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Archive by David Steinberg

Clay Paky B-EYE K10s Make Their Debut at the Jack Singer Concert Hall in Calgary’s EPCOR CENTRE

JackSinger_StageCalgary’s EPCOR CENTRE for the Performing Arts has taken delivery of eight Clay Paky A.leda B-EYE K10 Easy fixtures for its Jack Singer Concert Hall, an 1,800-seat venue which is one of the most beautiful and acoustically acclaimed venues in North America. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky lighting in North America.

Located in the heart of Calgary’s downtown Cultural District, EPCOR CENTRE is a six-level complex occupying a full city block. It is one of the three largest performing arts centers in Canada and the largest in Western Canada.

The Centre’s head electrician, Kris Ladd, discovered the B-EYE K10s in a demo video taped at LDI. Matt La Brie, in the Calgary office of Christie Lites, brought some fixtures to the Centre for Ladd to look at, and he was impressed.

“We try to stick to buying the well-known and well-supported brands,” Ladd explains. “We were looking for LED wash fixtures the size of the K10s: not big 50-pounders and not little tiny ones. We wanted to use them for uplights, where smaller is better, but we also needed them to have the punch to hang overhead and do washes.

“The K10s had good intensity for their size and a very even wash throughout the zoom range,” says Ladd, who “tag teams” shows with his alternate, Matt Gilbutowicz. “They can get really tight – down to a 4º beam – so they’re more than a flooding fresnel. They’re very versatile.”

He also liked “the shape effects attributes, so you can get patterns going on the lens or projected onto people.” Although this particular model of the K10 does not have a rotating head, the shape effects “gave a bit of movement to the light,” Ladd points out.

Since their delivery this summer, the K10s have been used on the Calgary Philharmonic Orchestra’s pop shows, a slate of rock concerts and stand-up comedy shows where they “color wash the stage or uplight the drapes behind the performer,” says Ladd.

The K10s are mounted on truss, placed on the floor behind a drum riser or even positioned on speaker sub woofers as a side front light. “Lighting designers who come here with shows are enjoying them,” he reports. “It’s often the first chance they’ve had to see the K10s, and they tell me how bright and punchy they are.”

The K10s mark EPCOR CENTRE’s first purchase of Clay Paky fixtures. “It was important to me that A.C.T Lighting has a service center in Toronto,” says Ladd. “The fact that A.C.T Lighting Canada can provide full-service support was a factor in choosing the K10s.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “It’s great to be associated with such a high profile center. There have been a lot of great Canadian projects and we thank our partners there for their great work and designs.”

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.

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

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Hairel Enterprises Picks Vista Systems’ Spyder for Video Projection System in Faith Bible’s New Sanctuary

Spyder X20 Front Transparent LgWhen Faith Bible Church, a Bible-centered church in The Woodlands, Texas, built a new 900-seat sanctuary, Houston-area AV contractor Hairel Enterprises selected a Vista Systems Spyder X20 0808 as a key component of the new video projection system.

Faith Bible marks the first use of a Vista Spyder by Hairel, which provided full AV and theatrical lighting for the sanctuary. “I knew about Spyder and got in touch with Vista because I thought it would be a perfect fit for this installation,” says systems designer Bruce Simmons. “My cold call to Vista turned into a four-hour conversation. They arranged for a demo, and the church was elated by what they saw.” The video projection system will be operational in late January 2015.

The new sanctuary has a raised platform area at its center. A motorized 25×9-foot screen drops down from the ceiling for use in worship services and special events and productions. Two additional 16×9-foot screens flank the center screen and are permanently affixed to the walls. A two-projector center edge blend and the two outer single-projector images are accomplished with four Barco RLMW8 projectors and a Spyder X20 with 8 inputs and 8 outputs.

“Spyder acts as the worship video switcher,” says Simmons. “It’s integrated with a PC-based still server, which is loaded with background images and rack mounted with Spyder. Spyder controls it pulling up images as needed.”

Two Macintosh computers loaded with Pro Presenter are also sources: one for song lyrics and Bible verses, which are keyed onto the backgrounds, and one for moving video playback. Live cameras for IMAG also feed the system. Faith Bible expects to add environmental projection capabilities, too, enabling the walls and sanctuary architecture to become canvases for still images and video.

“With Spyder the entire video output is treated as one pixel space to give the ability to create a much larger visual impact,” Simmons says. “Spyder can blend the two environmental projectors the church will likely add with the other projectors to create one big image, if desired.”

Spyder also allows Faith Bible to scale productions from the complex to the simple. “The church has a very skilled technical staff, so they are comfortable with a really sophisticated technical system, but they also have the ability to dial things down to a one-operator show for weddings or funerals,” Simmons explains. “That means Spyder can handle completely different services and events week to week.”

He notes that, “very sophisticated technology typically means a system that’s difficult to use. But that’s not true with Spyder. We were able to train Faith Bible’s volunteers on Spyder in just a few hours.”

Simmons reports that, “Vista Systems has been extremely helpful all along the way” of the design and install process. “Spyder is a great product. I recommend it to anyone who wants the best possible video presentation system.”

Russell Hartsfield handled client relations for Hairel Enterprises for the project.

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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Clay Paky Mythos Fixtures Make US TV Debut on CMT’s Live “Ultimate Kickoff Party” Launching College Football Playoffs

IMG_3357CMT’s live “Ultimate Kickoff Party” launched the first College Football Playoffs with a glittering show, which also marked the US TV debut of Clay Paky’s new Mythos fixtures, a highly-advanced hybrid light which serves as an excellent 470-watt spotlight and an extraordinary beam light. grandMA2 consoles were deployed on the concert special for lighting control. A.C.T Lighting, Inc. is the exclusive distributor of both brands in North America.

Production designer/lighting designer Mike Swinford obtained 146 Mythos fixtures from Nashville-based Morris Light & Sound, which offers a large inventory of the new lights. As a spot, Mythos has an outstanding large beam and zoom optimized for focusing; as a beam light it remains parallel for its entire length even at great distances. Mythos is smooth, fast and very quiet with a completely redesigned indexed visual effects disc.

Swinford and Morris Light & Sound president and CEO David Haskell were introduced to Mythos when A.C.T Lighting Vice President of Sales and Marketing Brian Dowd invited them to Clay Paky’s factory in Italy. Dowd orchestrated the visit, accompanied them on the trip and arranged demos of the new fixture. They were among the first people to ever see the fixture and immediately thought it was amazing. Haskell ordered 240 Mythos lights, and Swinford was first in line to use them.

“I was shopping for something new and great for the upcoming Kenny Chesney tour,” Swinford recalls. “Then this job for CMT came up, and I asked David if we could use the Mythos for the ‘Ultimate Kickoff Party’ first. He said sure, but the lights were so new they didn’t have cases yet!”

Haskell notes that Morris Light & Sound “does a lot of work with CMT, so we were happy to be able to offer Mythos on short order. I always hesitate to use a brand new fixture on live TV, especially so many of them. But my confidence level was high enough that Mike decided to give Mythos a go.”

Swinford was impressed by Mythos low power consumption, lightweight, incredible brightness and versatility – qualities he needed for the “Ultimate Kickoff Party.” The 90-minute concert special was staged in the Kay Bailey Hutchinson Convention Center in Dallas and headlined by Toby Keith, Lady Antebellum, Brett Eldredge, Jake Owen, Maddie & Tae, Thomas Rhett, and Big & Rich.

“The show was primarily lighting-driven,” Swinford says, “although we had some low-resolution screens in the truss structure to display graphics. Mythos dominated the rig and was supported by some LED Flares. With Mythos I was able to get everything I wanted from a single fixture: huge graphic looks – like Sharpy on steroids – the ability to zoom out for nice texture with gobos and the ability to soften the edges for a pseudo wash-type look. I was confident that Mythos could be the one light that does it all.”

Swinford mounted 24 Mythos on each of three zigzag truss structures made of 10-foot sticks with four-way corner blocks. Each corner block included a five-foot piece of vertical truss featuring two more Mythos fixtures. A fourth zigzag truss, free-standing on eight-foot legs, had 24 more Mythos lights.

With this configuration, “we could do one thing, like zoom, with the horizontal Mythos, then add sharp parallel beams from the vertical Mythos,” Swinford explains. “Mythos allowed me to create distinctive looks for each artist by changing up color palettes and using their great gobos.”

Lighting director and programmer Mike Appel was also dazzled by the lights. “Mythos is so small, so bright and so versatile,” he says. “We could go from super Sharpy-type beam mode to a really wide zoom. The patterns, aerials and color mix were really great. It can do everything: strobing, flashing, color changes. We could pop from beam to zoom mode really quickly, and the lights held up well.”

Swinford says, “For Lady Antebellum the Mythos were pointed straight at the camera with a gobo look that was fantastic – very crisp and hard edged. The optics on the lamps are outstanding.”

“We put a star field pattern in the fixture and spun it fast so we got an unbelievably strong look,” adds Appel. “It was a look we couldn’t have gotten before with a smaller head.”

And on the finale with Big & Rich covering “Save a Horse, Ride a Cowboy,” Swinford and Appel “went all out,” says Appel. “We were in full-on party mode and structured the beams to cut through everything. With all the chasing we were still able to create a structural look with the beams cutting through. They looked just great!”

Swinford says the Mythos fixtures generated lots of buzz backstage. “Nobody had ever seen this look before, and the artists could see and feel the power of it. They all made comments: ‘What is this? We’ve never seen anything like it!’ They were very impressed with the new look of Mythos.”

Appel had two grandMA2 consoles for lighting control: a full-size desk with three NPUs for the A system and a grandMA2 light with three NPUs for the back up B system. A long-time grandMA fan, Appel began using the system in 2002 migrating to the grandMA2 in 2010.

He found that the consoles paired well with the new Mythos fixtures. “The profile for the Mythos that A.C.T Lighting supplied worked just fine; I just made a few small modifications based on my personal preferences,” Appel explains.

Swinford reports the fixtures “came off great” on their TV debut. “We ran them about five days and they performed amazingly. When I turned on the rig for the first time it was really exciting. I haven’t felt this strongly about a light for a long time. It’s nice to be the first kid on the block with a new toy!”

“I think Mythos is going to be very popular,” Swinford concludes. “Clay Paky will probably have to run double shifts to keep up with the demand!”

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 on A.C.T Lighting, visit www.actlighting.com
For more information on Morris Light & Sound, visit www.morrislightandsound.com.

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Electrosonic Supports InfoComm’s Extensive Training and Education Lineup at ISE 2015

This year at ISE 2015, Electrosonic will be working alongside InfoComm International(r), the trade association representing the global audio-visual industry, to help provide an extensive events and education programme. Electrosonic’s Founder Director, Robert Simpson, will be hosting a master class on ‘Displays of Today and Tomorrow’ while Sarah Joyce, Vice President, EMEA and InfoComm Director, will present the first Women of InfoComm networking breakfast.

Robert Simpson’s four hour master class will be divided into four sections covering topics such as display performance, flat panel displays, LCD and LED, projection and illumination technologies. It will be held on 10th February, 8am-12pm at the RAI Exhibition Centre, Amsterdam.
Robert, a frequent lecturer on audio-visual topics, will give delegates the opportunity to learn more about current displays and those they can expect to see in the near future. Delegates can expect to hear about examples of technology used for control rooms; 3D and autostereoscopic displays, the integration of displays into different environments, giant screen projection and image sources. Robert is the author of many AV publications including ‘Lighting Control Technology and Applications’ and his most recent book ‘Electrosonic – 50 Years on the Audio-Visual Front Line’.
Robert Simpson says, “I am pleased to contribute to InfoComm’s education and professional development sessions again this year. Electrosonic places a great deal of emphasis on learning and developing our own staff, and I am delighted to be able to share my knowledge and expertise to help AV professionals to continue to raise the ‘AV Bar’.”

The Women of InfoComm Network (WIN) is committed to promoting and empowering women in the AV and IT industries. “The Women of InfoComm Network breakfast at ISE will explore what women – and men – in the industry can do to encourage women into successful long-term careers in technology,” explains Betsy Jaffe, Vice President of Communications at InfoComm International.
Sarah will host the breakfast and share experiences and highlights from her 20-year career in technology. Diana Danziger, an organisational development and leadership consultant, will lead an interactive session aimed at promoting women in technology. The session concludes with networking and a roundtable discussion to solicit input from participants about potential WIN activities in Europe.
“Having worked in the technology industry for almost 20 years along with the roles I hold at Electrosonic and InfoComm, I feel it is my responsibility to empower more women in the AV and IT industries to reach their full potential”, said Sarah. “Besides being a great networking opportunity, the breakfast will be fun, interesting and dynamic. I believe this will be the first of many such events to help raise the profile of women in AV and encourage more to join and become engaged.”
The Women of InfoComm Network breakfast will take place at the First Lounge restaurant, Amsterdam RAI, from 8-9.30 on 11 February. To participate, sign up now at www.iseurope.org.
WIN has many live and online events throughout the year. InfoComm says its members can “make connections, find resources, pursue education, discover mentors and identify opportunities to advance women in the industry”. WIN seeks ways to raise awareness of gender diversity and celebrates the achievements of women who work in AV and IT.
Electrosonic will be exhibiting in Hall 4, booth U25.

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.

About InfoComm International
InfoComm International(r) is the international trade association representing the professional audiovisual and information communications industries. Established in 1939, InfoComm has over 5,000 members including manufacturers, systems integrators, dealers and distributors, independent consultants, programmers, rental and staging companies, end-users and multimedia professionals from more than 80 countries. InfoComm International is the leading resource for AV standards, market research and news. Its training, certification and education programs set a standard of excellence for AV professionals. InfoComm International is the founder of InfoComm, the largest annual conference and exhibition for AV buyers and sellers worldwide. InfoComm also produces trade shows in Europe, Latin America, the Middle East and China.

Learn more about InfoComm International, visit http://www.infocomm.org

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WorldStage Supports The First Wall Street Journal Digital Live International Technical Conference

IMG_0762.jpgWhen WSJDLive, “where the digital world connects,” kicked off its inaugural conference, WorldStage was there to provide video systems and displays to Bay Area event and entertainment company e2k Events x Entertainment.

An international technical conference, WSJDLive brought together global CEOs, leading thinkers and top entrepreneurs in a series of interviews, round table discussions and interactive events at The Montage, Laguna Beach, California. Speakers included writer/director/producer James Cameron, Apple CEO Tim Cook, billionaires Jack Ma and Carlos Slim, DreamWorks Studios co-founder Jeffrey Katzenberg and UCLA chancellor Gene Block.

“WSJDLive was our first event with event producers e2k; it was very well attended and had very compelling content,” says Michael May, WorldStage account manager for the project. “Plans are already underway for next year’s conferences.”

The expansive event had components throughout The Montage resort, which is luxuriously sited alongside the Pacific Ocean. WorldStage provided video systems and displays for the main keynote room, the lobby area and the outdoor stage.

The evening sessions at the outdoor stage featured projection mapping by WorldStage onto the rear façade of The Montage. The projection content, created by graphical design firm 3Monkeys, served to open and close presentations by Tim Cook and Jack Ma.

“We had limited time to work the night before the outdoor stage presentations began,” says May. “Guests had cocktails on the lawn then sat down to watch the presenters. We partnered with 3Monkeys, which brought Ventuz media servers to integrate with our system. Four double-stacked Christie HD 20K projectors with Christie Twist displayed the content on the back of the hotel.”

The location’s architecture, with numerous overhangs, balconies and corners, presented a challenge for the mapping process. “We could only place the projectors in specific locations, so there was a lot of off-axis shooting to compensate for,” says May.

WorldStage also provided a three-camera switch and record package to capture the speakers’ appearances for posterity – and for news outlets. “Our footage was all over the network news the next morning,” May reports.

In the lobby area WorldStage created an interactive video wall, which attracted a lot of buzz. The 3×3 configuration of NEC LCD monitors displayed tweets extracted live from internet sources and displayed to attendees.

“For display processing on the video wall, we used a Vista Systems X20 to provide a canvas of multi-window presets that could be reconfigured at the touch of a button.” May explains.

In addition to the video set ups for the outer areas, WorldStage provided an extensive system for the ballroom keynote presentations consisting of a curved 45-foot wide LED wall with 3.9-mil pixel pitch as the main feature. “This main LED wall with 3Monkeys content displayed was a stunning backdrop for the presenters,” says May.

At WorldStage, James Sarro and Dave Morris were the project managers, Shane Zinke and Frank Musgrove video engineers, Terry Nakamura projectionist, James Armstrong the Spyder operator, and Ken Stanford and James Boress video directors.

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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Bayside Church Installs LUMINEX Switches, Node and Hubs to Create Single Network Backbone for Growing AV Needs

christmas 8 9 2014 batz-201-X3Bayside Church in Granite Bay, California has upgraded its AV system with a complement of equipment from LUMINEX Network Intelligence consisting of two GigaCore 12 managed Gigabit Ethernet switches, an 8-port Ethernet-to-DMX node and three DMX 10-port hubs.

Sacramento-based integrator Dave’s World Lighting & Scenic Designs selected the LUMINEX equipment, which was obtained from BP Productions in West Sacramento. Dave Carr, who heads Dave’s World Designs, installed the original AV system for the church about ten years ago and added its first network-based lighting system a year later.

The Biblically-based Bayside Church draws some 10,000 worshippers to its six weekend services. The sanctuary holds about 2,400 people in a multi-purpose space with retractable seating and a stage, which can be partially removed to open up the floor. Two 12×22-foot front projection screens, displaying IMAG, song lyrics, video and PowerPoint, are also movable.

Last year the church upgraded to a grandMA2 Light console for lighting control and added a roster of Martin Viper Profiles, Viper Washes and Aura Washes to its lighting package. The next step was a lighting network and distribution upgrade, moving from an existing set of DMX lines and multiple Ethernet networks running to the stage and back.

“Bayside Church is like a touring production that doesn’t tour,” says Carr. “The church’s lighting had been handled by dumb switches – multiple lighting networks throughout the building. But they were getting old and needed to be upgraded.”

In addition, the entry-level nodes in use had injected data issues and latency into the system.

Carr had been using LUMINEX switches for the past year as the network backbone for front of house and the stage on the Eli Young Band tour. “They were flawless and reliable – a great solution,” he reports. So LUMINEX was front of mind for Bayside Church’s upgrade.

“Initially, when I spoke with Bayside lighting designer Alec Takahashi, we were going to start with something small, like a LUMINEX node. But then we decided to add the switches and hubs and build a single, solid network backbone that would be reliable for many years to come. We wanted to get everything done early in November so the system would be up and running for the busiest time of year: the Christmas season.”

“LUMNEX seemed to be a very solid system, so we purchased an 8-port node that serves as our primary network infrastructure with the switches as back ups,” says Takahashi. The system incorporates the media server and runs MA3D.

The slate of Christmas services proved to be “a very good test” of the new LUMINEX network, he notes. Bayside Church held 16 services from December 18-24, each about 90 minutes long and featuring carols, candle lighting and a message from the senior pastor. A special 360º circular screen, 21 feet in diameter, was hung above the stage with a circular lighting truss inside it; seating for the congregation was in the round.

“Before, the church was only wired for two DMX lines. With LUMINEX we’re set up for eight DMX ports, and we used eight for Christmas,” says Carr. “We were able to control the projection network over LUMINEX along with the MA console network and the media server network. The lighting data distribution was done over LUMINEX, too. It drove all the content with live feedback of video into the consoles and remote computers at the control center.”

“Our rig was a bit bigger than normal for Christmas,” says Takahashi, “and LUMINEX worked seamlessly. We didn’t have to use our back ups but we had tested them, and the system worked seamlessly with them, too.”

“Bayside Church has a technical team and a team of volunteers, and they don’t have to deal with the system once it’s been configured,” says Carr. “All the web interfaces are easy for them to understand. You don’t have to be an IT person to master them.”

Carr’s associate Brian Vaughn controlled the video content for the church’s Christmas services.

“We expect that LUMINEX will serve us well for the next five to eight years,” says Takahashi. “We plan to purchase another system for our new campus in Rocklin, California, which will launch in a few months” to accommodate a growing population of worshippers in the area.

About LUMINEX

LUMINEX Network Intelligence was formed by Bart Swinnen and Jan Renckens as a branch of parent company LUMINEX Lighting Control Equipment nv, which has an extensive technical background in the lighting industry. LUMINEX Network Intelligence launched its successful Ethernet-DMX8 converter in 2004 when it ran 32 DMX lines at the Paralympics in Athens. Their complete DMX and Ethernet solutions range debuted at Siel 2005 in Paris.

For more information visit www.luminex.be

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Lightware USA and Solotech Team to Put the Toronto Maple Leafs on the Ice

IMG_5863Solotech, the premier North American end-to-end provider of entertainment technology services, has integrated a Lightware MX16x16DVI matrix switcher into the system that projects the Toronto Maple Leafs’ player intro video onto the home ice at MLSE’s Air Canada Centre. Lightware USA is the US distributor for Budapest-based Lightware Visual Engineering products.

Used in the past as a fan “extra” for NHL play off games, videos projected onto the ice itself have become a new way to generate fan excitement during regular season games. The Maple Leafs’ video, created by 4U2C, Solotech’s content design company, is a dynamic montage of still and moving images showcasing the players, on-ice action and graphic glimpses of the team logo, a rippling flag, even the stitches on the players’ jerseys. Teams face off, sticks clash, pucks fly, players crash and crowds roar in the lead up to the Maple Leafs’ line up hitting the ice.

“We’ve used Lightware in other applications for several years now. It’s always worked well even in a tough show business environment,” says Sebastien Lovse, video technical advisor at Solotech. “We try hard to find robust equipment to guarantee the security of the shows we do, and we have never experienced any failure with Lightware products.”

In MLSE’s Air Canada Centre, the Lightware matrix enables technicians to switch any input or output of the system to six double-stacked 20K projectors, which are mounted on the grid above the ice.

“We had only three weeks to set up the entire show, so receiving the MX16x16 router from Lightware really fast helped a lot. Since we’re accustomed to working in touring and staging fast turnarounds are nothing new to us. Lightware USA delivered the system quickly, and we made it happen!” Lovse reports.

The Lightware switcher is housed in a rack in the equipment control center at the venue. Solotech operators supported the video display system for the first ten games of the hockey season then MLSE technicians assumed control. 4U2C can update and create new content as needed by the team.

Solotech maintains a rental inventory of other Lightware gear, including HDBaseT and fiber optic transmitters and receivers and 17x and 32x frames. “We’re hoping to partner with Lightware to develop other products that fit our needs,” says Lovse. “We’ve (been) having ongoing discussions about how to customize Lightware solutions for our clients.”

About Lightware USA

Lightware USA is the US distributor of professional AV products manufactured by Lightware Visual Engineering in Budapest, Hungary. With the flexibility of the Lightware product line, the Lightware USA team is able to assist with the design for some of the highest performance systems in the world. Router sizes ranging from the robust UMX4x4-Pro up to the impressive 160×160 25G Hybrid give Lightware USA the edge over the competition when it comes to routing multiple video sources to the ever changing variety of displays in the industry. Their array of solutions for extending the highest resolution video formats including 4K and 3D over Cat or Fiber put Lightware USA on the forefront of cutting edge technology.

For more information on these products, visit www.LightwareUSA.com.

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Morris Light & Sound Invests in Large Inventory of Clay Paky, MA Lighting Consoles and MDG’s theONE Fogger/Hazer

L1000196Morris Light & Sound, a Nashville-based full-service production and integration company, has expanded its equipment inventory with the addition of a large complement of Clay Paky lighting fixtures, MA Lighting consoles and MDG’s theONE fogger/hazer. All of the brands are exclusively distributed in North America by A.C.T Lighting, Inc.

Morris Light & Sound has 25 years experience in the entertainment industry providing audio, video and lighting services for live events, tours and fixed installations throughout North America. It leases, sells and installs leading-edge lighting, audio and video equipment to touring artists, corporations, convention centers, award shows, festivals and political events.

The company’s biggest single purchase to date consisted of 240 Clay Paky Mythos fixtures, a highly-advanced hybrid light which serves as an excellent 470-watt spotlight and an extraordinary beam light. As a spot it offers an outstanding large beam and zoom optimized for focusing; as a beam light it remains parallel for its entire length even at great distances. Mythos is smooth, fast and very quiet with a completely redesigned indexed visual effects disc.

David Haskell, President / CEO of Morris Light & Sound, believes the new Mythos has the potential to take the market by storm, “just like the Sharpy did when it was first introduced. Mythos’s three big attractions for us are its amazing power efficiency, its light weight and its versatility.”

“I know Clay Paky manufacturing will be busy keeping up with the demand for these new lights,” he says. “My phone is ringing every day with calls from people who want to rent them – and all of ours are deployed until September!” adds Haskell.

Morris Light & Sound debuted 160 of its Mythos fixtures on the recent “Ultimate Kickoff” concert special on CMT, the official kickoff entertainment event for the national College Football Playoffs. Mythos heads off next on country duo’s Florida Georgia Line’s “Anything Goes” tour in support of their new studio album. Then Mythos goes on the road with Kenny Chesney’s “The Big Revival Tour.”.

The company also invested in 44 Clay Paky Stormy strobes, an innovative new fixture that uses the latest LED technology while retaining all the charm of the classic strobe. Its light source is a strip of powerful white LEDs, which perfectly emulate a bright Xenon linear lamp. The flash effect is enhanced by Stormy’s parabolic reflector, like a classic strobe’s, which does not project the light directly forward like other LED strobes.

Haskell hails Stormy’s low power consumption and brightness. “They will allow customers to use way less power on tour,” he says. “The Stormy’s power consumption averages about 1/5 of the power needed in comparison to older traditional models – and Stormy appears to be a brighter light.”

The Stormy fixtures will head out with Kenny Chesney, whose tour specifically requested that Morris Light & Sound provide them.

Additionally, Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights have joined the inventory. “The Florida Georgia Line tour asked for them, so we purchased 30 units,” Haskell says. “The B-EYE is a great wash light and an effects light that offers great individuality of control.”

Morris Light & Sound also boosted its roster of grandMA2 consoles with six more grandMA2 desks in both full-size and light models. “We needed more to meet client demand,” Haskell explains. “grandMA2 is definitely the industry’s console of choice.”

Although the company already has an inventory of MDG foggers and hazers, it just purchased MDG’s theONE, a fully-digital, dual-mode fog/haze atmospheric generator.

theONE is a completely self-contained package offering sophisticated control over atmospheric effects from a single source. It is designed to give a maximum of consecutive, non-stop hours of fog/haze without service.

“theONE does both haze and fog and has very nice control from the console,” says Haskell. “I’d seen it and was impressed, then the lighting designer for the Florida Georgia Line tour requested it, so it was logical for us to add theONE to our inventory.”

Brian Dowd, A.C.T Lighting Vice President of Sales and Marketing, concluded, “Morris Light & Sound is valuable partner that has always been on the leading edge of technology. They are an innovative company and we look forward to the high profile projects that feature this new gear.”

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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Clay Paky Fixtures Help Coheed and Cambria Tell Their Story on Tour

CoheedNYC0072Coheed and Cambria, the American progressive rock band whose innovative concept albums tell the sci-fi story of The Amory Wars, has wrapped a concert tour that included a complement of Clay Paky A.leda B-EYE K20s and Sharpys

Coheed and Cambria recently toured with the band Thank You Scientist, playing 25 dates across the US and in Toronto. Coheed and Cambria’s setlist followed “In Keeping Secrets of Silent Earth: 3,” their 11-year old second album, which has recently been remastered and rereleased. Clearwing Productions supplied the lighting package for the tour, which included Clay Paky fixtures.

“The album tells the story of Claudio Kilgannon and his journey of self-discovery in a science fiction universe. Each song moves the characters along, and the lighting needed to be able to follow the quick changes to their emotional states,” explains Clearwing’s Michael “Greek” Hionis, the show’s lighting designer/director/programmer. “The focal point in the rig was the custom Keywork set piece, a visual representation of the energy that binds the planets together in the universe. In addition to the Keywork, the lighting was designed to transport the audience to the various locations, including a landslide battle, a dark city full of secrets, a space ship and an ominous castle of evil.”

Hionis was tasked with blending the Keywork with the rest of the design on the stage. “We lit the Keywork with 60 meters of LED strips with the help of Kevin Opatz. It hung above the drummer, with a two-meter circle truss behind it. The front edge of the truss was wrapped in sharks-tooth to emphasize the glow coming off of the Keywork,” he says. Four truss towers were mixed within a row of guitar cabinets flanking the drummer. “Each tower had two B-EYE K20s at varying symmetrical heights – six, eight and ten feet – with half the fixtures mounted above and half hanging below fixed pipes so I could make sure I hit every inch of the room,” he reports. “The B-EYEs’ circular design and macros could look like anything, including more planets within the Keywork.”

Six Sharpys were positioned on the stage floor in front of the towers and drum risers. “I wanted the beams to look as tall as possible,” Hionis says. “I needed a fixture that could punch through the B-EYEs when necessary but because much of the show was dark and moody, it was less about full stage washes and more about dark and sinister beams spread sparsely across the stage. That’s why the tight beams worked perfectly. Larger fixtures wouldn’t have looked as good irised down and certainly wouldn’t have been as fast.” The Sharpys also intrigued front-row fans, who tried to reach out and touch the beams during some songs.

“When placing fixtures on the floor, their footprint also becomes a factor,” he adds. The Sharpys’ compact footprint supported the notion that, “Bang for you buck is less important than bang per square foot,” he says.

“From a design perspective, the Keywork was purely a visual piece, the Sharpys were purely a lighting effect, and the B-EYEs had the ability to be either and merge everything so that each look [became] one cohesive idea,” Hionis explains. “B-EYEs are absolutely my new favorite fixture!”

Hionis praises the role A.C.T Lighting has played over the last two years. “They’ve been very supportive and extremely helpful in terms of training and email support,” he says. “They have all helped me out so much in so many different ways.”

Key Tour Personnel:
Show Designers: Blaze James & Michael ‘Greek’ Hionis
Tour Manager: Pete Stahl
Production Manager/FOH Engineer: Mike Babcock
Lighting Designer/Director: Michael ‘Greek’ Hionis
Monitor Engineer: Scott ‘Shreddy’ Edwards
Guitar Technicians: Kevin Allen, Jeremy Frost

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “This is a very interesting production and Mr. Hionis has done a great job at designing it. We’re proud to have been a part of it.”

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

About Clay Paky
Headquartered in Seriate (Bergamo), Italy, Clay Paky SPA has a history of designing and manufacturing innovative professional show lighting. The company was founded in 1976 by entrepreneur Pasquale Quadri who anticipated the enormous impact the evolution of technology would have on the show and entertainment worlds.

For more information on Clay Paky products, please contact:
Francesco Romagnoli francesco@claypaky.it
Davide Barbetta webmaster@claypaky.it

About Clearwing Productions:

Clearwing Productions is a full service production company with the expertise to support any sized concert, festival, theatrical or corporate event. Multi-stage or multi-city live entertainment events and tours have been Clearwing’s specialty for over 25 years.
www.clearwing.com
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Ceremony For Anniversary of Ecole Polytechnique Shootings Features Light Display with Clay Paky Mythos

Poly25_Remi-St-OngeHROn December 6 the night sky over Montreal was pierced by 14 beams of light in a solemn commemoration of the 14 victims of the Ecole Polytechnique massacre 25 years ago. Montreal-based Moment Factory chose Clay Paky Mythos lights for the touching ceremony atop Mount Royal. A.C.T Lighting, Inc. is the exclusive distributor of Clay Paky fixtures in North America.

Residents of Montreal, Mayor Denis Coderre, Quebec and federal political leaders, gun control advocates, journalists, victims’ family members and survivors of the shooting gathered at the lookout of the Mount Royal chalet for a two-hour ceremony to mark the 25th anniversary of the day a gunman stalked the engineering school targeting women, professing to hate feminists and the new roles of women in society.

As part of the commemoration, 14 columns of light, each one symbolizing a young woman who perished in the massacre, rose into the sky. The powerful beams were created by Clay Paky Mythos fixtures. The new Mythos light is an extraordinary beam light, which remains parallel for its entire length even at great distances.

“We were honored to provide Clay Paky Mythos fixtures for the very poignant commemoration atop Mount Royal,” says Andrew Beck of A.C.T Lighting Canada. “The shootings were an extremely significant and emotional event in Canada – something no one can forget. We were proud to participate, through Moment Factory, in the ceremony remembering these 14 extraordinary young women 25 years later.”

Montreal-based Omnison supplied the Mythos for the event.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, added, “We were honored to be part of such a touching ceremony.”

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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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