A virtual press conference from Sound & Video Contractor

Archive by David Steinberg

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.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: News |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

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.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Corporate AV, Product Applications |

CRM Studios Gains Efficiency with HRS Control’s UDC AJA Gang Control

Dallas-based video production company CRM Studios is using HRS Control’s AJA Gang Control features for its popular Universal Device Controller Software (UDC) to gain efficiency working with AJA Ki Pro Rack recorders on Glenn Beck’s TheBlaze broadcast network, and CRM Studios other broadcast projects.

CRM Studios is located in the historic Las Colinas Studios, once a vacant soundstage where in the past many movies and TV shows were shot. The Studios have been rebranded and reinvigorated to Mercury Studios, home of The Glenn Beck Radio Show, The Glenn Beck Show, Pat N Stu Show, and The Dana Show. The Studios are now home to a bustling and intimate portfolio of media entities currently requiring 10+ hours of multiple camera shoots across 3+ stages. CRM Studios is a radio and TV broadcast partner to Beck’s giant news, information and opinion media organization. Other productions CRM Studios create include Your Health, GameStopTV, Dillards and many others.

“Because of the tremendous workflow and turnaround time we have always used AJA Ki-Pro recorders,” says Michael Murray, director of IT and Broadcast Engineering at CRM Studios. “As we’ve grown we’ve been adding record decks, new cameras and feeds – there are lots of new sources. Traditionally, we would have upgraded to a media asset management system. But we were looking for a temporary alternative to shorten the workflow from shooting to editing to play-out. The process needed to be sped up quite a bit.”

Murray explains that the Ki-Pro hard drives used to be removed and walked to the edit bays where the media would be transferred so everyone in post would have access to it. “Media can be transferred over a network, too, but that requires a lot of steps and is much more time consuming,” he notes.

Enter AJA Gang Control for UDC Software, which allows users to take control of the full family of AJA products from the UDC Software and any tablet-, touch- or web-enabled device. AJA introduced Murray to UDC when it showcased UDC in their booth at NAB last year.

Cost-effective UDC AJA Gang Control provides AJA product users with the features that have made UDC Software so popular across the board: Macros, Web Server, Scheduling, Variables and Logic. Five custom controller interfaces are available for software or web server control; downloadable Apple iPad and Windows tablet apps are free of charge and the software works on Android through the web browser.

USB button panel controllers can be added to the software, and rack mount button panels are also available as well as desktop and wall mount touch controllers.

Several features are tailored specifically to the AJA Ki Pro family. Start/stop records on multiple Ki Pros can be triggered with a press of a button or automated by time of day. Customers can get clip lists and playlist information from multiple Ki Pros and load clips and play multiple Ki Pros.

UDC Ki Pro File Management permits simultaneous file transfers over the network on multiple files across multiple Ki Pros. File transfers for archiving to local or network drives can be activated by a press of the button or via time of day with UDC scheduling.

UDC AJA Gang Control now permits CRM Studio to “schedule and automate the media offload” for TheBlaze. “It’s significantly faster than doing it over FireWire, and there’s less chance of damaging media in transit,” says Murray. “UDC automates all the steps to offload with just the hit of a button. With UDC software we can send the media files info right from the Ki Pro Recorder hard drive directly to near line editing storage. UDC automates what would have taken an operator multiple steps to do.”

Consequently, the product is proving to be “a huge time saver” for CRM Studios, Murray says. “It not only schedules and records but also manages the assets we own – and it is less expensive than other solutions.”

Murray gives kudos to HRS Control, which “has been great – they’re more than helpful with demos and customer support,” he says. “HRS went out of the way to address all of our questions. I’d recommend UDC AJA Gang Control to everyone!”

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Excision Carves Out Unique Tour Experience with Support from Clay Paky Lighting Fixtures and grandMA2 Control

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, a cadre of Sharpys and grandMA2 lighting and laser control. A.C.T Lighting is the exclusive distributor of Clay Paky fixtures and MA Lighting in North America.

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.”

The grandMA2 Light controls the lights, lasers and set pieces in the show. “The set has pneumatic windows with lights hidden in them,” Hauss explains. “Everything is DMX controlled and built for Excision to use live. So the artist sends MIDI commands to the grandMA2 to trigger the windows on the fly. Once he executes the set pieces I follow with the lighting – all through one grandMA2 with one NPU.” Hauss also serves as the grandMA2 programmer for the tour.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

Intel Launches CES 2014 Pre-Conference Keynotes with Pedersen Media Group Receiving AV Support from WorldStage

When Intel was given the coveted first slot at the CES 2014 Pre-Conference Keynotes held in the Venetian Hotel Ballroom, Las Vegas, WorldStage was on hand to support Pedersen Media Group (PMG) by enhancing the core AV equipment package provided for all the keynoters and customizing the space to showcase the address by new Intel CEO Brian Krzanich.

WorldStage has worked with PMG on numerous Intel events in the past, including the Intel Developers Forum (IDF) and Intel’s International Sales & Marketing Conference (ISMC). In addition to the pre-conference keynote at this year’s CES, WorldStage also supported PMG with AV services for the joint McAfee/Intel Security customer experience at Delmonico’s.

The primary challenge of the keynote was limited access to the ballroom, which Intel shared with fellow keynoters Sony and Cisco. The ballroom’s core equipment package featured cameras, audio and projection gear that consisted of a widescreen rear projection center display and a pair of rear projection outboard displays.

To support Intel’s comprehensive vision of Computing, PMG’s Creative Director, Mark Pedersen, called for “an immersive, widescreen experience across the whole ballroom,” says WorldStage VP of production services and account manager Richard Bevan “So we used the center RP screen that was provided and brought in two FP projection surfaces per side to span the ballroom for seamless video playback, speaker support, demos and IMAG.” The screens were angled to follow the angle of the existing design creating a dynamic and dramatic display that spanned 175 feet. But scheduling logistics required moving those screen panels in and out a number of times before the keynote was delivered. Fabrication partner Communilux was instrumental in ensuring repeatable, consistent installation and line up of the screens each time.

“Since we were only allowed in the room for two set up and tech sessions and two rehearsals we had to roll in the screens on dolly carts then strike them afterwards so the other keynoters could use the standard package,” Bevan explains. “Three projectors overlapped each panel so every time we took the panels out and brought them in again, we had to constantly tweak projector alignment. If it was off by even a quarter of an inch it would have been critical.”

To maximize executive rehearsal time on site, WorldStage created “a complete duplicate set up in another ballroom, outputting Pandora to six monitors, so presenters could rehearse when they didn’t have access to the main ballroom” Bevan explains. “All programming and content files were loaded back and forth between the rehearsal room and the keynote ballroom over the course of six days.”

WorldStage furnished PMG with a Pandora system for multi-channel playback and a Vista Systems Spyder image processor for the screen switching. Eleven confidence monitors, consisting of thin-bezel NEC monitors, were installed in the keynote ballroom and in the rehearsal space to show the widescreen content, notes and demos.

The content featured a lot of “wow moments,” according to Bevan, including a stunning opening video that required a seamless blend of three 5K live action sources and 3D animation. Demoes spotlighted future technologies such as a chip with a miniature Pentium computer with Bluetooth and Wi-Fi that can be embedded in any device or piece of clothing; a wireless charging bowl; a smartwatch with geotracking; and a flying whale that came alive for an amazed audience of 5,000.

For the latter Leviathan Project, based on the child’s storybook about a whale airship, PMG created the ultimate immersive storytelling experience with Intel-collaborating with the USC World Building Media Lab. To bring a 60-ton whale to life above the heads of the audience, six HD camera feeds created the basis for the live feed onto which the “smart” 3D animation of the whale was layered. This augmented reality, created by the Intel and USC whizzes, was so seamless in appearance on tablets used by audience members and the web feed that many tried to reach out and touch it. WorldStage provided all the camera equipment to support the experience.

At CES WorldStage also partnered with the Taylor Group to support the Intel booth at the Las Vegas Convention Center and with Plumbago for the Intel press event at the Mandalay Bay Hotel.

At WorldStage Jack Dussault was project manager, Terry Nakamura projection supervisor, Jason Spencer the Spyder operator, Raul Herrera the Pandora operator and Jeff Gibson video engineer. PMG’s event producer was Rick Voigt. TPN provided the base equipment package for all the keynoters at the Venetian.

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.

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

OneRepublic Wraps Its “Native” World Tour with Clay Paky B-EYEs, and Sharpys

OneRepublic’s headlining “Native Tour” wraps in the UK March 24 after spending last year circling the globe and breaking new ground as the first tour to utilize Clay Paky’s A.leda B-EYE K20 innovative, LED-based moving lights. A complement of Clay Paky Sharpys was also on hand.

The American pop rock band toured Europe, North America, Asia, Australia and New Zealand last year in support of its third studio album, “Native.” OneRepublic’s tour has continued in 2014 with more dates in Europe and the UK.

On this final leg of the tour lighting designer Chris Lisle has carried over a diamond-shaped theme from last year, which features trusses, video screens and even some of the same fixtures. “The show has some big visual moments, so I had to come up with a design to meet that need,” he says. “The band likes cutting edge, so using the latest technology is important to us.”

Programmer Scott Chmielewski notes that, “Chris always designs his projects with the artist in mind and tries to keep the focus on the music. It’s important for him to make sure that the technology doesn’t overshadow the talent but still has the capabilities he needs. This has been a very technology-heavy show, but it was used tastefully and was well in control.”

Lisle was introduced to the B-EYEs at LDI and “knowing the feel that the band wants in their show, it was a no-brainer to use them,” he reports. “We used all 12 upstage on the diamond pods, both floor and flown, and facing directly out toward the audience. They have so many tricks up their sleeves that I think we used them at just 50 percent of their capacity.”

He notes that the band was “amazed” to see the new B-EYE fixtures during rehearsals and immediately asked what they were. Chmielewski says, “these guys have been around the world over and over again on countless shows and stages so you’d expect them to look past new toys like this. But not this time!”

Lisle explains that he let “the fixture show itself off gradually throughout the show. First it was just a wash light, then we added a couple of ‘inner/outer’ ring tricks, then a couple of ring chases, and ultimately the lens spin tricks toward the end of the show.”

Chmielewski likens the B-EYEs to a “firecracker – knowing that the fuse is always lit and about to go off. For a portion of the show they were used as typical wash lights, but we were able to mimic the effect of every kind of traditional fixture from big to small and use the entire bag of tricks a programmer has with color, dimming and pan/tilt effects. Plus, they added an entirely new set of looks that were quite literally the first of their kind. As a programmer, I spent hours just exploring these new abilities and looks, and when we finally used them in the show they became the centerpiece of the design.”

Lisle says that two weeks into the final dates for the tour the B-EYEs were working “amazingly well” and proving to be “a very solid fixture.”

“Through marathon programming sessions they didn’t have a single issue, and we were really putting them through their paces,” Chmielewski adds. “I was surprised to see just how few moving parts were involved in creating whirlwinds of amazing effects.”

In addition to the B-EYES 30 Sharpys were an integral part of the lighting design since Day One, Lisle says. “I love the fact that they can punch through video intensity when needed. They also gave us some great beam/aerial effects. You can’t beat them for speed: They were super-fast for the ‘techno’ moments of the show.”

“The Sharpys were a perfect complement to the B-EYEs in the rig,” agrees Chmielewski. “It takes a lot of power to compete with the look and brightness of a Sharpy, but the B-EYEs held their own.”

Chmielewski programmed the tour on a grandMA2 light with three active NPUs. A back up grandMA2 light was also available on the road.

The equipment was supplied by Neg Earth, UK.

Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, commented, “This is a very interesting tour visually and we’re proud to be a part of it. The B-EYEs have been a big hit since they were introduced and the One Republic tour is a great example of what the fixtures can achieve.”

Digg Syndication Del.icio.us Syndication Google Syndication MyYahoo Syndication Reddit Syndication

Related Topics: Product Applications |

About

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.

Calendar

August 2014
M T W T F S S
« Jul    
 123
45678910
11121314151617
18192021222324
25262728293031

Your Account

Subscribe

Subscribe to RSS Feed

Subscribe to MyYahoo News Feed

Subscribe to Bloglines

Google Syndication