers from different artistic disciplines from around the world. Aitken asks these shapers of modern culture where does the creative idea start and what is the journey to the finished creation?

“The Source (evolving)” was housed in the Pavilion, a new 2,000-square-foot circular structure adjacent to Main Street created in collaboration with U.K. architect David Adjaye. Six-channel video projections were arrayed along the inner circumference of the cylindrical structure’s interior and were visible from the outside at night when curtains were withdrawn to allow the screens to be viewed through The Pavilion’s large windows.

Aitken has said that his immersive documentary “examines the entire process of creation, not just the finished result, and speaking directly with the creators whose work has the ability to steer culture in a significant way, ‘The Source (evolving)’ takes viewers on a fast-moving road trip through the modern landscape of creativity.”

WorldStage previously worked with Aitken on “Sleepwalkers,” a multi-screen cinematic experience projected on seven facades of The Museum of Modern Art in New York City; a special single-channel version of that installation was presented at New Frontier at Sundance in 2008.

For “The Source (evolving)” the Pavilion’s partition walls created six adjacent, high-quality viewing theaters each equipped with a Panasonic PT-DZ7700 HD projector and Harkness Hall projection screen provided by WorldStage. WorldStage also supplied a near-field monitoring sound system and a directional Brown Innovations Soundbeam system for the theaters.

“We not only designed and specified the media components but also the wall construction to minimize crosstalk between the six separate theaters, which is typically an issue for installations like this,” says WorldStage project manager Randy Briggs.

“It was a pleasure to work with Doug Aitken again and to introduce his latest installation in a completely new custom built venue at Sundance,” Briggs continues. “Doug always creates unique experiences, and we’re honored to have collaborated with him on this ground-breaking six-channel projection. He is one of the most interesting voices in multimedia art today”

Aitken also developed an accompanying interactive website for “The Source (evolving),” which connected audiences not attending Sundance with the work and which will serve as a living archive that he will continue to populate with interviews.

For WorldStage, President Josh Weisberg created the system design and acoustics specs, Randy Briggs managed the project and Paul Clements handled the physical installation.

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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Rose.Rabbit.Lie. Establishes a New Paradigm in Las Vegas With Clay Paky Lighting

Described as a venue that blurs the lines between restaurant, bar, club and show, Rose.Rabbit.Lie. at The Cosmopolitan of Las Vegas is the city’s most talked about new “social club.” Clay Paky lighting plays a key role in the unique venue, which represents a partnership of The Cosmopolitan, Coastal Luxury Management (food and beverages) and Spiegelworld (entertainment).

Guests at Rose.Rabbit.Lie. can dine on a small-plate menu in the library area, have drinks at the bar and in the study, and catch the “Vegas Nocturne” ticketed show that plays three times throughout the night; the theater transforms into a club following the last show and performers turn up everywhere to entertain guests. Walls move up and down to reconfigure the space, and guests move from room to room as they choreograph their evening and enjoy a customized experience.

Justin Spangler and PSX Audiovisual Technologies in Covington, Louisiana, supplied the Clay Paky fixtures and were also the integrator on the project.

Lighting designer Nick Whitehouse came on board at Rose.Rabbit.Lie. at the behest of Spiegelworld. He was tasked with creating theatrical lighting schemes for all nine rooms to enable every bit of the venue to act as a performance space.

“It was a large-scale project, the idea being that theatrical elements play around the whole venue,” says Whitehouse. “So we really had to design the lighting to make performance possible anywhere – and have the performers lit properly anywhere. I needed to design a rig that could cope with anything without being just everywhere.”

One of the biggest challenges was trim height since the overall trim of the venue was about 15 feet and some of the performers are high-wire and aerial acts, which come close to the lighting rig. “Many of these acts need to have consistent and very specific lighting for safety reasons, so I had to design a rig with proper lighting, safety and limited trim height in mind,” Whitehouse says.

“I also had to be able to have up to three acts going on at the same time in different rooms and, since the show is constantly changing, make the rig adaptable to fast changes that happen pretty much all the time.”

Whitehouse chose Clay Paky Alpha Spot QWO 800s as the spot fixtures throughout the venue. “They do the majority of work in the space. They light all the performances and provide the main key lighting,” he explains. “Because the space is essentially in the round and performers use every part of the rooms, the fact that we had a fully-automated rig meant that we could reduce the number of fixtures as they could all do multiple jobs. The QWO 800 spots have amazing optics, high brightness and, most importantly, small size and weight. We use 64 throughout the space with the main concentration in the theater where the main show and nightclub are centered.”

Whitehouse also selected 53 Clay Paky Sharpy Wash 330s as the main theatrical wash in the theater; he likes the fixture’s size, speed and variable zoom and frost features. “The spots and washes provide some great effects lighting as needed for the more up-tempo numbers with some really nice looking gobo and beam looks from the spots,” he says. “They immediately transition into effects lighting for the nightclub, which opens after the 12 am show finishes.”

Whitehouse had previously auditioned the QWO 800s for another project and has used the Sharpy Washes extensively. “I knew what they were capable of and that they would be perfect for this venue,” he says. “I looked at other fixtures in the same size and power range but felt that none had the same quality of light.”

He reports that the lights “work great – they’re very reliable despite being pushed hard for 14 to 16 hours a day. They’re doing everything I asked of them in the programming I did. I’m very happy with them.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a great application for our lights and we’re proud that Mr. Whitehouse has again chosen us to support his creative efforts. The space is amazing!”

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

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Super Bowl Halftime Show Shines with grandMa2, Clay Paky Sharpys and B-EYEs

The Super Bowl Halftime Show always glitters, and Bruno Mars’s stellar performance at Super Bowl XLVIII was no exception. This year 330 Clay Paky Sharpys and a dozen Clay Paky A.leda B-EYE K20s were on hand to illuminate the show while a grandMA2 light took command of the media. A.C.T Lighting is the exclusive distributor of Clay Paky and MA Lighting in North America.

Lighting designer Bob Barnhart opted to have “a more rock ‘n roll vibe in the rig than the stylized, choreographed shows that we’ve seen in the past. Bruno wanted this to be more of a live rock show.”

Barnhart was challenged to capture that rock ‘n roll sensibility as well as prepare for winter weather conditions that might envelop the open-air MetLife stadium in New Jersey. “It was a question of what we could design that could survive severe weather,” he says. “Another factor was the limitations of rigging positions in the building and how we could symmetrically lay out the rig. We had to cover as much of the full stadium with the stage pushed back against the audience as we could.”

Barnhart calls the Sharpys “workhorses” and says that, “one of the goals in an outdoor stadium is to maintain an atmosphere to maintain the beam; that’s hard to do with high winds. But Sharpy is a very fast instrument with an extremely tight, bright beam.” He placed Sharpys on the three balcony facias throughout the stadium, on a series of trusses and around the main stage hanging them in clusters of three or six for symmetry.

Lighting director David Grill says the Sharpys “really came in handy at a venue where there were so many power needs. Sharpys are a tremendously brilliant beam of light with no wattage at all; they really saved us money on power and cut the amount of cable and power we needed dramatically. We could get a lot more lights on one cable because of the low wattage, and for a stadium that’s great. Sharpy are worth their weight in gold.”

Barnhart placed six Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights on each side of the stage. “I saw the fixtures at A.C.T in New Jersey and thought they could be really interesting in Bob’s lighting design,” recalls Grill. “So I sent him a link to a video, and Bob loved them. Their horsepower is pretty phenomenal, the speed of the LED is great in terms of changing color, they throw beams very far and they create some cool visuals. At the same time the B-EYES are a relatively low-wattage fixture with no heat issues.”

Barnhart agrees that the B-EYES deliver “a very full fixture. There’s a lot of potential in that light – it can create a lot of cool patterns and effects and do some really fun things. And they’re really reliable.”

Jason Rudolph controlled all the media with a grandMA2 Light; an additional system served as a back up. “I use the grandMA for most of my shows,” he reports. “It performed great, as usual, which is one of the reasons it has become my console of choice.”

Grill gives kudos to A.C.T Lighting’s customer service. “I can’t say enough nice things about them. A.C.T is a company that understands service and support, which is invaluable to a customer. It’s a gem in the industry. Having someone you can call in the middle of the night is tremendous. A.C.T knows that service is paramount.”

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Robert Juliat TIBO LED Profile Fixtures Shine a Light on New Newsroom at KTMD-TV, Houston

Robert Juliat TIBO 533 75w LED Profile lighting fixtures have been installed in a new newsroom at KTMD-TV by project lighting designer/director Bruce Aleksander. KTMD-TV is the Telemundo owned-and-operated station serving Houston.

Aleksander did a complete digital solid-state lighting installation for a new studio layout he designed that’s dedicated to news programming. “Everything was predicated on energy-efficient lighting from the start,” he explains. “Since it was new, we were able to build out the studio without the traditional heavy support for cooling down the lights and the full dimming load normally necessary for an incandescent approach. We used all fluorescent and LED lighting.”

Aleksander evaluated a number of fixtures then concluded that “for hard-edge, profile fixtures, the best bang for the buck came from the Robert Juliat TIBOs.” The TIBO 533 75w LED Profile offers a high-intensity LED array, double condenser optics and extremely low energy consumption. The fixture represents a new look in LED Profile design with a compact, aesthetic silhouette.

The eight TIBOs, which Aleksander obtained from Barbizon Light of Texas, serve primarily as set accent lights. “There are a number of logos and graphic elements on the set, and the TIBOs are perfect for picking them out,” he says. “Where some panels in the background are not well detailed, we used the TIBOs with defocused projection patterns to add texture and shape.”

Aleksander selected daylight-balanced TIBOs for “a much closer match for the video display walls, which are an integral part of the set.” In addition, the daylight-balanced fixtures were chosen because one wall of the newsroom is open with windows “and we wanted to match color temperatures so what the camera sees consistently carries proper color. We also needed to match color temperatures to insure the cameras could be properly white-balanced.”

In reviewing a number of LED profiles on the market Aleksander says “the very high optical quality of the TIBOs distinguished them” from other fixtures. “The patterns projected sharply, the focus was smooth and the beam of light was beautifully consistent edge to edge. With a number of other brands out there, I can look at their fields and see the unevenness where they weren’t able to blend the different emitter fields. But the Juliats have a smooth field and a very even focus field across the entire beam.”

“Not all LED manufacturers have done nearly as well as Robert Juliat,” he notes. “The TIBOs really exceeded my expectations for an LED profile fixture.”

Chris Boyd was the sales person at Barbizon Light of Texas; Robin Crews was the representative at Spectrum Lighting. At KTMD-TV Todd Taylor is the director of technology.

About Robert Juliat

Robert Juliat is a three-generation, family-run, company dedicated to the manufacture of quality lighting equipment for entertainment and architectural applications. Robert Juliat lights are installed worldwide in venues as diverse as The Metropolitan Opera House in New York, the Cathedral of Notre Dame de Paris, Caesar’s Palace and other showrooms in Las Vegas, the Royal Opera House in London, the Los Angeles Music Center, and the Hong Kong Academy School. Robert Juliat lights are used on major tours and events such as Cirque du Soleil, Celine Dion, the South African Music Awards 2013 and the London 2012 Summer Olympic Games.

R&D, production, and company headquarters are based in the village of Fresnoy-en-Thelle, 50 km north of Paris. Robert Juliat USA is located in Wallingford, CT. For more information visit www.robertjuliat.com

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Clay Paky Lighting Fixtures Make Luke Bryan’s Night on Country Artist’s New Tour

Luke Bryan has rolled out his That’s My Kind of Night Tour, and Elite Multimedia Productions in Nashville is providing Clay Paky A.LEDA, Sharpy and Sharpy Wash lighting fixturess as Bryan once again takes to the road. The popular country artist’s new tour is named after his latest single, which has catapulted to # 1 in the country charts.

“We just concluded the Dirt Road Diaries Tour with Luke; his new tour will run from January 2014 to the end of October,” says Tom Wilson, vice president of event productions at Elite Multimedia Productions. “For this tour they’ve doubled the number of Sharpys and added Sharpy Washes. They’ve been really thrilled with the Clay Paky fixtures, which have been very durable with a really low failure rate. In 10 months on the road, there have been almost no failures. The only light we lost was due to a guitar player accidentally kicking it into the audience!”

Lighting designer Justin Kitchenman of Fade Up Design Group points out that Bryan “wants all of his productions to be big, ambitious and with lots of bells and whistles. When someone walks into this show they’re walking into a party.”

Bryan is at the center of the action figuratively and literally. “We designed a 42-foot wide circle stage that sits at the end of the thrust giving the entire audience a 360º view of Luke for the majority of the show,” says Kitchenman. “Having a lighting rig that can light the entire room and have lots of punch was essential.”

Kitchenman was challenged to keep the sight lines clean and offer the entire audience “the full concert experience. We don’t want the people off to the sides or way up top to ever feel like they are missing out on elements of the show.”

Kitchenman’s Clay Paky complement consists of 46 Sharpy Beams, 20 Sharpy Washes and 12 A.LEDA Wash K10 and 32 A.LEDA Wash K5 LEDs, which are positioned “all over” forming “the teeth of this lighting rig,” he says.

“I chose Clay Paky based on the reputation of the manufacturer as well as the unparalleled support provided by A.C.T Lighting,” Kitchenman reports. “After a full year of touring with the same type of fixtures last year, there was very little down time. I’ve found all of the Clay Paky fixtures to be extremely rugged and reliable. There wasn’t a single reason why I should have been looking for alternatives this year.”

“We use the low fogger to create a bit more of a dramatic scene during one of Luke’s new songs,” he says, “and the hazers just ensure that we have plenty of haze in the air for all of those Sharpys!”

Having come full circle to the Sharpys, Elite’s Wilson chimes in that the “Clay Paky fixtures are great performing lights that hold up well” during tours. “As a company owner, that’s a big one for me.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to see so many of our lights on this tour. Elite has been a huge supporter of ours and Justin has been a great collaborator. I look forward to the success of this tour.”

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

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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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