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Archive by David Steinberg

Clay Paky Supports Rodeo Concert Series

When LD Systems’ lighting designers John Dickson and Nate Brittain lit the entertainers at the Houston Livestock Show & Rodeo at Reliant Park this year they took 28 Clay Paky A.leda B-EYE K20 LED-based moving lights along for the wild ride.

The Houston Rodeo took place over a 20-day period, March 4-23, and featured performances by major country and pop touring artists, including Brad Paisley, Usher, Keith Urban, Maroon 5, Luke Bryan, Reba, REO Speedwagon and Blake Shelton. Shows sold out and audiences of 50,000-60,000 were the norm.

Once the day and evening rodeo events were completed and the concerts were set to begin a stage rolled to the center of the stadium and a lighting rig dropped down over it. “It was a full-blown rodeo each day, followed by a unique performance from 1 of 20 different artists, ” says Dickson. “Every day at about noon we :( myself, Nathan Brittain , and Jim Brace) met with the artist’s LD, and spent 4 – 5 hours programming the show on our two grandMA2s with two NPUs.”

Dickson and Brittain were introduced to the B-EYE fixtures at LDI, and it was love at first sight. For the rodeo concerts they had 14 B-EYEs positioned on either side of the perimeter where they were used for standard wash lights, beam effects, and on occasion, pixel mapping. “We used Hippos to drive a ton of video content,” Dickson explains. “We wanted the B-EYEs to mimic the video. Clay Paky and A.C.T helped write software to enable us to pixel map and still have the shaper macros for the light.”

The lighting designer notes that the B-EYEs “really held their own” in the rodeo’s stadium environment. “We had a lot of video and other light sources but they really stood out. We love them!”

LD Systems Lighting Team-
Jim Brace – Lighting Designer / Director
John Dickson – Lighting Designer / Main Stage Programmer / Operator
Nathan Brittain – Assistant Designer / Perimeter Programmer / Operator
Brian Stephenson- Lighting Tech
Bobby Dominguez- Lighting Tech
Will Anglin- Lighting Tech

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very impressive undertaking and we’re glad the B-EYEs are able to be a part of it. It was great to work with the LD Systems team on this project.”

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

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All Eyes are on Clay Paky B-EYE Fixtures For Lotus Tour

The instrumental electronic jam band Lotus is continuing its cross-country tour this spring and summer as they debut a complement of Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights for key effects in the show.

Lighting designer Scott Huston obtained a dozen B-EYEs from Main Light Industries, Inc. in Wilmington, Delaware, which he counts on for “always having the latest and greatest – they let me know when they have cool stuff and have a good sense of what I can use. I’m really interested in checking out new technology.”

Huston positions eight B-EYEs on four truss towers and four more on the stage. “They have an amazing output,” he says. “That 4º fat beam is very impressive.”

Huston was looking for a moving light that offers a direct view effect. “I didn’t want to have a videowall, but I wanted to do a direct view effect. You can do the effects on the lens, which is big enough so I only need 12 of them. Plus, I also have the beams that give such a good rock ‘n roll look. The B-EYEs not only provide a beam that looks really nice cutting through the room but also a lens that you can do movement effects on.”

The B-EYEs made their debut on the Lotus tour in Atlanta and have been “working great,” according to Huston. “It’s really easy to make them all match up. The white LEDs are really nice, and the colors are all great — I can even get pastels out of them. And the eye candy effects are very nice.”

John DiEleuterio, Client Relations at Main Light, says that, “Scott and Lotus prove that you don’t need a ton of B-EYEs to get a great look. The B-EYEs are a great fixture. They really seem to be taking over with their versatility: They’re a wash, a beam – toss in the kaleidoscopic in-air effects and you have yourself a multi-use fixture and some pretty awesome eye candy.”

Main Light has stocked B-EYE fixtures since February, and DiEleuterio calls “A.C.T Lighting and Clay Paky powerhouses that offer groundbreaking, high-quality gear with amazing support to back it up. I wish every purchase in life came with the quality of support we receive from A.C.T.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The B-EYEs are such versatile lights and Mr. Huston is making great use of them. Mainlight is a great collaborator and we’re thrilled they are working so hard to get our fixtures out there.”

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

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BOI Solutions Uses Vista Systems’ Spyder for Large Venue, Multi-Projector Virtual Displays for Top Clients

BOI Solutions of Miamisburg, Ohio, which designs and manufactures large venue multi-projector virtual displays, has added Vista Systems’ Spyder X20 image processors to its family of products. The company is using Spyder for a number of big projects, including an interactive presentation wall for a major packaged goods giant.

Founded 10 years ago by Bill Othick, BOI Solutions brings together expertise in IT, multimedia components, content delivery technology, networks and automated control to craft a solution for any application from boardrooms to retail, surgical suites to Wall Street, outer space to the manufacturing floor.

“We use Spyders for several of our largest projects – big rooms requiring displays with multiple windows,” says Jason M. Terry, Chief Operating Officer at BOI Solutions. “Spyder does a great job in that capacity.”

BOI Solutions created a 26×7-foot interactive wall for a major packaged goods company, which serves “as a collaboration and presentation tool and also does virtual shelving for their big retail customers,” says Terry. “They can pull up a shelf and manipulate the products on it.”

The wall is driven by blending two Sony 4K projectors, “very large and very bright projectors, which deliver stunning images,” according to Terry. “The wall is fed through a Spyder with up to 16 inputs; eight of them are computer sources and the rest are HD video. We have DVI and SDI HD going into it and a huge matrix router in front of it. We can add any source at any given time, including the user’s PC.”

BOI Solutions also deployed its proprietary SpaceTrigger touchscreen software that allows one overlay/touchscreen to control all the sources on the wall. Gestures may be used to manipulate sources as well as pass-through mouse control. This permits multiple users to dynamically interact with multiple sources on the same display wall simultaneously.

By using SpaceTrigger, the client dramatically simplified operating and controlling the wall’s sources.

“Our client can present on the wall with touch and gestures,” Terry explains. “It’s a huge, bright multitouch system with up to 32 touch points at a time. Typing, annotating, swiping – it can work on any touch. And it all runs really well on the Spyder.”

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Clay Paky and grandMA2 Go to the Rodeo for Concert Series

When LD Systems’ lighting designers John Dickson and Nate Brittain lit the entertainers at the Houston Livestock Show & Rodeo at Reliant Park this year they took 28 Clay Paky A.leda B-EYE K20 LED-based moving lights and a pair of grandMA2 consoles along for the wild ride. A.C.T Lighting is the exclusive distributor of Clay Paky and grandMA in North America.

The Houston Rodeo took place over a 20-day period, March 4-23, and featured performances by major country and pop touring artists, including Brad Paisley, Usher, Keith Urban, Maroon 5, Luke Bryan, Reba, REO Speedwagon and Blake Shelton. Shows sold out and audiences of 50,000-60,000 were the norm.

Once the day and evening rodeo events were completed and the concerts were set to begin a stage rolled to the center of the stadium and a lighting rig dropped down over it. “It was a full-blown rodeo each day, followed by a unique performance from 1 of 20 different artists, ” says Dickson. “Every day at about noon we :( myself, Nathan Brittain , and Jim Brace) met with the artist’s LD, and spent 4 – 5 hours programming the show on our two grandMA2s with two NPUs.”

Dickson is a fan of MA Lighting and has used the consoles for the last seven or eight years. “We love them. The transition from grandMA to grandMA2 was seamless. It’s a great desk.”

Dickson and Brittain were introduced to the B-EYE fixtures at LDI, and it was love at first sight. For the rodeo concerts they had 14 B-EYEs positioned on either side of the perimeter where they were used for standard wash lights, beam effects, and on occasion, pixel mapping. “We used Hippos to drive a ton of video content,” Dickson explains. “We wanted the B-EYEs to mimic the video. Clay Paky and A.C.T helped write software to enable us to pixel map and still have the shaper macros for the light.”

The lighting designer notes that the B-EYEs “really held their own” in the rodeo’s stadium environment. “We had a lot of video and other light sources but they really stood out. We love them!”

LD Systems Lighting Team:
Jim Brace – Lighting Designer / Director
John Dickson – Lighting Designer / Main Stage Programmer / Operator
Nathan Brittain – Assistant Designer / Perimeter Programmer / Operator
Brian Stephenson- Lighting Tech
Bobby Dominguez- Lighting Tech
Will Anglin- Lighting Tech

“John is one of the first LD’s to use the new B-Eye fixtures and when he said he was going to light an NFL stadium, I was excited to see how they would look. Both the beams and the effects looked great during the performances and read very nicely through the air. We were honored to work with John, Rob McKinley, and the LD Systems team to make sure control and lighting for this massive production was exactly how they wanted,” concluded George Masek, A.C.T Lighting Vice President – Automated Lighting

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HRS Control’s UDC Provides Custom Control Solution For Alford Media Services’ Innovative Breakout Pods at Client’s Annual Meeting

When a large, high-tech client posed a challenge for staging its annual meeting, Alford Media Services, Inc. found an effective custom solution in HRS Control’s Universal Device Controller (UDC).

Based in Coppell, Texas, Alford is known for its forward-thinking approach to supporting the AV needs of a variety of clients. For this project the client wanted to reset their massive general session ballroom into six circular, stand-alone breakout pods during a lunch break. And once the pods were in place each presenter needed to have full wireless remote control of AV playback in the pod.

“The client wanted to convert the ballroom into individual breakout rooms without walls or dividers,” says Rich Tate, director of marketing and creative at Alford. “They wanted six draped circular pods to come down from the ceiling; 40-50 seats were set up for each pod. Presenters had to have iPad control of the projector, screen and speakers in each pod and all the playback equipment backstage.”

Alford rigged each fully-equipped pod on a circular truss that could be quickly lowered from the ceiling. The self-contained set up permitted a fast turnaround of the ballroom but the issue of playback control remained.

“The head of our video department was familiar with HRS Control’s UDC,” says Tate. “We’re always on the lookout for innovative remote control solutions; we do a lot of iPad and IOS mirroring.”

Alford IT Specalist Cy McCormick used UDC software to build a custom iPad interface for the presenters that would wirelessly control centralized AV gear backstage from each pod. The presenters could not only control their slides, videos and audio levels, they also could instantly switch between primary and back up equipment if needed.

“Each pod had unique content with AJA Ki Pros and computers used for playback and graphics,” Tate explains. “We could talk to the playback devices very easily with UDC’s AJA Gang Control feature.”

Tate designed the graphical interface and buttons on the presenters’ iPad controllers. “It was cool to do custom buttons in custom sizes and put things on the screen wherever we wanted them – there were no restrictions,” he notes. “We even used a custom background, client colors and brand logo.”

He reports that “everything worked like a charm” at the meeting’s breakout sessions where the pods were a big hit. “The client was thrilled with UDC’s custom control solution. We want to develop UDC for more clients and are eager to have the opportunity to use it again.”

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An Array of Clay Paky Lighting Fixtures Helps “The Tonight Show Starring Jimmy Fallon” Shine

“The Tonight Show Starring Jimmy Fallon” debuted to rave reviews and top ratings, and Clay Paky fixtures are part of the mix giving a new look to late-night television.

The iconic “Tonight Show” now originates from NBC’s upgraded Studio 6B at 30 Rockefeller Center where lighting designer Fred Bock, of Ferri Lighting Design & Associates (FLDA) has used 17 Clay Paky A.leda B-EYE K20 innovative, LED-based moving lights, 16 new Clay Paky Alpha Profile 800STs and 17 Clay Paky Sharpy Washes for band lighting. The lighting package, which features some of the newest technology in the industry, is supplied by WorldStage.

Although Bock’s overall goal for the show was to keep the lights as unobtrusive as possible to both the design of the studio space and the camera, he took a different approach for the band lighting. “The Clay Paky B-EYEs are meant to be seen and provide a look for music that is fresh and new,” he says. “The flexibility of the B-EYE makes it a perfect light for effects in the haze, but they can also be used as wash lights in the music set as well.”

Drew DeCorleto, director of lighting production at WorldStage, says the B-EYEs have “turned out to be a ‘must-have’ light for the show. With only 32 channels and all macros available, there is nothing out there like it. It’s an impressive light that possesses many skills and is already the subject of a lot of chatter.”

The Alpha Profiles serve a similar purpose to the B-EYEs. “They’re a great light that can be used for effects and beams in the haze, but they can also be used to light talent and scenery thanks to their shutters,” Bock reports. He selected them for “their flat field, size, brightness, shutters and versatility” and positioned some in the grid for back lights and eye candy shooting into the camera for music. Six have been placed downstage of the music set where they are used as keys for music and to light scenery for comedy skits.

DeCorleto calls the new Alpha Profiles “probably Clay Paky’s best-kept secret. We demo’d this unit last year for NBC and they’re on the ‘Tonight Show’, ‘Today Show,’ ‘Saturday Night Live’ and ‘Late Night with Seth Meyers.’ It’s a terrific arc light with shutters and they’re quiet enough for even NBC’s smaller studios.”

The Alpha Profiles are “working very well,” according to Bock. “They transformed the music space for Lady Gaga’s performance giving a high-energy feel that enhanced the number tremendously. They also have been used to light the talent in the performance space and cue cards for sketches.”

The popular Sharpy Washes also play an important role in the late-night show’s rig. “Once I show a designer the Sharpy Wash they never look back,” DeCorleto says.

He credits A.C.T Lighting with being “there every step of the way during ‘The Tonight Show’ process and delivering fixtures ahead of schedule. The B-EYE was actually on ‘The Tonight Show’ before they were in any vendor shops; that wouldn’t have been possible without the tremendous support from Brian Dowd and his colleagues at A.C.T Lighting.”

WorldStage furnished a similar complement of Clay Paky fixtures for “Late Night with Seth Meyers” delivering the same innovative technology to another new show that’s cementing NBC’s dominance in late-night programming.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “We’re so proud to have our lights chosen for these high profile television shows. WorldStage is a great collaborator and Fred Bock is an excellent designer. Its’ great to be working with them on this.”

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

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Excision Tours With Clay Paky Lighting Fixtures

DJ and dubstep producer Excision, the champion of bass music and sensory overload, has begun his 2014 tour of the US and Canada with powerful Clay Paky A.leda B-EYE K20- LED-based moving lights and a cadre of Sharpys.

The Excision tour, featuring Dirtyphonics and ill.Gates, has been called a “virtual apocalypse of twisting and morphing sounds” that encompass a full range of genres. Excision is accompanied by a new 150,000-watt bass system from PK Audio and his Executioner video and light production.

The tour marks the first time that Light Action Productions has supplied B-EYEs, which have quickly become indispensible to lighting and laser designer Dave Hauss of Double Surface Designs LLC. “They’re my go-to light right now,” he says. “When I have to cut down the rig, B-EYE is always there. They are an all around great fixture, and artists love them. I wouldn’t spec anything else.”

Scott Humphrey with Light Action, says, “There’s nothing else like the B-EYE out right now. It’s a multi-event unit and great for electronic music. Some of its macros are great, and it gives a new take on retro effects.”

Hauss says the overall lighting design for the tour “is different every day based on the specifics of all kinds of venues; we play rooms for 1,000 to 10,000 people. It’s very city-to-city, and we have to ramp up and down. The continuing challenges are trim heights, width and weight capacity. I need to go in each day and adapt. That means I’m programming every day of the tour. What’s so great about the Clay Paky fixtures is that I have almost as many designs as venues. This tour is one of the most unique experiences I’ve ever had.”

Hauss deploys eight B-EYEs “for everything from an incredibly bright wash for the openers to effects lights for the show. The entire show is projection mapped, and we needed fixtures that wouldn’t get lost. I use the B-EYEs in their shaper mode: splitting up the beam and dispersing the light is a great way to make it stand out. We can even take out the downstage truss because of the low trim. I like their color temperature a lot, and their field is amazingly even.”

Hauss has 20 Clay Paky Sharpys supplied by Christie Lites, which he calls “critical to the show.” He notes that his biggest challenge is that “this is a video shows with very large set pieces with very bright images – 90 minutes of custom content. You don’t want very wide ambient light. Sharpy is sharp enough to give a great light show without blowing out all the video – it’s the only fixture that won’t impede the visuals yet delivers all kinds of tricks.”

James Castaneda is the lighting tech for the tour and Dillion Butz and Cam McNeil of Beama Visual are the media server programmer and projectionist, respectively. The special effects vendor is Image Engineering. Brett Able is the tour manager.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “It’s great to see the B-EYE coming out of the gate on so many interesting applications and this is no exception. Mr. Hauss is a very creative designer and we’re glad to be able to help in his designs.”

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

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iGAD Productions Chooses Raptor Lightware HDMI Matrix Router for Exactech Exhibit

ECS-Raptor from HRS Control, a UDC Pro Embedded Control Server, played a key role in the Exactech exhibit at the American Academy of Orthopedic Surgery’s (AAOS) 2014 annual meeting in New Orleans.

Exactech is a fast-growing global innovator of bone and joint restoration products. The AAOS marked the introduction of ExactechGPS Guided Personalized Surgery, the first advanced surgical technology to provide a realtime, patient-specific solution in total knee arthroplasty. The cornerstone of Exactech’s exhibit was a surgical skills demo area that allowed surgeons to gain hands-on experience with ExactechGPS.

Grant Gaddis of iGAD Productions, an AV rental house based in Snellville, Georgia, was introduced to HRS Control at an earlier trade show where he found the UDC technology to be “really cool.” He remembered it when he was tasked with meeting the needs of Exactech’s AAOS exhibit.

“It’s the first time I’ve rolled out Raptor on a show,” he says. “It was great for the client and great for me to have such a user-friendly set up in one workstation.”

The Exactech exhibit featured two 55-inch monitors on the show floor and four 40-inch monitors on a front truss all positioned in a corner of the booth. The Lightware HDMI router’s four inputs were from the Exactech computer system, which showed what the surgical instruments were doing; a live camera feed; an animated demo video; and a general marketing video. The Raptor, which provided end user control of switching the Lightware HDMI router and monitors, interface was an Apple iPad customized for Exactech by iGAD using the UDC Software from HRS Control.

“The iPad screen had the company logo on it and five dummy-proof buttons that turned green when selected,” says Gaddis. “The button options were a full demo; a limited demo; stand-by mode for in-between shows, a ticker, and the marketing video and animation.”

Presenters had mics to talk about the ExactechGPS process and benefits. Thirty to 60 surgeon attendees gathered to watch each demo. “When there was a full demo, the demonstrator switched one big monitor on the GPS product and one on the camera feed,” says Gaddis. “We staggered the other monitors with the same two feeds. The presenter, armed with the iPad, could also do short, impromptu demos for attendees configuring them for one monitor while the rest of the monitors showed other feeds. Or they could press a button to switch all six monitors to show the animated surgery video or the marketing video.”

Gaddis reports that the programming interface was “great – very graphic and command-driven. I really liked the number of preprogrammed command sets. We could network in other display and switching devices, gather it all onto a control server and have all the control from a laptop and iPad.”

Gaddis saved time on site by doing all the programming at the iGAD Productions office. “We came to the show and everything worked. It was great, very solid.”

For the Exactech exhibit he also deployed a Lightware 8×8 HDMI matrix router; Lightware U.S.A., a sister company of HRS Control, is the US distributor for Budapest-based Lightware Visual Engineering products.

“It was bullet-proof,” Gaddis says. “All the command sets for it are already built into the Raptor and UDC Software. I could just go to a dropdown menu in the Raptor software, pick the router input and output for the macro. No coding had to be done.”

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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WorldStage Lighting Package Sparks Fred Bock’s design for “The Tonight Show Starring Jimmy Fallon”

When Jimmy Fallon assumed the role of host of the iconic “Tonight Show” it meant more than a change in the man behind the desk. “The Tonight Show Starring Jimmy Fallon” now originates from 30 Rockefeller Center where lighting designer Fred Bock, of Ferri Lighting Design & Associates (FLDA), has created a new look in NBC’s upgraded Studio 6B. WorldStage supported Bock’s design with an extensive studio and band lighting package featuring some of the latest fixtures on the market.

They include Clay Paky A.leda B-EYE K20, the innovative, LED-based moving lights, Clay Paky Alpha Profile 800 STs and Clay Paky Sharpy Washes for band lighting.

“One of the biggest challenges for WorldStage was managing the logistics of obtaining the newest technology our industry has to offer without disrupting the studio installation schedule,” says Drew DeCorleto, director of lighting production at WorldStage. “Many of the fixtures chosen by Fred were still on the assembly line when installation began. A very strong and steady line of communication with the manufacturing vendors was paramount to keeping us on schedule. Since we provided both the sale and rental packages every fixture in the studio passed through the WorldStage lighting shop en route to NBC.”

Bock found that “Drew, [sales project manager] Derek Abbott and everyone at WorldStage gave me complete and total attention every step of the way. I felt that they were my true partners. WorldStage was as invested in the success of ‘The Tonight Show’ moving back to New York as everyone else working on the project.”

Bock’s overall design goals for the show were “keeping the lights as unobtrusive as possible to both the design of the studio space and the camera. This was achieved by keeping lights as high to the grid as possible and backing them off to maintain a flattering angle to light the faces of the talent. Set lighting was approached in a very architectural manner integrating the fixtures into the beams and soffits that were a big part of the lighting design.”

But Bock followed a different mandate for the band lighting. “The Clay Paky B-EYEs are a contradiction to the main design edicts because they are meant to be seen and provide a look for music that was fresh and new,” he says. “The flexibility of the B-EYE makes it a perfect light for effects in the haze, but they can also be used as wash lights in the music set as well.”

The Alpha Profiles serve a similar purpose. “They’re a great light that can be used for effects and beams in the haze, but they can also be used to light talent and scenery thanks to their shutters,” Bock reports. He chose them for “their flat field, size, brightness, shutters and versatility” and positioned some in the grid to be used as back lights and for eye candy shooting into the camera for music. Six are also downstage of the music set where they are used as keys for music and to light scenery for comedy skits.

Bock says the Alpha Spots are “working very well. They transformed the music space for Lady Gaga’s performance giving a high-energy feel that enhanced the number tremendously. They also have been used to light the talent in the performance space and cue cards for sketches.”

DeCorleto says the B-EYEs have “turned out to be a ‘must-have’ light for the show. Using the built in macros, you can utilize all of the impressive effects while only tying up 32 channels per fixture. There is nothing out there like it.”

He calls the Alpha Profiles “probably Clay Paky’s best-kept secret. We demo’d this unit last year for NBC and they’re on the ‘Today Show,’ ‘Saturday Night Live’ and ‘Late Night with Seth Meyers.’ It’s a terrific arc light with shutters that’s quiet enough to be used in NBC’s smaller studios.”

DeCorleto notes that A.C.T Lighting, the exclusive distributor of Clay Paky lighting fixtures in North America, “was there every step of the way for us during ‘The Tonight Show’ and ‘Late Night’ process and delivered fixtures ahead of schedule. The B-EYE was actually on ‘The Tonight Show’ before they were in any vendor shops; that wouldn’t have been possible without the tremendous support from Brian Dowd and his colleagues at A.C.T Lighting.”

WorldStage also supplied Martin MAC Aura LED Washes for band lighting and an extensive array of fixtures for studio lighting, including ETC Source 4 LED Lustr+s; Prism Profile Juniors; numerous ETC D22, D40 and D60 Lustrs; Prism Studio 3 fresnels; dozens of Chroma-Q Color Force, Studio Force and Color Block fixtures; City Theatrical Beam Benders and ETC Source 4 Minis.

Bock says he “never viewed WorldStage as just the vendor that supplied the gear to us. Drew and everyone else really poured their hearts and souls into insuring a successful launch and load in. They were amazing to work with, and I can’t thank them enough for their support and efforts on our behalf.”

“Fred is consistently on the cutting edge of technology pushing the boundaries of the industry to new heights,” says DeCorleto. “The fixture choices he made are well deserving of their network debut on a stage as grand as ‘The Tonight Show.’ Every step of the way it was a real pleasure working with him.”

At the same time WorldStage was working with Bock, the company was awarded the sale and rental lighting packages for the new “Late Night with Seth Meyers” in NBC’s Studio 8G, which was slated to debut one week after Jimmy Fallon took over hosting duties on “The Tonight Show.”

“That meant delivering another lighting package for another major network late-night show – a lot of pressure, but challenge accepted!” says DeCorleto.

And WorldStage was up to the challenge of meeting the lighting needs of the new show, which rounds out NBC’s dominant late-night schedule. Few companies in the New York area are equipped with an inventory and personnel pool deep enough to service both shows simultaneously.

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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Lighting Designer Ira Levy Selects Clay Paky Fixtures for H&M Flagship Store in Times Square

When Swedish retail giant H&M opened its newest US flagship store in Times Square, lighting designer Ira Levy selected Clay Paky Sharpy and A.leda Wash K10 LED-based lights to enhance the store’s futuristic, high-tech look. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures in North America.

The H&M Times Square branch encompasses 42,000 square feet and has a number of tech-savvy features, including a mezzanine with Social Media Lounge, 7,000 square feet of LED screens, a 53-foot glitter wall, interactive mannequins and a virtual runway for shoppers. Lady Gaga cut the ribbon to open the new store and spent time with 20 lucky shoppers who had waited overnight in line for the privilege of being the first through the doors.

“The idea was for the store to appear as if shoppers were coming to a New Year’s Eve party 24 hours a day,” says Ira Levy who heads New York City-based Levy Lighting | NYC. “The flagship store is located across from where the ball drops on New Year’s Eve, and it has a club environment with lots of glitter and reflective surfaces. We use moving lights to add energy to the retail experience and shoot the lights against all the reflective surfaces, almost like a stylized mirror ball.”

Levy has employed Sharpys and A.ledas in the space. “The ceiling height is about 60 feet, so we wanted to have a light that is able to punch through the ambient light in a highly-illuminated space. But we also needed to hit all the way to the ground floor. Sharpy gives me that,” he says.

Levy was also looking for a fixture “with a very long lamp life. We have scheduled maintenance four times a year based on calculating Sharpy’s lamp life,” he explains.

The A.leda Washes give Levy the option of color washes in that same area. “The zoom gives me a lot of range,” says Levy. “I’m able to have tight beams for long throws and wider beams to illuminate shorter distances. I wanted color out of an automated light and something that had a long maintenance life, and I get both from the A.ledas.”

The lighting designer reports that he’s been “very happy” with both fixtures, which are “working great” in the high-profile store. “I used to work with Clay Paky and know the quality and reliability of the units. A lot of companies make [moving light] fixtures, but I wanted top quality motors and have been happy with Clay Paky’s in the past. I’m very happy with their performance.”

Levy was also impressed with A.C.T Lighting’s customer service. “They’ve been great, really supportive with very good back up,” he reports. “A.C.T staff members have been very responsive to everything and always available to me. I’ve never had to wait for anything.”

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “The A.ledas and Sharpys work very well together in the H&M store and we’re honored to have been chosen to help illuminate this retail institution.”

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