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Archive by David Steinberg

Clay Pak Lighting and grandMA2 Control Do the Honors at the Interactive Achievement Awards and AVN Awards in Las Vegas

Awards season is in full swing and every genre of entertainment has a gala awards ceremony. Clay Paky Alpha Spot lighting fixtures and grandMA2 control were on hand for both the Interactive Achievement Awards at the D.I.C.E. Summit, which celebrated the best in interactive entertainment, as well as the AVN Awards for the adult entertainment industry. A.C.T Lighting is the exclusive distributor for Clay Paky and MA Lighting in North America.

The Interactive Achievement Awards was held by the Academy of Interactive Arts & Sciences at Hard Rock Hotel & Casino in Las Vegas. The honors are also known as the D.I.C.E Awards, the acronym for Design, Innovate, Communicate, Entertain – the core tenets that power the annual D.I.C.E. Summit.

Lighting designer and programmer Chris Lose pixelmapped the entire stage with stock graphics and custom content implemented by the grandMA2. The pixelmapping enhanced sets crafted by creative director Chris Wu.

“Using grandMA was huge for us because we used the internal DMX Art-Net merging feature, which is unique to MA,” says Lose. “We usually have to do it externally. But this feature allowed us to take all the media, convert it to DMX info and send it to the rig. The grandMA2 made everything so easy; there were really no challenges for us.”

Lose also selected a complement of Clay Paky Alpha Spot HPE 1500s as front wash fixtures. “They were very impressive,” he reports. “We were able to get a nice CTO look and a lot of rock ‘n roll looks out of them.”

The AVN Awards take place annually during the AVN Adult Entertainment Expo in Las Vegas. Dubbed the Oscars of Adult by Entertainment Weekly, the show is broadcast on Showtime Networks and everyone who is anyone in the adult industry attends.

Chris Lose served as house lighting designer for the AVN Awards at Hard Rock Hotel & Casino; Jeff Ravitz was the show lighting designer and David Zuckerman the programmer.

Lose again deployed Clay Paky Alpha Spot HPE 1500s for the ceremony, finding them “great for the camera as well as for nice rock ‘n roll beams. They just punched through everything else that AVN brought in.” Lose notes that the HPE 1500s are particularly effective for making skin tones look good on screen.

“I’m pleased with their lack of maintenance, too,” he says. “I haven’t had to work on them once. They always work perfectly and are super bright.”

Zuckerman programmed the awards show on a grandMA2. “He just migrated to the system from grandMA1 was really impressed by everything that had been added,” says Lose. “He loved the grandMA1 and loves the grandMA2 even more!”

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 Hard Rock Hotel & Casino
Hard Rock Hotel & Casino is Las Vegas’ off-strip playground, just minutes and less than three miles from McCarran International Airport. The premier destination entertainment resort is owned by Brookfield Real Estate Finance Fund II and managed by WG-Harmon, LLC, a subsidiary of Warner Gaming, LLC. Built in 1995, the property completed a $750 million expansion in 2010. Hard Rock Hotel & Casino offers an energetic entertainment and gaming experience with the services and amenities associated with a boutique luxury resort hotel. The property is known for its innovative nightlife and music scene where acts such as The Rolling Stones, Bon Jovi, Paul McCartney, Incubus, Foo Fighters, Carlos Santana, Mötley Crüe and Guns N’ Roses have all performed. Features of the property include an 11-story Casino Tower with 640 guest rooms, 17-story Paradise Tower with 490 rooms and suites and the all-suite HRH Tower with 359 suites, eight spa villas and seven penthouse suites; 72,000 square feet of casino space featuring Peacock High-Limit gaming and Asian gaming amenities; 80,000 square feet of flexible meeting and convention space; more than $4 million in rare music memorabilia; Body English Nightclub; Reliquary Water Sanctuary, Spa & Salon; 4.5 acres of tropical pool paradise housing world-famous pool parties REHAB Sunday and RELAX Monday; live music/entertainment venues The Joint and Vinyl; Hart & Huntington Tattoo Co.; restaurants Culinary Dropout, Nobu, The Ainsworth, 35 Steaks + Martinis, Pink Taco, Mr. Lucky’s Café and ?Fú; a state-of-the-art fitness center and trendsetting retailers John Varvatos, Affliction, Love Jones and Rocks The Jewelers. For room availability and additional information call 800.HRD.ROCK (800.473.7625) or visit www.hardrockhotel.com. Follow Hard Rock Hotel & Casino on Facebook, Twitter and Instagram for the latest news and updates.

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WorldStage Helps Volkswagen “Think Blue” in Live Augmented Reality Presentation at LA Auto Show

The theme at Volkswagen’s press event at the 2013 LA Auto Show was “Think Blue,” and it was all that blue on stage and on screen that posed a challenge for WorldStage in creating a live augmented reality experience for the automaker.

WorldStage marked its third year servicing the VW press event at the auto show, but it was the first time that event producers, George P. Johnson, and creative content agency, Spinifex Group, asked WorldStage to tap its deep technical knowledge to help create an augmented reality element where live images were enhanced with pre-programmed CG effects. What complicated the technique was the fact that portions of the augmented reality presentation showcased a blue vehicle shot against a bluescreen background and the presenter, VW USA president and CEO Jonathan Browning, wore a blue suit. The many blue-toned elements made live keying a challenge, and WorldStage performed a lot of tests to ensure that it could key out the blue background while retaining the blue of the car and Browning’s wardrobe. The resulting presentation was a unique and enchanting look at the VW lineup for 2014.

VW’s “Think Blue” philosophy of sustainable mobility and environmental leadership was presented to a cadre of press eager to see three new vehicles: e-Golf, the company’s first fully-electric model in the US, which will soon be available in showrooms, and two concept cars, the sporty Design Vision GTI and Cross Blue Coupe. Browning addressed the audience from a drive-in blue set with a large LED wall mounted high behind him on the back wall.

“Normally, this kind of live action and graphics compositing would be done in a studio where you could really finesse things,” says WorldStage account manager Richard Bevan. “Then the pre-produced video would play back on the video display. Done in a studio, augmented reality would not have been that complicated. But all the playback and keying had to be done live at the auto show for all three of the car models. And one of the car models was a bright metallic blue.”

Preproduction at WorldStage’s Tustin office was “intense” he reports. Mock ups were constructed and different tones of blue for the set were tested to see which worked best with the complex keying. Although the exact conditions of the stage at the auto show couldn’t be duplicated off site, the R&D done by WorldStage in prepro was instrumental to pulling off a successful augmented reality presentation.

At the press event WorldStage provided three Hitachi HD1000 cameras. Two at the front of the stage captured tight shots of Browning and wide shots of him and the vehicles; a third was mounted on a Steadicam to cover the reveal of the cars driving on stage.

The motion graphics, with various levels of transparency, were designed to appear both in front of and behind the live vehicles. The shiny car could not reflect the blue stage or it would ruin the effect. At the same time the “countryside” background had to appear through the windows of each vehicle. During one segment the wheels of the car appeared to be turning and kicking up leaves as it traveled.

The compositing was performed in a Ross Vision 3.5 production switcher and complex custom masking in the shape of the vehicles was created using WorldStage Media Hubs. All of the graphics and video playback was sourced from two 4-channel Dataton WATCHOUT media servers for primary and back up. WorldStage used WATCHOUT’s alpha channel capabilities to guide the placement of content created by Spinifex Group.

WorldStage also filled the audio needs for VW integrating JBL VRX speakers with the public audio system on site. WorldStage supplied Shure Axient wireless mic system, which offered the most robust wireless system available, using dynamic spectrum management. “At a venue like the auto show there’s so much competing RF activity,” Bevan points out. “Axient is a relatively new, high-end system that constantly scans the airwaves looking for interference. It alerts you to any issues so the system can switch to a back up transmitter and change to a better frequency.”

At WorldStage Gary Kajikawa was the project manager, Carl McMillan did much of the testing and consulting, Mike Alboher the EIC, Alex Bright the WATCHOUT operator, Paul D’Amour the Ross programmer & operator and Gabe Benso the A1. The TD was Steve Oliker and the producer Robert Walker

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 Celebrates the 50th Anniversary of its Founding

Electrosonic announces that March 2014 marks the 50th anniversary of the company’s founding. In 1964 the company started with two rooms in London’s Greenwich vegetable market. Five decades later, Electrosonic is an international, multi-million dollar business with headquarters in Burbank, California, and offices worldwide.

Electrosonic’s story is complex but in many ways it parallels the history of audio-visual technology, and provides a window into how the industry and its services and products have changed.

Founded by Denis Naisbitt, Michael Ray and Robert Simpson, the company opened with the strapline “Electronic Control and Audio Systems”. From the start, Electrosonic combined the manufacturing and selling of products with the building of complete engineered systems. Key product categories included electronic lighting control, multi-image slide projection and videowalls. The product and systems portions of the business continued together through 2010 when the products side of the business, which by then represented a small portion of overall revenue, was sold.

“The 50 year anniversary marks an important milestone for the company as we look back on our incredible heritage of talent and accomplishments. Electrosonic is continually investing in new generations of talented staff through mentoring and education as we continue to push the limits of what AV technology can do,” says Jim Bowie, President of Electrosonic Group. “A key element of Electrosonic’s success, and one that we are very proud of, is our long and enduring relationship with designers, suppliers and customers.”

Electrosonic carried out many impressive and memorable projects over the last 50 years all around the world, from multi-image spectaculars in 1970s Iran and the world’s biggest videowall in Seville in 1992 to massive projection displays at EXPO 2010 in Shanghai. Electrosonic was often leading the way in applying new technology, whether it was pushing 70mm film to the limit, implementing multi-channel dynamic sound systems, or achieving huge 3D images with the latest electronic projectors.

Electrosonic’s historical project portfolio can be best summarized as embracing world EXPOs, lighting control, theater sound systems, experience shows, museums and visitor centers, theme parks, videowalls, control rooms and corporate AV.

World EXPO, or international exposition, work was a key business driver for Electrosonic from the start. Exposition work, starting with EXPO 67 Montreal, instilled in Electrosonic the desire to work internationally. More importantly, many influential people from around the world saw the shows, which in turn led to demands to emulate the work at home and globally. Electrosonic would go on to carry out installations in 15 different EXPOs.

In its present role as designer and integrator of complex systems, Electrosonic continues to exploit advances in technology. The business today serves three market sectors, each of which is treated on a global basis. The largest is “Entertainment”, followed by “Corporate” and “Control Rooms”. Beyond system engineering, Electrosonic has always offered ancillary services to further assist its clients. Today these include support services, managed services and technical design consulting.

Electrosonic will release a book about its history in late March 2014, with the title “Electrosonic – 50 Years on the Audio-Visual Frontline”. Written by co-founder Robert Simpson, the book presents a short history of the company, and chapters on its products, notable projects completed, its people and on the company’s contributions to the AV industry.

About Electrosonic
Electrosonic, celebrating its 50th anniversary, 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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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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