ETA November-December 2015

ETAE N T E R T A I N M E N T T E C H N O L O G Y A S I A

Nov - Dec

MCI [P] 007/09/2015 KDN: PPS 1663/08/2013 [022991]

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2015

PROFILE: 9 Things You Need To Know About d3 LIVE: CHIJMES Turns Green With Heineken SPECIAL FEATURE: ETA Investigates The Business Of Rental

E N T E R T A I N M E N TT E C H N O L O G YYYG YG YG YG YYYG YYG YG YYYYYYYYYG YYG YG YG YYYYYYYYYYYYYYYG YYYGG YY A S I A

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Craig MannShares His Perspective On The Entertainment Industry

87th Academy Award Winner

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06 FIRST WORDS

08 NEWS

32 ENNOVATIONS

SPECIAL FEATURE 40 Business Of Rental

EXHIBITION PREVIEW 46 Prolight + Sound

Guangzhou

PROFILE 48 9 Things You Need

To Know About d3 Technologies

PERSPECTIVE 52 A Conversation With Chris

Mann INSTALL 56 Symetrix In Full (Super)

Flow 58 Hwa Chong International

School Arts Centre

62 Carving A 3D Theatre Under A Hill

66 Living Room Café Showcases Martin Audio

67 Crystal Palace Fitted With EV

68 Harman At The ‘Shah’ of ‘Show’ Theatres

72 CGV Chooses Christie For Its Biggest Screen

LIVE! 74 Nexo Revitalises GEO T

For Arena Of Stars76 CHIJMES Turns Green

With Heineken82 Acoustic & Lighting

Assist Janet Lee With No Restrictions

84 Clay Paky & d3 Technologies Come Together For NAS Opening

86 A Hectic And Fulfi lling Period For UnUsUaL Productions

90 Production Technology Defi es Summer Heat

92 Hexogon Illuminates Singapore Skyline

94 Ctrl Fre@k Journey Through The Past

97 ACME Tunes Up “MY FM The Show 2015”

98 Have U Met...?

CONTENTVOL 16 ISSUE 6 November - December 2015

62 Have U Met...? 98Carving A 3D Theatre Under A Hill

Ctrl Fre@k Journey Through The Past

94

©Jim Lee Photography

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The state of the South-East Asian region (when seen from the outside) does not look promising for the industry.

The Malaysian Ringgit fall against the greenback is quite signifi cant and this is expected to slow down orders for US manufactured products. Political upheaval too is playing its role in Malaysia. The upcoming elections in Myanmar and the

Philippines next year is also expected to have an impact on the industry, in and around the election period. The prolonged Junta power in Thailand has made investors develop a wait-and-see attitude and Singapore just missed a technical recession in the last quarter by a minute percentage. It looks like gloom and doom. All this coming about just as all the ASEAN countries begin 2016 with almost all import and export duty taxes on items traded between themselves cancelled, as part of the ASEAN Free Trade Agreement (AFTA). Cambodia, Laos, Myanmar and Vietnam will take that step on 31st December 2015.

Well, an optimist will look at the whole situation as half full. We are talking about a region that is now the third largest trade bloc in the world, after the European Union and the North American Free Trade Agreement. ASEAN has a combined GDP of USD2.4 trillion, which is the 7th largest in the world. It is home to about 600 million people with a median age of 28! Savvy investors will see this period as an opportune time to invest in ASEAN with its lower barrier and the AFTA coming into full effect. No one can deny that there is plenty of opportunity in Indonesia, the Philippines and the Mekong Frontiers of Cambodia, Laos, Myanmar and Vietnam. Though the latter countries will need more time and relationship building before returns bear fruit.

Well, Entertainment Technology Asia has gone through it all...SARS, Bird Flu, 9/11 and 3 different fi nancial crises, so we understand the tough aspects. The industry will probably consolidate a little more but overall we are certain many will be resilient and come out stronger. There are still projects being called on and upgrades being done. There are even those venturing beyond their comfort zones (countries) to carve out a business. Yes, more are fi ghting for the same pie and differentiation is what will set each company apart. The Singapore government generally takes advantage of slow periods to get people to upgrade their skills and this is something this industry should do as well.

We look forward to a better 2016.

Thomas Richard PrakasamPublisher / Editorial [email protected]

DisclaimerEntertainment Technology Asia is published 6 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views expressed in this magazine do not necessarily refl ect those of the editor or the publisher. Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.

PRINTED BYStamford Press Pte Ltd

ASSISTANT EDITORElissa [email protected]

EDITOR, INDIA AND MIDDLE EASTRam [email protected]

DESIGN AND PRODUCTIONJimmy [email protected]

EDITOR, DIGITAL PLATFORM(FREELANCE)Rosalind [email protected]

ASSISTANT EDITORShireen [email protected]

PUBLISHED BYSpinworkz Pte Ltd, 51 Bukit Batok Crescent, #06-10 Unity Centre, Singapore 658077Tel: (65) 6316 2716 Fax: (65) 63162715 www.spinworkz.com

ADMIN & CIRCULATIONJulie [email protected]

06 FIRST WORDSE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

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08 NEWSE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

MediaPix Chooses Mahajak For SG50

SINGAPORE: To help the city-state of Singapore celebrate its Golden Jubilee, Mahajak SKM Electronics (MSE), distributors of the HARMAN brands in Singapore, were enlisted to provide quality audio at various event venues around the country.

To allow more citizens to be part of the National Day celebrations, various stages were set-up around the Marina Bay area which included the Esplanade, Marina Barrage, Merlion Park and the Promontory. Besides the live streaming of the Parade broadcast on LED screens, rental production house, MediaPix provided the audio for the stage entertainment that highlighted HARMAN's VerTec (VT) systems.

FOH loudspeakers at the Promontory fi eld consisted of 10 per side JBL VTX V20 fl own with 12 JBL VTX S25 subs groundstacked. This was the latest system acquired by MediaPix from MSE.

Powering the systems were 4 x Crown VRack I-Tech HD3500x4 and 2 x Crown VRack I-Tech HD12000 amps along with a single Crown XTi6002 amp for the EAW LA-212 stage monitors. Control was set-up via a single Soundcraft Vi6 console.

The live feeds from the Padang were arranged to be shown on a total of 6 satellite stages set up around the Padang and Marina Bay area. However, before the celebrations at the Padang began, the crowds were rallied by live performances from local talents such as Goodfellas, Taufi k Batisah, Acapella and indie band, Gentlebones.

“We needed to ensure the performances were able to ramp up the crowd so we ensured that the audio was good enough to cater to thousands of people around the 3 stages that used HARMAN systems,” explained Glenn Lin, Sales Manager at MSE.

“We also assisted in the rigging and calibration of the systems as it was crucial that there were no delays with the well wishes coming in from around the country and main Padang stage,” said Glenn. Besides the good wishes that citizens could send in through an offi cial SG50 celebration website, photo playback and Twitter interactions were also broadcast on the LED screens.

Along with the stage at the Promontory, MediaPix chose to use the HARMAN systems at the Merlion Park stage, an iconic landmark that hosted an estimated 10,000 people on Singapore's

National Day. Here the team used 6 x JBL VT4886 loudspeakers as the main PA accompanied by 4 x VT4883 fl own together as equal clusters per side. Power was provided via a single Crown VRack I-Tech HD3500x4 amp with control handled by a single Soundcraft SI Compact 16 board.

In all, more than 200,000 Singaporeans celebrated the nation's Golden Jubilee around the island, never missing a beat.

www.mahajakskm.comwww.harman.com

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Empire Theatre embraces Martin MAC Quantum Profi les

AUSTRALIA: Architecturally, Toowoomba’s heritage-listed Empire Theatre is a shining example of the glorious art deco style. Technically, it is very 2015 especially since 8 x Martin MAC Quantum Profi les joined the inventory!

The venue has a capacity of 1,567 seats, making it the largest regional theatre in Australia. It is also often referred to as one of the best performing arts venues in Australia by the many visiting artists that perform on its stage.

Technical manager Tim Panitz already has a heap of Martin MAC TW1’s at his disposal along with some aging MAC500

fi xtures. Also in the inventory are Clay Paky A.leda Wash K20 and Clay Paky Alphas.

“The MAC500’s still do a fair bit of work but we were looking to phase them out of use and replace them with something with more punch to compete with the MAC TW1’s and K20’s in the rig,” commented Tim. “Running and maintenance costs were also a concern and so we were interested in an LED fi xture.”

Tim and his team looked at a few LED profi le fi xtures on the market but were drawn to the MAC Quantums due not just to their outstanding running features such as the Animotion FX system that allows never-before seen beam animations, but also their compact size.

“That was good for us because a theatre environment space is always at a premium,” he remarked. “They have a similar footprint size to the other conventional fi xtures on the bar and so if the masking stills works, they don’t need special masking consideration.

They’re also fairly light for a mover with that sort of output and of course that’s a consideration when you’re using fl y bars.”

The Martin MAC Quantum is a bright LED profi le fi xture that combines top-quality white light with a fast, smooth CMY colour mixing system and crisp gobo projection on surfaces as well as mid-air.

The MAC Quantum Profi les were delivered in May and were bumped in straight out of the boxes for a production of Mary Poppins.

“We had designed them into the rig and the next day we went straight into plotting them,” added Tim. “They performed really well. They’re certainly bright and one of the things I really like is that they deliver a very good white even though they are an LED fi xture. At a colour mixing level, they work in well with our MAC TW1 CMY fi xtures and that’s been really good.”

www.martin.com

Dan Dugan Sound Design Appoints New DistributorAUSTRALIA: Dan Dugan Sound Design, Inc. has appointed Stagetec Mediagroup Australia as a distributor for the company’s automixing products.

Part of Salzbrenner Stagetec Mediagroup, Stagetec Mediagroup Australia offers audio engineering and design services, system and network design, and system integration along with a range of high-quality products for broadcast and professional sound applications. “We are excited to have the Dan Dugan automixing line as

part of our product portfolio,” said Treva Head, Managing Director of Stagetec Mediagroup Australia.

“The automixing products fi t perfectly alongside our range of professional audio distribution, digital consoles and communications platforms and enhance our ability to provide solutions in broadcast, theatre and public address systems. We are particularly excited about the implementation of Dante in the Dugan range which will enable us to integrate it with existing systems effortlessly.”

“We look forward to working with Stagetec Mediagroup Australia to promote Dugan automixing for applications throughout Australia,” said Dan Dugan, CEO of Dan Dugan Sound Design. “Their expertise in audio engineering and live sound makes them a natural choice for us.”

Dugan products may be found on the Stagetec Mediagroup Australia website at www.stagetec.com.au/dugan.

Additionally, the company can be contacted at +61 2 8011 0500; [email protected]

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Digital Aid Beefs Up Inventory With d&b J8 SpeakersMALAYSIA: Digital Aid Sdn Bhd, the rental house behind Zouk@Sepang and Calvin Harris Live In Malaysia 2014, have acquired 24 units of d&b audiotechnik's J8 loudspeakers from the company's J-series line to beef up their inventory for potential clients.

The J8 is designed as a 3-way box that houses 2 x 12" LF drivers, one hornloaded 10" MF driver and 2 x 1.4" exit HF compression drivers with 3" voicecoils mounted to a dedicated waveshaping device. Its mechanical and acoustical design enables fl own vertical columns of up to 24 loudspeakers to be suspended using vertical splay angles between them of 0° to 7° with a 1° resolution.

“The new systems will allow us to do bigger shows with more variety. I now have my own systems to support whatever size of show,” explained CEO of Digital Aid, Henry Karnan. “The new systems also reinforce the trust of touring acts as everyone knows the quality to d&b systems are hard to match.”

The new systems will be added to their already impressive inventory which consists currently of L'Acoustics K2, KUDO and KARA systems as well as Clay Paky B-Eye moving heads.

To browse other systems in their inventory, visit www.d8projects.com

www.dbaudio.com

Bosch Opens Asia Pacifi c Customer Experience Centre in Singapore

SINGAPORE: Featuring a host of interactive exhibits, the Bosch Experience Centre showcases an extensive portfolio of Bosch’s security, safety and communications products available for small to large project applications. Highlights of the security solutions featured at the Centre include the latest ultra-high resolution FLEXIDOME IP panoramic 7000 MP and DINION IP ultra 8000 MP cameras as well as 4K ultra HD storage solutions. Also on display are communications

solutions including the Electro-Voice portable and fi xed installed professional loudspeakers, the EVID Compact Sound System, DICENTIS Wireless Conference System, new RTS Keypanels and the highly-anticipated PAVIRO sound system, which was launched in August.

The Bosch Security Systems Experience Centre was unveiled by Wilfred Steeman, Vice President of Bosch Security Systems Asia Pacifi c, and Takashi Nobuto, President of TOWA Engineering, who

has been Bosch’s partner for over 47 years. The opening ceremony also welcomed numerous media representatives, partners and Bosch associates from the region.

With the opening of the Centre, visitors can look forward to exploring the latest products and experiencing the cutting-edge solutions and various applications Bosch offers. “The versatility of this Experience Centre will allow Bosch to demonstrate the latest products and solutions to various groups of stakeholders from project specifi ers and consultants to end users. The Centre is a highly visible representation of Bosch Security’s commitment and investment in the Asia Pacifi c market”, commented Wilfred, Vice President of Bosch Security Systems Asia Pacifi c.

www.boschsecurity.asia

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EK Lights Hires Jason EcholsCHINA: EK Lights has announced the appointment of Jason Echols as the new Asia Sales Director, based at EK's Guangzhou manufacturing headquarters. Most recently an account manager at Chicago's RGB Lights, Jason will be responsible for growing EK's presence in the Asian region. As much as he'll miss the Windy City's famous winters, he's excited to be back in Asia, where his career in pro lighting began twenty years ago.

"I've known Ray for nearly two decades now and have followed EK's rise up the ranks of Chinese producers. Earlier this year, after watching YouTube clips

of EK's booth at the GET show and then seeing their gear in action at the ULTRA Music Festival and the Expo 2015 opening in Milan, I knew I didn't want to miss the next chapter in EK's story,” said Jason. “Ray has always been focused on product development, on pursuing the kind of innovation that makes working in this industry more of an adventure than a job. It's an exciting time to be coming on board."

Jason can be contacted at [email protected]

www.eklights.com Far left, newly appointed Asia Sales Director, Jason Echols

BOSE Launches New F1 Model 812 Loudspeaker

to maintain optimal tonal balance for each coverage pattern. So whether you are playing at fl oor level, on a stage, or facing raked seats or bleachers, you can now adapt the sound to your room needs.

Engineered with an array of eight high-output mid/high drivers, a high powered 12” woofer and a lower crossover point, the loudspeaker

delivers high SPL performance while maintaining vocal and midrange clarity that is better than conventional loudspeakers.

For extended bass response, Bose F1 Subwoofer packs all the power in a more compact design that is easier to carry. A mounting stand for the loudspeaker is also integrated

into the body of the subwoofer, so you will always know where it is, making setup more convenient.

The launch event began with a short presentation by Michael Guest, Sales Manager, South East Asia & Korea of Bose Corporation, Professional Systems Division, on the new F1 Model 812 Flexible Array Loudspeaker. After which, a virtual live music demo ensued, featuring US band, Farrenheit followed by a DJ performance that further showcased the capabilities and prowess of the new loudspeaker.

The loudspeaker and subwoofer each have 1,000 watts of power, so user can fi ll nearly any venue with sound. The Bose F1 Systems Singapore Launch was organized by Bose’s sole distributor in Singapore, Sovis Pte Ltd (A subsidiary of Atlas Sound & Vision Pte Ltd).

The new F1 Model 812 Loudspeaker and Subwoofer are now available for pre-orders at S$2,530 each.

global.bose.comwww.atlas-sv.com

SINGAPORE: Together with their authorised agent, Sovis Pte Ltd, Bose has offi cially launched the F1 Model 812 Flexible Array Loudspeaker to the Singapore and Southeast Asia market.As Bose's fi rst loudspeaker that lets users control its vertical coverage pattern, sound professionals, musicians, DJs and other performers can now look forward to a wholly immersive audio experience.

The revolutionary new loudspeaker system employs an innovative FLEX Array Technology. Users can imply push or pull the array into position to create “Straight”, “C”, “J”, or “Reverse J” coverage positions. Once set, the system automatically changes the EQ

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Laserworld Takes Up Business In South KoreaSOUTH KOREA: The economy in South Korea is growing and so is the demand for entertainment technology. In order to respond to the industry's growing interest, the Laserworld Group has opened an Korea offi ce. Based in Daejeon, in the center of South Korea, Laserworld Korea handles sales in the area as well as

providing local show laser light services.

“High quality, high power show laser light systems of European manufacturing are in demand” said Peter Jeong, Managing Director of Laserworld Korea. “We defi nitely know of the demand for quality products in our country and thus see great potential for products of

the Laserworld Group of any product series.”

Peter Jeong can be directly contacted at +82-70-7592-4484

Product information and contact details in Korean are available at korea.laserworld.com

Malaysian Artists Endorse Sennheiser MicsMALAYSIA: In 2014, Acoustic & Lighting System (A&L) initiated their very fi rst artist endorsement programme, conducted jointly with Sennheiser Asia. Among thousands of candidates, four young local talented artists were carefully selected – Jaclyn Victor, Tomok, Black and RJ. They were each given a personalized Sennheiser EW 500 series wireless microphone with individual fl ight cases.

A year has passed and A&L recently got back in touch with three of the artists for a follow-up interview Tomok, winner of One in a Million TV Singing competition as well as RJ and Black who received best performance for Anugerah Juara Lagu, a Malaysian music award programme.

A feeling of nostalgia kicked in as all three brought in their endorsed fl ight cases and Sennheiser microphones. Tomok, who recently started promoting his song with Altimet “Aku Tahu” elaborated on the design of the microphone that was custom made for him. “When the audience watch me perform with my own customized microphone, they know that I am not performing just for fun but that I take my music seriously,”

Black who had been using various microphones including the Sennheiser, acknowledged that the microphone was really “bermutu” meaning “excellent quality” in Bahasa Melayu. Black, who recently collaborated with Dayang Norfaizah, mentioned that the

Sennheiser microphone had great quality and was able to capture and produce clear sound in terms of vocal.

RJ who featured in Qarabah “Taubat” supported both Tomok and Black’s statement and emphasized on the convenience of the microphone being wireless and the auto lock function help artists who are always on-the-go.

The interview came to an end with what advice they would like to convey to their fans or individuals who want to pursue a career in the entertainment industry.

Two words summarized their answers, “passion and interest”. As Tomok mentioned, there are many artists out there who may not possess suffi cient quality or passion to last in this industry.

Additionally, Black believes that they should not pursue the career for the money but for their passion and interest in the industry.

“Looking at them and how they have all made it till today, it was defi nitely their passion, interest, and most importantly, their sincerity for music that got them this far,” said a representative of A&L. “We hope that their passion in music will continue burning; setting them as an example to the society. We would also like to thank them for spending their time with us and we are glad that Sennheiser microphone has played a part in their career.”

www.acousticlighting.comen-sg.sennheiser.com

www.electrovoice.com/EKX

18 NEWS E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Sound Offi ce And MSS Jointly Invest In MLA

JAPAN: Martin Audio Japan has announced the appointment of a new MLA partner in the form of a collaboration between Sound Offi ce and MSS.

Based in Ehime Prefecture, Sound Offi ce and MSS have jointly purchased MLA System 30, comprising of 18 x MLA boxes, 2 x MLD Downfi ll and 10 MLX subs.

President of Sound Offi ce, Mr. Fujiwara said, “We needed to upgrade our sound system, and of course we considered several brands as part of that process. MLA was a strong contender but it’s a big commitment too. Sound Offi ce and MSS are located in a small province of Japan and we both wanted to have the newest system, so we had a meeting with the president of MSS, Mr. Miyauchi, and fi nally we decided to purchase the MLA system together.”

President of MSS, Mr. Miyauchi concurred. “I totally agreed when Mr. Fujiwara came to us with the idea of

jointly purchasing MLA because we shared the same vision for developing live sound in the region by using the system. Of course I knew the sound quality of MLA system, I love it. There was no hesitation about MLA.”

Mr Fijiwara continued, “I knew the quality of MLA, as I’ve listened to the system in Tokyo several times, but the main trigger was the SUNBURST2015 festival, as we were keen to use a different system from that which we had used in previous years. The result was fantastic, with everyone in the audience experiencing the same quality of sound, and this is something that is very important for us as we believe artistically better shows are produced and enjoyed as a result.”

One of Sound Offi ce’s engineers, Mr. Sannabe added, “Using MLA for the SUNBURST2015 rock festival, the result was so amazing. I will use it at every opportunity from now on.”

www.martin-audio.com

New Sound Crew

www.acousticlighting.com

NEWS 19E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

RTM Invests In NEXO

MALAYSIA: Radio Television Malaysia (RTM) has acquired 12 units of the NEXO 45°N-12 Wedge Monitors through their vendor, JAA Systems, whom also provided them the solution to improve the entire sound monitoring system for the Auditorium Perdana at Wisma Radio.

JAA-S has established itself as a leading international audio company, with good range of products and services that

cater to the professional and broadcast markets such as Information Technology, Broadcast and Live sound in this South East Asia region.

To ensure that they are providing the complete 45°N-12 sound experience for the customer, the

team's system engineers provided a variation of single, dual and triple setup confi gurations, typically followed by a sound testing session with the customer.

According to the system engineer, NEXO 45°N-12 Wedge Monitor is the most suitable model for the Auditorium Perdana. The NEXO 45°N-12 Wedge Monitor is not just a new product but a radical new concept in stage sound and

that of line monitoring, which brings all the benefi ts of line-array technology onto the stage.

It also features a non-slip base with a skid system and an ergonomic handle for easy repositioning on stage. The system is applicable for touring or fi xed live sound applications, live television production, single monitor reference covering the needs of any musicians.

Speaking from personal experience, one of the RTM sound engineers shared, “It feels great to stand on the stage now as the N12 design enables it to produce a very sharp defi ned dispersion pattern while still offering a huge improvement, in terms of gain level before feedback.”

nexo-sa.comwww.conceptaudio.com.my

www.mipro.com.tw


E&E Launches EAW Redline And dLive In Singapore & Malaysia

SINGAPORE: Electronics & Engineering Pte Ltd offi cially launched the EAW Redline speakers and A&H dLive console in Singapore and Malaysia respectively on the 6th and 8th of October. The Singapore launch held in central Singapore at the Joyden Hall attracted a large crowd of over 100 guests. Guests ranged from rental & staging companies, houses of worship, schools and universities, venues as well as system integrators and consultants.

James Bamlett, ASG Specialist, APAC Region for EAW touched on the unique aspects of the Redline series highlighting the ease with which the system can be deployed, without the need for EQ for a clear and robust sound delivery. Alex Schloesser, Business Development Manager, Asia-Pacifi c – Latin America of Global Market Management, gave the guests a rundown on how the dLive came about. Interesting facts including the thought process on the design and the materials used for the dLive helped guests to appreciate the detailed process A&H had gone through before release of the dLive console.

Guests got to listen to the EAW Redline as well as touch and feel the

dLive. Many swamped James and Alex to get more details about the systems. “It has been great. It is a really good turnout and it was also a great chance to catch up with people.” said James. Sharing the same sentiment, Alex commented that the turnout was great. The event in Kuala Lumpur, Malaysia, elicited a similar response.

Gary Goh, Deputy MD of E&E comments, “There was defi nitely a strong interest in the solutions and we are pleased to bring the latest technologies to the industry. The brands were great in getting involved and sharing their expertise with the industry and we look forward to more collaborations in the future.”

www.enepl.com.sg

ASG Specialist, James Bamlett

Alex Schloesser, Business Development Manager, on the dLive


To learn more, connect with us on:

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TW AUDiO’s Post-Demo Day PurchaseMALAYSIA: Following their demo day in Kuala Lumpur, TW AUDiO, signed a deal with major rental company, Fajar Baiduri Events (FBE) for the purchase of 24 x VERA36 and 20 x S33 subwoofers.

Established in 1992, FBE has been progressively growing in Malaysia and are now a full-service event production company with sound, lights, visuals, and tents.

FBE’s owner, Khairul Isma aka ‘Kojack’, was already captivated by the VERA36’s 70cm wide frame that hides dynamics and low-mid performance expected from much bigger systems. The Demo Day KL setup served to seal the deal for him. “It was about time we upgraded”, said Kojack. “We’ve been looking at what the market has to offer in terms of rigging handling, set up time, loading space, and the impact it would have on

my team. TW AUDiO’s VERA36 fi ts all these requirements. When I heard the complete system during the Demo Day, I told myself that that PA was going to be part of my company’s portfolio.”

In October, FBE’s technicians attended a two-day training session at TW AUDiO ASIA’s offi ce. Augustine Edward, TW AUDiO’s ASIA’s General Manager and TW AUDiO’s Support Asia, expanded on their knowledge of line array theory and trained them in the use of Lab.Gruppen’s Lake software and the Ease Focus II simulation software, following their purchase of Lab.Gruppen PLM 10000 amplifi ers and PLM 20000 amplifi ers.

“We’ve had an overwhelming response since I announced that I bought the VERA36 system. Our schedule became more packed than usual so this was defi nitely the right decision for us. With

the post-sales support that I get from TW AUDiO ASIA, there is nothing more that I could ask for”, said Kojack.

Bernhard Wuestner, TW AUDIO’s Managing Director said, “We are very happy with FBE’s purchase. It strengthens our constantly growing network.”

www.twaudio.de

Augustine Edward (right) with FBE Owner, Kojack


JAA Systems Appoints David Chan as General Manager

MALAYSIA: JAA Systems Sdn Bhd has appointed David Chan as its new General Manager, making him the local representative offi ce of Jünger Audio Asia in Malaysia.

David, who has many years of experience in the broadcast industry, will manage and run the daily operations of JAA Systems Sdn Bhd. This company was established in 2014 to provide technical support to broadcast customers in South East Asia, in particular, those using Jünger Audio products and systems. It also supports other manufacturer's products and offers a wide range of services, including pre-sales consultation, system design, installation, commissioning and after sales support.

Together with JAA System's existing team, David will now have exclusive responsibility for selling Jünger Audio products in Malaysia and will provide direct support to all clients and dealers in the South East Asia region.

“I am thrilled to be joining JAA Systems Sdn Bhd,” he said. “As Jünger Audio has become a household name to most broadcasters here, it is essential to maintain good relationships and provide the best support to all clients. In addition to supporting Jünger Audio products, I am also tasked with further developing the company and building it up to the next level. It will be an interesting challenge and one that I’m looking forward to very much.”

Tan Kim Poh, Managing Director of Jünger Audio Asia Pte Ltd, added: “David is well known and respected in the industry, having previously developed Stagetec Asia. I’m confi dent that the experience and skills he brings to JAA Systems Sdn Bhd will enhance the presence and reputation of Jünger Audio products throughout Malaysia and South East Asia."

junger-audio.com



NEXO Training Programme Reaches India

INDIA: With a mission to show new technology and provide education to the system integrators and rental companies of India, Sun Infonet and NEXO co-presented a successful ETC (Education, Training and Certifi cation) programme in two prime locations, Bengaluru and Mumbai, both well-known music hubs.

Renowned system integrators and rental companies showed immense interest, and everyone attending the course wanted to get their hands on the NEXO systems for some practical tuition.

The event was hosted in a venue fully equipped with the latest NEXO products; PS10-R2 and PS15-R2, LS18 sub bass, GEO M6 compact line arrays, 45N-12 line monitors, and the different STM modules which make up NEXO’s fl agship PA Series

With the help of Sun Infonet technical staff, Nicolas Kirsch and Francois Deffarges from NEXO conducted an extensive training course in the application, advantages and technology used in NEXO products.

Mr. Dhinakar, owner of rental company DS Pro Sound, carries almost every NEXO product in his inventory. He was on hand in Bengaluru to share his experience, notably on the last day when a live band and DJ performed on a stage equipped with a STM PA system.

After two days of the ETC programme in Bengaluru, the caravan of NEXO and Sun Infonet tutors moved to Mumbai, also a music-loving city, where a large number of system integrators, rental companies, sound engineers, and music consultants attended. The enthusiasm of so many participants made this Mumbai programme a big success, convincing Sun Infonet and the NEXO ambassadors to promise further ETC sessions in the near future.

Anyone wishing to attend or to discover more about NEXO’s ETC training seminars should contact: [email protected]

www.nexo-sa.com

www.prolyte-asia.com

www.prolyte-doughty.jp


An Evening With Robe

SINGAPORE: Robe Lighting Asia Pacifi c recently held an intimate gathering at a local wine bar for casual conversation with clients and friends. The small gathering was an impromptu event to mainly recognise Showtec, the local rental company, for its huge order of Robe BMFL fi xtures that were extensively used for the South-East Asia Games and during Singapore's 50th Golden Jubilee Celebrations. The event was also

an opportunity to introduce Robe Lighting Asia Pacifi c's new member, Vincent Tan, who takes on the role of Business Development.

An evening of selected cheese, great company, spread of delicious local food and of course the perfect wine had all present in good cheer and spirit.

www.robe.cz



Analog Way Releases New LiveCore Firmware UpgradeINTERNATIONAL: Analog Way has announced the immediate availability of the new v03.01.60 fi rmware for all the LiveCore Presentation Mixers. The new fi rmware offers major improvements in terms of show creation and management.

Analog Way’s LiveCore series of AV Mixers offers versatile connectivity and state-of-the-art processing through six models: Ascender 48, Ascender 32, Ascender 16, SmartMatriX Ultra, NeXtage 16, and NeXtage 08.

The line has been updated with new v03.01.60 fi rmware, immediately available for all the LiveCore systems. The new fi rmware offers major improvements including the new Cut &

Fill feature. This functionality allows the content of a layer to be keyed using an input or a still picture (frame or logo). Pairing two layers with the Web RCS - one containing a grey level source (Cut), the other one a live source (Fill) - the unit can display perfectly keyed content to achieve non-rectangular, smooth-edged key layers. The Cut can be either a live source synchronized with the Fill or a still picture.

In addition, several other features that expand display capabilities have been implemented. Operators can now create custom output formats. These can be stored in the Custom Output Format section which offers up to 10 memories. This feature is particularly useful for LED wall applications and nonstandard industrial display applications.

Thanks to the new version fi rmware upgrade, the LiveCore systems now enable to import or capture 4K frames, and the Dual-Link DVI output plugs support the output formats 3840x1080 and 4096x1080 (up to 60 Hz). For devices with four outputs, these formats can be used to create 4K screens with Top-Bottom output confi guration.

In addition, the new version gives access to Heterogeneous Link support. Using the Web RCS, two Ascender units of any kind can be linked through the Link cable, offering wider output capabilities and better management of the fl eet.

www.analogway.com

www.adamsonsystems.com


Epson Powers Mercedes AMG Petronas F1 Team

SINGAPORE: A few days prior to the Singapore Formula One Grand Prix, Epson shared insights on the long-term global partnership with MERCEDES AMG PETRONAS Formula One Team by presenting a technology showcase with the 2014 FIA Formula One World Champions.

“Epson's use of innovative technology to deliver performance is perfectly aligned to what we strive to achieve in Formula One. Over the past 8 months, we have started to move beyond this shared philosophy into the practicalities of the team integrating Epson technology into many areas of our operation. This process has delivered some great benefi ts and will continue into an exciting and deeper level of technical integration as our partnership matures,” said Toto Wolff, Head of Mercedes-Benz Motorsport.

During the event, guests were treated to a variety of Epson's signature innovations, from its 3LCD projection technology to its latest wearables.

Using seven Epson EB-Z series projectors, ranging from 8,000 to 10,000 lumens, the team demonstrated the vibrant colours and clarity of its high-brightness 3LCD projectors with a projection mapping display on a

Formula One race car. Mercedes AMG Petronas driver, Lewis Hamilton activated the projection sequence by writing his hashtag on the projection wall with his fi ngers, made possible with Epson EB-1430Wi ultra-short throw fi nger touch enabled Interactive Projector.

To further 'wow' the audience, the team decided to work with the content and mapping production agency, Aims Productions (SG) Pte Ltd to develop the dynamic content that would best present the partnership, while incorporating key Epson products into the showcase.

With AIMS behind the wheel, the audience were taken on a visual journey behind the process of industrial car

design. From sketching, scanning to production by incorporating Epson products’ such as Epson’s EB-1430Wi ultra-short throw fi nger touch-enabled interactive projector for 3D design/modifi cation and SureColor SC-T5270/7270 series to simulate the printing of blueprint technical drawing.

Guests were also able to experience fi rst-hand Epson's Runsense GPS sports watches and its PS-500 Pulsense heart rate activity trackers, as well as the much acclaimed see-through mobile viewer, Moverio BT-200 smart glasses, which delivered an engaging augmented reality experience through quality qHD and 3D images.

“The overall concept is about the alignment of the two champion brands as well as Epson’s revolutionary 3LCD projection technology. Car mapping is not new in the market but it’s refreshing to see on a F1 car and initiated by Lewis Hamilton at that!” said Tan May Lin, General Manager, Epson Singapore Pte Ltd, Sales Division. “The overall feedback on the projection mapping was very positive from the invited guests (including business partners and media) as they got to see the performance and capabilities of Epson’s high brightness projectors.”

www.epson.com.sg

www.eklights.com


Stadia & Arena Asia Pacifi c 2015 Lauded An Overwhelming Success

SINGAPORE: Held from 28-30th September, the second edition of Stadia & Arena Asia Pacifi c conference and exhibition took place at the Singapore Sports Hub. Present were over 50 speakers from the Asia Pacifi c region and beyond who gave attending delegates an insight into the growing industry.

More than billions of dollars' worth of global sports venue projects were represented at the event, including personnel who are currently involved in major sports projects around the region such as the Sports City Malaysia (hosts of 2017 SEA Games), the Cambodia National Stadium, Haryana Cricket Stadium and Kai Tek Stadium Hong Kong. Developers behind major new sports projects in Australia, China and New Zealand were also in attendance.

The event began with an exclusive 'behind-the-scene' tours of the Singapore Sports Hub, followed by an elite list of speakers who covered

all aspects of sports venue design, operations, revenue generation, fan engagement as well as key stadia technology, which includes pro audiovisual implementations.

On the fi rst day, delegates at the Open Forum were briefed on key regional market reports namely Singapore, Australia and Indonesia. During the Australia session, an expert panel session was held with Brian Morris, Chief Executive Offi cer of Melbourne & Olympic Parks Trust; Jason Hill, General Manager Commercial for Sydney Cricket & Sports Ground Trust and Phil Martin, Strategic Relationship Manager from Cox Architecture. With new stadiums and major upgrading works coming up in New South Wales, such as the A$350m ANZ Stadium in Sydney, and more in places such as Perth and Queensland, it is no wonder the panelists are optimistic. While there is a focus on fan engagement and working with local authorities to resolve transportation and venue accessibility, the panelists also

mentioned there has been a trend in stadia where WiFi hotspots and IPTV are becoming important technologies.

Next, we saw Timmy Setiawan, President Director of PT Unitri Cipta, who gave a brief update on Indonesia's upcoming stadia projects which include the much-anticipated 55,000 seater BMW Stadium in Jakarta and the Balikpapan Stadium in Borneo. Major upgrading works for Jakabaring Sports City and Gelora Bung Karno Stadium are also key facilities to watch out for as the country prepares itself for the 2018 Asian Games. “Jakabaring Sports City is to become the trigger of Indonesia,” said Timmy during his speech.

On Day 2 of the conference, delegates saw an interesting audio segment delivered by Jim Griffi ths, Director of Vanguardia Consulting, who spoke about using audio to enhance fan engagement. There was also a panel session by representatives from global design practice, Populous, who presented

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the results of their year-long project to discover how the venues of the future will look, feel and function. Amongst the many concurrent sessions that took place, attendees on Day 3 also saw a perceptive session presented by 4 key stadia technologists including Chris Dodds, Managing Director of The P.A. People; Fred Lazzerini, Managing Director Asia-Pacifi c for Ungerboeck Software International; Kevin Worster, Director – Major Projects, Siemens; Derek Paton, President of Zinwave; Roland Meier, Head of Panomera® Multifocal Sensor Systems for Dallmeier Electronic GmbH & Co. KG, who gave us a deep insight on integrating technology into stadium.

Much buzz was generated around network infrastructure. As Chris puts it, “Network is key, whether it is for IPTV, WiFi etc.” Continuing, he said, “The key challenge now for stadias and arena is to get proper network infrastructure in order to design a good audio network.” Speaking from his experience as an integrator, the prominence of digitally networked audio distribution has made a proper network infrastructure in venues essential.

Building on it, Fred mentioned that it is important to get the network infrastructure right before the construction commenced as it would save a lot of work later. Next, Kevin touched on the issue of how having too many proprietary systems in one projects can hinder integration. His advice for a smoother integration and faster project progression is to cut down on the number of suppliers so as to lessen the

complications that comes with multiple systems that might not be able work well together.

Quoting audio, IPTV, Digital Signage as some of the key proAV technology for stadiums, Chris also mentioned how architects sometimes overlooked the technology needs of a stadia in operation. He suggested that it will be benefi cial for architects to work closely with technology providers in order to come up with practical, functional and aesthetically-pleasing designs in order to avoid any technical diffi culties later on.

On the show fl oor, attendees had the opportunity to network and meet with experts across the entire spectrum of stadia products and services, where many of whom were exhibiting in Asia for the fi rst time. Some notable names present include Harman, d&b audiotechnik, D.A.S Audio, Oracle, Light10 Industries, Star Events, Vanguardia Consulting etc.

With the recent announcement of a new leadership team for its new Strategic Business Unit's (SBUs), Harman is poised

to take on different vertical markets needs than ever. Its presence at the show refl ects the positivity in the new shake-up as solutions as David Bradshaw, Business Development Manager of Harman Professional, shares that Harman is now well-positioned to undertake any projects with its diverse offerings of products and services.

A fi rst-time exhibitor, d&b audiotechnik came in as they saw an increasing demand for high performance audio in stadium. “We are beginning to see more potential in Asia and Middle East such as Japan and Qatar,” said Ralf Kohler, Head of Global Business, d&b audiotechnik GmbH. “Every stadium and venue is different... sound requirements varies so fl exibility in audio system is important.”

Not a stranger to Stadia & Arena, the 2015 show was D.A.S Audio second participation. “Stadium business is huge,” said Juan Luis Garcia, Managing Director of D.A.S Audio Asia, “We have come to this show to network with people from the architecture and engineering industry as well as construction companies. The show has got an interesting conference and a good mix of international delegates... We also see a lot of potential in Southeast Asia.”

With the Asia Pacifi c region playing host to the 2018 Winter Olympics, 2018 Commonwealth Games, 2019 Ruby World Cup, and both the 2020 Summer and Winter Olympics, plans are already well underway to host the next Stadia & Arena Asia Pacifi c 2016 in Japan.

saevents.uk.com

David Bradshaw, Business Development Manager of Harman Professional

www.sennheiser.com

No. 2, Kallang Way 5, 349022 SingaporePhone: +65 - 6287 98 78 Fax: +65 - 6287 93 88E-Mail: [email protected] www.tsm-int.com

www.chainmaster.de

Capacity 250 kg - 12000 kg

Climbing- Or

Standard Hoist

Overload Protection with

Patented Friction Clutch

Direct Control Or

Contactor Control

Light And Compact Design

Precise Chain Guide

Textil Chain Bag

Several Models On Stock

32 ENNOVATIONSE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

FINE ART: FINE 1519 PIXIE

• Source: 19 x 15W RGBW 4 in 1 LEDs • Life Span: > 50,000 hrs• Beam Angle: 4 ~ 60 degree• Light Effi ciency: 15 lm/w• Luminous Flux: > 4,500 lm• Color macro and color gradual change• Control Channel: 21/78/97 control channel mode• Protocol: Standard DMX512, Art-Net, wireless DMX • Menu Display: LCD display• Power Source: AC100-240V 50/60Hz• Input Power: 300W

FINE 1519 PIXIE is an innovative LED moving head luminaire with functions of Beam and Wash. With high-quality Osram RGBW 4 in 1 LED lamp as its

light source, each one can be controlled individually. The unique rotatable dual optical lens can create beautiful dynamic effects as well.”

- FINE ART

en.fi neart-light.com

TOTALVISUAL CONTROL

Quartz

Sapphire Touch

Avolites:+44 (0) 2089 658 [email protected]

Total Solution:(+65) 6287 [email protected]

Tiger Touch II

33E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

ENNOVATIONS

HK Audio: Linear Additions

When we fi rst gave the world a sneak preview of LTS A and L SUB 4000 A at Pro Light + Sound 2015 in April, there was big excitement. Since then,

we’ve been fi eld testing and fi ne-tuning the systems at some German summer festivals and clubs; the results have been spectacular. LTS A and L SUB 4000 A represent a huge step forward for HK Audio, and for the sound reinforcement game in general.”

- Alexander Wollenberg, HK Audio Product Manager

hkaudio.com

LINEAR 5 LTS A• Power output: 1000 watts class D (650 watts + 350 watts, bi-amped) • Max. SPL peak: 140 dB (half space) • Frequency range: 90 Hz to 20 kHz ( -10 dB) • Directivity Degree: 60 horizontal, +5/-30 vertical • HF: 1 x 1” compression driver with 1.7” v.c, MCT • Low mids: 3 x 8” neodymium, horn loaded, Helmholtz resonator • Crossover frequency: 1.7 kHz, FIR phase-corrected • Dimensions (WxHxD): 17’’ x 26.7’’ x 18’’ (44 x 68 x 46.1 cm) • Weight: 24.7 kg (54.45 lbs)

LINEAR SUB 4000 A• Power output: 1200 watts class D subwoofer• Max. SPL peak: 137 dB (half space)• Frequency range: 31 Hz to crossover• Crossover frequency: 70 / 100 Hz, variable, 24 dB / octave• Speaker: 1 x 18”, double vented band-pass enclosure• Dimensions(WxHxD): 35.7’’ x 20 x 31.5’’ (90.8 x 50.8 x 80.1 cm) • Weight: 59 kg (130 lbs)

34 E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

ENNOVATIONS

Robe: BMFL Wash

• Source: Compact short-arc metal halide lamp

• Lifetime: 750 hours @ 1.700W / 1.500W / Silent mode

• Optical System: Dichroic glass refl ector

• Beam angle: Zoom range 4.5 – 55 degree

• Output Lens diameter: 190 mm• Input voltage range: 200 –240 V,

50/60 Hz• Power consumption: 2.000 W at

230 V / 50 Hz• 3-editable programs, each up to

100 steps• QVGA Robe touch screen with

battery backup, gravitation sensor for auto screen positioning, operation memory service log with RTC

• Pan/Tilt: 540/270 degree• Frost: Interchangeable – light,

medium (standard), heavy• Variable CTO: 2.700 – 6.000 K• Colour wheel 2 with 6

replaceable SLOT&LOCK“ dichroic colours: pink, lavender, laser green, 9.000 K CTB, minus half and minus green + white

• Dimensions (HxWxD): 32.5’’ x 19’’ x 13.2’’ (82.6 x 48.3 x 33.5 cm)

• Weight: 35.5 kg (78.3lbs)

BMFL Wash and BMFL Wash XF are the ultimate 1700W lamp based wash lights, and the latest fi xtures to be added to Robe’s ‘game-changing’

BMFL range of luminaires. These are powerful workhorse wash lights, packed with innovative and creative features.”

- Robe

www.robe.cz

www.tsm-int.comPhone: +65-62879878

[email protected]

YOU´ VE GOT THE SKILLS.

WE´ VE GOT THE TOOLS.

www.coolux.com

YOU´ VE GOT THE SKILLS


ENNOVATIONS

d&b Audio: V Series Additions

• Frequency response (–5 dB standard): 59 Hz - 18 kHz

• 3-way passive point source loudspeaker

• Nominal impedance: 8 Ω• Cabinets per amplifi er channel: 2• Power handling capacity (RMS/

peak 10 ms): 500/2000 W• Components: - 2 x 10” LF driver with neodymium magnet

- 1 x 8” MF driver with neodymium magnet - 1 x 1.4” exit compression driver• Passive crossover network• Dimensions (HxWxD): 27.5 x 12 x

18.3” (70 x 30.8 x 46.6 cm)• Weight: 33 kg (75lbs)• Installation specifi c models

available for V7P, V10P & V-GSUB

The V7P and V10P use an advanced horn loaded mid range section, which provides a remarkable MF sensitivity. This exceptional mid frequency

performance, particularly in the vocal range, is where these compact V-Series cabinets excel. This endless vocal headroom makes them perfect for applications which demand high sound pressure levels with full bandwidth capabilities from a single box solution.”

- Werner ‘Vier’ Bayer, d&b Product Manager www.dbaudio.com

V7P• Nominal dispersion angle degree

(h x v): 75 x 40

V10P• Nominal dispersion angle degree

(h x v): 110 x 40

(V7P & V10P only)

V-GSUB• Cardioid subwoofer• Frequency response (–5 dB

standard): 37 Hz - 115 Hz• Power handling capacity (RMS/

peak 10 ms): 800/3200 W

• Components: - 1 x 18” driver - 1 x 12” driver• Dimensions (HxWxD): 23.8’’ x

27.5’’ x 28.6’’ (60.6 x 70 x 72.8 cm)

• Weight: 61 kg (135 lbs)

www.tsm-int.com

www.robertjuliat.com

www.followspot-merlin.com


ENNOVATIONS

QSC: AP-4122m + AP212sw

Install loudspeakers are often required to perform multiple tasks, having a product solution that can effectively meet these demands of different

applications is invaluable. The new additions to the AcousticPerformance Series offer versatility without compromise. In addition, when you combine these new loudspeaker with the QSC PLD4.2 or CXD4.2 processing amplifi ers, you create a very formidable yet cost effective package”

- Travis Nie, QSC Product Manager – Install Loudspeakers.

www.qsc.com

AP-4122m Loudspeaker• Frequency response (-10 dB): 55

Hz to 20 kHz• Rated noise power / voltage: 325

watts / 36 volts rms• Coverage angle: 90-degree

Conical• Maximum SPL at 1 m (passive):

127 dB peak• Components:- HF transducer: 45 mm (1.75-inch)

voice coil, compression driver- LF transducer: 305 mm (12-inch)

driver with 64 mm (2.5-inch) voice coil

• Dimensions (HxWxD): 22.5” × 15.1” × 14.5” (51 x 38.5 x 37 cm)

• Weight: 18.1 kg (39.7 lbs)

AP-212sw Dual Subwoofer

• Frequency response: 35 Hz to 250 Hz

• Rated noise power / voltage: 600 watts / 49 volts rms

• Maximum SPL at 1 m (passive): 128 dB peak

• LF transducer: 2 x 12’’ weather resistant cone woofers with 2.5’’ voice coil

• Dimensions (HxWxD): 26” × 15” × 24” (66 x 38.1 x 61 cm)

• Weight: 30.4 kg (65.4 lbs)

AP-4122m

www.tsm-int.com

ENNOVATIONS 37E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Philips Lighting: Showline SL Beam 300 FX

• Type: Automated Wash Luminaire• Beam Angle: 4 - 40 degree • Source: 19 x RGBW LEDs• 4500 Lumens• Pan/Tilt Degree: 540/230• IP20 Rating• Individual pixel control and carefully designed optics

deliver full fl exibility • Large selection of unique preset effects• Weight: 14.5 kg (31.9 lbs)

The SL BEAM 300FX delivers a crisp, tightly collimated beam at the narrow zoom angles and the dual rotating front lens and effect wheel creates

a unique myriad of bright compositions. The wider zoom delivers a powerful blended wash of color, and entrancing, fl uid lighting effects can be created with the lens and effects wheel.”

- Philips Lighting

www.lighting.philips.com

www.craneloadcells.com

www.tsm-int.com

38 ENNOVATIONSE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

PR Lighting: XR 330 BWSAll these fi xtures combine superb optics with advanced light source technology to deliver bright, fl at and uniform light, all linearly adjustable.”

- PR Lighting

www.pr-lighting.com

• Source: 330W SIRIUS HRI discharge lamp

• Avg Lamp Life: 1,500 hrs• Power Consumption:

450W@220V• Beam Angle Degree(linearly

adjustable):- Beam: 2.3 ~ 10 - Spot: 5 ~ 22 - Wash: 5 ~ 40 • Pan/Tilt Degree: 540/270 with

auto position correction• Gobo Wheels: - 1 x fi xed w/ 14 rotating gobos +

white- 1 x rotating w/ 9 rotating gobos +

white (interchangeable)

• 1 x Colour Wheel w/ 13 colours and 1CTO + white

• 8-facet and 16-facet prisms, optional 3-facet or 16-facet prism

• Channels (modes): 21 (short), 26 (standard) and 31 (extended)

• Wireless control • IP20 Rating• Weight: 22.2 kg (48.9 lbs)• Shipping Now

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40 SPECIAL FEATUREE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Lighting

Audio

Visual Displays

Staging

83.3 %

72.2%

88.9%

33.3%

Video Production

Other

38.9%

22.2%

Concerts

Religious Events

Corporate Events

Festivals

Others

National Events

22%

23.4%

19.1%

12.3%

15%

8.2%

The Business Of Rental

The fi gures below show the services provided by respondents. We did not expect to see that almost 89% had visual displays in their inventory. With LEDs becoming prominent in almost every event maybe we should not be that surprised!

No real surprise here to see that Corporate events lead the way but only just marginally. It was not specifi ed if the concerts were in relation to foreign artistes or local. In this region, other than Singapore, the local music scene has strong local recording artistes who do inter-city tours. Religious Events have become prominent over the years and more ‘OOMPH’ is being added to traditional celebrations with sound, lights and visual.

According to a 2014 AV Market Defi nition & Strategy Study report released by InfoComm International, revenue in relation to Rental & Staging (R&S) services in South-East Asia (SEA) was projected to have hit USD171 million in 2014 with USD246 million projected for 2016. Considering that in 2014 ASEAN’s combined GDP was the 7th largest in the world at USD2.4 trillion and in a region that has a Median Age of 28, there is so much more potential to reap. To investigate the state of the industry in the SEA region, ETA sent out a survey to 70 mid-sized and large R&S companies. We had a return of 30% which according to Survey Company standards is a fair return. Among our fi ndings, it was revealed that R&S companies generally tend to update their inventory at least once a year to keep up-to-date and are normally the fi rst ones to have the latest releases.

(TV Broadcast; International Sports; Seminars & Conferences; 3D Projection mapping)

SPECIAL FEATURE 41E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Lack of manpower

Lowered prices from competing

vendors

Limited Budgets

Lack of Clients

23.7%

11.1%

27.4%

23%

Others (Clients not paying on time; Client management;

Companies investing in cheap China made products)

14.8%

38.9%

27.8%27.8%

5.5%

1 2 3 4 5

We hear this constantly - production companies outbidding each other by going below acceptable margins for jobs. This may take a long time for the mentality to change and in the long run, the companies who continue to do this will fi nd themselves in trouble as their interest is in cashfl ow rather than actual business. Manpower issues are not surprising. For those in Singapore, at least, the Institute of Technical Education is putting in the effort to churn out tech support students for the industry.

On a scale of 1-5, 94.5% of our respondents agreed that investing in new technology was important while 38.9% felt it was an absolute necessity. This is good news as it means the companies are continuously evolving.


6 months

1 year

2 years or more

50%

38.8%

5.6%

5.6%3 months

50% of our respondents indicated that they update their inventory every 6 months. Overall, 88.9% highlight that they update their inventory at least once a year.

Many respondents highlighted that they spend at least above USD50,000 per year on investing in new equipment or upgrading their equipment. 38.9% of them highlighted that they spend above USD200,000 a year. Based on the respondent pool that would mean at least an expenditure of USD2.2 million a year based on USD200,000.

11.1% 38.9% 11.1% 38.9%

Below

USD50,000USD50,000 -

100,000

USD100,000 -

150,000

Above

USD200,000

Truss Exchange Programme

Exchange your old truss for brand-new Prolyte truss

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No handling, no fuss - Prolyte will arrange delivery and pick-up of discarded truss

Keeping it green - Truss materials will be scrapped and recycled

For each kilogram of old truss you trade in you will get 5 times the scrap value of aluminium


Return Of

Investment

Latest In Th e

Market

Brand Name

Country Of

Manufacturing

Cost

27.4%

21%

13.6%

21.2%

16.8%

Distance

Brand Name

Availability

Relationship with

distributor

27.2%

23.6%

21.4%

27.8%

38.9%38.9%

22.2%

1 2 3 4 5

Results show that brand name does not signifi cantly impact choice of investment. Instead, ROI, cost and having the latest technology in the market affect more decisions. ETA feels that this particular fi gure might be slightly skewed. If the business was mainly dedicated to concerts especially foreign concerts, there is a strong possibility that brands might be very relevant as they normally tend to be in the rider list. We fi nd this especially true for audio. We feel that the majority of our respondents were not specifi c to the foreign artist market and thus, resulted in brand names not being featured promimently.

ETA had to ask this, and we were not surprised that, the relationship with distributors pipped brand name. It is odd that in the above question brand name was not a key consideration yet for product demonstrations it ranked almost as high as relationships with distributors. However, it is very possible if decision makers want to see a demo, it would be because of the brand. It was also found that if a distributor, who has close relationships with users, decided to demo an unrecognised brand many would attend. So manufacturers, it would be good to appoint distributors who have strong links the market.

On a scale of 1-5, we asked respondents how optimistic they were about the growth of their business within the next 5 years. It is good to know that almost 78% of respondents are very confi dent. Hey, the MDSS survey highlights that there would be a CAGR of 15% between 2014 and 2016 and if our respondents were not confi dent, those survey results would not be achievable.

ETA feels that as some of the countries in ASEAN begin to develop, there will be more opportunities for industries such as Telcos, consumer brands, and other corporates to try and win the hearts and minds of consumers through events and concerts.

www.prolightsound-guangzhou.com

46 EXHIBITION PREVIEW E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Prolight + Sound Guangzhou Sets 2016 Show Dates And Expands Show’s Scale

After months of negotiation, China’s leading pro audio and lighting show, Prolight +

Sound Guangzhou, has nailed down its 2016 show dates. Being held from 29 February to 3 March next year, the show will be even bigger and occupy the entirety of Area A in the China Import & Export Fair Complex, Guangzhou.

The show’s organisers explained how decisions were made in close cooperation with the industry. “We talked to many exhibitors and visitors from the last show and received different opinions about the show dates, and we are highly committed to providing the best solution for everyone. Combining the comments and possibilities, we are happy to announce the new 2016 show dates and it will be held during the peak sourcing season of the industry,” said Ms

Fiona Chiew, Deputy General Manager for Messe Frankfurt (Shanghai) Co Ltd.

2016 Focus: Internationality And Comprehensive Product VarietyTo fortify the position as China’s largest marketing platform for the pro audio

and lighting industry, the key focuses of the 2016 show are internationality and comprehensive product variety. The fi rst step is to expand Prolight + Sound Guangzhou by using all 13 halls and the entire outdoor space in Area A of the venue, plus a new exciting component this year.

EXHIBITION PREVIEW 47E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

“As we always emphasise, we aim not just to grow big but strong. So the second piece of good news for the 2016 show is, we will have the debut of international pavilions from Italy, Korea and Taiwan. This is a successful result of resources integration between Messe Frankfurt and our local partner the Guangdong International Science and Technology Exhibition Company,” Ms Chiew added. In addition to the newly added international pavilions, the halls will be categorised into Audio Brand Name Halls, Pro audio Halls, Lighting

Halls, KTV Hall and Enping Microphone Halls.

In order to provide an all-inclusive platform for show attendees to source, network and learn, the organisers have partnered with famous industry associations worldwide such as the Professional Lighting & Sound Association of Germany (VPLT) to host educational forums and seminars that bring fi rst-hand market insights to the industry. Further details of the fringe events will be announced in upcoming press releases.

Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE). For details and information about the show, please visit www.prolightsound-guangzhou.com or email [email protected].

For further details about Prolight + Sound fairs listed below, please visit www.prolight-sound.com.

48 PROFILEE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Things You Need To Know About d3 Technologies

Up until 2014, d3 Technologies was virtually unknown in Asia. Then 2015 rolled around, and they took the region by storm. Following the launch of their new VFC output cards, here are 9 things you need to know about the company behind the award-winning d3 software and media servers that this year followed Ed Sheeran on his sold-out ‘X’ tour.

“We never expected to ever sell d3, we at UVA always saw it as our internal toolkit that we would constantly redevelop and re-engineer to do bigger and better shows.”

By 2006, that toolkit had evolved into d3 for the U2 Vertigo tour. “By the time it was driving the whole of the U2 Vertigo Tour, it occurred to us that we should perhaps think about turning this into a real product. Two years later, for U2’s 360 tour, d3 became available on the open market after being in exclusive development with the rental company, XL Video. It took another 5 years for d3 Technologies to emerge as a separate company from within UVA, and started trading as a separate legal entity in 2013.”

THEY DON’T MAKE A MEDIA SERVERd3 Technologies do not consider

their products media servers because a server just serves media. Instead, d3 is what they call a media platform because it has a 3D stage simulator, timeline-based sequencer and output feed confi gurator in one integrated solution.

If you feel the need to pigeon-hole/categorise d3 into something more familiar, consider the fact that, currently, there are two types of media servers available: 2D and 3D. “d3 is defi nitely in the 3D arena” says Chris, “ we were the fi rst people to start from the 3D stage and build upwards from there”.

According to d3, most 3D media servers do not have a 3D stage visualizer at their core, but are more like ‘bolt-ons’ to visualise a stage, and cannot be considered ‘integrated’. d3 is different because we actually simulate every screen, projectors and light, right down to the pixel level. That way, you can literally throw video content into a 3D stage and the mapping happens in real-time, across the entire stage, no matter what devices are there, DMX and video are the same to us, pixels are pixels.”

Chris adds, “We were the fi rst people to ever do this, putting these 3 things together, to make an integrated show platform and that means everything is contained within one environment, or canvas, just like the real-world.”

THEY BUILD THE SHOWSAt the d3 headquarters in London, there are 28

professionals who have backgrounds in business, production, content creation, hardware design, operation and coding.

2

3

THEY ARE NOT NEW TO THE INDUSTRYThe current d3 company was built

out of the well-known art and design practice, United Visual Artists (UVA) in the UK, famous for creating monumental light installations and immersive environments. UVA always made it’s own tools to bring their complex installations or event-based work form to life, and d3 was the tool-kit they developed in-house to achieve these goals.

“We made our fi rst software-based media server with a real-time graphics engine in 2002,” said Chris Bird, Director and Founder of d3 Technologies and UVA. “We then built the hardware, took it on the road with Massive Attack for their 100th Window Tour.” Chris Bird, had built his fi rst media server for the Pet Shop Boys Nightlife tour in 1999, and had been playing with computer vision techniques since 1992. UVA still work with Massive Attack as creative directors for their live shows.

1

4x4pro

9

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As d3 was born in the UVA creative workspace, it’s this special projects experience that makes d3 different; they actually make shows and work directly with the customer on the most complex of projects. They understand what it takes to do something different.Having been in the fi eld before, they have come together under one roof to make their products truly unique. The headquarters moonlights as a research and development lab with the R&D department taking up most of the building’s fl oor-space.

This means that every show design/product coming out of there has been made by the people who design and build shows. They are not just hardware and software developers, they are your colleagues who are in the fi eld with you.

Once ideas have passed the strict test of working the way they need to, they go through mass production in the West. Specifi cally, the Pro Range (4x4 + 4x2 Pro) is built in the US while the Plus Range (2x2 Plus) is manufactured in the UK.

THEY MAKE IT EASY TO WORK ON ONE PLATFORM

The important thing with d3 is that you can use it from the beginning of any project all the way to the end. The graphic below looks to demonstrate this point. As you can see, the stages of any

production tend to go from a concept design through detail design, pre-production, installation or production, live rehearsals to the opening of the event.

Most media servers are not used in the early design phases of a production but with d3, from the very beginning of winning your tender, d3 is there as a presentation/concept design tool. Use it to experiment with your stage design, and then to show your designs to the client in a virtual environment before stepping on to site with a polished show. The benefi t here is that the tool you ultimately use to playback your show, is also the tool you’ve been working on right from the beginning. With d3 it’s all about Workfl ow.

THEY PUSH EVERY PIXELThe ‘Push Every Pixel’ catchphrase has offi cially been

trademarked by d3. It is the fundamental principle of d3 hardware that can be seen in each of their hardware servers. “To push every pixel, every output that you present to screen, not your control GUI but every output to screen needs to be able to crossfade and handle that load. To demonstrate, the philosophy behind the 4x4pro is that it can push every pixel of 4 x 4Ks which is the equivalent of 16 HD videos at output, but 32 layers of HD with crossfades,” explained Chris.

With the new Video Format Conversion (VFC) cards, 4x4pro users can mix and match video output signals as their shows demand. User swappable VFC cards enable users to run up to 16 HD outputs from a single 4x4pro using Quad-DVI or Quad-SDI, or up to four 4K outputs through DisplayPort 1.2. Different cards can be mixed in the same server permitting any confi guration of video signals or you can slot out the old cards and slot in new ones.

This means large, multi-projector shows can be delivered with fewer machines and no downstream splitter devices. That drastically reduces cost, rack space, set-up time and complexity – all without adding any signal latency.“The VFC card is an absolutely unique piece of technology,” remarks Chris. “No other media server on the market has the ability to gracefully transition from HD to 4K as 4K proliferates, with this low latency at 60Hz.”

THEY WANT YOU TO COLLABORATE d3 is the only video platform out

on the market that offers MultiEdit, a software feature that allows you to work on a show with multiple people at the same time. Anyone with a laptop running d3 Designer can join the d3 network as an ‘editor’, and work on the show simultaneously with an unlimited amount of other people, also working from their laptops. MultiEdit is exceptionally useful

4

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50 PROFILEE - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

on shows that have a large amount of projectors that need calibrating: join the project, choose a projector and start calibrating as a team without the need to refresh the project or predetermine who will work on what projector next. d3 automatically updates everyone’s input and ensures the entire team is aware of what projectors are being worked on and when. Now that shows often have 60 or more projectors and on-site time is always limited, this means you can speed up the process enormously.

d3 STUDIOS EXISTWhile growing their network of distributors and resellers

d3 have also partnered with certain companies, such as AIMS Productions in Singapore, to carry a small fl eet of hardware but focus on content creation and show/production design. These companies are known as d3 Studios who are independent from any resellers/distributors and any major AV rental house. This puts them in the best position to train interested customers without any bias. d3 Studios are creative hubs, who use d3 as part of their day to day production workfl ow.

d3 will soon start a programme of independent training courses in Asia-Pacifi c, something that they already have for customers in the West. For now though, there are training programmes available on the d3 website for current and new users to either familiarise or get acquainted with what d3 has in store.

The motto is simple: the prevention vs the cure. Prevention is great training for you, and the cure is great support from them.

THEY ARE HEAVILY INVESTED IN ASIA-PACIFIC

For d3, the planet is split into 3 geographical regions - Americas, EMEA and APAC. Plans are under-way to increase presence in APAC signifi cantly within the next 3 years.

In less than 2 years, the company has been slowly accepted as a comparable alternative to more popular brands in the

region, especially in terms of handling complex production environments and requirements. They are passionate about creating unique show environments and are fully aware of the massive potential to grow in Asia.

To add to this, the team are searching for more people who want to take their show to the next level and join d3 in the process. For those interested in being a part of the d3 team, head to the d3 website job section for information on becoming a Regional Sales Manager for APAC, or just drop them a line if you think you have what it takes to work at this exciting company.

THEY DON’T JUST WANT TO SELL PRODUCTSCustomer support and service is

absolutely essential to d3. To achieve a better understanding of the market, they work closely with creative and rental partners as well as show operators. This gives them a wider network of experienced show professionals be it technically or creatively. Through this network of professionals, d3 are able to deliver support to the highest levels.

“Through our close connection with the end customers, we have been able to develop our product into what it is today,” said Chris. “People come to us with the craziest projects, and our products tend to get used on very complicated shows, so you need a team that has a high level of knowledge to deal with tricky situations and tricky customers.

To cater to this there is a 24/7 global customer hotline, along with current distributors/resellers in Singapore and Malaysia (Acoustic & Lighting Systems) and China (Redline). And while they are ticking off all the countries in the Asia-Pacifi c region one by one, the company is still on the look out for more representation, with hopes for partners in Korea and Japan by mid-2016.

To fi nd out more about their products, or to join their team, head to www.d3technologies.com or get in touch with them at [email protected]

7

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9

Chris Bird

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52 PERSPECTIVE E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

A Conversation With

Academy award-winning re-recording mixer, Craig Mann is world-renowned. With over 15 years of sound industry experience under his belt, his work can be heard on a number of blockbusters, including The Insidious franchise, Paranormal Activity 3&4, and Whiplash, which led to his win for Best Sound Mixing.

At BroadcastAsia2015, courtesy of audio specialists AVID, ETA’s Elissa Nadine had a conversation with Craig concerning his outlook on the industry and what he had to do to get to where he is. Here’s what he had to say..

On How It All StartedMany audiophiles have dreams of being in the entertainment industry since they were old enough to walk. For Craig, it was a natural bloom that started around the time he was 5 years old, when he was handed a tape recorder from his grandfather.

“I remember that I would go around and interview people, record sounds and even myself singing. That was kind of my fi rst exposure to audio.” That small start wasn't enough, though. Craig didn't develop his passion until he developed a hatred for the rigidity of Canadian public school system. It was only after he worked with an Apple 2E that Craig found his niche in computers. He became the guy who went around the school setting up their multimedia systems and troubleshooting the programs. “I would never quite set it up right – leaving a cable a little unplugged or something like that so that I would get the chance to get out of my lessons and fuss around or 'troubleshoot' the computers.”

That bit of slyness would be his fi rst stepping stone into the entertainment life as it eventually evolved to Craig handling his high school's fi lm projectors and soundboards for school events. On top of that, he was offered an internship at Sound Ideas, a leading publisher of professional sound effects that offers 272 distinct royalty free collections to broadcast, post-production and multimedia facilities around the globe. For the next six months, Craig would ride with his dad on the 90-minute journey to the studio and be sent into the fi eld to record sound effects, master them in the studio and prepare the audio for CD (remember CDs?) release. “That was really my fi rst sort of introduction to a studio environment or working in any kind of situation like that, so that was pretty huge.” After his experience at Sound Ideas, Craig got his Degree in Music Recording Arts and was introduced to post-production mixing. “It was like a light switch fl icked on. After I graduated college I started applying to places around Toronto and I got a position at Casablanca Sound .”

Craig Mann

PERSPECTIVE 53E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

On PersistenceAfter working under several top re-recording mixers in Canada for 5 years, it all came crashing down when funding was cut to the studio and it had to shut down. This left Craig at 27 years old out on the street and not sure of his next move. “Just to pay the bills I got a job in a broadcast master control room. I was in-charge of removing the tapes from the machines and switching them out for the new program ahead, there was no digital at this time. Honestly, it was pretty rotten, it was the least creative and least interesting job that I have ever done. I knew I wanted to pursue post at this point, but the studios in town were over their capacity and I was at my wits end. I decided to start calling and take a chance trip to Los Angeles, visit some studios and try to meet people. The trip was a modest success since I met a few department heads. When I got back to Canada, I remember I would call the same 8 people I had met every week for the next 6 months. Eventually, Todd-AO called and said their Santa Monica facility was changing one of their rooms from a screening room to a mixing stage, and they needed another assistant to run the room once it got online. Because I had been calling this guy for six months, when the time came to make a hire, he called me - BAM I'm in Los Angeles two weeks later.”

On Living The DreamThe LA scale was much bigger and terms for things were a bit different than I was used to in Canada, and instead of sitting with David Cronenberg, suddenly it's Quentin Tarantino. It was a little bit intimidating sitting with these guys and assisting them. The mixers in LA were gods, people you read about in magazines. I was like, 'WOW, this is Quentin Tarantino, this is pretty huge, this is crazy!' The fi rst thing I worked on was shadowing the main assistant of Kill Bill 1.

I remember being overwhelmed for the fi rst month or two with the amount of time we worked, because it wasn’t just

working till 6 or 8, you’d be in there at 8am and you’d be there till 11 or 12 at night. For the next few years, I was given the chance to assist probably just about every big mixer that came through Todd-AO with shows like Kill Bill, Bourne Ultimatum, X-men and Dream Girls. It doesn't get any bigger than that. Seeing that many different mixers work on that amount of material, gave me a very unique insight into mixing.

On Getting Up AgainThe 2007/2008 writers strike and economic downturn was the next hurdle that hit Craig's career. Once again, the studio was slowing down, right around the time he was starting to mix. A milestone came in 2010, when he was engaged to work on the James Wan fi lm, Insidious.

The real important connection there was Blumhouse, the production company, because Jason Blum had just started his own production company and the fi rst title under that company was Insidious. The budget for sound was like 20,000 USD or something crazy even compared to a modest fi lm at that point. In 2010, most people would say anything below 300,000 was impossible. We had about 5 days, I think, to do that mix, it was crazy. But we did it. As it happened, that movie was a big hit and opened at number 3 at the box offi ce. About 18 million opening weekend. Within two weeks of that happening, no less than 3 senior mixers approached me and said that I was ruining the business because I had done this fi lm on such a low budget. I can remember that that was a pretty heavy thing to lay on me. However I didn't agree… I don’t think I was ruining the business, I think I was responding to a need in the market.

I'm not the kind of guy to really lip off to more senior people, so I took it with a grain of salt and walked away. So Insidious 1 goes down and it was pretty successful but things still weren’t


PERSPECTIVE

Scott the director and it goes really well! We get through it in the allotted amount of time, it’s a modest hit at the box offi ce but it’s a bitching sounding fi lm and he’s really happy with it. So now this puts me on the Technicolor radar. “Hey, you’re that kid that mixed that fi lm alone, that’s crazy”. From there, they threw me some shows and it was the fi rst time I felt like I was starting to get some traction. They gave me two, I brought one, they give me one, it was clicking. Nowadays, I'm full-time at Technicolor and it's only been in the last 16 months that I can see my hard work paying off because now I've worked with directors and they’re doing others fi lms and they're calling me back and recommending me, so I'm, 'Okay, here we go!'

On Shrinking BudgetsIf you back up to 5/6 years ago, low budgeted shows were around 300-350,000 and that has become the average for a show in LA now. That's what is considered good money now and was considered impossible a few years ago.

With the shrinking budgets also comes less time on stage and editorial. Big shows like Transformers mix on stage for 3 months, but shows like that are the exception now. To this day, I'm mixing for 3 weeks on a fi lm and that's more of the norm. You need to adapt to these changes and many people are still not able to get fi lms done on these budgets. You have to be able to deliver the goods on time and at the level that is expected. Would I like a 3 month mix, yes I would. Am I going to get that? one day, maybe. You need to have a workfl ow that supports the budget.

On How To Maintain Your SanityI'm compulsive in a way. I want people to know that if my name is on something, it's going to be a solid piece of work. That's the main thing for me. Weather it’s a 20,000 dollar sound job or a 2 million dollar sound job. I'm always going to fi nd a way to put something of myself into everything I do. Nowadays, I'm always busy to the point that people at work are wondering if I'm alright. So, personally, I know when people are stopping by and asking if I’m alright or thinking that, I'm in the right zone and have the right volume or work.

On Why This Is The Era Of Audio

popping off like I was expecting and it was still pretty rough to fi nd steady mixing work. I was going out and recruiting work, really just hitting the phone and just calling up people because I had a couple of credits that were, you know, okay. Work at Todd-AO had slowed down so much that I wasn't even getting assisting gigs because there was nothing to even assist on. I thought they weren’t being responsive to the market and they needed to recognize that budgets were coming down. There's all this work happening in like the 80-90,000 dollar area that no one was addressing and we had to fi gure out a way to address the market or they were going to sink. This was me talking to management and them just not having any interest in it, they were just like, there's not any money to make in this. They weren’t really looking at this even as a stepping stones to get into bigger things. One 90,000 show isn’t great money, granted, but do 10 or 12 a year and now you’re talking about one million dollars in revenue that could have supported a small team of people and could have been a good opportunity to get junior people learning and practicing the craft.

So, struggle struggle, 2012 was rough. It was just not happening at all, it was pretty much time to throw in the towel and head back to Toronto. At this point I just wasn’t able to get anything from Todd-AO and they eventually went bankrupt in 2013. I had also got married and had a nine month old baby, so it wasn't just about me anymore. I was ready to close up shop and go. That was when I heard Technicolor at Paramount was almost done being built. I knew the chief engineer from Todd-AO had started to build the new facility at Paramount. Going back to Blumhouse, they told me they had a fi lm and asked me where I wanted to take it. I said to go to Technicolor at Paramount. The fi lm turned out to be Dark Skies, a sci-fi Halloween hit under Scott Stewart who also did Priest and Legion. Same as Insidious, this was a high concept, low budget fi lm with a 10-day mix. We rented a room at Technicolor and I got to work as the re-recording mixer.

For Dark skies, I mixed it alone, which was unusual and the supervising sound editor who was in charge of the editorial was nervous about that decision! My feeling was sink or swim, I didn’t want anything getting in my way. The composer was the same from Insidious whom I knew and so we are all in there with

‘WOW, this is Quentin Tarantino, this is pretty huge, this is crazy!’ The fi rst thing I worked on was

shadowing the main assistant of Kill Bill 1.


This is the best time to be in audio because I feel like the work-fl ow is at a point where you can meet project demands on what is, seemingly a ridiculous schedule, but still be creative and end up with a very good sounding piece of work. Whiplash is a prime example – 20 day shoot, 6 week edit and 10 day mix on a stage led to an Oscar winning fi lm. With AVID and Pro tools, dialogue clean up and level matching, ADR matching can all get done in a smaller editorial room ahead of time before I ever hit the stage. The ability to get this mundane, but necessary, portion of mixing out of the way, helps me preserve the stage time for the creative aspect of mixing. The amount of automation and the amount of clean up that can be done in Pro Tools and the fact that you can do all this work in a small lower cost environment and it translates into a bigger mix stage is.. I can't even say enough about how much that makes the difference of being able to get that amount of work done at the speed that we have to move at.

I love the S5 console. It's the most intuitive console on the market. I can blaze through a massive amount of material in a very short amount of time on that particular desk. The way the panels are broken out, I can access up to 5 different things at a time. So once I hear something that’s not working, I can grab 4 or 5 different functions at once, and by the time that thing rolls by again, it's in the ball park of where it needs to be. I use the AVID S5 on pretty much everything I've done.

On Making ItI went from Canada to the States, a move that was ‘impossible’, I was told. You just have to never stop pestering people and preserve through the craziest things. I could have thrown in the towel many times over the years, whether it was when the studio closed in Toronto or when I was trying to transition out of assisting into mixing. These were all pretty

insurmountable hurdles that I managed to get through one way or another. If you’re really hungry and if you’re really sure this is what you want to do then you’re going fi nd a way to do it. I think whether it's learning the craft by working on small budget projects or if its getting clicked in with somebody that has more experience and you’re able to learn from them, you just have to know that you will fi nd a way. Whatever you do, don’t let someone tell you it’s impossible, keep going.

PERSPECTIVE

Symetrix In Full (Super)Flow At Fashionable New Bar

THAILAND

A Symetrix SymNet Radius 12x8 EX DSP provides the “rock solid” foundation for the audio installation at Superfl ow, the latest venture from Thailand’s Buddy Group.

Bangkok is hardly lacking in fashionable bar and restaurant venues which appeal to the

young, backpacker crowd, but in truth the quality of audio can be the subject of considerable variation. One of those operations emphatically making a stand for top-fl ight sound, however, is the newly-opened Superfl ow – and it has made Symetrix SymNet DSP technology an integral part of its infrastructure.

Fuzion Far East was enlisted to devise and supply audio for the new venue, which is situated on Bangkok’s popular Khaosan Road.

Superfl ow represents the vision of Ceto Mind, and as Fuzion product specialist Benjamin Walters recalled, the audio brief contained several primary requirements: “There needed to be separate control for the main (outdoor) dancefl oor area, the terrace, swing seating area and beach zone, but also the ability to combine the main dancefl oor and terrace; the latter is sometimes used as an overfl ow when the main area is busy. There also needed to be a capability for easy adjustment and control.”

A long-time Symetrix system afi cionado, Walters has frequently specifi ed the manufacturer’s SymNet Solus line of open-architecture standalone processors for bar/club-type projects, but in this instance determined that a single SymNet Radius 12x8 EX Dante-scalable DSP would provide the desired expansion capacity to accommodate future requirements.

Accordingly, the SymNet Radius unit is equipped with a single SymNet xOut 4 expander, whilst convenient system control is furnished by four ARC-2e Adaptive Remote Control wall-panels. One of these controllers, located in the DJ booth, has been confi gured to enable an instantaneous ‘bass cut’ to the main subs of 6dB.

“Superfl ow is very much regarded as a growing project, so it was important that we had the ability to add additional outputs,” said Walters. “The SymNet Radius 12x8 EX provided that, along with the rock solid reliability that we have come to expect from the Symetrix processors. We’ve used their DSPs successfully across a wide range of

DSPs including, at present, a series of installations at Hooters and Hard Rock Café venues in the region.”

Back at Superfl ow, Walters focused his loudspeaker and amplifi er confi guration around a sizeable contingent of Quest Audio technology – Ceto Mind having been wowed by Fuzion’s deployment of a Quest-based design at another local venue. Quest QM 700 loudspeakers, HPI18LP compact speakers and QA 4004 amplifi ers were among the specifi c models chosen for the Superfl ow fi t-out. The elaborate confi guration has been adjusted since initial installation in order to address noise concerns.

“The Quest and Symetrix are absolutely two of our ‘go to’ brands, and once again provided an ideal complement to a project of this kind,” said Walters. “The expandable nature of the Symetrix DSP also means that the venue is well-positioned for the future, so the end-result is a set-up that has greatly pleased Ceto and the staff.”

www.symetrix.cowww.fuzion.co.th

Superfl ow's visiting DJs pumping out the beats!

56 INSTALL E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

www.indiandjexpo.in


Hwa Chong International School Opens Impressive Performing Arts Centre

SINGAPORE

Electro-Acoustics Systems helms the entire AV installation

Singapore's reputation for quality education continues to attract students from within and outside

the region. This has resulted in a number of private schools sprouting up in the island. It has also triggered interest in the more established local schools to create an international arm to cater to the growing interest. The local schools' international curriculum also offers expanded programmes that have caught the attention of local students. This has led to many of the local international school arms having a mix of local and foreign students thus giving the schools an eclectic mix that enhances the experience of many of the students.

One such school is Hwa Chong International School (HCIS), which was founded in 2005 and is a member of the Hwa Chong family of schools. Half of the student body is made of Singaporeans and permanent residents with the rest

comprising of international students from over 20 countries. HCIS continues to distinguish itself with its many programmes and achievements in both the local and international arena and thus not surprisingly the student body has continued to grow.

To cater to the growing needs of the student body, HCIS embarked on an expansion project that included a 4-storey teaching wing and a new tower block to host a full range of teaching and co-curricular facilities including a Student Activities Hub and the Performing Arts Centre.

The outside of the HCIS Performing Arts Centre

INSTALL 59E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

The two-tiered performing arts centre caters to an audience of 697 and features state-of-the-art AV systems including an Assistive Listening System to aid the needs of people with impaired hearing. Electro-Acoustics Systems Pte Ltd (EAS) who were appointed to integrate the AV system were also responsible for the acoustics treatment of the arts centre.

The Sound SystemThe stage features left, right and centre hung line array loudspeakers consisting of Renkus-Heinz VAX101 point source line arrays. Each confi guration features 5 units of the RH VAX101, with each speaker offering 120° horizontal by 60° vertical coverage through their 10” low frequency and 2x1” high frequency horns. All the speakers are driven individually by 15 units of 2-Channel Lab Gruppen IPD 1200 power amplifi ers.

Front fi ll duties are assigned to 4 units of Tannoy Di5 Dc and 2 units of Tannoy Di5 Dct speakers driven by a Lab Gruppen IPD 2400 2-channel power amplifi er.

4 units of Renkus Heinz CFX18S, single 18” sub woofers driven by 2 units of 2-channel power Lab Gruppen IPD2400 take care of the very low bass frequencies and are hung as twos on the left and right of the stage.

To ensure even coverage for the balcony area as well as for the fi rst fl oor seats under the balcony, a total of 22 units of RH CFX81 speakers have been installed. All the speakers are driven by 4 units of Lab Gruppen IPD 2400 power amplifi ers.

6 units of 12-inch stage foldback RH CFX121M loudspeakers with 3 units of Lab Gruppen IPD 1200 units are responsible for stage monitoring duties.

A further 10 units of Tannoy 6.5” CVS6 coaxial ceiling speakers with 3 units of 2-channel Lab Gruppen IPD 2400 amplifi ers are deployed to work with the rest of the sound system for further sound reinforcement to ensure full even coverage on both the fl oors of the performing arts centre, ensuring that there is no “dead spot”.

Mixing duties are handled by one unit of Yamaha CL3 supplemented with a Yamaha RIO3324-D/R18-D 48 mic/line input and 24 output Remote Stage I/O box. Digital signal processing is handled by a Yamaha DME24 with MY16-AE unit.

The microphone systems for the arts centre feature a full Sennheiser line-up. The Wireless microphone set up consists of 4 units of EW335 G3 wireless handled microphones, 4 units of EW322 G3 tie clip-on microphones with the required

The stage features left, right and centre hung line array loudspeakers consisting of Renkus-Heinz VAX101 point source line arrays. Renkus Heinz CFX18S, single 18” sub woofers are hung as twos on the left and right of the stage.

Ensuring even sound coverage are 22 units of RH CFX81 speakers

Sennheiser UHF Antenna helps boost wireless transmission


Sennehiser ASA-1/NT1 AB3 and A2003 UHF antennae splitter/distribution system for the wireless microphones with boosters and remote antennas. As the arts centre will be used for a variety of events, EAS added 6 units of Sennheiser E835 handheld dynamic microphones, 6 units of E935 cardiod vocal microphones and 6 units of SEMS3000 tripods with boom arm to the inventory.

Media sources include a unit of Denon DNC635 player and a unit of Tascam CD-RW901SL audio recorder. 2 units of Furman CN-3600SE power conditioner and sequencer ensure stable power output at the centre.

Assistive Listening SystemThe school also decided that the arts centre would include an Assistive Listening System to ensure inclusiveness for all guests. To enable that, EAS deployed William Sound solutions that are renowned for Assistive Listening. The set-up included one unit of William Sound MOD232 2-channel infrared modulator, 4 units of TX 9 infrared emitters, 48 units of WIR RX22-4 2-channel infrared receivers, with 48 William Sound NKL001 Beckloop Telecoil Coupler for the use of the guests. 2 units of 5” Yamaha MSP5 monitor loudspeakers enable the control system to monitor the audio for the Assistive Listening system.

The Visual SystemThe 20m width by 12m depth stage features a motorised Stewart AT3 front projection frame screen that is 8m x 4.5m. Image projection is handled by 1 unit of Christie HD20K-J 20,000 ANSI lumens 3-DLP projector. An 8-in 8-out Key Digital modular digital switcher is responsible for source switch. 5 units of Crestron DM-TX-200-C 2G transmitters provide remote wall plate/fl oor box input connection for HDMI, RGB and audio sources over the CAT6 cable. 6 units of Key Digital DK CATH500ProRX act as the HDMI receivers.

Camera systems to record and transmit images from within the arts centre are handled by Panasonic cameras with a Panasonic AW-RP50 camera controller supported by a 5 channel Datavideo effect matrix switcher. One unit of Kramer VM-2HDCPx1 DIV distribution amplifi er and another Kramer VM-2HDx1 HD-SDI distribution amplifi er help transmit images to the different displays. Helping to ensure HD-SID to HDMI digital scaling is a Kramer VP-472 scaler.

Other than the main projection screen, 2 units of 19”Samsung displays are also installed each on the walls to the left and right of the stage to further augment the experience of the audience.

Projection duties handled by a Christie HD20K-J 20,000 ANSI lumens 3-DLP projector

Two lighting bridges facing the stage spot ETC Source 4 lighting fi xtures.

The Robert Juliat Aramis Follow Spot (Partially hidden)

Motorised winches and hoists installed to bring up and down the different curtains, borders, lighting bars and scenery fl ybars within the stage.

Image processing duties is handled by a unit of AnalogWay PLS350-3G video image processor with an AnalogWay RK-350 keypad controller.

The Lighting SystemInstalled above the stage are 5 rows of motorized lighting bars. 4 of the bars feature only ETC Source 4 fi xtures that feature energy saving power of the patented HPL lamp, with a dichroic refl ector and optical quality lenses. The 5th bar labelled as the cyclorama lighting bar features 8 units of Selecon 10AUCYCAL fi xtures.

Two lighting bridges facing the stage also spot ETC Source 4 lighting fi xtures. These are complemented with two stage towers on the left and right side, facing the stage. Other than featuring additional ETC Source 4 fi xtures, the lighting system also features a unit each of Robert Juliat Aramis 1013+ Xenon Follow Spots as well as a total of 4 units of Martin 350 Entour profi les and 4 units of Martin Mac Aura wash beams. The bridges come with walkways for easy maintenance.

A ETC SmartPack wall-mount comprising twelve sets of 12 x 1200 watt-dimmer is responsible for all the dimming functions. An Ion portable compact 1024 output lighting console is assigned to handle programming duties of the lighting fi xtures.

The stage also features curtains from JC Joel and come with fi xed speed motor controller with remote control capabilities.

Not surprisingly there is a large number of motorised winches and hoists installed to bring up and down the different curtains, borders, lighting bars and scenery fl ybars.

Communication and ControlThe Intercom system consists of Clearcom solutions consisting of two 2-channel rack-mounted Clearcom MS-702 stations that comes with 18” gooseneck microphones each; 5 units of wall mounted Clearcom KB702 headset/speaker stations and 4 units of Clearcom RS-701 2-channel beltpack that are

complemented with Clearcom CC-40 single-ear headset.

A unit of Crestron AV3 control processor supports 2 units of Crestron TPMC-8T-GA 8” wireless colour touch screen panels, thus enabling wireless control of the media systems.

The entire project took six months to be completed from the time EAS was appointed.

www.easpl.com.sg

INSTALL 61E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5 BE IN THE

KNOW...WHILE

YOU'RE ON THE

GO

BE IN THE

KNOW...WHILE

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Email: [email protected] Tel: +65 6316 2716

Website: www.e-techasia.com


Carving A 3D Theatre Under A Hill by Ram Bhavanashi

Hansa Pictures Does a Wonder at Girnar

There have been many, many fascinating expressions of technology meeting spiritualism world over, and India does have some epitomes of real and ethereal worlds coming together. However, this one is a bit different. For, it’s crafted under a hill. Though small in size, and probably scale, it’s the challenge, and perfection with which the challenge was addressed that makes it special.

The making of 3D theatre at the base of the famous Girnar hill in Junagadh district of Gujarat, India, does seek to exemplify the expertise available in the country, and passion for making things happen. Bengaluru-based Hansa Pictures had this honour of creating this picture- in 3D. Read on...

For those who know it, the very name of Girnar hill in Junagadh district – some 327 km southwest of Gujarati capital Ahmedabad, at 3100 feet above the sea level – springs in a spell of spiritual fervor and an excitement of historical appreciation.

For, the hill is part of a mountain range that is dated older than the mighty Himalayas; home to a huge pantheon of gods and saintly abodes; and rich repository of archaeology and history. A huge rock-edict of Ashoka – one of the most famous emperors of ancient Asia (3rd century BC) – on top of the hill; as many as 866 stone-carved temples of both Hindu and Jain faiths spread over fi ve famous tonks (peaks) dating back to 12th century AD, makes its rich historicity while its’ being adjacent to the Girnar forest which is home to the famous Asiatic lions adds an eco-logical appreciation as well.

While all that made one of the most exciting settings for any technology solution provider, what it actually posed for integration was an equally challenging proposition. At the foot of the hill is a Dharmasala (a place for pilgrims to stay, rewind and meditate), which was still under construction when the solution provider had a fi rst glimpse

of the site meant for the technology deployment.

When Gautam N Shah, Head-Projects at Hansa Pictures visited as part of his regular spiritual pursuits his Guruji (Jain monk) Param Pujya Hem Vallabh Saheb at the hill, the spiritual master shared his vision with his trusted follower-

creating a 3D movie and a theatre which talked about hell and showed the horrifying events that would happen to humans due to the multitude of their sinful deeds. All was exciting till the master took his follower to the basement of the building and told it was the site meant for the creation of the 3D theatre.“It was 76 feet in length, 33 feet in width, and 12 feet in height. It was the

Gautam N Shah, Head-Projects at Hansa Pictures

INDIA


‘only’ place where I had to create a theatre,” Gautam reminisced. “There were some major civil issues which we addressed then and there- for instance lowering the fl oor level by a few inches, to ensure that the water does not seep in.”

The spec for Hansa Pictures was that the place had to look appealing to the young, feel like a modern theatre and get the impactful message through. It was twin-responsibility, fi rst- to identify a good moviemaker who would re-create hell on screen, and second- to make a ‘wow’ effect 3D theatre.

“We had two options- to make people enact the different roles; or to make an animated movie,” recalled Mehul Shah, the spokesperson for the Guruji, and theatre management. “We employed real actors, and shot them in 3D,” he explained, “Guruji was at the top of the concept visualization, and story-telling; Gautam handled the long stretch of hiring actors, director, getting the movie shot, preview and review, then commission in the theatre.”The Hansa Exec had to spend a lot of arduous hours to scout the able moviemaker and artistes, and get the movie made as per the script, and even as it was being made, he had to focus on carving the 3D theatre out of the small basement which was already reduced by a few inches to allow for AC and other ducting.

According to Mehul Shah, the Dharmasala was already under construction when the 3D theatre idea was being visualized; therefore only the basement portion could be used for creating the theatre. Having decided thus, the challenge was to build it from scratch.

“The place was small in terms of volume, and it had to have the environment of 3D,” Gautam recalled, “it had to sound good and look beautiful too. So, from determining the ideal screen size, seating layout; seat size; deciding on the type of 3D system, everything was critical.” The theatre was specifi ed to seat around 120 people in one go.

A thorough brainstorming and research for over two months, led to the theatre size being further reduced by 20ft to stay 56ft in length, keeping in view the screen size and providing suitable sight angles to every single seat.

It was then the call of acoustics. Given the setting of the theatre, echo was a big thing, and placement of speakers too was a potential challenge. Hansa came up with the idea of concealing the surround speakers so that they would not obstruct anyone’s vision and also stay free of known or unknown tampering.“The RT in the space was over 4 seconds, and it was like a closed box booming from within,” said Gautam. “We had to create acoustic walls on all the four sides keeping in mind maintenance issues like speaker wiring, electrical wiring, and air-conditioning.” According to him, the acoustical ceiling grid had to be higher as the hall was quite low. So they made the grid within the beam to beam. Using Himalayan acoustics, they incorporated 15mm fi brette tiles over the ceiling and 20mm fi brette boards on the walls. An infi ll of polywadding was also applied for insulation.

There were as many as six 1.5-tonne air-conditioners for the theatre, and one for the Control Room. This A/C noise had to be accounted by the acoustic treatment.“The toughest design to create was within this hall,” explained Gautam. “It took me over a month to come up


The A/V Equipment

Audio• EVU-2082 for the L-C-R- 3 units• EVID 6.2 for the surrounds: 12

units• EV Q-66 amplifi er-2 units• EV Q-44 amplifi er-units• ETX 18SP Subwoofer-1 unit• Marantz AV7702 Pre-Amplifi er- 1

unit• Furman PL8CE Power

conditioner-1 unit• Cables we used Clicktronic

speaker & HDMI cables.

Video• Optoma HD-25LV Projector-2 units• 144” X 61”H Fixed frame with

silver screen-1 unit• Geobox 3D Converter-1 unit• Panasonic DMP-BDT 330 Blue ray

player-unit• Tvix HD Café Media Player-1 unit• Passive 3D scratch resistant

glasses from Get D

with the design. It was very satisfying personally seeing the fi nal fi nished design working fi ne.”

The A/V System – The Real PlayHansa chose Electro-Voice system for the entire audio solution of the 7.1 surround cinema system that was suggested. They chose two full HD projectors from Optoma over a 3D converter making it is a passive system. The theatre was fi xed with 110 seats, with an additional provision of 10 seats.

They did have issues with electrical wiring too, as some simple electrical material like MCBs and switches were not even heard of in the Girnar area, and thus had to be procured from Bangalore. For the lighting part, they wanted lights that would give a wall wash and illuminate the rooms. That even these lighting materials were strange to the locals, the integrator had to procure and ship them from Bangalore.

Admits Mehul: “No one in this region has any knowledge of what is 3D technology; what it requires to be deployed. There are no providers of this solution in this region. Fortunately we had Gautam who is well-versed with the solution, and we rested the entire onus on his shoulders.”

The other set of challenges was in term of multitude of people and views being thrust on the team. That the fi nance for the theatre came from the Trust,

it also came with multiple views and suggestions; so keeping them all happy was by no means an easy task.

The Hansa team stayed at the place for over a month to install and commission the theatre amidst these conditions. However, focused that they were, their efforts met accomplishment with high praise.

The only compromise, if at all that be, was the location, feels Mehul. They could have done a much better job had they got a different place than the basement to build the theatre, he says. He, however, admits that it was never in their vision when they were building the Dharmasala; it only came later into their mind. That there was no other free place, and they could not dare venture into the dense forest nearby, they depended on the basement.

However, Mehul and the Trust he represented were apparently happy with what they had achieved. “The project was benefi ted in a huge way,” endorsed Mehul. “After watching the movie, people began taking oath in front of the Sahebji about the austerity measures they will adopt. I've seen a few people coming from overseas, and appreciating the whole effort, and donating fi nances for the facility.

It was a big accomplishment too for Gautam, who is a devout follower of the Guruji. “Here is one project which is

very close to my heart,” said the pious integrator. “Such a project comes very rarely in the life of an AV integrator where the client just tells about the concept and completely rests on us- from suggesting pin to plane, absolutely no questions asked, and more happy with the solution deployed.”

www.hansagroup.in

www.aviiexpo.in


Living Room Café By e-plus Showcases Martin Audio

JAPAN

Japan’s latest New York style ‘Living Room Cafe by e-plus’ is divided in 7 zones which are catered to by a host of Martin Audio systems.

Japan’s latest New York style ‘Living Room Cafe by e-plus’ in the Tokyo ward of Shibuya is a cosy live music,

art and cultural venue which promotes the concept of artists inviting their friends into the living room. It is also the province’s largest live café and situated in this busy shopping and entertainment area, is just three minutes’ walk from Shibuya’s central station.

Divided into seven zones, surrounded by spacious antique leather sofas, fi replaces and iconic works of art, the music is played out through a combination of Martin Audio DD12, DD6 and XD12 premium loudspeakers.

The main zone is the live space, with the others being designated Main Bar, Terrace Room, Terrace, Private Rooms, Living Space, Patio and Dining Zone.

Dominating the Live zone is Martin Audio’s fl agship DD12 and PSX sub-bass, which have been adapted for the fi rst time as a main system in the installation sector. Martin Audio’s unique differential dispersion technology delivers consistent coverage and pristine audio throughout the entire audience area. Additional XD12s and DD6s provide valuable support providing coverage throughout all the other areas.

The Live zone had been specifi cally designed with the utmost respect for audience and artists alike, determined to leave them with an unforgettable audio experience. The other zones were designed to appeal to the guests’ imagination — such as a bar in a luxurious resort hotel and an outside terrace space, experiencing the natural winds of all seasons.

Ms. Oharada of e-plus confi rmed, “Living Room Café by e-plus provides a new live entertainment, restaurant and art complex for all types of all the customers; it is nothing like any of the other existing live and concert venues. Aside from the regular eating and drinks costs we levy two additional pounds as a music fee — and all these tips are passed to the artists who perform at the show.

“This place also provides a chance to take a look at the actual art displayed in the café, giving customers the chance to purchase their favourite. Living Room e-plus wants to become the place where all customers and artist feel close in a casual style environment.”

www.martin-audio.com


Crystal Palace Fitted Out To Handle Any Type Of Events

VIETNAM

Electro-Voice speakers provide the perfect coverage

The Crystal Palace Hotel is located at Phu My Hung, in the south of Ho Chi Minh city, where the

most modern residential areas are located interfaced with the heart of the commercial fi nancial district. The four star hotel prides itself on being a location that is able to cater to any type of event – conferences, meetings, weddings and even product launches.

Crystal Palace features wedding and conference halls which can accommodate up to 1,500 people simultaneously, in its unique and harmonious interference of Asian – European architecture. Complementing the stature of the hotel is the sound system that has been installed to provide powerful yet crystal clear sound.

To make it the venue of choice for events, Khai Vy Group, Owner of Crystal Palace, wanted a state of the art sound system for the venue. Sound systems of the highest standard were expected to be installed in every ballroom in the building to cater to the needs of events, conferences and weddings. After hearing

the sound produced by the EV speakers, Khai Vy Group was convinced that EV was the professional sound system of choice for its venue.

The 2,675 square meters of event space is now outfi tted with Electro-Voice ETX powered loudspeakers as well as Live X loudspeakers controlled via Dynacord CMS 1600 compact mixing systems. In addition to the crystal clear sound quality and even coverage, the speakers design

complemented the overall feel and look of the venue space.

The EV ETX powered loudspeaker features touring grade, high effi ciency transducers driven by Class D powered amplifi ers. The signal synchronized transducers (SST) and Bosch patented waveguide design coupled together with intelligent FIR Drive, provide quality in sound reproduction and precise coverage that goes beyond the client’s expectation. As for the Live X loudspeakers, they ensure musical performances hit the right note with their high output, extended frequency range and high sensitivity.

The CMS1600 mixing console was chosen for its robust built and audio quality which is the hallmark of a Dynacord mixer setting standards for analogue mixers built in Germany.

Truong Thinh Equipment who was responsible for the installation, together with Bosch Vietnam, also ensured that staffs at the hotel were trained properly so that they would be able to derive the maximum potential of the sound systems installed for the different usage.

www.boschsecurity.asia


Harman Shares Honours At The ‘Shah’ of ‘Show’ Theatres

INDIA

KoD second venue offers even more fascination and technology fare

When the much fancied entertainment ensemble Kingdom of Dreams (KoD) came up with its literally dramatic Nautanki Mahal in 2010, it ushered the art lovers into a world of wonderment. After as many as 2000 shows of fantasy-magical ‘Zangoora’ and more, the promoters of KOD have launched their second venue with even more fascination and technology fare. Show Shaa Hall, as the venue is called, is a masterly combination of many minds and manufacturers- Viraf Sarkari, Anumod Sharma, Sunny Sarid on one side, and Defond, Kirby, Clay Paky, Watch Out, Ocean P6, and Harman on the other. The result is truly a ‘shah’ of ‘show’ theatres- playing a distinctly different AV fair.

Viraf Sarkari of the

famed Wizcraft doesn’t need an introduction. The champion promoter of entertainment fairs, in association with his Executive

Partner Anumod Sharma, and the Group’s AV consultant Sunny Sarid, had already made history of sorts when he created the Nautanki Mahal the grand ensemble of histrionics as part of his ambitious ‘Kingdom of Dreams’ (KOD)- billed as fi rst-of-its-kind entertainment destination in this part of the world. A big time, and continuous dreamer, if not a visualizer, that he is, Viraf wanted to do more, and even as Nautanki Mahal continued to capture the fascinations of art lovers, he ventured exploring for more.

“With Nautanki Mahal, we created a well-crafted, dream-coming-true-like theatrical facility; we now wanted to add another dimension” Viraf says, “something very unique and integrated.”

Essentially, Viraf and team wanted to create a multipurpose venue that could address theatrical, as well as corporate events, banquets and night clubs. However, they felt they needed more clarity. Years rolled by in pursuit of that.

“The idea was to optimize the facility usage 24/7 so that it turns more productive while being entertaining,” said Sunny Sarid, the Group’s AV Consultant. “We, however, wanted to do that in a very unique, never-before fashion; actually, it was this thought process that consumed time.”That they had an open area outside the Nautanki Mahal they wanted to shape their dreams of yet another unique,

The Kingdom of Dreams premises together with the Show Shaa Hall entrance on the right hand side.


integrated venue on that open space.The executive team brainstormed on the possibilities, and concluded on a design that would essentially have a fl exible seating which could be recessed to the back wall, if not removed- so that the vacated space could be utilized for banquets and other socializing events. The execs accordingly explored the solutions domain; zeroed in on a Guangzhou-based solutions provider and deliberated on the process.

According to Sunny, the automated/removable seating design provided the Promoters with a free space of 20 x 20 meters.

“That was the most decisive move,” said Sunny. “Once that was fi gured out, rest of the ideation fell in place in no time.”Interestingly, while they decided to experiment with their visualization to shape a ‘fi rst-of-its-kind’ facility in the country, they did not want to experiment with new technology partners; they decided to go with their trusted existing partners for the entire AV fare. Thus came in:

• Harman for audio• Defond for staging• Clay Paky, Antari, DTS, Martin for

lighting• Kirby for fl y bars• Ocean P6 for LEDs• WatchOut for media content• Panasonic HD camera for video

capture• Christie DLP and Harkness screen for

movie screening

The stage was thus set for designing a distinctly different facility with 60 x 40 feet stage – complete with revolves, hydraulic lifts, fl ybars, and fl ying systems

– life size LED walls; thoughtfully segregated digital signages; stunning lighting; fog effects; and a cinema.

A few months of very hard labour, a focused approach, a well-coordinated work out with the Chinese seating expert team have all contributed to realize yet another vision- the Show Shaa Hall, a very unique fare in itself.

“The name is very typical,” admits Viraf. “Delhi-Shelly, they say in this part of the country,” he likens the nomenclature. “It was intended to connote something very unique.”

Besides the AV and other entertainment offerings, the essential feature of the facility is the motorized fl exible seating that can be recessed to the back of the wall, and stretched forth to form a structured seating.

A/V - the Centrestage of it all…The Show Shaa Hall has thus been designed with an integrated AV fare- a stunning display of segregated (LED) digital signages; a 7.1 Surround cinematic system, along with 13000-lumen DLP projection from Christie, and a 35mm Harkness screen for movie screening; clustered LAs and high-energy audio systems to spirit up the evening DJ'ing and other rock bands.

Delhi-based distributor-integrator HiTech Audio Systems had been roped in to integrate and commission the system. The audio system comprised a big range of brands and systems from Harman- as many as 22 units of JBL Vertc 4886 tops – 8 units each on left and right and 6 units in centre cluster – four units of Vertec 4880A double bass 18 bins running on V5 presents, and powered by

seven Crown I-Tech 12000 HD amps- all going into the main PA set-up.

The clustered Line Arrays are augmented by four units of VRX 915 fl oor monitors, fl ushed into the wooden stage, and two side fi lls of four VRX918 units and 8 VRX932LA fl own clusters that are powered by fi ve I-Tech 5000 HD amps.

Further, as many as 12 units of JBL 8350 Surround Sound loudspeakers spread out in the hall, powered by four Crown XTI 2000, and four front fi lls of AC 28/26, completing the power-packed system.

The whole system is connected by a BSS London Blu 800 and 120 processors, whose uniquely programmed presets do a great deal of magical job with the applications. The beauty of the system and the solution here is the way the presets are programmed, says Ashish Bajaj, Sales Manager (Special Projects) at Harman. That has enabled switching across various situations so easy and comfortable.

“The way the DSPs are employed here is very unique in the sense that we have used one single box to perform multiple functions- instead of having individual boxes for individual functions.”

While Harman engineers Sunil and Sudarshan did the programming, the audio major’s teams from Bangalore also joined to make it a team effort executed to perfection.

While as many 20 each of DSR 700 digital wireless receivers, and CK77WRLP omnidirectional lavalier condenser microphones from AKG are tasked to provide for crisp vocals in the hall at any time, the FOH is fed with a Soundcraft VI6 and VI 1 console connected to a local stage rack.

Sunny Sarid

“With Nautanki Mahal, we created a well-crafted, dream-coming-true-like theatrical facility; we now

wanted to add another dimension. Something very unique and integrated.”- Viraf Sarkari, Wizcraft


Lighting – stunning arrays of glitzElevating the WOW factor of the Show Shaa Hall’s AV fare further up is its vast size and scale of lighting solution that is essentially characterized by a substantial quantity and range of Clay Paky systems confi gured in combination with DTS, ETC and others.

The Clay Paky systems comprised as many as • 16 Moving Head Sharpy units• 14 Alpha Wash 700s Profi les• 14 Alpha Profi le 700s• 8 Alpha Spot 700s• 2 Shadow QS-LT 1200 Follow Spots

with Stand

The solution also comprises 16 PAR, 64s units of Lamp CP61 and 62 from DTS, and 16 2K Scena Fresnels from ETC. Besides, six Atomic 3000 DMX

Martin Strobes have been weaved in combination with Avolite console and Antari fog systems.

“We chose Clay Paky in the main, based on our experience of their reputation of reliability and quality of technology,” informed Sunny. According to the consultant, the management and design team was so convinced with the Italian lighting solutions provider that they dealt straight with Clay Paky headquarters to have the solution supplied.

“The performance that the systems are known for, and the overall colour ambience they create enhance the look and feel of the venue,” commented Sunny. The other lighting systems have effectively complemented the whole experience.

Segregated Digital SignagesWhile the automated/fl exible seating is one essential feature of the Show Shaa Hall, a very important feature that plays pure AV even as it uniquely accentuates the interior décor are the segregated digital signages on either side of the screen. There as many as 16 each P6 LED displays of varying sizes in square and rectangular shapes on the side walls. Designed in picture frames, these signages are programmed to play either the same content coming on the main screen, or independent content as customized for the occasion.

“The idea of segregated P6 LED displays was to tap every single aspect of visual play,” explained Sunny. “Anybody can create or see multiple images on one screen. But when you have a social gathering, or corporate shows, people

www.kingdomofdreams.inwww.harman.comwww.claypaky.it


FACTFILE• Project Name: Show Shaa Hall,

Kingdom of Dreams• Project Segment: Entertainment• Project Location: Gurgaon• Project Owner: The Great Indian

Nautanki Company (JV between Apra Group and Wizcraft)

• Project Nature: Theatrical AV, Digital Signage, Live Streaming, Corporate functions

• Project Management Consultancy: In-house

• AV Design Consultant: Sunny Sarid• AV Systems Integrator: HiTech

Audio Systems• Lighting Consultancy: Sunny Sarid,

In-house• Project Cost: >US$ 12 million• AV Technology cost: >US$ 3 million• Project Commissioned: August

2014• Project Highlight: Segregated LED

Digital Signage and automated/removable seating

want visibility,” he elaborated, “on such occasions, each of these segregated screens can display one product/item each, and thus, in one shot or stream, multiple brands, products or items can be highlighted for the benefi t of the viewers.”

There are two more big, square-shaped LED displays on either side of the main screen, purely meant for corporate presentations. The set-up is equipped with camera capture of the proceedings in the theatre, and a provision to stream it live.

“The different note we tried to strike here is to break up the graphics and create picture frames,” explained the AV consultant. WatchOut servers take the honour of serving up the video content playing.

The main screen on the stage is created with arches and mapped to impart depth, so one can create an amazing array of props without actually using one. It offers diverse possibilities like oceanic scenes, landscape or streets or corporate setting etc. which can become a backdrop for both theatrical and corporate presentations.

The facility is equipped with fi ber optics and a port to beam out the AV feed of the proceedings; it also has provision for web conferencing. A Media Box is also created for media purposes.

“There may be a radically innovative, revolutionary technology being deployed elsewhere; but this one is a huge blend of multiple technologies made into one place for diverse functionalities” says Sunny. “We do not believe there is a facility that can perform so many functions in one place simultaneously, and still create an archive of all that for any future references.”

Apparently it is the WOW factor that the promoters wanted to bring to place. Says Viraf Sarkari, the main brain and energy behind this unique INR 80-plus crore (US$ 12 million approx.) massive facility: “We didn’t want to do routine vinyl backdrop; we wanted to do something unique, yet, a plug-n-play sort, and we came up with this idea. It’s a personal value add from my desk.”

According to him, they knew what they wanted; they strived, and achieved it.


CGV Chooses Christie For Its Biggest Screen In South Korea

SOUTH KOREA

Christie’s 6P laser projection system produces an astonishing 108,000 lumens on CGV Starium’s 32-meter wide screen

CGV, a subsidiary of CJ Group, is the largest multiplex cinema chain in South Korea. The

company has installed a ground breaking 6-Primary (6P) laser projection system from Christie Digital in CGV Starium, which houses one of the largest screens in the world.

Located in the sprawling Times Square shopping mall in Seoul’s Yeongdeungpo district, CGV Starium is a deluxe 545-seat auditorium equipped with a giant screen that measures 32 meters in width – making it an ideal venue for installing the Christie CP42LH high frame rate 3DLP 4K RGB laser projector, which provides an ultra-bright and colourful platform for huge screen theatres. This makes CGV the fi rst cinema chain in South Korea to deploy Christie’s pinnacle cinematic projection technology.

“We are very proud and excited to install Christie’s top-of-the-range CP42LH laser projection system in CGV Starium, which makes us the fi rst cinema chain in South Korea to offer audiences an unrivalled 3D visual experience which, in my opinion, is the future of cinema presentation,” said Nochan Park, senior manager, Cinema Technology Team, CGV.

“The moment we saw the amazing 3D visuals projected by the CP42LH, we knew this is what we have been looking for all along – high-brightness and natural 3D that further pushes the capability of high quality visuals to new heights. Over the last two decades, CGV has been fully committed in providing patrons with the best cinematic experience, and the decision to select

the latest technologies from Christie reinforces our pledge to be the cinema chain of choice for movie-goers.”

The upgrade will replace CGV Starium’s existing Christie 4K dual xenon system with a state-of-the-art pair of Christie 4K laser projection heads, a 6P modular laser light farm with fi ber-optic delivery, Christie 4K 3D high-bitrate server, and a new premium white screen. This particular system is designed to achieve over 14-foot lamberts onscreen in 3D and an astounding light output of 108,000 lumens, far exceeding any ‘ultra-bright’ industry standards. The CP42LH has been offi cially commissioned and commences regular movie screenings.

Henry Khang, General Manager, Christie Korea, commented, “Our non-fl ashing


6P architecture is by far the most light-effi cient 3D technology on the market, providing incredible brightness, enhanced color gamut and a remarkable contrast ratio. We are very pleased that CGV has selected Christie for its next-generation cinema projection technology and are confi dent that this installation at CGV Starium will deliver an unmatched cinematic presentation to movie-goers. The unique system design and confi guration of this laser projection system will further distinguish CGV Starium as one of Asia’s most premier cinema venues.”

“We’re delighted and honoured that CGV has acknowledged the superiority and brilliance of Christie’s revolutionary 6P laser projection system,” said Lin Yu, vice president, Christie Asia Pacifi c.

“Compared to conventional 3D systems found in cinemas around the world today, our system is able to exhibit vastly improved 3D light levels, color fi delity, image uniformity, viewing comfort, and a sense of immersion. This is the future of 3D cinema projection, and is expected

to be a key element in boosting 3D box offi ce revenues around the world.”

Anchored by the Christie Freedom laser illumination system, the CP42LH produces a colour gamut that exceeds the DCI P3 color and replicates the Rec. 2020 space, making it the most advanced RGB laser cinema projection system available. It consists of rack-mounted laser modules where each module can produce up to 5,000 lumens of white light. Because of the scalability of this platform, up to 12 laser modules can be easily added, removed, activated or disabled depending on the brightness requirements. This provides up to 60,000 lumens per rack. Each laser module is also independently cooled, providing built-in fault protection, improved effi ciency and ultimate reliability.

Since its rollout last year, a number of cinema chains around the world have chosen Christie’s 6P laser projection system as their preferred choice for a superior 3D cinema experience. Theatre chains equipped with Christie laser

projection technology include Seattle Cinerama, and Moody Gardens in North America and in Asia, the iconic Shanghai Film Art Center in China is the fi rst theatre to be fi tted with the CP42LH.

Christie’s 6P laser technology has also been endorsed by Dolby as a foundation technology for Dolby Cinema, a branded premium cinema offering for exhibitors and movie-goers that delivers the best cinema experience ever.

So far, the famous El Capitan Theater in Hollywood as well as AMC Theaters in Burbank, Atlanta, Houston and Kansas City across the United States are delivering this total premium cinema experience, while JT Bioscopen in Eindhoven and Hilversum in The Netherlands, and Cineplexx Linz in Austria have also commenced screenings using Dolby Vision, the visual aspect of Dolby Cinema, which is anchored by Christie laser projection.

www.cgv.co.krwww.christiedigital.com

16-time Grammy Award winner David Foster was the star appearance at the Arena of

Stars in Genting Highlands, the most prestigious performance venue in Malaysia, which is celebrating its 50th anniversary. For the concert, NEXO sent a technical team to the Genting resort to provide a complete review and recalibration of the Arena’s installed GEO T line array system.

The Hitman David Foster & Friends Asia Tour 2015 dropped into Resorts World Genting for a spectacular concert. Top vocalists performing with producer, songwriter and musician David Foster included Natalie Cole, Peter Cetera, Boyz II Men and Ruben Studdard, a demanding line-up for the house PA system.

System specialist Mark Bollenberg worked with NEXO’s Malaysian distributor Concept Audio to implement improvements to the GEO T sound reinforcement system, installed 4 years ago. The latest NXstream processing software and a new approach to the

subwoofer set-up produced signifi cant gains in power as well as control.

“Over the years, the system has given satisfaction to the venue,” explained Bollenberg, “however, the NEXO team felt that we could bring up the quality of sound even further, especially at the RS18 subwoofer distribution level. Our new approach using a mix of L & R plus steering, works much better to avoid lateral spills and to create a pattern that really follows the room shape. We gained at least 4dB of acoustic power on top of control.

“On the GEO T side, we fi nally decided to run the system down to 60Hz, which was made possible by the new NXstream

FIR-processed preset, which actually makes the GEO T sound even more natural and open. Overall the system sounds more powerful and smoother than ever with solid and equal sub bass response everywhere.”

Entertainment Director Billy Ching was really pleased with the new calibration and commented that the Genting Highlands management was extremely satisfi ed with the overall sound performance during the show, and confi rmed that they consider GEO T and RS18 to be the best possible choice of system for their venue.

www.conceptaudio.com.mywww.nexo-sa.com

Nexo Revitalises GEO T For Arena Of Stars{ MALAYSIA }

“On the GEO T side, we fi nally decided to run the system down to 60Hz, which was made possible by the new NXstream FIR-processed preset, which actually makes the GEO T sound even more natural and open. Overall the system sounds more powerful and smoother than ever with solid and equal sub bass response everywhere.”

- Mark Bollenberg, System Specialist

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www.palmexpo.in


CHIJMES{ SINGAPORE }

Guests “transported” to six cities in one memorable night

With The HeinekenTurns Green

Cities Festival

77LIVE!E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

The 28th of August saw the entertainment complex, CHIJMES, turned into a sea of green, where

Heineken held its Cities Festival. It was a unique concept where Asia Pacifi c Breweries, the company that sells Heineken, worked with some of the existing F&B outlets within CHIJMES to create a journey of discovery into six of the world's most exciting cities, namely, Los Angeles, Madrid, Mexico City, Seoul, Tokyo and Singapore. Entertainment situated at different areas within the venue, depicted the music and entertainment of the different cities and went down well with guests, as they soaked in the atmosphere. The highlight of the evening saw DJ Cristian Varela who is fast becoming one of Spain's best export and ambassador to the techno scene, get the crowd all pumped up. With the sale of limited city edition Heineken bottles being snapped up, it was indeed a memorable night of fun and musical experience of the six cities.

Helping to create the seamless experience for the guests was Roger Seah of Concept Alliance Asia who was the appointed Activation Creative and Show Director for the event. For production support Roger appointed Robert Adrian Tan as the Technical Director to ensure that an equally exciting atmosphere was created to cater to the senses.

Roger's scope of work entailed creativity of the entire consumer experience of the festival, from sound, light and visual to Artiste Management and on-sight Branding. According to Roger, challenges where sound, light and visual were concerned, included special attention that was required for the cabling works and safety issues. “CHIJMES is a conservation site and we had to be careful due to the building structure to ensure that all equipment and power required did not affect the building. In addition time was also a factor as we had to work around the operating hours. Considering that this is a lifestyle venue, it took us 5 days to get the set up done as we could not test systems or do cable work during normal operating hours of the venue.”

There were two control stages set up within CHIJMES. Each control stage took care of controlling the sound, light and visual for specifi c areas. One control stage took care of the Seoul and Tokyo city experience, whereas the larger control stage


was responsible for the rest of the cities entertainment experience including the fi nale with DJ Cristian Varela.

“Production support was also a challenge as we needed to consider the placements of sound and lighting support structures in relation to the F&B outlets within the space. We had to ensure that the sound dispersion and fi ring angles of the lightings did not disturb the respective F&B venue's dining clients during the entire show,” said Roger.

The Entertainment AspectEssentially there were fi ve different areas created within CHIJMES which showcased music and entertainment from fi ve different cities, mainly Seoul, Tokyo, LA, Mexico City and Madrid.

Singapore as the melting pot of cultures was aptly the venue showcasing all the different cities.

Each of the areas had background music being played, depicting the respective city's music. This was complemented with performance depicting the city's music. Each city performance was co-ordinated to follow a schedule thus allowing guests to enjoy each city's performance and performers. This was scheduled twice before the highlight performance by DJ Cristian Varela.

Technical SpecThe task ahead for Robert Adrian Tan as a Technical Director was enormous. Robert and his team had to set up the sound and lighting equipment in fi ve different areas, which were then controlled by the two stage control areas.

“For the audio system we went with KV2 Audio. There were many aspects that had to be carefully considered, before deciding which KV2 System was to be deployed for each location. KV2 Audio’s individual system for each location had to be calculated in our EASE Software before hand as well. This would in turn, double confi rm the actual System to be used. The true reproduction of the

original sound and its dynamics were the key elements that pointed us into having KV2 Audio for this Festival.” said Robert.

He added, “Different locations, some with refl ective walls and others with open spaces had to be taken into consideration before deciding on the actual systems to be utilised.”

The performances kick started with Tokyo, followed by Seoul, then LA, Mexico and Madrid.

The audio system for Tokyo featured 2 units of KV2 Audio ESD36 speakers driven by 1 unit of KV2 Audio ESP2000 amplifi er and 4 units of KV2 Audio EX10 active speakers. Lighting fi xtures included 8 units of XC Lighting R200 moving head beams and 8 units of XC Lighting XC-008D 18x10W RGBW LED Par. “The performance in this area featured the traditional Taiko Drums and we had to choose the appropriate speaker models as the second part of the Taiko Drum performance was backed by a Japanese song which depicted “Energy & Festivity,” said Robert.

The main audio system for the Seoul city area featured 4 units of KV2 Audio ESD15 speakers that were driven by 2

© Heineken Singapore

The Mariachi Band performing at the Mexico City area


LIVE! 79E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

units of KV2 Audio ESP2000 Amplifi ers. 3 of the speakers were hung on a truss with the other placed on a speaker stand to provide a controlled surround coverage within the performance area. The Seoul city area also featured a Korean DJ who spinned K-Pop music, setting the mood for the Korean dance performance. The DJ area featured two units of KV2 Audio EX12 speakers with Pioneer CDJ2000 and Pioneer DJM900 systems. Lighting duties were handled by 8 units of XC Lighting R200 fi xtures with 4 units of XC Lighting XC-008D, 18x10W RGBW LED Par.

Lighting control for both the Tokyo and Seoul areas were handled via an Avolites Pearl 2010 lighting console. Audio mixing duties for both areas was handled by a X32 Behringer Producer Digital Mixer that worked in tandem with a Midas DL251 Digital Stage Box. A Klark Teknik 9610 extender was also

incorporated in the set-up as the Cat5 Cable length exceeded the 100m run.

The city of LA was depicted with golden live “statues” representing the many awards handed out in USA with break-dance performance complementing the experience. This area together with the Mexico city area was a focal point as it was placed centrally just in front of the CHIJMES lawn area. It would also play an integral role for DJ Cristian Varela performance as it is an open area which would need more “oomph” for the enjoyment of patrons. For this space Robert placed 3 sets of the KV2 Audio K-rig system that each comprised of 1 unit of KV2 KT2.0 Mid-Hi Module, 2 units of KT2.15 Bass Module supported with 1 unit of K-PAK Amplifi er. In addition two units of KV2 Audio EX12 active speakers were also placed to cover the side areas of the space. 8 units of DTS XR-8 Moving Head Wash lights together with 4 units

of Omarte 15R Moving Head Beams and 6 units of LED City colour lighting completed the lighting set-up.

Facing the LA space was the lawn which was also the performance area for Mexico City. Sound reinforcement for this space was provided by 2 units of KV2 Audio ES 1.0 speaker system, 4 units of KV2 Audio ES 1.5 Sub-woofer system with an additional KV2 Audio ES 1.8 Sub-woofer system. 2 units of KV2 Audio ESD15 speaker systems were used

The sound and light system at the Seoul City area where guests enjoyed K-Pop entertainment

The LA city area The KV2 Audio ES 1.5 & ES 1.8 Subwoofers at the Mexico City area

KV2 Audio ES1.0 (Long Throw System) speaker hung, at the Mexico City area


as delay systems. The ES speakers were driven by 2 units of KV2 EPAK2500R amplifi er systems with one unit of KV2 Audio ESP2000 amplifi er system driving the ESD speakers.

As the Mexico City space was also within the focal point, the lighting fi xtures were enhanced with more units. These includes 16 units of ASPL36 x 10 watts LED Moving Head Wash, APSL 5R Beam Lighting, 6 units of Clair Lighting M280 Beam/Spot and 4 units of XC Lighting Defi ne19 RGBW LED Spot Lighting.

Lighting control for both the LA and Mexico space were all controlled via an Avolites Tiger Touch console from one of the control stages.

“As this space was a focal point we had to ensure a higher sound coverage. Thus creating a fully impactful sound coverage, bringing Live Sound & Live DJ playback to create a Live Concert atmosphere that delivers a true and powerful representation of the original

source to a very large audience in very high defi nition audio, was the priority, ” highlighted Robert.

In addition Roger roped in a digital artist to draw live via a Mac showcasing “Mexican” style caricatures and cartoons. The images were then projected onto one of the walls via a Barco RLS Series – Single Chip DLP Projector with a special 6 colour wheel, which brought the vivid & vibrant colours to live complementing the colourful and bright traditional Mexican clothing.

The city of Madrid showcased Flamenco dancers in all their splendour. This space featured 4 units of KV2 Audio ESD12 speakers with 2 units of KV2 Audio ESD1.18 Sub-woofer and 2 units of KV2 Audio ESD 1.15 Sub-woofer, all driven by 2 units of KV2 Audio ESP4000 and 2 units of KV2 Audio ESP2000 amplifi ers.

The DJ set was set up above the Madrid space. A raised platform was constructed behind the Church building, facing the

focal points of LA and Mexico area as well as the Madrid space below. 1 unit of Pioneer DJM900, 3 units of Pioneer CDJ 2000 Nexus and 1 unit of Technics SL1210 MKII complemented the DJ system.

Audio mixing for the LA, Mexico, Madrid as well as the DJ performance was handled by an Allen & Heath iLive T112 Digital Mixer with an iLive iDR-48 mix rack.

One interesting aspect of the set-up was the DSP Zoning system that Robert

Award-winning DJ Cristian Varela taking over the CHIJMES entertainment with his signature anthem.

Robert Adrian, The Technical Director for the event



“Mexican” style caricatures and cartoons projected via a Barco RLS Series

Different KV2 Audio confi gurations ensure audio coverage across the CHIJMES complex

had implemented. “Before the different performances took place, each city area played their respective city music as background music simultaneously. When the respective city performance took place all the fi ve designated city areas would only play that particular city area's music. When the DJ performed all the sound systems also only played the DJ music. To enable this we relied on one unit of Biamp Nexia CS and a Nexia SP linked via Nex Link for zone control,” said Robert.

The true reproduction of the original sound and its dynamics were the key elements that pointed us

into having KV2 Audio for this Festival.” - Robert Adrian.

The Biamp Nexia system allowed for a 14 x 14 matrix including enough processing power for full speaker processing, which was suffi cient for what Robert wanted to achieve.

All the planning and hardwork paid off as Roger states, “I am pleased to say that everything went smoothly, in terms of the light, sound and visual support. The guys put in a fi ghting effort to help me achieve a good overall experience.”

www.conceptalliance.com

Guests being showered with confetti


Acoustic & Lighting Assist Janet Lee With No Restrictions

{ MALAYSIA }

Earlier in 2015, a huge crowd of music enthusiasts gathered outside the Bentley Auditorium

in Ipoh, a world-class concert hall to witness the performance that brought out the “pearls” of Mutiara Damansara, a major township in Malaysia.

“The Opulent Sound of Shanghai”, a concert organized by Pop Pop Music was back once again to charm the audience. Known as one of the top corporate entertainment players, Pop Pop Music is a well-recognized local talent house and record label that emphasized on live performances and excellent quality sound system.

Leslie Loh CEO of Pop Pop Music commented, “I’m very particular when it comes to selecting the right sound system”. Leslie also shared that one of his company objectives is to promote live sound performances in Malaysia, to fi ll a niche the country was lacking. “You can’t compare live performance audio to a recorded audio in a compact disc” said Leslie.

There were hardly any empty seats as audience started to fi ll up the pews as soon as the door opened to the

auditorium. While waiting for the show to start, the cozy and classy venue, equipped with moving LED light heads, got the audience immersed into the Grand Shanghai era. The pearls of the night were none other than Janet Lee, May Mow, Tay Cher Siang and WVC Band.

As the lights began to dim, the crowd focused on 5 young gentlemen on stage playing soft instrumental music but exploded as Janet Lee appeared to give her opening speech before proceeding to serenade them with her voice.

Throughout the evening, Janet and May displayed world-class performances with their harmonious vocals. Acoustic & Lighting System sponsored the two ladies with Sennheiser wireless microphones. With Sennheiser EW 500 wireless microphone, both Janet and

May were able dance and sing without restriction, to their carefully selected songs, charming the crowd with their beautiful vocals that were captured in clarity.

The Sennheiser E914 a recording instrument microphone was used to capture the acoustic sound of the grand piano played by Tay Cher Siang. As the night came to an end, Janet and May sang their last song “New York”, bringing all the night's performers back on stage.

That night Leslie smiled from cheek to cheek as he entertained the audience.

“It was great. I’m particular in selecting the right sound system and tonight has met my expectation”. Regarding future collaborations with A&L, Leslie indicated his

interests and faith in their products and services, “sure,

I only want good quality equipment”.

Janet Lee also shared that she was happy with the microphone performance. As did May Mow who was swarmed by her fans but managed to share that the Sennheiser mic was excellent

“We hope that Pop Pop Music would continue to living up their objective in providing live performances in Malaysia and spreading the love of local talents,” said an A&L rep.



www.true-collaboration.com

kramerasia.com


Clay Paky & d3 Technologies Come Together For NAS Opening

{ UAE }

One of the largest event production and equipment rental companies in the Middle

East, Production Technology (Protec) recently supplied HQ Creative with lighting, video and rigging for the opening ceremony of the Nad Al Sheba Sports Tournament 2015, held at NAS Sports Complex, in Dubai.

Protec selected d3 technologies and its creative software suite to handle the video elements for the opening ceremony. Video elements for the giant projections were created using two d3 4x4pros, which created the mask, blend and warp for the two geometric-shaped screens, angled toward each other in a fl ying wedge formation, which formed an immense backdrop for athletes and other performers on the stage.

Peter Jones, Protec’s d3 designer, selected d3 for its fl exibility in the timeframe dedicated to rehearsals and for its MultiEdit Collaboration feature, which allowed two editors to work at the same time while rehearsals were underway.

“The MultiEdit feature once again saved us huge amounts of time on site,” said Jones. “The fact that we could run rehearsals and edit at the same time was key for this show. In addition, the ability to edit and do the projection line up simultaneously made the set up quicker than expected. Now that I am familiar with the timeline, I fi nd it to be one of the easiest and quickest servers to program.”

Beyond video support, d3 also provided SMPTE time code to the grandMA console for lighting and laser cueing, performing vital functions across the entire production.

The lighting aspect of the event was created using 24 X Clay Paky Mythos and 14 x Clay Paky A.leda B-Eye K10,

“The rig needed to be lightweight but still pack a punch for such a dynamic and fast-paced show. It also needed to be traditionally theatrical in parts, and this is always a fi ne balance between bright and 'beamy' and slow and moody,” shared Protec.

Protec’s lighting designer, Aaron Russ, found the Clay Paky Mythos and Clay Paky B-Eye K10 to be the perfect fi xtures for the job. As he said, “it packs a lot of power and is very multi-functional which helped as I could use one fi xture type to cover all the elements without pulling the roof down.“

He went on to say: “They are also very fast, which combined with BlackTrax gave me unlimited follow spot positions, as my entire rig could be used as follow spots if needed. This gave me the ability to track multiple stunt performers on BMX, in-line skates, trampolines and even a back-fl ipping wheelchair from any position in the room, without having to think about calling follow spot operators and with limited rehearsal time, no one


working together alongside the Sharpy, Sharpy Wash 330, and Super Sharpy.

The venue had to function as a sports arena post show, so the design had to take this into account, staying out of the way of overhead house lighting as not to form shadows for the TV sports broadcast and not interfere with the games being played below.

Additionally, the stage had to be lit for TV as well as a live audience. A balance was needed between what looked good on TV and, more importantly, the theatrics for the live audience and His Highness Sheikh Hamdan bin Rashid Al Maktoum, the Crown Prince of Dubai.

missed a cue and the spots were always on point.”

BlackTrax tracked the Clay Paky lighting fi xtures with unlimited follow spot positions, as the entire rig could be used as follow spots if needed.

All elements were covered, and thanks to BlackTrax and Clay Paky lighting, everything was where it needed to be, on time, every time, without the possibility of human error. The stage was bright and vibrant with just the right amount of technology vs traditional theatre.

Protec has been using BlackTrax successfully ever since it acquired the system from Cast Software last year. The company is the fi rst in the Middle East industry to acquire the product and has been using it regularly ever since with great success.

www.productiontec.comwww.claypaky.it www.d3technologies.com

“it packs a lot of power and is very multi-functional which helped as I could use one fi xture type to cover all the

elements without pulling the roof down.“- Aaron Russ, Protec’s lighting designer on Clay Paky fi xtures


A Hectic And Fulfi lling Period For UnUsUaL Productions

{ SINGAPORE }

From organising a Carnival to highlighting the breaking of Singapore records and celebrating 50 years of nation building, UnUsUaL Productions put out all stops to ensure the events were successful in a hectic period from June to August this year. Each event required different expertise and UnUsUaL managed to pull them off admirably.

SEA GAMES CARNIVALThe 28th SEA Games carnival was held between 30 May to 16 June at the open spaces within the Singapore Sports Hub. The entire Carnival was part of several fringe activities organized by SportSG for the public and was aimed to rally communities to get involved in the SEA Games experience.

The carnival featured 20 booths where carnival-goers could pit their wits and skills in a variety of games. Highlights included the fi rst ever Hot Air Balloon rides in Singapore, Laser-Tag battles and the gravity defying “Walk-On-Water” game.

Keeping with the objective of getting the community involved in the SEA Games, meet-and-greet sessions were organised for the public to meet the athletes in person to obtain their autographs and take photos with them.

For many months UnUsUaL together with SportSG, worked hard to stitch up all the programs for the Carnival. “We aimed to introduce SEA Games sports to the children in distinctive and appealing ways and to create a 'June Holiday like no others!' for all who visited the Carnival, said the SEA Games Carnival Commitee.

Though carnival organising may not be UnUsUaL’s forte, the team was up to the challenge. “Our team started from brain-storming ideas for the Carnival, to conceptualizing, designing and executing it. It was a long process but all was worthwhile after the whole Carnival had been setup. From carnival crews to performers and technical crews, we had an average of 120 people working onsite every day,” said Alan Meng, Director of UnUsUaL.

Stage performances featuring local artistes like Daphne Khoo, Tabitha Nauser, The Sam Willows, Tay Kewei and Charlie Lim were held to further spice up the carnival.


UnUsUaL also created a specially choreographed Laser & Lightshow for everyone to celebrate, as well as a dance and percussion performance incorporated within the Laser & Lightshow to keep the public entertained.

The stage measured 10m in width and 7.2m in depth and featured a M3 Pitch 10 LED Screen that measured 5m in width x 3m in height, with a rooftop structure built over the stage. Another set of M3 LED Screen of 10m in width and 1m in height acted as the stage skirting to showcase graphic effects and announcement playback.

Up to 400pcs of lighting fi xtues were hung on the trusses within the stage and spread along the lighting trusses, which were planted around the Carnival ground to create the right ambience. These fi xtures included, Robe Robin 300 Beam, M3 LED Moving Head, M3 15R Beam, M3 RGBW LED Par, M3 3-Cell LED Blinder, M3 LED Wash Bar 324 and 8 units of M3 M6-G6000 Green Laser. “Most of them were LED fi xtures as power supply was a major challenge for us where we had to bring in close to ten generators of different rating to cater for the Carnival’s requirement,” said Alan Meng.

UnUsUaL was once known to have the largest Electro-Voice inventory in Asia and thus not surprisingly EV speakers were the main systems used in the carnival. A total of 16 units of EV XLD Line Array Speakers, complemented by 6 units of EV X-Sub Woofers, driven by 10 units of EV P3000 Power Amplifi ers were deployed onsite. It was supported by three sets of PA Racks with 12 units of Nexo PS15 Speakers placed at specifi c zones within the carnival, mainly at the Junior Zone, Walk-on-Water and Laser Tag stations to further enhance create the sound in the Carnival ground with DJ spinning and background music playback.

Alan Meng concluded, “We received overwhelming praise from the organizing committee and they were more than satisfi ed with the turnout. The public responded well to the Carnival and it hit a record high of 40,000 visitor-ship per day throughout the 16-days Carnival.

YOUTH CELEBRATE!Youth Celebrate!, is one of the largest events to showcase the vitality of youths and their achievements in sports, arts and uniformed groups. Held on 26 July 2015 at the Singapore Sports Hub, the event featured more than 3,700 performers and athletes from all Ministry Of Education schools, as well as Special Education schools and Institutes of Higher Learning. This was the fi rst time that the new National Stadium hosted a joint sports and arts event for over 53,000 students, educators and parents. This milestone occasion, also marked the offi cial opening of the Singapore Sports Hub by Prime Minister Mr Lee Hsien Loong.

UnUsUaL played a key role in the project organization and management of the special events. Kicking off with the breaking of two records in the Singapore Book of Records – fi rst ever largest fl oating Singapore fl ag in history and 7,500 laps swam in an hour at the

OCBC Aquatic Centre. The celebration was followed by performances at the Singapore National Stadium. With two celebratory events happening at different venues, UnUsUaL dedicated much time on a detailed and systematic planning. Starting off from planning back-of-house detailed logistics, including signages and communication equipment, to assisting and coordinating with teachers to ensure the most positive outcome of the event.

At the National Stadium, a visual feast of perfectly-synchronized performances enhanced by 18 sets of high power laser system with green stunning laser launcher, splendid pyrotechnics and 120 sets of confetti shower launcher wowed the whole stadium crowd tremendously. Furthermore, the crowd also participated in one of the light stick segments specially coordinated by UnUsUaL which featured radio frequency controlled light sticks, that surprised and fascinated the crowd.

Youths breaking the Singapore Book of Records at the OCBC Aquatic Centre


For the performance, UnUsUaL set-up a total of 120 units of EV XLD Line Array Speakers, 4 units of Dynacord Cobra ll Compact Array Speaker System, more than 15 units of EV QRX115 Loudspeakers, complemented by 40 units of EV X-Sub Woofers, 8 sets of Dynacord Cobra ll Top Speakers and Sub-woofers that were driven by EV P3000 Power Amplifi ers, around the National Stadium. Another 24 sets of EV XLD281 Compact Array Speakers were consecutively set-up, taking in consideration for VIP front fi ll.

UnUsUaL also set-up a grand scale of lighting fi xtures - more than 900 units were hung on the trusses and fi xed around the pitch. The fi xtures included, Martin Mac 2000 Wash, Martin Mac 2000 Spot, M3 15R Beam, M3 1M RGBW Led Bar, M3 RGBW Led Wash, 8-Header Molefay and 240 units of 2KW Fresnel which were specially designed by the Lighting Designer.

A total of 40 pieces of M3 Pitch 10 SMD LED Panels were used to clad onto four

sets of mini stages of 5m by 1m each, acting as stage skirting for graphic effects.

The end-effect was one of celebrations in a sea of sound and light that truly refl ected the energy and aspirations of the youth in Singapore. “Working with the organisers and relevant committees, we are pleased to have been involved in this project and most importantly delivering an outcome that was appreciated,” said Alan Meng.

JUBILEE DAY OF PRAYERJubilee Day of Prayer (JDOP) held at National Stadium in Singapore saw the attendance of about 50,000 Christians joining together to celebrate the nations’ 50th year, a jubilee year, and to pray for the country. The guest of honour was, once again, the Prime Minister of Singapore, Mr Lee Hsien Loong.

JDOP was brought alive by the immaculate technical assistance of UnUsUaL Productions, from lighting, sound, video to staging.

A mix of about a hundred JBL and EV speakers were ground stacked throughout the National Stadium to provide maximum distribution of sound in all wavelengths to the 50,000 audience present. UnUsUaL also provided the AVIOM personal mixing system for all music instruments.

Over 260 square-metres of M3 Pitch 10 LED was used to set up the Main screen and 6 IMAG screens with live feed patched through from 6 video cameras throughout the stadium. This ensured maximum coverage of the event and also made sure everyone present had a proper view of what was happening on the stage.

SING50 As part of the celebration for Singapore's 50th year of independence, the Sing50 event was held on August 7th at the Singapore National Stadium. Sing50 was a celebration concert of 50 years of Singapore Music co-organised by The Straits Times and The Business Times of Singapore Press Holdings Limited.


Sing50, was the fi rst mega-concert to be held at Singapore National Stadium, as a prelude to the National Day Parade. Sing50 celebrated Singapore’s 50 years of music history with performances from home grown talents like Stefanie Sun and JJ Lin as well as global artistes like Lang Lang and Apl.de.ap to. The concert was also graced by guest-of-honour, President, Mr Tony Tan and his wife Mrs Mary Tan.

A huge performance such as this required intricate technical planning and execution that was tasked upon UnUsUaL Productions.

Making sure the sound was of the highest quality and to be evenly projected throughout the whole of the National Stadium was one mean feat but it was made possible with UnUsUaL Productions’ wide range of Electro Voice (EV) brand speakers and vast experience working at the Singapore National Stadium.

A set of 24 EV X-Line Array Speakers accompanied by 16 X-Sub Woofer speakers and 12 sets each comprising 6 pieces of XLC 127 DVX Array speakers were fl own throughout the Stadium at delicately calculated angles to ensure maximum distribution of sound in all wavelengths to all patrons in the Stadium. 15 Shure dual channel wireless microphones, 110 Shure/Sennheisser/AKG wired musical instrument microphones and 20 Shure/Sennheisser wired condenser microphones were some of the equipment catered for artistes, the Metropolitan Festival Orchestra and the 1,000 strong choir.

Consisting of 550 pieces of lighting equipment including M3’s 15R Beam, RGBW LED Par, RGBW LED Wash; Martin Mac’s 2000 Spot, 2000 Wash and Arri’s 2KW Fresnel, the lighting show was one short of stealing the limelight from the concert.

Video coverage for the concert was unique - apart from the typical coverage of roving stage cameras, jimmy jib camera and overall view with wide angle lens, UnUsUaL Productions is the fi rst to provide camera coverage from the roof of the National Stadium with 100X zoom lens.

A total of 548 pieces of M3 Pitch 10 SMD LED Panels were used to form the 208 square meter main screen and 2 pieces of 66 square meter IMAG side screens of 26meter by 8meter and 11meter by 6meter size respectively.

Most of the equipment used would not have been possible to install without UnUsUaL Productions’ rigging department which has a wide range of trusses and trussing equipment and dedicated team of riggers who scaled great heights to set rigging points on the roof.

Sing50 was indeed a celebration of local and foreign talent as well as that of the abilities and capabilities of UnUsUaL Productions.

All photos in this article are copyright of the

following companies: UnUsUaL Productions,

Covenant Evangelical Free Church, Ministry of

Education and The Rice Company.

www.unusual.com.sg


Production Technology Defi es Summer Heat @ Games15 Middle East

{ UAE }

Games15 Middle East, a premier gaming event in the Dubai region hosted by the ESL

Gaming Network, saw more than 20,000 eager gaming fans brave soaring temperatures to watch global teams go head to head over 3 days, competing for the US$250,000/- prize. Held at the Dubai International Marine Club, visitors were able to preview and experience some of the games scheduled to be launched in the coming months.

Production Technology (Protec), is one of the world’s largest event rental

companies and supported the event through its client – SNAP, with lighting, video and rigging.

The Main Arena was rigged using Protec’s EHD (extra heavy duty) ground support structure which held 3 LED screens rigged off the 18-inch sub truss. The stage was considerably smaller than the arena shows that ESL regularly produces, so Protec took the challenge of making the stage look like an arena show for TV without the space of an arena. Protec’s project manager Simon Travis explained, “The main issue was

the width of the Main Arena rig. We had to make it smaller than we would have liked due to the width of the venue and access routes.”

The event was primarily for live broadcast and had a live audience. In this situation, broadcast took priority on the lighting design. 24 x Clay Paky K20 B-Eye and 8 x Mythos fi xtures along with Molefays were used for the main stage. LED pixel smart fi xtures added some ambient lighting in the main audience area. The large cinematic set, built out of shipping containers was subtly lit to add to the scenic surround feature.


To create a more 'arena' feel to the relativity small stage, Clay Paky Super Sharpy fi xtures were used to send some big beam effects into the Dubai night sky. Their powerful beams punched through the rather bright ambient light of the Dubai Marina while their compact size didn't eat into the valuable stage real estate.

“Our lighting designer worked closely with the TV director to make sure colour temperatures and exposures were matched across the 10 HD cameras being used to capture the event. His biggest challenge was to light the players, but not directly, as it could have distracted them during the game”, Simon added.

Aaron Russ, Protec’s lighting designer, used both side and bounce lighting to light the players in their booths. This made the process of eliminating shadows a little more of a challenge. Heat was another issue as the booths were small and confi ned. Pixel Smart RGBWA LED

fi xtures were used to light the booths, as the colour temperature could be tuned for the cameras with minimal heat output, while keeping the fi xtures in close proximity to the players.

Protec Video used an Encore VP System for the Main Arena stage which worked well for the event. It needed a simple system that could handle an HD-SDI Signal with minimal latency loss. The Encore System was able to prevent any lip syncing issues that may have occurred due to the fast pace action of the event.

On the secondary exhibition stage, a smaller rig consisting of Clay Paky HPE 700, Martin Mac Aura and Pixel Range Q Par fi xtures were used. Protec used its new MA Lighting Dot 2 XL-F lighting consoles, which were easy for the lighting operators due to their clean layout and programming simplicity.

Protec also had its own stand at the exhibition where the company showcased 2 of its large single armed

robots that held an LED screen each to provide an added attraction for the visitors. The robots were programmed to perform choreographed movements with the screens that enabled the video content to have an impactful 3D effect. With the amount of attention and interest the robots got, Protec’s Robotics engineers are certainly excited with what promises to be a busy season ahead for them.

The director for SNAP, Darren Hodge said, “Being the fi rst full scale gaming event in this region, it was a learning curve for all of us and to have the depth of resources that Protec have to hand was a great help. As usual nothing seemed a problem and there was always help and creative assistance immediately available from Protec.”

www.productiontec.com

92 LIVE! E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

Hexogon Illuminates Singapore Skyline With Christie & SGM

{ SINGAPORE }

Since 2013, Hexogon Solution Pte Ltd has been appointed to light up the city of Singapore during the

annual Formula 1 Singapore Grand Prix Night Race.

Up until recently, the team had done so with conventional fl ood lights, but in 2015, they opted for the LED technology by SGM. For their architectural illumination at the recent Formula 1 race in Singapore, Hexogon acquired 220 x SGM P-5 wash lights, each consisting of 44 high power 10W RGBW LEDs.

Managing Director, Adrian Goh, knew the challenges from the previous race

events: “For some of the installations, we were not allowed to place our lighting equipment at the ideal spots, so alternatives had to be suggested. Also, as this was a night race, the entire race track would be brightly lit, creating a wash out effect onto our installations, which were located just beside the track. So a lot of trial and error on site was required.” Replacing the conventional lighting with the LED effects of the P-5 added advantages in size versus weight and fl exibility in colour adjustments. “We feel that the fi xture is compact, uniformity is good and of course the brand’s ongoing

efforts to make IP65 rated products is our key requirement,” Adrian Goh informed, revealing his intention to extend his new fl eet of P-5 wash lights.

Besides their new choice of lights, they also deployed a fl eet of 46 x Christie Boxer 4K30 digital projectors for the fi rst time to serve projection mapping and live screening requirements.

“The annual Formula One night race is one of the most anticipated international sports events to be staged in Singapore and we are committed to deliver memorable digital projections that showcase Singapore as a beautiful


“We had to ensure that

the lighting and projection

systems were stable and

performing at their best

when the TV camera panned

across the entire area to

capture panoramic views. I’m

glad that everything went

well and the race organizers

are happy with the results at

the various venues.”

- Adrian Goh, Managing

Director, Hexogon on the

SGM fi xtures.

and vibrant city to audiences across the globe,” commented Adrian. “This is why we have chosen the Christie Boxer 4K30 projector for an event of this scale. It offers stable performance, is easier to monitor, delivers excellent brightness, and has a small footprint. We are now able to do more with fewer projectors and achieve better resolution.”

Overall, the projectors and architectural lighting fi xtures were deployed at 16 locations around the racetrack, including the National Gallery of Singapore, Victoria Theatre, Civilian War Memorial, Gardens By The Bay, Esplanade Theatre and Singapore Flyer.

Elaborating on the signifi cance of this project, Goh said, “All our installations had been designed for maximum TV

exposure to highlight stunning views of the city state from helicopters featuring the central business district skyline, so every second of TV exposure counts. We had to ensure that the lighting and projection systems were stable and performing at their best when the TV camera panned across the entire area to capture panoramic views. I’m glad that everything went well and the race organizers are happy with the results at the various venues.”

www.hexogonsol.com


Ctrl Fre@k Journey Through The Past With LKY Musical

{ SINGAPORE }

For theatre, speech intelligibility is incredibly important. That was the main consideration when the

stage was set for one of Singapore’s biggest musical productions ever, The LKY Musical.

The inaugural production by Metropolitan Productions was held at the Marina Bay Sands Theatre and set over a 24-year story arc. Based on the life of Singapore’s founding Prime Minister Lee Kuan Yew, the production featured local talents such as Adrian Pang in the titular role, and provided viewers a glimpse into the life of a young man who would grow to command a country.

“You’re telling a story, and in order to tell the story, you need your systems to be right,” explained Jeffrey Yue, Owner of Ctrl Fre@k , the company behind the video system and sound

design. “Ctrl Fre@k is not your typical hire company, we are one of the only companies in Singapore that are able to provide professional services across multiple disciplines. Ultimately, we are a show design company.” While they

do straddle many departments, for the Musical itself, Ctrl Fre@k was engaged to supply design, show programming, system integration services and equipment provision.

(L-R ) Marco Curcio – Sound Mixing Engineer, Jeffrey Yue – Sound Designer, Lee Yew Jin – Sound Deck Crew


As the sound designer, Jeffrey worked with the show script and directorial notes to consider all the different aspects needed to adapt and supplement the show sound requirements, with what was available from the in-house inventory, that he considered, “a bit too rock ‘n’ roll”. Starting with a permanently installed of d&b J8 line array speaker system as the main PA, he decided on a hybrid system and brought in Norton Audio LS4 line array elements and NF8 point-source loudspeakers to bring the audio image closer to the audience.

Considering that most theatre shows function through a split system, vocals to one system and band to another, the d&b clusters were critical as most of the band’s sound was sent over to them, through a matrix system. “Sound for musicals is a lot more complex than most shows. You may have 2 big fl own clusters that cover everywhere but without accurate audio imaging, it compromises the story-telling. The [d&b] J8’s are top-of-the-line systems but all the voices coming straight out of the boxes were not effective for this application.”

“I wanted to pull the audio image down so the audience would feel as though the voices were coming directly from the cast on stage. We managed to achieve an 80-degree audio fi eld with the J8 systems while the Norton gave us 100-degrees which provided a wider coverage and this helped make everything seem more real.”

“It was our fi rst time using the Norton speakers and for their size, they are really powerful. For front-fi ll applications, if you send the same thing to all the speakers that are close to each other you will have issues with comb-fi ltering. With

the Norton front fi lls, that adverse effect was surprisingly minimal.” added Jeffrey.

Notably, the audio was made so authentic that Jeffrey even took an unassuming portable radio prop and attached it to a simple Bose wireless speaker that was fed via an IEM, for sound effects such as radio broadcasts from the 1960s. Also a combination of the Mac Pro computers running Qlab 3 software and Timax 2 Soundhub digital matrix dealt with the intricate execution of surround sound and spot sound effects playback.

Handling the video system design was Wee Cheng, the co-owner of Ctrl Fre@k. With content created by PurpleLab, Wee Cheng placed 3 x Panasonic PT-DZ21K projectors behind the main set to act as the stage backdrop against a large cyclorama. “Most of the time, when you gain the short distance, through using ultra-short throw lens, you lose the brightness of the projection. To counter

this, we went with higher lumens so that even with the short distance, we wouldn’t lose the brightness,” explained Jeffrey.

Up front, 2 more Panasonic PT-DZ21K projectors used the set itself as a projection screen. By building and dividing the set into a 3 storey high structure, wooden mobile slats were constructed to act as 9 ‘projection zones’ that would help move the audience across space and time. Helping the team work-out details such as scene timings, footage length and zoning properties was a Green Hippo Boreal V4 media server, controlled through a High End Systems Roadhog 4.

Despite its mixed reviews from critics, the show itself was aesthetically beautiful. By using sound and video projection, the creative team kept the historical account fresh, dynamic and current with a modern approach. Proud of his work, Jeffrey concluded, “There is no such thing as an easy production but the results of this show defi nitely surpassed our expectations, especially the projections. Not only was this set was a monster to build, we had barely enough time to do it and after these past few weeks, it looked and sounded really great.”

ctrlfreak.sg

“You’re telling a story, to tell the story, you need your systems to be right... I wanted to pull the audio image

down so the audience would feel as though the voices were coming directly from the cast on stage. We managed to

achieve an 80-degree audio fi eld with the J8 systems while the Norton gave us 100-degrees which provided a wider coverage and this help make everything seem more real.”

- Jeffrey Yue, Owner of Ctrl Fre@k

t e c h n o l o g y a s i aw w w . e - t e c h a s i a . c o m

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ACME Lights Tune Up “MY FM The Show 2015”{ MALAYSIA }

Every year since it's inception, the hit radio station, MY FM in Malaysia celebrates its birthday

with a bang. In 2015, for the fi rst time ever, the bash was held Resorts World Genting where fans from around the country were invited to celebrate with their favourite announcers and artistes.

Solutions from the ACME inventory were once again put to good use for the 8000+ My FM fans that fi lled up the venue. There were more than 252 x ACME fi xtures combined with 26 x ACME XP-1500WZ professional wash, 26 x ACME XP-1000SZ professional spots, 82 x ACME XP-5R professional beams, 44 x ACME CM-300Z LED moving heads, 16 x ACME ST-5000 LED mega strobe effect lights and 4 x ACME LED-BL8 LED special effect fi xtures.

As with every good party, there is a theme and this year's was 'The Miracle Box'. The story of the box revolved around a musical box owned by a mysterious character and it was up to the radio presenters and artists to fi ll the night with suspense, excitement and of course, jokes. For 2 consecutive days in September, more than 40 DJs, artists and celebrities, both local and internationally known, joined in the fun.

“The main lighting surrounded the performance stage in order to get bring the best visual experience to life,” said an ACME rep.

Highlighting the stage background were 54 x ACME BW-54-3RGBW IV building wash lights mixed with ACME XP-5R beam fi xtures. This led to stable yet dazzling effects that grooved with the rhythm of the music.

In their offi cial press release, ACME thanked the Event Co-Technical / Production Director; Absolute Technical Production Sdn Bhd who built and designed the brilliant staging. With over 30 years of expertise in stage lighting, ACME’s has now expanded their sales offi ce located to Malaysia, Singapore, Japan, Thailand, Korea and Italy covering more regions for distribution.

www.acme.com.cn

Have U Met...? 98 E - T E C H A S I A N o v e m b e r - D e c e m b e r 2 0 1 5

24 years young, Pharm Thanh Duc, also known by his nickname Pi Ko, is based in Ho Chi Ming City, Vietnam and is part of a new breed of young professionals coming into the lighting and sound scene in Vietnam.

Tell us a little bit about yourselfI was born and grew up in Dong Nai, Vietnam. After having completed my high school I attended a lighting programming course in Vietnam. I also have a diploma in mechanical engineering and have been working in the lighting industry for 5 years.

What prompted you to get into the industry?My cousin is the Director of a company that is involved in the sound, light and visual industry. She is the one who persuaded me to join her company. Before joining her I was actually working as a motor mechanic.

What is your weapon of choice?I prefer to use the Sunlite software, but I can also work with the Avolite console. Using the Sunlite is easier for some shows because of all the pre-program.

I like to work with the Beam and Moving Head spot lights, cause I can create some of my best works using this lighting fi xtures.

Have you ever been on tour? No I have not been on tour, but if given a chance I would love to follow Mr. Son Thung who is a Famous Vietnamese Singer. I would love to be the programmer for his shows.

Describe the most memorable show you have doneMy most memorable would be the Circus job I did, installing all the lighting fi xtures. I had just started working in the company and my knowledge of lighting was not up to standard but the installation involved was for more than 200 fi xtures. My job was to set up all the lighting and hand it over to the in-house lighting programmer which the circus had engaged directly. But on the day of the opening of the circus the lighting programmer quit, and I had to take over the programming of the lights. I had only 2 hours before the doors were to open.

I started at 4pm and by 6pm the customers started to come in. The lighting program was satisfactory, but the next day I had more time to do a proper program and that experience taught me a lot.

What has been the greatest challenge for you in your career so far?The greatest challenge was for a job where we did lighting rental for a club. We had set up about 30 lighting fi xtures. All was well until nearing the event. The signal cables were faulty causing some of the lights to mess up. Lucky for us we have a good relation with the club and somehow they forgave us. We are still the contractors for the club. But this is an important lesson learned.

If you were not in this industry, where would you be?If I was not in this line I would probably be a mechanical technician.

What have you learned the hard way?Most of my job scope requires hard work. During my early years as I was not so experienced, my time to set up lighting fi xtures would take a longer time, making the job diffi cult. But I stood by it and made sure I got everything done despite not having enough sleep.

What does the future hold?I would like to improve myself to the best of my abilities. At the moment we do only mid-scale production and 5 years from now, I hope to be involved in bigger scale productions.

Further down I hope to be a manager within the company.

..................................................................To get in touch with Pi Ko, email him at [email protected]

USAph: +1 714 236 [email protected]

AUSTRALIAph: +61 (0) 7 3624 [email protected]

CHINA-SHANGHAIph: +86 21 6278 [email protected]

CHINA-BEIJINGph: +86 10 6561 [email protected]

INDIAph: +91 80 6708 [email protected]

JAPANph: +81 3 3599 [email protected]

KOREAph: +82 2 702 [email protected]

SINGAPOREph: +65 6877 [email protected]

www.christiedigital.com

Christie Roadster S+22K-J projectors create a stunning projection mapping show on the dome of prestigious white peace pagoda also known as Dhauli Shanti Stupa, built in the 1970s

Photo courtesy of Tricolor India Schauspiel

Christie’s valued partner Tricolor India Schauspiel enabled history to come alive on the dome of the

Christie Roadster Projectors Make History Come Alive at Renowned Dhauli Peace Pagoda in India

www.fineart-light.com

Documents

ETA November-December 2015