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SEPTEMBER 2019For The Technical And Production Professionals in Asia
www.e-techasia.com
The Illumination of Singapore’s Bicentennial National Day Celebrations
The Perfect Backdrop - Video As Performance Art in Theatre
TECH TALK: Projection in Domes
Protec Shines at Jeddah World Fest
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 20193
IN THIS ISSUEVOL 20 ISSUE 09 SEPTEMBER 2019
58
CONTENTS
04 FIRST WORDS
06 NEWS
38 VIDEO FILES
39 ENNOVATIONS
EXHIBITION PREVIEW44 Live Entertainment Expo TOKYO
ALEX COLUMN45 Have Your Priorities Right
TECH TALK46 Projection in Domes
FEATURE48 The Perfect Backdrop - Video As Performance Art in Theatre
LIVE52 SINGAPORE: The Illumination of Singapore’s Bicentennial National Day Celebrations58 INDIA: Giant Sculptural Projection Mapping Tells Story of Adiyogi60 MALAYSIA: Powersoft Gives JASON MRAZ Good Vibes in Malaysia62 CHINA: Nick Ho Powers MCW19 Shanghai Show with ChamSys MagicQ MQ6064 AUSTRALIA: The Electric Canvas Lights up Luna Park with Christie Boxer Projectors66 SAUDI ARABIA: Protec Shines at Jeddah World Fest
69 EVENTS CALENDAR
70 MARKET PLACE
46
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 20194
This year’s Singapore National Day Celebrations saw the Follow-Me software used effectively. Considering that the software controlled lights that were way up at the facade of the building facing the performance space, it showed how the software helps resolve issues of having followspot operators in uncomfortable spaces. It did take the lighting team a bit of work
in ensuring proper measurements but at the end it worked perfectly.
Our feature titled The Perfect Backdrop highlights how video has become an integral part of theatrical design and over recent years has seen an explosion of use in productions across Asia Pacific.
Whilst preparing the Events Calendar I realise that next February is going to be a busy period in China with two shows in Guangzhou and the other in Shenzhen happening within days of each other. LED China being held in Shenzhen will be incorporating a co-located exhibition titled Live Design Expo targeted at sound and light solutions to be exhibited. The organisers have stated their objective to offer an all encompassing exhibition of sound, lights and visual to an expanded target visitors of production houses, technical teams and system integrators
Enjoy the read!
Thomas Richard PrakasamPublisher / Editorial [email protected]
Disclaimer : Entertainment Technology Asia is published 12 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 reflect 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.
Please be informed that products and company names mentioned in this publication may be protected with tradenames, trademarks or registered trademarks of their respective owners. Our non inclusion of such symbols is not an indication of us not recognising the copyright but rather to have a common look across our articles. Misuse of tradenames, trademarks or registered trademarks is strictly prohibited. It is the obligation of our readers to check if company names and products are protected with tradenames, trademarks or registered trademarks.
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FIRST WORDS
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 20196
NEWS
CHINA
LIVE DESIGN to Make Debut at LED CHINA 2020 Shenzhen The organisers of LED CHINA 2020 Shenzhen have announced the début of a co-located event titled LIVE DESIGN 2020.
LED CHINA 2020 Shenzhen will be held from 24 to 26 February 2020 at the Shenzhen Convention and Exhibition Center in China. Organised by UBM Trust* a new dimension will be added to the
exhibition space through LIVE DESIGN 2020.
LED CHINA is the benchmark of the global LED industry providing a wide range of choices for all related products on the LED industrial chain, and also numerous options for high-quality LED vendors. The 2020 event is expected to draw 60,000 visitors with 1,200 exhibitors showcasing their solutions covering 100,000m2 exhibition space. Concurrent events include Digital Signage 2020 Shenzhen; Commercial Display China 2020 Shenzhen; SIGN CHINA 2020 Shenzhen; Retail China 2020 Shenzhen and 2020 Future Sign Academy Spring Summit.
The newest component, LIVE DESIGN 2020 is meant to cater to the interests of a specialised audience such as Rental&Staging companies, Sound Engineers, Lighting Designers and Operators, technical personnel from performance arts venues, clubs, hotels and theme parks.
LIVE DESIGN 2020 will not just focus on sound, light and visual solutions, but a concerted effort is being made by the organisers to conduct trainings and presentations.
LIVE DESIGN 2020 will bring relevant training to enhance the knowledge and skills of the industry. The LIVE DESIGN training courses will offer the industry the opportunity to directly learn from brands’ experts on new
features and better working methods to improve their productivity. Some of the training planned will cover about mixing console operations, mic’ing techniques, lighting console operations, wireless set-ups, sound optimisation, projection mapping and more.
The sharing presentations will have experts sharing about their experience on projects that they were involved in by highlighting challenges and how they overcame them to achieve successful results. These insights will help the industry understand how to handle stressful situations in a challenging environment with creativity and determination.
“We are offering a unique proposition to the visitors of LIVE DESIGN 2020 by incorporating key elements in terms of exhibits as well as training and presentations,” said David Tang, Managing Director, UBM Trust. “We are in a distinctive position of showcasing a full range of solutions for the production community. The LED exhibits are already present in the space. Bringing in the sound, light, and other visual solutions offer visitors a complete overview of how all the different technologies work together to create a great production.”
Do lookout for more details on LIVE DESIGN’s Industry Presentations in the coming months.
For participating as an exhibitor, please email [email protected]
* UBM Trust is a joint venture of UBM Asia (owned by UK-listed UBM PLC) and Trust Exhibition (the previous independent Organiser of LED CHINA)
www.livedesignexpo.comwww.ledchina.comA concerted effort is being made by the organisers to conduct trainings and
presentations to help upgrade knowledge of visitors
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 20198
NEWS
CHINA
Prolight + Sound Guangzhou Continues to Expand in Scale
To respond to the transformation in China’s growing entertainment market, towards digitisation and systematisation, the 2020 edition of Prolight + Sound Guangzhou (PLSG) will see an extension of the exhibition area and a new hall arrangement. The fair will contain more show content and an enhanced technological level in the entire product range. Next year’s edition will also offer a more elaborate seminar programme to inspire participants and allow them to boost their knowledge about specific industry know-how. Spreading over 15 exhibition halls, PLSG will gather more than 1,500 exhibitors at Area A & B of the China Import and Export Fair Complex in Guangzhou from 19 to 22 February 2020.
Judy Cheung, Deputy General Manager of Messe Frankfurt (HK) Ltd, is excited about the new setup: “The new hall arrangement and expanded section are PLSG’s answer to the growing significance of innovative elements, including digital technology, intelligent systems and more in the professional AV industry. The Audio Brand Name Hall, the KTV Hall and the Lighting Hall will expand to showcase more top-notch products, but also to strengthen the integration within the industry. We aim to provide visitors with a diversified and above all qualitative range of products and services in 15 themed exhibition halls, while allowing them to organise their time at the fair in an efficient and productive way.”
Mega-events like the 2022 Winter Olympics and Hangzhou 2022 Asian Games have a direct and positive impact on the entertainment equipment and professional AV industry. With the continuous transformation inside the industry, especially the rapid development of big data, cloud computing and system integration, more and more technologies are maturing and their prospects for commercial use increase.
Fair expansion to reflect huge market demand
The steadily growing market in China has created a healthy breeding bed for the entertainment industry to evolve and advance. Prolight + Sound Guangzhou keeps capitalising on this industry shift, and the huge market demand reflects the need for expansion at the 2020 edition. Pro audio products, technologies and solutions will be located in Area A, while lighting will be situated throughout four halls at Area B, showcasing professional lighting, stage technologies and equipment. In addition, the thematic halls will further expand: the KTV Hall will be located in Hall 4.1 and 5.1, showcasing related products alongside theatre K pub and home entertainment elements for easier sourcing; the Audio Brand Name Hall will extend to five halls, while the Communication and Conference Hall will be located in Hall 3.2, and the Media Systems and Solutions Hall will expand to Hall 4.2 and 5.2.
The early confirmation of industry leading brands at PLSG is a strong testimony of their confidence in the promising entertainment market. According to the exhibitor survey, over 96% of the exhibitors intend to return in 2020. Besides, with the increasing penetration of automation, high integration control systems, and new technologies in the stage and theatrical lighting sectors, PLSG greatly expands the current spectrum of products and attracts a new demographic of both exhibitors and visitors.
Harman International is prominent in the industry, and the company has been supporting PLSG for many editions. Mr David Lu, Deputy General Manager and Senior Director of Sales (Professional Solutions) of Harman International (China) Holdings, commented on the success of this year’s show: “Both media systems integration and conferencing and communication systems are the current and next hot topics in the industry. I believe that these two areas will have very good development prospects, especially because of the advanced technologies and lowered costs, which made them more accessible for consumer and commercial use.”
Kvant Ltd, a leading manufacturer of laser display systems, is one of the loyal exhibitors and has been attending PLSG for 10 years. Ms Julie Zhu, Vice President of the China Region, said: “The entertainment industry in China is growing robustly with huge potential, and even some of the tourist locations are demanding advanced audio and visual technologies for creative performances. PLSG is one of the most important platforms for us to better understand the Chinese market trends in order for us to adjust our strategies. We are happy to meet with lots of existing and new clients and maintain a good relationship with them.”
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201910
NEWS
More extensive seminar programme compliments industry trends
PLSG’s Annual Training Course will focus on the latest technology applications, hottest topics and professional production - from inception to execution for the issues at the heart of our industry. Apart from the original two topics from the last edition (Overview of AoIP Networking and Media System Integration, and Maintaining and Modernising Performance Venues), the show will introduce new themes, including professional training for lighting practitioners, to enrich, uplift and inspire new solutions and technical industry know-how.
PLSG will also re-establish the joint event with Chinese media giant Visual Jockey, striving to extend the show’s content with an interactive
multimedia display. This zone will demonstrate sound design, 3D mapping, virtual and augmented reality and lighting installations. It will also integrate professional lighting and audio equipment, system integration technologies and solutions with new media art, to offer the audience an immersive multimedia experience.
Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE).
www.prolightsound-guangzhou.com
ASIA
Paul Collison MA Seminars Across Asia in September and October 2019
Paul Collison, a well-known Lighting designer will be sharing his vast knowledge about MA Workflow & Programming during a 3-day seminar as follows:
16 – 18 September 2019 (Guangzhou, China by ACE)9 – 21 September 2019 (Beijing, China by ACE)1 – 05 October 2019 (New Delhi, India by Hitech Audio)14 – 16 October 2019 (Jakarta, Indonesia by PT. Galva)
This 3-day hands-on seminar will guide the participants through the starting phases of big-scale productions. From methods of presenting an idea to the client and management of time to approaching the final lighting design.
Step into programming, lighting design, visualization and networkingIn addition to basic elements of lighting programming like building a showfile for a busking show versus a cue-to-cue theatrical show, the seminar will also focus on the following topics:
• Lighting design • 3D visualization for demo and presentation • Lighting for camera • Management of a MA Network • Approach to lighting programming • Pre-programming • Advantages of multi-user programming • Layout Views • Building a cue list for a music track • Working with timecode • Programming SFX • Building lighting design on a budget
Paul Collison of the Sydney-based design firm eleven DESIGN is one of Australia’s leading visual designers. With more than twenty years of local and international experience, he has an impressive list of skills that include large-scale lighting design, motion graphic design and production design. Paul brings a keen eye for visual enhancement to every project. Since setting up eleven DESIGN in 2006, he’s been a designer on various shows including ‘The X Factor Australia and New Zealand’, ‘World’s Got Talent’, ‘Asia’s Got Talent’ ‘, ‘Eurovision – Australia Decides’, Olympic and Commonwealth Games Ceremonies and many other variety TV events.
For more information get in touch with Anna Cheong of MA Lighting at [email protected]
www.elevendesign.com.au/paul-collisonwww.malighting.com
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201912
NEWS
CHINA
Modulo Pi Partners with EZPro for Distribution in China
Modulo Pi announced the conclusion of a new distribution agreement with EZPro. Effective August 1, 2019, EZPro distributes Modulo Pi’s media server solutions in Mainland China, Hong Kong, and Macau.
Designing the next generation of media server solutions, Modulo Pi is pleased to announce the signing of a distribution agreement with EZPro. EZPro is a distributor of world-leading pro audio, lighting, conference and control system brands in Mainland China, Hong Kong and Macau. The company has branch offices in Hong Kong, Shenzhen, Beijing, Shanghai, Chengdu, Xian and Shenyang.
Relying on products seminars, full service, and professional technical support delivered by teams of highly skilled professionals, EZPro started distributing Modulo Pi’s media servers as of August 1, 2019.
Modulo Pi’s offer consists in hardware + software media server solutions. The Modulo Player series is a cost-effective and user-friendly line for show encoding, playback, 2D warping, and show control. The Modulo Kinetic series is designed for the most challenging projects. As a real-time fully-integrated media server solution, Modulo Kinetic is reliable across the complete workflow: Study, simulation, show creation, encoding, 2D & 3D warping, playback, control,... The system also provides advanced real-time 3D, interactivity, and tracking capabilities.
As an industry first, the Modulo Player and Modulo Kinetic series both embed a low-latency live mixer.
Yannick Kohn, Modulo Pi’s Founder & CEO, comments: “We are glad to start a promising collaboration with a well-established distributor such as EZPro. As the interest for our media servers in Greater China is growing, the experience of EZPro’s teams will be a major asset in responding to integrators and rental companies, thus helping to deliver the best experience with our Modulo Player and Modulo Kineticseries.”
Alan Ho, senior VP business development of EZPro explains: “We are very pleased to become the Modulo Pi distributor for Mainland China, Hong Kong and Macau. Modulo Pi is a respectable media server solutions provider with users always in mind, which aligns perfectly with our own philosophy. Along with Modulo Pi, we will continue to provide the best service and experience to our customers with user-friendly, versatile and reliable Modulo Pi systems, further expanding Modulo Pi presence in the Chinese market.”
www.modulo-pi.com
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201914
NEWS
APAC
Riedel Further Expands APAC Footprint with Two New AppointmentsWith the recent opening of its Beijing office, Riedel Communications’ presence in the Asia-Pacific region now spans across Japan, China, Singapore, and Australia. Riedel’s ongoing efforts to establish a regional framework for supporting a growing Asia-Pacific customer base will now see the company providing tailored customer service, system design, training, and sales functions.
“We combined Riedel Asia-Pacific into a single region in 2015, and we’ve seen some excellent growth since then,” said Cameron O’Neill, Director, Asia-Pacific. “This has come to include technical service and repair capabilities in the Asia-Pacific region, localized sources for training and education, and generally being able to get closer to our current and future customers.”
To broaden knowledge and empower Riedel customers, Julian Hewitt has been appointed as Regional Training Manager. As part of this very strategic role, Hewitt will lead the development and deployment of various training materials, workshops, and industry educational programs.
Hewitt’s 10 years of Riedel experience has covered roles from user to consultant and he has worked extensively with many key customers in the region including Lighthouse Church in Singapore, TV18 in India, PCCW in Hong Kong, and the Sydney Opera House in Australia.
“Having excellent equipment is only half the story. Having amazing operators and engineers using the equipment completes the picture.” said Hewitt. “With comprehensive training materials and educational programs tailored to the specific needs of the region, our APAC customers will get even more out of their Riedel gear.”
To further strengthen pan-regional communication and awareness, Riedel has also appointed Deidre Joubert as Regional Marketing Manager, Asia-Pacific. With experience in commercial roles in both professional sport and event broadcast for events such as the America’s Cup and Ryder Cup, Joubert will focus on supporting the Asia-Pacific region by developing a more localized approach.
“Our marketing strategy needs to reflect, both, the differences and similarities in customer motivations and requirements across this economically and culturally diverse region while providing a conduit to the full range of Riedel’s knowledge and global experience,” said Joubert. “To be effective in our communication and have a genuine impact, we have to be able to talk to our customers where they are, in a language they understand. By developing local support structures, we increase our ability to influence decisions and deliver positive outcomes for Riedel.”
www.riedel.net
SHARINGTHE ART OF SOUNDYamaha staff love to share their knowledge, experience and passion for sound and for professional audio systems. That’s why we have been proactive in developing and maintaining education and training programs for our customers since the early 1990s. Originating in Japan, Yamaha has now established training facilities around the world, reaching over 100,000 people in more than 50 countries. If you work with sound and have a particular technical demand, Yamaha is likely to have a course tailored for you, whether you are a volunteer or a seasoned professional.
Feel free to share a little of your time with us: search for available Audioversity seminars at http://www.yamahaproaudio.com/
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201916
NEWS
CHINA
Prolyte Continues Global Expansion into China
Building on the significant presence throughout Europe and the success of the business in Asia, Prolyte Group, a leading entertainment solutions provider, expands globally with the opening of a new office in Guangzhou, China.
By opening this new office, Prolyte will strengthen the position of ProLyft in China. ProLyft comprises a range of hoist systems and controllers for the entertainment market. Lifting and control solutions from ProLyft make productions happen on stage, on tour, in theatres or sports arenas. ProLyft ensures safe object or performer movements and protect performers in their daily work.
The new premises provide capacity for manufacturing, warehouse, sales, and customer services across China next to the existing sales and support from Prolyte Malaysia office – PAP (Prolyte Asia Pacific). The establishment of Prolyte China accelerates Chinese presence and the access to the region with strong economic growth and a large territory. It will be an invaluable step for Prolyte to broaden the Chinese market.
Ralph Stockley, Prolyte’s Chief Business Development Officer, explains: “Prolyte continues to see a trend worldwide for the needs of shorter lead-times. Our new offices and production facility in Guangzhou has
been strategically located to satisfy the demand for ProLyft products in China and allow for quicker delivery times through Asia. Factors, such as tax benefits, the strength of the Chinese economy and the proximity to the port of Guangzhou helped finalise our decision.”
With this expansion, Prolyte is also proud to announce Eagle Group will be the ProLyft distributing partner next to Trinity Technology who is Prolyte’s long lasting partner in China. Eagle Group founded in 2005 based in Guangzhou, China. Eagle Group is a leading entertainment distributor in the region.
Lambert Bouwmeester, Prolyte’s Chief Executive Officer, says “After the success of our new office and warehouse opening in the USA in 2018, I am pleased to announce the continued growth of Prolyte with the opening of our Chinese office and production facility in Guangzhou. These local offices will serve customers better in the region, speed up delivery times and provide the inventory and presence needed for Prolyte’s continuing worldwide growth.” Prolyte will exhibit at Prolight + Sound Shanghai on October 10th – 13th, 2019 at booth B26, Hall N4. At the show, Prolyte will introduce entertainment hoist series to the Chinese market.
Companies that are interested in joining the Prolyte China distribution network can contact [email protected].
www.prolyte.com
Huadu District, Guangzhou, China www.linkedin.com/company/ek-lightsEmail: [email protected]
www.youtube.com/c/EKLightingTVwww.facebook.com/EKlightingwww.twitter.com/EKlights
www.eklights.com
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201918
NEWS
MYANMAR
KV2 Launches into Myanmar
As KV2 Audio continues to grow globally, the latest country to be introduced to the company’s products and philosophies is the southeast Asian nation of Myanmar (formerly Burma) with a significant launch in the country’s capital of Yangon.
Thura Aung, Managing Director of Htat Wah Win Trading Co. Ltd., first heard KV2’s products on demonstration in China and was impressed by their compact size and excellent sound quality. Mr Aung’s company imports various products into Myanmar and he had started to investigate the pro audio market. “While we had plenty of choices with a wide range of lower cost Chinese manufactured products, I was really looking for a flagship brand, something that could provide high quality audio for large scale events. A number of people suggested I look at KV2,” said Mr Thura. “I met with Dave Croxton from KV2 in Guangzhou and when he explained the company’s philosophies of building complete systems that are optimised to work perfectly straight out of the box, KV2 was certainly the standout choice for our Myanmar market.”
“KV2 has been well received in many developing countries like Myanmar,” added Croxton. “Our true plug-and-play operation makes it far easier to achieve good quality sound reinforcement in areas where technical staff are scarce. We can quickly train people with limited audio knowledge to set up our systems and provide high quality audio for large audiences. Secondly, it makes better economic sense for these markets that don’t have the financial strength of the more developed nations. Due to the lower equipment requirement of point source systems compared to traditional audio solutions, the capital outlay, transport and setup costs are considerably reduced.” Htat Wah Win Trading Co. Ltd launched KV2 Audio in a joint presentation with Shure Microphones at the Shangri-la Hotel in Yangon on July 20th. The event was attended by around 200 invitees and featured presentations from Dave Croxton and Angus Davidson from KV2 who handle sales and technical support respectively for Asia Pacific. “The standard of the presentation provided by Mr Thura and Htat Wah Win Trading Co. Ltd here in Yangon has been world class,” commented Davidson. “We are already discussing large events coming up later in the year and I see great potential for KV2 in this market. The team of people involved with the product here are very professional and really understand the concepts that KV2 deliver as a company.”
kv2audio.com
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ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201920
NEWS
TAIWAN
Taiwan’s Golden Melody Awards Look And Sound Great With DPA Microphones
The sound quality and sleek Scandinavian design of DPA’s d:sign 4098 Podium Microphone made it the ideal choice for capturing those all important Awards acceptance speeches.
Alleroed, Denmark. August 14th 2019: When you are giving an acceptance speech at a major awards ceremony, there are two things you want to be sure of – that everyone can see you and that everyone can hear what you have to say.
Achieving both these aims was absolutely key to the sound team at the recent Golden Melody Awards in Taipei, and the reason why they chose DPA’s d:sign™ 4098 Supercardoid Gooseneck microphones as their speech microphones.
Andy Chen, president of Winly Production Services International Corp and production manager for this event, says: “DPA’s 4098 Supercardioid microphones offer much clearer and more transparent sound than the microphones we were previously using, plus the miniature capsule is so slim and so amazingly small that is doesn’t block the faces of the speakers. This is really important, especially for the female artists.”
The Golden Melody Awards (GMA) take place annually and are regarded as the equivalent to the Grammys in the Chinese-speaking world. Inaugurated in 1990, the Awards recognize outstanding achievement in the field of popular music production and performance. They are organised by the Ministry of Culture of Taiwan, China, and the ceremony, which takes places in June at the Taipei Arena, is broadcast on Hami Video, TOUCH TTV, YouTube, MOD, UFO Radio, StarHub (Singapore), Astro (Malaysia) and Tencent Video (Mainland China).
Winly has been involved with the GMAs since their inception and has been using DPA floor standing microphones since 2017. Their sleek Scandinavian design, combined with their directional capabilities and high rejection of radio frequency interference, makes them well suited to an Awards ceremony environment.
“Another key advantage of the 4098 is its reliability,” Andy Chen adds. “Like all DPA microphones, it can withstand hot and cold temperatures and dry or humid environments, which is a key asset for live performances.”
www.dpamicrophones.com
Andy Chen
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201922
NEWS
INDIA
2Tech Mumbai Upgrades Their inventory with Adamson S-Series
AUSTRALIA
Richard De Souza joins The Electric Canvas as Art Director
E2Tech located in Mumbai, recently purchased a new Adamson sound reinforcement system, making them the latest company to join the Adamson network. In total the company added 24 S10 line array modules and 12 S119 subwoofers, all powered by Lab.gruppen’s PLM series amplification. The sale was directed by Adamson’s distribution partner Sonotone and LBT Lighting.
The Electric Canvas, Australia’s foremost authority in architectural and large-scale projection, is delighted to welcome leading projection and animation artist, Richard De Souza, in the role of Art Director.
De Souza joins The Electric Canvas after two decades of designing, programming and technically directing visual content for projection, stage and emerging technologies. His wide-ranging experience has taken him from performing as a VJ on numerous touring festivals, to developing projection works for cultural festivals such as Splendour in the Grass, KaleidoscopeFestival and Vivid Sydney. More recently De Souza has created visual content for musical artists including Peking Duk, Key4050 and John O’Callaghan, as well as for events such as Subculture.
“I’m excited to be a part of The Electric Canvas and look forward to sharing and developing new ideas with the team. It’s a privilege to be able to create unique and engaging public experiences, especially in a collaborative environment, so I’ m eager to see what comes next,” says De Souza.
“Our dream is to deliver hassle-free, highly competitive, world-standard technical solutions to our customers,” explains Jasjeet Singh of E2Tech. “We were looking for a line array system to expand our inventory and the S10 is exactly what we needed – it sounds terrific, is easy to use and looks great. The S10 is small in size and weight with the output power of a larger system.”
Karan Nagpal, Director of Sonotone shares, “E2Tech has earned a reputation for insisting on the highest technical standards. Their investment reflects a growing demand for Adamson loudspeaker systems on a global level. We are delighted to have them as Adamson S-Series partners.”
“We’re proud to have bolstered our sales network with the recent addition of some great partners, and E2Tech certainly continues that trend,” comments Eshdeep Bhasin, Director of LBT Lighting. “We look forward to seeing their business expand as they deploy their new systems.”
sonotone.in
The company’s award-winning creative studio has produced an impressive array of projection content for countless projects in Australia and around the world. From special occasions or commemorative events for City, State and Federal Governments, to large-scale public festivals such as Vivid Sydney and White Night
Melbourne, to major international broadcast ceremoniessuch as the Gold Coast Commonwealth Games, The Electric Canvas boasts more than twenty years of telling stories and creating memories through the art of large-scale projection.
Peter Milne, Managing Director of The Electric Canvas, comments, “We are thrilled to welcome Richard to the TEC family. In addition to his artistry, he has a wealth of technical knowledge and experience that will bring a new dimension to our creative studio. Richard’s arrival, the opening of our new Melbourne office, as well as our imminent rebranding and new website, makes for truly exciting times at The Electric Canvas.”
theelectriccanvas.com.au
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201924
NEWS
DUBAI
Protec Dubai Invests in Robe
The Protec Group’s Dubai branch, the largest and most prolific full production company in the Middle East and one of the largest globally ... has started investing in Robe moving lights in the last two years, a move that’s seen a range of fixtures - including BMFLs, Pointes, MegaPointes, Spikies and RoboSpot systems - delivered and deployed on various projects.
This has been spearheaded by Protec’s head of lighting Aaron Russ, recent winner of the 2019 TPMEA Award for Lighting Designer of the Year. As that implies, Aaron is also an accomplished production lighting designer and takes on this role - often collaborating with a team of designers - to creatively light up event spaces varying from intimate shows to stadium spectaculars.
The company, founded in 1999 by Steve Lakin, delivers innovative and imaginative full technical production solutions across entertainment, leisure and commercial sectors - from corporate presentations to music festivals - throughout the UAE, Middle East and UK / Europe. With fully operational branches in KSA, UAE and the UK, Protec is delivering world-class events across the UK, Europe, the Middle East, Africa & Asia.
Aaron explained that it was a case of the right product at the right time with Robe. Obviously, they had other moving lights in stock up until this point, but the first batch of 96 x Pointes were sourced to replace a competitor beam light product, together with 48 x Spikies on the same order.
Then in 2018, for the ground-breaking Opening Ceremony of the Qiddiya Theme Park in Riyadh, KSA with a design by US-based LD John Featherstone of Lightswitch, they needed a powerful wash light ... and purchased 24 x BMFL XF Washes with the barn door module. “Every design we receive from John specifies a lot of Robe,” commented
Aaron, and he has been a big champion of the brand in the US across his portfolio of work.
Also delivered by Robe Middle East with this second batch of luminaires were another 24 x Pointes and 12 x MegaPointes.
The next purchase was two RoboSpot base stations with two BMFL Blades luminaires and separate motions cameras specifically to be used as remote-controlled follow spots on which he comments: “I love them, they work really well, especially outdoors in adverse weather conditions - in fact, I’ve never had to send a Robe fixture back to be repaired - they are really tough, and believe me, we’ve beaten them up enough times in terms of harsh operating environments!”
He thinks the products are generally well designed and have been engineered to make life as easy as possible for those using them. The crews greatly appreciate the fact that they are not “needy lights.”
From the design perspective, Aaron says the optics are “impressive” and he likes flat beam field, the gobo selection and the fact that they make good workhorse lights for both theatre and rock ‘n’ roll.
He cites the Opening and Closing Ceremonies of the Presidents Cup Football in the Hazza bin Zayed Stadium, Al Ain as a good example, where he positioned 24 x BMFLs on one of the balcony handrails at the top of the seating bleachers shooting a long way down to the field-of-play. “They were completely still - rock solid - which was noticeable compared to some of the other lights on the job!” he confirmed.
In addition to these creative advantages of using these Robe units, he appreciates the great service and support from Robe Middle East which is headed by Elie Battah.
“Robe has come a long way, especially in the last five years,” he observes.
When he arrived at Protec seven years ago, they were heavily invested in alternative moving light brands and - coming from New Zealand - he’d not heard so much about Robe, and the company was still a young pretender in the global moving light stakes. “It was the launch of the BMFL five years ago that really alerted me to how much Robe had advanced in that short time.”
Robe is now regularly on his event and show designs. This includes the Opening Ceremony of the Nas Sports Challenge at the Nad Al Sheba Sports Complex in Dubai, a high-pressure, high-profile gig that Protec approached with its characteristic enthusiasm, zest and vision.
Aaron Russ of Protec Dubai with Elie Battah of Robe ME
>>>>> Page 26
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Robe wise he utilised Pointes, MegaPointes and RoboSpots amongst other fixtures, and the RoboSpots turned out to be the stars of the show! The event was staged in a room with no follow spot rigging facilities other than flying a special truss, and the 6 to 8 hours show standby times meant that having operators up there for that long was totally impractical.
A young football star needed highlighting as he showed off some of his playing skills and when his performance position was changed right at
the last moment ... Aaron was still able to get two of the RoboSpots to point almost vertically down to cover his new area, a feat that would have been impossible using conventional spots.
“They are fantastic ace to have up your sleeve,” he concludes.
www.robe.cz
BAHRAIN
Maestra Bahrain is Launched with New Ritz-Carlton Arena Partnership
Award-winning event design, technical and scenic production specialist Maestra Group has opened a base in Bahrain and announced a new partnership with the eminent 5-star Ritz-Carlton, Bahrain for the debut of the luxury resort’s Arena, a new 43,000 square foot, state-of-the-art conference and exhibition facility.
As the exclusive event partner, Maestra will oversee all technical aspects of the new Arena facility, which offers a full set-up and capacity for large banquet receptions and global conferences, complemented with signature Ritz-Carlton service, fabulous hotel and resort facilities plus award-winning catering.
Maestra’s Tom Clements commented: “We are extremely excited about this new venture and to be involved in such a high profile and incredibly well-designed event space. For Maestra Group, this is a logical expansion of our work in Dubai, and it will also be the first step in some strategic expansion plans for Maestra Group in the Middle East.”
Maestra Dubai has already delivered a diverse amount of leading and innovative events in Bahrain this year and is looking forward to working with several locally-based clients as well as international brands, artists and agencies in this new enterprise.
“As Bahrain becomes a global destination for premiere conferences and events in the region, it’s our pleasure to partner with Maestra and unveil a new conference facility complemented with our signature Ritz-Carlton brand service we’re known for globally,” says Bernard de Villèle, General Manager of The Ritz-Carlton, Bahrain. “With modern interiors and high-tech capabilities, The Arena stands to be one of the sought-after venues in the region and a perfect addition to the resorts already existing portfolio.”
Overlooking the Arabian Gulf in the heart of Manama’s Seef district, The Ritz-Carlton, Bahrain offers all the amenities of a modern, fast-moving business hub and hotel in a beautiful resort setting. Adding to its portfolio of indoor and outdoor spaces, totalling over 90,000 square feet, including two grand ballrooms and intimate meeting spaces, the new Arena, a 4,200 capacity multipurpose venue, debuts as the largest in the Kingdom and the jewel in the crown of this 20-acre luxury beachfront property.
The new venue is designed to host all types and styles of gatherings and events, including conferences, trade shows, car launches, seminars, music concerts, exhibitions and more.
Maestra Bahrain will include a core project management and technical team as well as an essential inventory of sound, lighting, AV and rigging equipment.
Working in close conjunction with the Dubai base, Maestra Bahrain will have easy access to the vast resources there – both in terms of human skills, expertise, ideas and the latest technologies in all disciplines.
“Our new set-up will allow us to service events utilising The Ritz-Carlton, Bahrain facilities and services plus other Maestra clients in and around Bahrain quickly and efficiently with everything they need for a great event – from design to technical production,” said Tom Clements.
maestra-group.com
ww
w.se-audiotechnik.
de
se® Audiotechnik | Alex Schloesser (Business Development Asia Pacific) | P +65 8777 29 44 | Skype: alexschloesserkoeln | [email protected]
HIGH PERFORMANCEwith M-F3A PRO line array
M-F3A PRO is part of the M-line series
PLUG & PLAY600W DSP amplification built in
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EASILY SCALEABLEbuilt in line length adjustment
Available in black & white
HORNLESS DESIGNpromotes full fidelity
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201928
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HONG KONG
Leading Hong Kong Production Houses Invest in Riedel’s Bolero Wireless Intercom
Two of Hong Kong’s leading providers of rental broadcast and production equipment — A-Team Plus and Show Bros — have invested in Riedel’s industry-leading Bolero wireless intercom. The two companies, which have common customers and often work together on AV and broadcast projects, each purchased two complete Bolero systems including beltpacks and antennas.
Founded in 1990, A-Team Plus is an event consulting and management firm specializing in audio, video, lighting, and stage design for concerts, major celebrations, award ceremonies, private parties, and other events. The company has 30 dedicated team members with local knowledge and regional experience.
“In our live event environments, a broad range of coverage for each antenna and long beltpack battery life are key factors in ensuring a seamless production,” said Ray Mok, Managing Director at A-Team Plus. “Riedel’s Bolero has exceeded our performance expectations in both these areas — and when we saw how easily Bolero can be integrated with legacy 2-wire systems, we were sold. My team loves Bolero’s plug-and-play capabilities, and we look forward to using Bolero in our upcoming projects.”
Show Bros specializes in rental of professional lighting and audio equipment, with an inventory of carefully selected products, well-trained technicians, and a range of services that can be customized to the requirements of every client and every event.
“We had been on the lookout for a reliable and robust wireless intercom solution. We evaluated all of the major manufacturers, but after a demo of Riedel’s Bolero, we made our decision in only two hours,” said David Chan, Managing Director at Show Bros. “We know we made the right choice with Bolero because it provides exceptional benefits for our end users. The time that the Riedel team spent explaining the system to us validated our decision even more, and it’s good to know that their support is only a phone call away.”
www.riedel.net
A-Team Plus and Show Bros
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201930
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THAILAND
Symetrix Radius the Right Choice for Thailand’s Royal Procession on Land
His Majesty King Maha Vajiralongkorn Bodindradebayavarangkun (Rama X) of Thailand commenced his reign on October 13, 2016.
Following ancient tradition, the formal Royal Coronation Ceremony was conducted over three days, May 4 to 6, 2019, including the Royal Procession on Land on May 5. In this formal procession , the King rode in a royal palanquin, encircling the city so that the people might attend and pay homage to their new King. Beginning at the Grand Palace, His Majesty traveled 6.7 km (4.2 miles), paying homage to the main Buddha images at three major temples before returning to the Grand Palace.
The procession is an ancient tradition but providing sound reinforcement suitable to a royal procession on the streets of Bangkok called for the latest in audio technology. Fuzion Far East Ltd, one of the most respected AV suppliers in the region, was honored with the assignment of designing and setting up the audio systems for the entire parade, working closely with the Thai Royal Army. To handle this massive task, Fuzion designed a Dante digital audio network in a star configuration with 11 loops, employing miles of fiber optic cable, and managed by 49 Symetrix Radius 12x8 EX DSP units.
“The parade had many microphones for instruments and for announcements,” recalled Fuzion Far East Technical Director Varuit Rattapongfrom. “The audio routing needed to change many times along the way. For example, from Point A1 to A5 was one band, then
after that was a different band playing different instruments and using different microphones. We also provided the broadcast feed.”
This was the first Royal Coronation Ceremony since 1950, and the Fuzion Far East team needed to ensure the network would operate optimally throughout the procession. “Symetrix Radius processors were the best solution for the job,” asserts Rattapongfrom. “The Radius is reliable, the sound quality is very good, and it’s easy to control. We mostly used the DSPs for routing and EQ.” User control was provided for monitoring, leveling, feedback
suppression, and the EQs.
In addition to Symetrix Radius 12x8 EX DSPs, the network racks included gigabit hubs, wireless antenna couplers for active antennas, wireless mic receivers, power amplifiers, and uninterruptible power supplies. An analog Allen & Heath mixer combined the signals, and laptop computers served the system administrator, engineer, operators, and CCTV feed.
Designing, installing, and operating an audio network and sound system of this magnitude for an event of such supreme importance was a tremendous challenge, but Fuzion Far East succeeded admirably, with help from the Royal Thai Army. Symetrix Radius 12x8 EX did indeed prove to be the right solution as the core of the network. “The Symetrix processors and Dante network worked very well,” Rattapongfrom reports. “we didn’t need technical support, and our client was very satisfied with the results.”
www.symetrix.co
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201932
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OMAN
Sennheiser and Royal Opera House Muscat Host Seminars on 3D and Wireless Audio
Closely following the growing popularity of virtual and augmented reality (VR/AR), immersive audio has become one of the hottest trends in the audio industry this year. In response to the growing interest in this rapidly maturing technology space, Sennheiser teamed with the Royal Opera House Muscat to host a three-day event for rental companies, broadcasters, AV consultants, and audio engineers.
As wireless audio is also becoming the de facto standard for flexible and future-proof installations, the audio specialist also dedicated the first day of this event to educating attendees on the nuances of RF theory and wireless do’s and don’ts.
Highlighting that the widespread adoption of a revolutionary new technology such as 3D audio must be preceded by ample education of the market by the pioneers of the technology, Ryan Burr, Head of Technical Sales & Application Engineering, Professional Audio at Sennheiser Middle East said, “Today, we have all the tools required for breath-taking immersive audio recordings and mixing, and with the advance of Virtual Reality (VR), 3D audio has become, for the first time, a must-have for an application. The interest and appetite for 3D audio in the region is evidenced by the impressive number of attendees.”
“With our workshop, we aimed to turn this interest into action which is why the larger portion of it was dedicated to hands-on sessions and walkthroughs of practical applications. We have no doubt that we will soon start to see the technology expand from being a niche domain, to an established and preferred audio standard with the power to deliver unforgettable experiences for listeners and audiences,” he added.
Following the initial session which familiarized attendees with 3D audio theory, and the special microphones and equipment utilized, Sennheiser’s team dived into the details of 3D audio capture. In what was the most anticipated aspect of the event, a live Omani band was recruited for this demonstration and the world-class opera house proved to be the ideal venue.
The next session detailed the mixing of immersive sound formats and here, the team also demonstrated the upmixing of content using Sennheiser’s patented algorithm. The event concluded with the playback of the content created during the preceding sessions.
Among the attendees was Philip Perry, Business Development & Projects Manager at HiTec Center who praised the Ambeo Cube method of recording saying, “Having used the decca tree, hamasaki square, and surround decca tree (DPA) for classical recordings, I’ve found the resulting immersive experience is good but typically needs very careful set up. The Ambeo recording method does a great job of maintaining the space, localization, depth and clarity of the sources, and translates perfectly to a 5.1.4 immersive playback. For me, it is the most enjoyable immersive listening experience I have had.”
This sentiment was echoed by Bruno Silva, Assistant Head of Sound and Broadcast at Royal Opera House Muscat who said, “The Ambeo Cube recording method provides the opportunity for a more realistic recording by giving us the chance to capture the acoustic environment in a broader dimension. Regardless how creative one can be afterwards in post-production, I believe the Ambeo Cube is the future of audio recordings.”
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Commenting on why he believes such workshops are essential for the industry, he said, “It’s very easy to read about recording techniques and understand them technically, but there is no substitute for a hands-on demo, listening session and technical discussion. It was a well-planned seminar, with carefully considered content, a great presenter and a nice venue. I would recommend this training to anyone in the industry with experience of recording and/or postproduction, and to colleagues with an interest in immersive audio production.”
Silva added, “It was a privilege to host and be part of the first Ambeo Cube immersive audio recording ever done in the Middle
East, especially as this included the recording of traditional Omani music. I would like to thank Sennheiser’s team for their support and commitment to working with us to create and promote this incredible and rewarding experience, as it also represents ROHM’s commitment to embracing innovation and promoting education within our industry.”
www.sennheiser.com
ITALY
DTS Lighting Appoints New Chief Executive Officer Following the resignation of the former Chairman Silvano Latteo, D.T.S. Illuminazione S.r.l. has announced the appointment of Dante Latteo as Chief Executive Officer.
Dante Latteo has been appointed as new CEO in the pursuit of the company business continuous growth. He is one of the founding members of the Company and has been serving DTS for decades as Senior Board Member. The new management will continue the company development process started a year ago, giving new
impetus to the products innovation and brand repositioning in the world market, as well as consolidating the domestic achievements.
DTS has expressed their gratitude to Silvano Latteo for the decades of commitment as Chairman. Silvano’s efforts contributed to expand and consolidate the Company business, thanks to his entrepreneurial attitude and in setting and achieving professional goals, by adding precious value year after year.
dts-lighting.it
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201934
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MIDDLE EAST
Creative Technology Middle East Strengthens Team CT Middle East has employed a number of experienced personnel in their quest to continue to serve the region and its clients effectively.
James Prince has joined as Business Systems Controller. He has over fourteen years’ experience in the Audio Visual and Live Events industry, seven of which have been within the GCC. “Joining CT has offered me a fantastic opportunity to work alongside some of the region’s best engineers, project managers and support staff while continuing to expand my career within an ever-expanding global
company,” said James Prince.
Award-winning Video Engineer /Project Manager Giorgio Devecchi has joined the Project Management team as a full-time member. With over 20 years experience in the AV industry, Giorgio brings a wealth of knowledge and experience to his role. Prior to his new position, he built up his career carrying out various roles such as video mixer, projectionist, graphics mixer, Project Manager,
Watchout programmer and disguise programmer to name a few. “Throughout my career, I have specialised in designing and managing projects, especially in the video department, so joining a global video specialist company such as CT was a perfect fit.”
Dhyaan Parikh further strengthens the Project Management team in his role as Project Manager. Prior to his new position, Parikh worked as a freelance AV technician before joining PRG UK as a Project Manager. “I have always admired CT and the projects they have been involved in over the years. When I saw an opportunity to join the team, I grabbed it with both hands. The sentiment shared by my
industry friends and colleagues was ‘you are going to work for the best video company in the world’, and since I have started, I have genuinely felt this.”
Volodymyr Demchuck has been employed as a Project Manager for the System Integration department. He brings over 14 years’ experience in the AV Rental/ Installation industry to the team and has worked on various prestigious events such as the Summer/Winter Olympics, UEFA, FIFA events, Movie Festivals to name a few. “Joining CT
Middle East has given me the opportunity to progress professionally and be part of a global team. I am looking forward to being involved in various world-class projects as well as working with innovative technology.”
Adding to the strength of the System Integration department is Project Manager, Craig Harvey. He has over eighteen years’ experience in the AV Installation and Live Events industry, most of which have been within the GCC. Prior to his new position, Harvey worked as a project manager for Delta Sound before joining L Acoustics as an Application Engineer Consultant where
he supported the touring, rental and integration markets across the Middle East and India. “It is an exciting opportunity to have been asked to join CT Middle East and contribute to building the Systems Integration department. CT and NEP Group have an outstanding global reputation, and the group’s principles and ethos are inline with my own. It is great to work alongside a team of professionals who are driven by innovative technology, and high standards.”
Last but not least, Peter Herring has joined as Head of Engineering, Systems Integrations department, following more than 20 years of working with companies such as Dubai Parks and Resorts and Global Village. “Joining CT has offered me a fantastic opportunity to work on some of the biggest installation projects in the world and with that working with some of the best engineers and manufacturers. I
have always enjoyed the challenge of breaking the mould and using technology in a way it has never been used before, and CT have already given me that challenge.”
www.ctme.com
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201935
SINGAPORE
The Art of Light on Stage Presentation by Dr. Yaron Abulafia
Lighting designing has come a long way in Singapore and the demand for excellence in lighting for performances has significantly grown in terms of originality. Robe Asia Pacific knows the importance of this and have the honour and privilege of inviting, Award-winning performance designer, with over 200 performances, installations, concerts and TV shows internationally, Dr. Yaron Abulafia (Author of The Art of Light on Stage: Lighting in Contemporary Theatre, 2016).
Dr. Yaron Abulafia will be conducting a comprehensive workshop on theatre lighting design. He will share his years of knowledge and experience in the field of lighting design and dramaturgy of light.
Presenting the technical aspect of lighting is Robe Lighting’s very own Technical expert and International Customer Support, Mr Steve Eastham.
Get Ready for an overview on the history and development of Moving Lights. Having worked on moving lights for more than a quarter of a century, Steve has experienced the developments first-hand. In his role with various companies, he has been supporting the development teams with his experience gathered on tours and events all over the world.
As an Engineer by profession and a Lighting Engineer by passion, Steve will take us through the development of moving lights and share his technical knowledge gathered. His vast experience will be an enormous help for the working and/or aspiring Lighting Technician to get deeper knowledge of the inside and outside of any moving light around.
Workshop InformationSeptember 9th and 13th - Mr Steve EasthamSeptember 10th to 12th - Dr Yaron Abulafia
Date and TimeMon, 9 Sep 2019, 10:30 - Fri, 13 Sep 2019, 17:00 Singapore Standard Time
LocationSchool of the Arts, Singapore Studio Theatre1 Zubir Said Drive, Singapore, 227968
To Register please click HERE
Dr. Yaron Abulafia Steve Eastham
NEWS
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201936
SINGAPORE
Industry Players Support Polytechnic Initiative
The IGNITE! Music Festival was held on 26th and 27th July at the Republic Polytechnic grounds. Open to the public, the main objective of the music festival is to further expose local music talents to greater audiences including the students from the Polytechnic. IGNITE! is by far the only music festival in Singapore that is heavily driven by students. Known for its extensive technical stage set-up, concert goers were treated to a spectacular state-of-the-art audio-visual experience.
This year the Republic Polytechnic (RP) and The Republic Cultural Centre (TRCC) worked together with Yamaha Music Asia Private Limited, Electronics & Engineering Pte Ltd and other esteemed AV partners for the sound reinforcement system and supporting equipment for IGNITE! Music Festival.
The main stage speakers featured the JBL VTX A8 series line array system provided by Electronics and Engineering Pte Ltd (E&E). E&E also supplied the Shure Axient Digital Wireless Microphone system with sE Electronics Microphones for drums and vocals supplied by AVL Direct. Ensuring smooth intercom communications was the ClearCom FreeSpeak 2 supplied again by E&E with support from the ClearCom office in Singapore.
For mixing duties, a Yamaha RIVAGE PM10 and PM7 Digital Consoles were used as FOH and monitor console respectively. Nexo 45N12 and PS15-R2 were also sponsored by Yamaha and deployed for stage monitoring.
The Production People took responsibility for the LED on stage with CSP taking on the stage and truss set-up.
This year was the 12th edition of IGNITE! The event has certainly come a long way and has become a favourite event amongst its followers
NEWS
ShiGGa Shay. Photo copyright M Safiz
Mark Spencer, an alumni of Republic Polytechnic who volunteers his time as FOH Engineer at IGNITE
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201937
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and especially the students of the Republic Polytechnic. The planning, marketing and production support is provided by the students from the Polytechnic with supervision and the lead taken by the full time staff from TRCC. The students come from various faculties including Engineering, Mass Communications, Hospitality and Technology for the Arts.
Taking the cue from global music festivals, that use their platforms to promote worthy causes, IGNITE! too has the theme of Passion & Compassion in hopes of promoting youth volunteerism through music. The passion is related to the performers who engage the students about the hard work and sacrifices that they have to endure to get to where they are. The compassion message is also spread by the performers when on stage talking to the audience about the need for them to do more for those under-served in society.
Ganesh Kalyanam, the Festival Director as well as Director of the Office of Student & Graduate Affairs from the Republic Polytechnic highlights that many students are interested in music and forming a band. “We wanted them to understand that there is a lot of hard work and tenacity that is needed. This is one of the messages that the bands share with the students.”
On the technical side, students get involved in setting up and operating to a certain extent the sound and light equipment and also work as stage crew. Industry professionals are on hand to guide and teach the students along the way.
Yamaha’s Lawrence Tan highlights that this is the third year Yamaha has sponsored their consoles for the event. “It is an opportunity for students to understand how event set-up is done. We hope this will ignite their interest in our industry and also make them understand the hard work that goes behind the scenes to create an enjoyable experience for both the performers and the audience.”
One alumni who has kept returning to the festival to offer his services as FOH Sound Engineer is Mark Spencer who was from the pioneer batch of the Republic Polytechnic. “Its my way of giving back to the polytechnic for having provided me with the opportunity to learn. I also hope I can encourage the students to not give up on their passion and persevere. I engage with the students involved with the production of IGNITE! who are curious and want to understand what my job scope entails. Hopefully I will inspire a few to join our industry.”
www.ignitemusicfest.com
Bakers in Space. Photo copyright Jared Kinwj
(L-R): Rafi Dean, Assistant Manager, Office of Student & Graduate Affairs (The Republic Cultural Centre), Ganesh Kalyanam, Festival Director as well as Director of the Office of Student & Graduate
Affairs, Republic Polytechnic and Lawrence Tan of YAMAHA MUSIC (ASIA) PRIVATE LIMITED
No Rest For The Weary. Photo copyright M Safiz
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201938
Area 4 Industries: New MILOS Armor Cart
GLP KNV Dot & Line
DiGiCo SD-Series - Nodal Processing
Prolyte Group: TrussBusters Episode III
Check out the new video release on A4i.tv that puts the new MILOS Armor Cart in the spotlight! Learn how the Armor Cart helps reduce hoist storage and transport space, as well as making the movement of your hoists to and from venues more convenient. It even promotes the internal health of your hoists!
Discover the many features and benefits of the new MILOS Armor Cart, and how it can be a valuable partner for your business.
According to GLP No other tool offers more creative possibilities as their KNV System - And it has just got two new members: KNV Dot and KNV Line. Here is a short video that shows you all the components and the incredibly versatile possibilities.
DiGiCo Ambassador Dan Page explains how the Nodal Processing feature on the SD7 Quantum enables the monitors sound engineer to tailor and mix channels to the artists preference. The SD range offers the sound engineer flexible, easy to use custom set up options that delivers a great sound.
Prolyte Group proudly presents: TrussBusters! A fun way to learn new things about your favourite products. How many people fit on one stage deck? Is a truss infinitely strong? Can aluminium burn? These are just a few things the TrussBusters would like to test.
In the third episode the TrussBusters team will demonstrate the danger of using the wrong stabilisation for your truss.
VIDEO FILES
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201939
ENNOVATION
CHAUVET Professional Introduce Maverick MK3 ProfilePowerful enough to handle the demands of large concert venues, the new Maverick MK3 Profile from CHAUVET Professional also has the versatility needed to excel in a wide range of other applications from high-profile events and festivals, to broadcast projects.
A fully featured 820W LED moving profile fixture, the Maverick MK3 Profile has a blistering output of over 51,000 source lumens, giving it the punch to create intense aerial effects, specials and audience lighting at any touring show. In addition to this eye-popping output, it offers a plethora of high-performance features, including a 4-blade, fully wiping shutter system that can rotate up to 60° in each direction, for a total 120° rotation capability.
Adding to the fixture’s versatility are its precise CMY + CTO color mixing and a fast 9:1 zoom ratio that maintains a flat field, and even focus from 6 degrees all the way out to 54 degrees. Thanks to its two overlapping prisms, two gobo wheels, two frost options (super-light and medium) and an animation wheel, the fixture creates captivating static, and dynamic rotating and animation effects.
Drawing on this extensive array of features, designers can use the Maverick MK3 Profile to create an endless variety of looks to reflect different moods on the concert stage or event venue.
This feature-rich fixture also has an adjustable CRI from 73 to 93 CRI, making it ideally suited to use as a key light in broadcasted applications. In keeping with its flexible design, it also offers a variety of control options including DMX, sACN, Art-Net or W-DMX.
www.chauvetprofessional.com
New VL800 Series Brings Vari-Lite Power to Cost-effective Event FixturesVari-Lite, the originators of the modern moving head lighting fixture and a Signify (Euronext: LIGHT) entertainment lighting brand, have released the VL800 Series of fixed and moving head LED fixtures. These cost-effective event fixtures bring a feature set specifically for mid-sized tours, productions, and entertainment lighting installations. The new VL800 Series includes three exciting new fixtures which have been designed to work together. The fixtures have been colour-matched so they are visually consistent, and the user experience and DMX mapping are consistent as well. This allows lighting designers and programmers to easily use multiple fixtures together in a single application. The VL800 Series includes: • VARI-LITE VL800 PROPAR – an advanced, high output LED event PAR fixture that includes a quiet running motorized zoom. The fixture offers full RGBW colour mixing and has gel-matched color presets to deliver the same visual results customers are accustomed to, with multi-mode fan control for use in quiet environments. • VARI-LITE VL800 EVENTPAR – an LED retro-style event PAR perfect for a modern replacement of classic tungsten PAR fixtures. Designed to bring back the vintage stylings of the original lamps and PAR cans, the
VL800 EVENTPAR will be available in both RGBA and warm white (WW) varieties, with output and color reminiscent of tungsten PAR 64 lamps. With an outdoor rating of IP24 for protection against water spray from any direction, the fixture can withstand rainy conditions at an outdoor event or installation. • VARI-LITE VL800 EVENTWASH – a mid-sized LED wash moving head fixture that’s extremely powerful and compact. This fast-moving wash
offers full RGBW color mixing and seven individually controllable LEDs for easy split colors or pixel mapping applications. With controllable dimming and motorized zoom, this fixture moves and feels as you would expect from a Vari-Lite, providing valuable features in a cost-effective mid-sized moving head. The Vari-Lite VL800 PROPAR, VL800 EVENTPAR, and VL800 EVENTWASH will be available in September.
www.vari-lite.com
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201940ENNOVATIONENNOVATION
disguise r16 is Now Live: More Features, Better Workflows and Tons of Improvements
DiGiCo Mustard Option for SD7 Quantum
disguise has released r16, the next major update of its award-winning software. r16 features a host of new features and enhancements that will further improve workflows for projection and AR projects as well as streamline the user experience.
Developments to the user experience include a complete design overhaul to improve the execution and usability of the Cue List; more flexibility to work with external control systems, and a multi-edit function to streamline workflows when working with groups of objects. Additionally, 181 bug fixes and 121 improvements have been made to further streamline the user experience. You can find the full list of features, improvements, and fixes in the Release Notes, which are available on the disguise Downloads site.
Also in r16 is improvements to enable higher quality content playback, including end-to-end 10-bit colour depth support for the latest flagship
Mustard is a new set of algorithms and options for SD7 Quantum channel strip processing that offers enhanced flexibility and choice when extra control and creative adjustment is needed within a mix. Making full use of the Quantum engine’s new seventh-generation FPGA infrastructure, the Mustard channel can be used in conjunction with the standard SD processing to add pre-amps, filters, EQ, gate and a selection of compressor types to any existing channel strip.
The Mustard Tube options include a fully controllable Pre-Amp Modeler, which gives users access to every aspect of their front-end drive, while the Mustard Dynamics include Vintage VCA and Optical compressor types that emulate some of the best-known devices available. All of this will enable users to add classic character and new textures to drums, bass, vocals and guitars.
digico.biz
servers, the vx 4 and gx 2c; as well as support for wider colour gamuts such as Rec2020, and a full HDR pipeline, enabling the use of the next generation of cameras, content and displays. The release also includes long-requested support for image sequence playback allowing users to play TIFF, TGA and DPX file sequences in either 8 or 10-bit. Support for the new NotchLC codec has also been added, which achieves visually lossless quality without sacrificing performance. Projection workflows get some love too. Since OmniCal’s introduction last year, the disguise R&D team have been out in the field with users, making it more robust, more scalable, and better optimised for on-site delivery. A single calibration workflow for both projection and automation makes long-term maintenance of shows easier. Mapping Matter integration has also been added, allowing users to set-up projectors in Mapping Matter and quickly import them into disguise, including projector data such as position, name, resolution, lumens and more.
Last but not least, r16 also includes new workflows for Augmented Reality including support for a variety of camera tracking systems, which can be fed into the 3D stage as tracked objects and attached to virtual cameras. This is the first step on the road to releasing the full xR feature set, which will come in future releases.
For more information and to download r16 visit www.download.disguise.one
www.disguise.one
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201941
PixelFLEX Introduces FLEXUltra XT LED Video
Award-winning LED video manufacturer combines extreme performance and durability into a one innovative product solution for any rental staging production design
Combining extreme performance and durability into a single LED video panel designed for any rental staging production design, PixelFLEX is proud to introduce the new FLEXUltra XT. Fresh off its debut at InfoComm 2019, FLEXUltra XT offers unparalleled design potential for any live production with its ultra high-resolution pixel pitch options, all-
in-one optional ground support system, and the innovative PixelShield protective technology for a long-lasting and dynamic LED video experience.
With each panel conveniently designed in a perfect 16:9 ratio, FLEXUltra LED is available in 1.5mm, 1.9mm and 2.5mm pixel pitch options and comes standard with the PixelFLEX impact-resistant COB PixelShield technology to withstand the high demands of the production world. Additionally, the front serviceable modules make it easy to keep each panel looking its best, and the easy Z-Axis adjustments guarantee that your screen is always seamless. Utilizing magnetic connections and auto-locks, the FLEXUltra XT turns vertical rigging into a one-person job, and the optional ground support system is complete with built-in levels and self-leveling footers.
www.pixelflexled.com
ENNOVATION
MALAYSIASINGAPORETHAILANDINDONESIA
+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480
SSL Live L.100Superior Sound with a Smaller Footprint
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SEPTEMBER 201942
ENNOVATION
Elation Introduces Extreme Output Smarty MAXElation Professional is pleased to offer a new luminaire in the Smarty series, the Smarty MAX, an extreme-output version of the 3-in-1 Smarty Hybrid with the same ‘smart’ lamp technology but nearly twice as bright and loaded with even more design features.
The Smarty MAX is a unique blend of economy and performance, combining high output and long lamp life in a feature-packed yet compact and lightweight hybrid fixture. The powerful hybrid luminaire has flexible use as a primary workhorse for virtually any stage application while providing an excellent return on investment.
The Smarty MAX offers lighting designers a complete design package in a compact and highly efficient beam/spot/wash light. An inspiring tool for creatives, it projects an exceptionally bright 20,000-lumen beam that exceeds all other hybrids on the market. The Smarty MAX’s powerful output stems from a new long-life Platinum FLEX 400 lamp and with the unmistakable broad beam look that comes from a large 160mm front aperture, the impact is undeniable.
With CMY CTO color mixing plus an extra 13 dichroic colours, including UV and CTB color correction, the Smarty MAX offers a wide spectrum of chromatic options. A precise zoom can adjust the beam quickly and evenly in all three modes from a super-narrow 1-degree in Beam mode
for powerful shafts of light to a wide 39-degrees in Wash mode for broad strokes of colour.
The Smarty MAX houses a comprehensive graphics package that allows for nearly unlimited visual combinations. Graphics from two gobo wheels – 8 rotating, interchangeable glass gobos and 15 static-stamped metal gobos – make it great for mid-air beam effects, textures and high contrast projections.
The Smarty MAX then adds a host of unique creative features that make it a truly extraordinary design tool – four prisms on two planes for captivating overlays, dual frosts (light or wash) for diffusion flexibility and more interesting effect combinations, plus an industry-first dual track animation wheel. Furthermore, the Smarty MAX is the world’s first hybrid fixture incorporating a full iris for dynamic effects not possible with other beam fixtures.
The Smarty MAX’s FLEX 400 lamp is rated at 480W and provides up to 4000 hours of smart lamp life. The lamp can run at three different wattages – 370, 440 and 480W – providing power savings and increased efficiency.
The Smarty MAX is covered by Elation’s Ultimate Warranty program, which covers the first two years of operation or 4,000 hours of use, whichever comes first, based on regular maintenance for the fixture and lamp.
www.elationlighting.com
ProCo Sound Unveils Industry’s Most Compact Wireless In-Ear Monitor System ProCo Sound, an ACT/RHC brand, released its new wireless in-ear monitor system (W.I.E.M.S.). W.I.E.M.S. is the most-compact in-ear solution on the market today. It features a sleek and simple design, with no external antennas and a seamless plug-and-pair set-up. With up to 30 meters of range (line-of-sight) between the transmitter and belt-pack receiver, the W.I.E.M.S can be used in a variety of applications, including live sound, broadcast and film, as well as in educational and other install-based instances.
ProCo’s new W.I.E.M.S. has four user-selectable channels and features a 3.5-mm headphone jack—enabling users to plug in their preferred earpiece. The receivers are powered by a lithium-ion battery, which is easily rechargeable with a micro USB, ensuring that users don’t lose power when it’s needed most. The receiver automatically pairs to the transmitter, which uses the 5.8GHz frequency band, keeping it isolated from the highly crowded 2.4GHz band. Additionally, with a simple XLR cable, the transmitter works through any Dante-enabled wall-plate or drop-snake, such as ProCo’s latest AoIP solutions.
This low-latency (less than 5.6 milliseconds) solution has 24-bit audio quality with a 48KHz sampling rate and transmits from a balanced, line-level output.
www.procosound.com
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201943
New DPA 2028 Vocal Mic Aims to Change the Live Performance LandscapeDPA Microphones presents a new addition to its microphone lineup, the 2028 Vocal Microphone. The 2028 delivers DPA’s renowned natural sound, which allows all types of vocals to shine. Perfect for everyone from indie artists to international touring singers, the 2028 mic is ideally suited for live stage performances, broadcast and pro AV applications. On a live stage, the 2028 delivers the same sonic qualities as DPA’s other great solutions. In fact, the 2028 needs no (or very little) EQ to sound just like you are standing next to the singer listening to their performance. This allows the artist to hone-in on their vocals as if not using a microphone, which puts less strain on the voice. In addition, the transparency of the 2028 allows engineers to spend their time shaping the sound experience rather than covering up issues caused by artifacts. The 2028 has been cohesively designed to provide the same amazing sound as the brand’s flagship handheld mic, the 4018 VL. It has also been optimized, like the 4018, for the unique challenges of the live stage.
The 2028 features a brand-new fixed-position capsule, as well as a specially designed shock-mount and pop filter. It exhibits a supercardioid polar pattern, with the famous DPA uniform off-axis response. This gives the microphone a very high-gain-before-feedback and makes it easier to handle bleed from other instruments in close proximity, picking up sound in a natural way.
The 2028 is offered in three variants; a wired XLR with handle and two wireless mic configurations that are compatible with the industry’s most widely used wireless microphone systems. This includes the SL1 adapter, compatible with Shure, Sony and Lectrosonics; and the SE2 adapter, compatible with Sennheiser.
www.dpamicrophones.com
ENNOVATION
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201944
EXHIBITION PREVIEW
Live Entertainment Expo TOKYO is Coming Up in February 2020
Live Entertainment Expo TOKYO, Japan’s largest B-to-B exhibition for the live entertainment and media industry will be held at Makuhari Messe, Japan from February 5 – 7, 2020. The show has been known as one of the key business venues in Japan for the past 6 years. This year, 650* exhibitors & 30,000* visitors are expected to gather. (*including concurrent shows)
Covers Various Live Entertainment & Media Product Industries
This show covers various products in this industry, such as LED Display, Pro-lighting, Pro-audio, PA System, AV, Special Effect, Stage Art and Digital Entertainment (VR, AR, Projection Mapping), Concert Merchandise Production, Ticketing System, Controlling / Staging System etc. for stages and entertainment places such as, concert venues, theaters and amusement parks.
Live Entertainment & Media Products are highly expected in rapidly growing Market!
Currently, Japan’s live entertainment market has been ranked 3rd biggest* in the world. Furthermore, Japan’s event-related market is remarkably active and rapidly growing for upcoming Tokyo Olympics 2020 and WORLD EXPO Osaka 2025. Equipment Rental Companies,
Equipment Distributors, Event Hall Owners, Shopping Malls, Amusement Parks, Promoters, Stage Art Productions and Media, etc. are expected to visit the show to find the solution and something new in the industry. Demand for the new products, technologies and services related to the event business is highly likely increasing toward the coming the world-class national events. Exhibit Live Entertainment Expo TOKYO and expand your business! (*Source: PWC Global Entertainment & Media Outlook 2016-2020)
Synergistic Effect from Concurrent Shows
One of the positive aspects of Live Entertainment Expo TOKYO is that it is co-held with Events & Amusement Expo TOKYO, Sports Business Expo TOKYO and Local Value Creation Expo. Since these powerful concurrent shows are held under a single location, a synergistic effect appears in purchasing from various industries. Exhibitors can also find the business partners from meetings with a wide range of industry leaders throughout the show.
Newly Launched Zone “eSports Business World”
Show Management announced that they will present a new special zone, “eSports Business World” inside Live Entertainment Expo TOKYO. eSports Sponsors, eSports Teams/Athletes, Company’s Advertisement/Marketing Division, TV Stations, Internet Service Providers, Schools/Colleges, etc. are expected to visit to discover variety of eSports related products and services! Showcase your products and services for the eSports business operation to find ideal business partners!
2020 will be the 7th edition of Live Entertainment Expo TOKYO. The even will be held at the Makuhari Messe in Tokyo Japan and is organised by Reed Exhibitions Japan Ltd.
To exhibit: www.live-event.jp/ex_en/To visit: www.live-event.jp/inv_en/
LED DisplayeSports
Meeting
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SEPTEMBER 201945
I have always found that keeping your priorities right is tantamount to having a successful career in Pro Audio. After some 15.000 shows of my own and having seen at least as many shows by others, I find that we continuously need to remind ourselves of the priorities. For today I want to focus and elaborate on a few different scenarios in this regard.
One of the famous phrases in our industry is that “the show must go on” and as simple as this sounds, it is one complex task. If you keep this in mind then this will drive your decision-making process throughout every single day at work. In case everything goes right, I will have proper time to set up a system, check it thoroughly and then tune it before going into sound check. After sound check I will save and lock all my relevant devices and check them all again well before the show, ideally within an hour of show time starting.
Now this is when everything is ideal and everything follows the plan that I made along with my colleagues from the other departments. From my experience, I can tell you that at least one in ten times this is not the case of how an event goes down and then it is you with your preparations for eventualities and your quick assessment of priorities, who will manage to get the show under way nonetheless. What does that mean in practice?
You will need to have a good understanding of how long each task of your day will take and then make ample room for this in the schedule. Then you need to coordinate this with your colleagues of the other departments from Staging, Lighting and Video. Within the schedule there is always a little buffer, at least while there is audience walk in and many times for me this was the life saving time span, when things get rough and gear is late or defective.
If the truck is late and gear delivery is late, then tuning will suffer first, because it is still imperative to make the gear at least work the way it is supposed to work. Some small testing devices will allow for system check along the way while being set up. I have seen people staring at screens, while the whole world seems to go around them, but they don’t see it. Nobody cares, if some remote seat does not hear properly time aligned audio, if the P.A. never comes alive. Having your eyes on this and being able to react, when necessary, is good.
Over the years, the priorities change and that is mostly due to your different positions in the career, but what I can tell my younger colleagues is that no one trusts you to run a system properly if you
don’t coil and treat those cables properly. I know that there is no causal connection, but your colleagues see and recognize your work ethics. People in the crew are always monitoring you and if they see you doing nothing, while others work their butts of, then this is recognized. If you lend a helping hand to others, this helping hand will be extended to you when you need it and trust me, you will need it.
What I have heard many times over the years is that people from the outside ask: With all those freaks working in a team, with all the hippies and weirdos, how can it be that all this runs almost like under military discipline? The answer is very simple: Because it works! None of this happens because people like military style (quite the opposite most of the times), but you need to be very organized and have structures clear, so that such a complex undertaking can work out smooth and with little to no harm to anybody involved. Let’s all try to keep it that way and have our priorities right, shall we?
Join the conversation and share your thoughts with Alex. Alex can be reached at [email protected]
Have Your Priorities Right
ALEX COLUMN
From my experience, I can tell you that at least one in ten times this is not the case of how an event goes down and then it is you with your preparations for eventualities and your quick assessment of priorities, who will manage to get the show under way nonetheless.
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201946
Projection in Domes
TECH TALK
In this Q&A, we’re talking projection in domes with Malin Hallbeck at domeprojection.com The Magdeburg-based company is chiefly known for their ProjectionTools product which is widely used in training, simulation and entertainment installations worldwide.
* Is every dome the same?* Where did it all begin?* What are the challenges of projecting in a dome?* Have application areas changed over the years?* Is it all done by projection?* Any recent tech game changers?
Is every dome the same?
No! Domes come in different sizes and angles of installation, mostly depending on how the screen area is being used. Planetariums tend to use larger, fixed, perforated domes which are installed with a tilt angle to give the audience a good viewing area. In flight simulators, the dome mostly encloses the pilot seated in the mock-up. These domes can sometimes also be facetted, made up of multiple flat segments.There’s a big demand for larger domes for events and the ones used there are usually
There’s a big demand for larger domes for events and the ones used there are usually geodesic domes.
Another popular application is for dome-based driving simulators, which are installed on motion systems with exchangeable cars. These domes have their own set of requirements: they need to be rigid to endure the forces created by the movement, but also light to minimize the weight.
Where did it all begin?
The ProjectionTools product started out as a method used by project: syntropy engineers when setting up multichannel installations. project: syntropy delivers solutions for simulators, planetariums and highly immersive environments. As features were added and the capabilities grew, other integrators and end-users began to show interest. They realized that these tools could improve efficiency as well as delivering repeatable geometry correction and warping results. In 2014, the inventors of the method decided to start to develop a professional solution that could also be used by others. The company domeprojection.com was founded and ProjectionTools was developed and made available for others.
What are the challenges of projecting in a dome?
There are a number of pitfalls to avoid when covering the inside of a dome with seamless imagery from multiple projectors. For example, you need to ensure that the projectors are calibrated correctly so colour levels are the same across the entire image. Dark domes are
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SEPTEMBER 201947
TECH TALK
especially sensitive to differences in colours as there are no other light sources to offset or mitigate variations. Conversely, light areas in domes will reflect on to other parts of the dome which lowers the contrast. As domes are curved in two dimensions, they can be an epic warp-and-blend challenge. You want to be certain that the projections fit the geometry of the surface exactly, every time, but preferably without time-consuming manual alignment.
Our auto-alignment system ensures recalibration with very high precision and accuracy. The system supports a wide range of high-quality measurement devices throughout the whole setup and auto-alignment processes, including usage of multiple, calibrated cameras.
To be compatible for use in many different areas, we integrate ProjectionTools to work with different media servers (such as Dataton’s WATCHPAX range, realtime simulation software, hardware warp/blend units, graphics cards and projectors with built-in warp/blend capabilities. The number of integrations is constantly growing.
Have application areas changed over the years?
The application areas might not have changed, but, as the technology matures, the number of users grows in different segments. Popularity also varies over time, with a higher number of projects in certain areas for a while.
We are active in entertainment and simulation markets which are the chief sectors for this kind of projection. The entertainment market includes planetariums, science centres and events. The image above is from the 30m dome projection at Expo Yeosu.
Simulation comprises both static installations and simulators on motion platforms, for a range of situations, for example, helicopter flight, ship’s bridge, driving assistant systems development, air traffic control, and more.
The image in the next column shows mixed reality laboratory “Elbe Dome 2.0” by Fraunhofer Institute IFF in Magdeburg, Germany.
Is it all done by projection?
The installations we make are based on multiple projectors which give better final visual quality. There are also installations including mirrors. Projectors often need to be installed with a certain orientation and, under these conditions, mirrors can be helpful to realize floor projections, for instance. Projectors equipped with fisheye lenses are used less often now.
Any recent tech game-changers?
Yes! The wide availability of Power over Ethernet (PoE) industrial-grade cameras has improved the quality of larger installations significantly. Integration has become much easier – think of cabling, for instance.Content for the new projector generations which supports higher resolutions (4K and upwards) is often played out with more than one video input and sometimes often generated by more than one image generator. We’ve developed various high-quality alignment features for this kind of split setup to ensure the audience gets the full benefit.Delivering calibration for dark environments – such as night vision training or planetariums – demands advanced black level correction features, or optical blend masks. For night vision training, we’ve developed a patented system which provides high-quality blend masks based on the measurement of the real setup, instead of predesigned masks based on theoretical projection design data.
Over the past years, additional tools have been developed to align projections on complex, arbitrary surfaces. Beyond the standard functionality of finding projector position, orientation and frustum, which is essential for 3D mapping projects, warping as well as blending can be calculated automatically.
This article first appeared under Dataton’s website. We thank Dataton and domeprojection.com for giving us permission to republish the article.
www.dataton.comdomeprojection.com
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201948
Video is an integral part of theatrical design and over recent years has seen an explosion of use in productions across Asia Pacific.
Notable productions include Aladdin at Dentsu Shiki Theatre in Tokyo, The Lion King in Japan, Wicked Gold Coast and even the upcoming Kung Fu Panda Spectacular Live that opens at Macao’s Venetian Theatre in December 2019.
“The market is ever expanding with some of the most creative uses of projection in the theatre market – a historically late adopter of emerging technology,” explained Richard Saunders, Director at IKONIX based in Brisbane, Australia.
Driving Market Trends
Things are about to change! In terms of technology, it seems that producers and directors of the bigger productions are aiming as high as Broadway and the West End in terms of integrating video design into their performances.
“I would describe the culture as trending and the trick is to integrate but not to overuse. Using the technology sparingly and creatively ensures the performances aren’t overpowered and the true sense of theatre is maintained,” added Saunders.
“The guest experience is driving the trend – immersing the audience into the performance with engaging technology like projection mapping, holograms and automation – these are always a winner. The emergence of creative music festivals and live events that are streamed across the world are the main reason video is being incorporated into smaller events [or theatre productions] like never before,” said Saunders.
IKONIX deployed a hologram on stage for the Australian entry for EuroVision, a number of years ago. Then, hologram technology became the hottest ticket in town and gained great industry traction with IKONIX website enquiries sky rocketing.
Technology at Centre Stage
Bart Kresa, Master Projection Designer and Founder of BARTKRESA studio who has worked on a number of amazing projects incorporating theatrical performance artists explains: “We emphasise high-end technology, meticulous and imaginative design, powerful graphics, and strong storytelling to create impactful experiences.”
Zachary Burton, Director at IKONIX echoes this sentiment for theatre: “Integrating lighting & automation with real-time graphics is one of the most sought-after concepts. We have a specialised team of content creators onboard to constantly push the envelope and design mesmerising, never seen before productions.”
IKONIX believes in working with our partners and suppliers to ensure all productions run seamlessly.
“We are extremely proud to be Australia’s only owners of Avolites AI Media servers and are trained as product specialists,” enthuses Burton. “The amazing team at Avolites in the UK go over and above to service our requirements and we know they always have our back when we decide to push the limits of technology on our larger events.”
FEATURE
The Perfect Backdrop - Video As Performance Art in Theatre Immersing the audience into the performance with engaging technology like projection mapping, holograms and automation
Richard Saunders, Director at IKONIX
Kung Fu Panda Spectacular Live Logo. Image courtesy Broadway Asia
by Katinka Allendar
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201949
FEATURE
Kung Fu Panda Spectacular Live - Susan Stroman - Credit Paul Kolnik. Image
courtesy Broadway Asia.
The Venetian Theatre, Macao. Image courtesy Broadway Asia.
Pushing the boundaries is something of a trend as is combining the best of Hollywood, Broadway and The Circus. DreamWorks’ Kung Fu Panda Spectacular is expected to transform the entertainment landscape in Macao. Building on the globally successful franchise of the beloved
Kung Fu Panda films, the production has the wisdom, heart and humour of the world-renowned franchise, combined with the high-level design and impact of a major live action immersive spectacular resident show.
“The production will be an exciting new experience for audiences of all ages — as it incorporates storytelling, state-of-the art projection mapping and video design, immersive aerial and acrobatics
as well as extraordinary puppetry and martial arts,” said director and choreographer Susan Stroman.
“The hilarious and heart-warming characters from the films will come to life in an extraordinary action filled live performance.”The production is working with Pulse Evolution Group, Inc., a leading developer of hyper-realistic digital humans and characters for entertainment, mixed reality and artificial intelligence for Broadway Asia’s theatrical production of DreamWorks’ Kung Fu Panda Spectacular Live at the Venetian Theatre in Macau, a leading destination resort in Asia.
The large-scale attraction incorporates the best scenic design by STUFISH/Ray Winkler (Las Vegas installation of Ka, the Beijing 2008 Summer Olympics, and many famous concert tours including Madonna and the Rolling Stones), musical direction by David Krane (over 25 highly acclaimed Broadway musicals), lighting design by Ken Billington (designer of over 100 Broadway productions), and projection and video design by 59 Productions (Tony Awards and Olivier Award Winners for An American in Paris and War Horse).
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SEPTEMBER 201950
FEATURE
Behind the scenes are a team of experts. As IKONIX knows, there needs to be a talented team of designers and content creators who love creating the unseen and utilising new technologies ensures this.
Scene Jade Palace, Illustration by Michael Curry Design, 59 Productions and Stufish Design. Image courtesy of Broadway Asia.
IKONIX delivered the stage show ‘Wicked’ for Matt Ward Entertainment in Queensland. The design incorporated a large rear projection screen, Holograms using Hologauze as well as scenic projection.
“The entire sequence was pre-programmed in our pre-viz suite with the Director and was adjusted on site once the real-world space was adapted. The Realtime graphics allowed us to adjust content on the fly as the director requested without the need for long re-rendering times,” explained Burton.
“The ability to work with set designers and other creatives to produce memorable events that capture the audience is one of the many opportunities this industry has allowed us. The main challenge in our industry would be consistency of events, in between ‘event season’ sees us creating content and servicing our growing stock,” added Saunders.
Looking to what might be a possibility for future tech growth in the theatre market, Burton says: “Holograms are a constant source of interest to our clients and are our main website enquiry. The increasing demand means this will be more accessible to future theatre shows and we are excited to see what show will be next.”
www.59productions.co.uk
www.avolites.com
www.bartkresa.com
www.ikonix.net.au
www.kungfupandaspectacular.com
www.stufish.com
Scene from Wicked. Image courtesy of Matt Ward Entertainment
ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com
SEPTEMBER 201951
FEATURE
CASE STUDYBroadway Blockbuster Musical WICKED, Gold Coast
The ambitious production design was the work of Maria-Rose Payne who worked closely with Brisbane’s content and video specialists IKONIX to produce the shows design elements including scenic design, construction, and special effects.
“When IKONIX were approached by Wicked’s producer Matt Ward, we knew something exciting was on the cards,” commented Richard Saunders, Director of IKONIX.
“IKONIX specialise in custom, bespoke productions and when Matt said he wanted to incorporate projection mapping and holograms into a local production of Wicked we were sold!”
A 10m x 5m Holo-Gauze screen was utilised throughout the show to add an extra dimension to the stage and to bring the Wizard to life in a way never seen before. Holo-Gauze is theatrical gauze combined with a highly reflective metallic coating. That means it will solidly reflect projected images, but it also means anything behind Holo-Gauze, when carefully lit, can also be seen.
IKONIX also utilised several other projection methods including a large upstage rear projection screen, floor and scenery mapping, plus a large flown cyclorama during intermission.
The entire design was built and managed using Notch, which not only allowed IKONIX to build and visualise the environment in real time, but also make changes onsite before rendering them out as video files for cue playbacks in their Avolites AI Media servers. The ability to
do this not only saved them a lot of time but allowed the director to see his changes come to life as he thought of something different; an invaluable asset to have.
“We knew that the Wizard had the potential to create a real visual impact so the pressure was on to get him just right,” added Richard. “IKONIX used motion tracking technology on the real wizard, which meant our hologram wizard would not only have the same mannerisms and mouth movements as our actor, but he would be more realistic.”
www.ikonix.net.au
Image credit: Matt Ward Entertainment
Image credit: Matt Ward Entertainment
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SINGAPORE
The Illumination of Singapore’s Bicentennial National Day CelebrationsCo-lighting Designer Michael Chan shares his experience
Singapore’s 54th National Day Celebrations had an added significance this year, as the country also commemorated its bicentennial milestone. It was 200 years ago that Sir Stamford Raffles landed in Singapore, which in essence marked the arrival of the British into Singapore, transforming the country’s future into a vibrant trading port.
The Singapore Bicentennial National Day Parade was held on 9th August at the Padang, which in itself is an iconic landmark. The Padang, an open field site, was chosen as an alternative for public buildings by Stamford Raffles in 1822. It became a major recreational area when two clubs, the Singapore Cricket Club and the Singapore Recreation Club were established at both ends of the field. The Padang also witnessed the first post-independence National Day Parade held in 1966. It also witnessed the declarations of self-government in 1959 and the union with Malaysia in 1963.
“Our Singapore” was the theme of Singapore’s 54th birthday celebration, and it aimed to tell the country’s story from past to present, through six acts. The pre-act included eight floats representing
long-standing local institutions paraded through the Padang. The first act itself took place above ground with soaring fighter jets swerving across the sky. The second act, titled “Our Strength” appropriately saw a mobile column comprising various military and home-team vehicles, making their way past the VIP stand. As the evening turned into night, the remaining acts saw a display of dance performances, laser displays, giant props and singing performances complementing the story-telling. It was also during these acts that the lights came to the forefront, creating a sea of colours fitting the performances.
In total 1036 lights were used, comprising of Claypaky, Robe and SGM fixtures. The Claypaky fixtures totalling 602 units, comprised of 262 units of HY B-EYE K25, 208 units of Scenius Unico and 132 units of Mythos 2. There was a total of 248 units of Robe BMFLs, 186 units of SGM Q7s.
Two grandMA3 full size consoles with seven MA3 processing units were responsible for the show control operations, while a grandMA2 Full size was used as roving console for programming.
Photo copyright Wong Hock Weng
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(L-R) Mac Chan, Tejay Yeo, Chew YongFa (technical and production manager), and Michael Chan, Photo copyright Michael Chan
The show’s lighting design was handled by Michael Chan and Mac Chan (not related). Lighting programming was done by Michael Chan and Tejay Yeo.
The Challenge of Installing Fixtures at the National Gallery Singapore
The National Gallery Singapore faces the Padang. This is also the location where the VIPs and key Government Officials sit to enjoy the performances. The National Gallery also features two operational restaurants at the rooftop.
The challenge for the lighting team was in installing the 128 Robe BMFL Blades at the top facade of the Gallery.
“This was challenging for a few reasons. First, where the restaurants are located, was the area we had to rig the lighting, which meant we could not do the rigging during their operational hours,” said Michael.
“We also had to co-ordinate with the army (the Singapore Armed Forces was the lead agency in relation to the National Day Celebrations) and civil engineers regarding the load the building is able to handle. This is a historical building and after discussions and calculations, the maximum number of lighting fixtures we could rig was 128 moving lights based on a maximum weight of 40kg per light, which ended up being the Robe BMFLs. I would like to add, that it is due to the weight and space issue that we could not include actual Followspot fixtures.
The fixing of the truss was challenging for the engineers as they had to calculate the weight, take into account safety considerations and figure out how they were going to put up the truss as it was fairly high up.
The span of the truss is quite long, around 30 meters. We needed a large span as we did not want to block the view of the restaurant guests with any vertical standing trusses, from enjoying the Marina Bay area skyline. So the truss stands were at the pillars thus offering a clear view of the CBD and Marina Bay area. However during the final two previews and the actual celebration the restaurants were closed for security reasons.
The truss were lifted using a huge crane lift. They were first assembled one frame at a time and then lifted up and dropped down into place. Each night two frames were put into place. Then the lighting crew rigged up the lights and it took two days per frame. This is because the crew were only allowed to start at 2am and had to stop work by 7am. Within the five hours, they had to secure the lights onto the frame, cable the lights, adjust the fixture angles and do whatever trouble shooting was needed.”
Other than the BMFLs, the facade of the National Gallery featured 66 units of SGM Q7 that were used for up-lighting the building. The pavement facing the road and Padang had eight VIP speaker towers. Including with the speakers were six units of SGM Q7 per tower. “These lights were used to light up the mobile column and parade as it passed through. It also was useful as we used it as a work light and for additional front light. Being IP65 we left it as it was and it worked without a hitch.”
Follow-Me Helps Resolve Follow Spot Issues
The production team including the lighting designers decided to use the Follow-Me software for the celebrations. “Follow-Me resolves the main issue of not needing manpower up on truss to do the follow spot work. It resolves safety issues as well as fatigue. Not needing to clear security for 8 followspotters up on a vantage point resolved a lot of paperwork and any potential clearance issue. It also helped the operators to be
The Robe BMFLs installed atop the National Gallery Singapore
The SGM Q7s
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better able to concentrate on the show without having to battle the environment. Imagine being up on the rooftop platform, in the sun or rain, for 12 hours or more at a stretch!” said Michael.
For the National Day celebrations, a total of 16 BMFLs that were installed at the National Gallery were assigned as follow-spots. “The Follow-Me software ran on four MAC minis. We split the operation into two sets of 8 BMFLs for each screen. This was to ensure fail-safe should any of the MAC fail. So two of the MACs were running the show with the other two being used as back-up.
The additional hardware from Follow-Me included sets of fader wings with joy stick. “These were very important. The initial control for the software was via a mouse and keyboard, and I was not comfortable with that. However, when I went to this year’s Prolight + Sound Frankfurt, I noticed that Follow-Me had added these hardware to complement the software. I spoke to the technical team and they agreed to purchase the hardware as it is user-friendly and it made sense as we were using non-technical staff (provided by the military) to control the follow-spot.”
The set-up for the Follow-Me included static cameras placed on the facade of the National Gallery which were able to view the entire coverage area of the Padang. The Follow-Me software on the MACs were linked to the grandMA network via ARTnet. The grandMA system received the live data from the Follow-Me system and sent it out as normal DMX signal to the BMFLs. 2 units of BMFL were assigned to one Follow-Me user.
“To ensure that the follow-spots were accurate, we needed measurements so that the Follow-Me software will be able to do its job effectively. This meant we needed to set-up nine markers in relation to the performance area. These markers are calculated as XYZ measurements. The Follow-Me software requires accurate measurements for it to be able to work effectively. With XYZ mapping, we needed to also calculate the “Z”, or height – meaning not just the distance from the BMFLs at the National Gallery to the marker, but also the distance from the ground up. We realised that the only way to get
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The Follow-Me fader wings with joy stick
The Leica laser that helped to accurately measure the XYZ measurements
that measurement was to buy a laser to calculate the XYZ. Thankfully the Follow-Me team recommended a Leica laser that was not just accurate, but able to give us the full XYZ measurements.” said a relieved Michael.
The Follow-Me operations room was set-up within the National Gallery.
Lighting up the Show
“The Claypaky K25s are a huge feature of the show,” comments Michael. The Padang was “contained” on three sides with three large LEDs on each side, and the open spaces between the LEDs were filled-in with what was known as the Candlestick Towers of varying heights. The Towers were draped on three sides with red clothing. The intention was to create a feel of being in an enclosed space. When the lighting designers heard about these towers, they decided to hang lights on them to allow for more creative possibilities. It is in these 50 such towers that surround the three sides of the field that the K25s were installed.
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5 metres – that is very bright. So, I zoomed it down to the tightest angle and used it for beam effects as well. Its performance was very impressive.”
This is the first time the designers had used the K25s. “We have used the K20s. They are good fixtures, but not quite bright enough for a big arena show like this. In comparison, the K25s are very bright. When we use it to do effects, the effect is highly visible not only on camera, but also for the live audiences. We also used a lot of the built-in macros to do things like the spiral effect, pixelated effect and even zoom rotation. To sum it up, the lights performed magnificently.”
Also placed within the Candlestick towers were the 72 units of SGM Q7. “They are punchy and bright and we used them for strobes, to highlight accents, and colour chase and they helped to further break the shape of the backdrop and added to the dynamism of the show.”
General colour wash and face light was performed by the BMFLs at the National Gallery. However, six free-standing towers that were spread around the peripheral of the performance space had an additional 20 Robe BMFL Blades in each tower. These towers also held the loudspeakers and the Pixmob RF equipment. “The BMFLs on the towers were primarily used to light the audience as well as to create effects within the audience space,” said Michael.
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“They define the show. The K25s become this ever-changing backdrop behind the audience. The fixtures are so bright that they also functioned as a secondary wash,” said Michael.
The Unicos installed on top of the three huge LED screens were used as washes for lighting faces of performers and to provide colours within the performance space. “We designed the lighting structure into three layers. The Mythos 2 featuring Osram lamps installed on a lower level on the three sides, acting like a border surrounding the field, are the low-level lights that project colours, beams and gobos. The K25s provide another layer of effects and backdrops with the Unicos being the highest layer.”
With regards to the choice of the Claypakys, Michael highlighted that the designers had two requirements. One was that they needed 1,400 to 1,700 watts fixtures to light up the faces of performers. “It happened that the Unicos was one of the brightest that we could get.” The other requirement was the need for a multi-faceted lighting fixture that not only allowed for ultra-bright pixelated LED effects, but also worked effectively as a wash.”
“The K25s fitted the bill perfectly. Each fixture has 37 LEDs, so I can have 37 pixels per light. At its smallest zoom, it offers 80,000 lux at
The Claypaky HY B-EYE K25 installed on the Candlestick towers
The Robe BMFLs installed within the free-standing towers were used to light the audience
The Claypaky Unicos
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Programming
The control room was at the back which meant it offered poor viewing for the operators, as they were viewing the back of the performers. So the operators used the live feed for ensuring the lighting was working accordingly.
“We had to set up our console and do our programming from the VIP seats as it allowed us to ensure that we were lighting up correctly. We also programmed at the field to check the National Gallery facade lights, which is why we needed an additional roving console.”
Most of the programming was triggered via timecode except for the first two acts, which were controlled manually. “The mobile columns and the marching parade might be a little slower or faster on any given day so we did not want it to be automated. Only from Act 3 onwards was the lighting programme fully time-coded.”
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grandMA3 console
Photo Credit Derek Leong
New Photo Credit Derek Leong
“The MA3 was reliable as always. However I had to get used to the button layout. The tactile feel of the buttons was great. The MA3 is a complete redesign compared to its predecessor. It is actually a very logical layout. Once you are used to the system layout, it is great to use,” said Michael.
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No Wireless Control Allowed
Eight mobile platforms were on the field. These were used to elevate some of the performers, the Emcees and the giant Lion prop. The platforms had LED lights within them for lighting effect.
Michael explained: “The biggest issue we faced with these mobile platforms is that we were not able to use WDMX as the frequencies were jammed as part of the security protocol. So we had to come up with what was a convoluted, but necessary, solution.
Each mobile platform had a PC laptop with a grandMA2 2port node. We sent out the time code via FM frequency to a radio receiver that is installed within the platform. We then hard-wired the mini-jack to XLR into a MIF4 audio interface. The MIF4 then sent midi timecode into the laptop via USB and the MA2 OnPc then fires the cue. DMX was sent from the MA2 OnPC via the 2port node to the LED drivers.
It took quite a bit of time to make this work as we had to ensure that none of the links along the signal chain would not break, while the platforms was being pushed around and being stomped on. I would
say the programming and technical aspect for this element was quite challenging.”
There was no doubt that the lightings created the impact moments at the celebrations.
All the lighting fixtures were supplied by local production powerhouse Showtec Communications Pte Ltd. Follow-ME software and hardware was sold via Total Solutiona Markting Pte Ltd that also offered technical support.
www.claypaky.it
www.robe.cz
sgmlight.com
follow-me.nu
www.showtecsingapore.com
www.tsm-int.com
www.lightinginsomnia.com
Photo Credit Timothy Ng
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INDIA
Giant Sculptural Projection Mapping Tells Story of AdiyogiBlack surface with sheen called for creative solution
One hundred and twelve feet tall, the statue of Adiyogi rises majestically above the Isha Yoga Center in the beautiful foothills at Coimbatore, Tamil Nadu-India. And every weekend, the world-record bust comes to life in a stunning projection-mapped interpretation of the story of the Adiyogi’s divine appearance. Dataton WATCHOUT mapping software, WATCHMAX media servers, surround sound and Epson projectors help deliver the awe-inspiring production.
The premiere of Adiyogi Divya Darshanam (roughly translated Adiyogi’s Divine Appearance) was one of the main highlights for this year’s Mahashivratri event at the Isha Yoga Center, near the Velliangiri mountains in southern India. The show, produced and played back with the Dataton WATCHOUT system is a unique (14 minutes, 10 seconds) projection-mapped chronicle, depicting the timeless story of how Adiyogi transmitted the ancient science of Yoga to his seven disciples (called the Saptrarishis), to his beloved, Devi Parvati and to his constant companions, the formless Ganas. In the WATCHOUT show, vivid 4K content is complemented with a background narrative by the visionary founder of Isha himself, Sadhguru Jaggi Vasudev.
The interpretation was commissioned by the Isha Yoga Center to reach out to visitors and devotees in a visually immersive manner, the likes of which had never been seen before. The center appointed Axis Three Dee Studios Pvt. Ltd to execute the entire project from start to finish, including the complete production of the visuals with CEO Avijit Samajdar taking the role of producer and director. The technical team also included experts from Dataton and projector manufacturer Epson to ensure that the spectacular show performed flawlessly and with maximum impact. The undertaking resulted in several firsts – and presented a number of challenges.
Black Surface Called for Creative Solution
The holder of the Guinness World Record for the World’s Largest Bust, the Adiyogi statue is built of steel and painted black. The satin finish and highly uneven topography called for some creative thinking by the team at Axis Three Dee Studios.
“Projection mappings are usually attempted on lighter coloured surfaces that evenly reflect light, unlike in this case, black, which greatly
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absorbed it,” says Avijit Samajdar, CEO, Axis Three Dee Studios Pvt Ltd. “What’s more, the sheen on the surface meant that the proper colours did not appear and the team devised a unique colour palette (Real Time Colour Cancellation process) to counter the interference hues from the shiny surface. Thus, the final amalgam of colours using this process, came out vivid and rich during projection, with unwanted reflective hues cancelled out in real time.”
Challenges of Mapping a World-record Statue
Another challenge was the sheer scale of the project. The entire surface area to be projected upon was over 743sqm – the statue is, after all, the largest bust in the world! To achieve full image coverage with crisp and vibrant imagery, 24 units of 15,000 lumens laser projectors from Epson, running under Dataton WATCHOUT, were used in a unique stacking configuration.
“Due to certain inherent constraints to the locations for the permanent setup of the two projection towers at the site, the projectors were arranged in four stacked sets by the technical team, to ensure maximum optimisation of lumens and angle of incidence of the projected light,” explains Avijit Samajdar.
Flawless Performance with WATCHOUT
Ashok Sharma of Dataton, elaborates: “Naturally, the center did not want to have a projection tower built in front of the Adiyogi statue as this could obstruct viewing and visitors. The solution was to build two towers, of limited height, at 45 degree angles. The left tower covers the entire left side of statue and right tower covers the whole right side of the statue.”
“The mapped show was programmed in WATCHOUT production software by Manesh “Manu” Kadam and we then deployed two WATCHMAX media servers to ensure flawless mapping of the content on the surface of the Adiyogi from both left and right sides. The Dataton WATCHMAX servers are also integrated with the 5.1 channel sound of the show with Sirvinder “Lucky” Singh from Purple Vector responsible for overall AV system integration.”
The WATCHOUT system was chosen due to its strong track-record in the industry as a reliable and versatile tool for cutting-edge mapping applications. As the first performance of the show was in front of a VIP audience, headed by the Honourable President of India, Ram Nath Kovind, there was absolutely no room for anything less than perfection.
Ashok Sharma concludes: “The show creators appreciated the easy-to-navigate interface in WATCHOUT and how smoothly changes could be implemented – even on the day of the launch. On the big day, the mapped content played back flawlessly on the surface of the Adiyogi, creating a truly magnificent experience.”
Adiyogi Divya Darshanam is a permanent show at the Isha Yoga Center, open to all visitors free of charge. It plays from 8pm on every Saturday and Sunday. The shows also runs on other auspicious days such as Amavasya (New Moon) and Pournami (Full Moon).
The Honourable President of India, Ram Nath Kovind, inaugurated the show on the March 4, 2019, on the occasion of Maha Shivratri, a Hindu festival celebrated across India on the New Moon day for Lord Shiva.
CreditsClient: Isha Yoga CentreContent creator and project owner: Axis Three Dee StudiosProducer & director: Avijit Samajder, Axis Three Dee StudiosProjection mappingDataton system: WATCHOUT and WATCHMAX WX9100 media servers.Dataton on-site support: Ashok Sharma, DatatonProjectionist & mapping: Manesh “Manu” Kadam AV system integration, programming & project management: Sirvinder “Lucky” Singh, Purple VectorProjectors: Laser projectors supplied by Epson India
www.dataton.com
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The JBL Speakers
MALAYSIA
Powersoft Gives JASON MRAZ Good Vibes in MalaysiaX8 and X4L amplifier platforms were integral to the impressive audio system deployed at the Axiata Arena
Singesen Technical Production and Chan Lee Sound & Light selected a powerful combination of Powersoft’s X8 and X4L amplifier platforms for American singer-songwriter, Jason Mraz, as he stopped off in Kuala Lumpur for the third Asian date of his Good Vibes World Tour.
As an artist that favours the fidelity of the songs themselves over the usual bells and whistles associated with a modern-day pop show, the quality of the sound at the Axiata Arena had to be the technical crew’s main concern.
The main hangs at the arena were made up of 12 x JBL VT-4889-1 per side, with 8 x JBL VT4888 flown per side as side fill and 6 x JBL VT4888 in the centre. The 20 x JBL VT 4880 subwoofers were ground stacked at the side of the stage, while a series of Nexo PS15 wedge monitors were placed along the downstage edge. A total of 6 x JBL VTX A8 were used as front fill.
The main system was driven by 11 of Powersoft’s road-proven X8 amplifier platforms, while a pair of the company’s latest touring product - the X4L - were also used to power 8 of the VT4880’s, with
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“We are big fans of the software’s Smaart v8 integration,” he commented. “In this case, it did a very good job of distributing equal SPL to cover all of the major sound locations. The Interactive Tuning plug-in is also a great tool, as it helps us to keep the system quiet while we do system calibration. This allows us to see the system response simulation without blasting pink noise at every change. We then only need to verify in the end with the predicted curve.”
Ng was also keen to point out the assistance that came from Powersoft’s staff as well as its software. He concluded: “The technical representative from Powersoft was there when we received our amplifiers, so they were able to make sure that everything was in working order. We then did some testing and, using the LiveImpedance data in ArmoníaPlus, we managed to detect an issue with our speakers. Thanks to the software, these problems were rectified quickly and we were able to get on with putting on a great show.”
www.powersoft.com
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each channel driving just 2 of the subs. As Jackie Ng, owner of Singesen, explained: “The gig was used as something of a field test for the X4L amps, before loading it with VT4880A long excursion subwoofers in the future.”
The Powersoft gear used to drive the Good Vibes in Kuala Lumpur were made available thanks to Singesen Technical Production’s recent investment in the Italian manufacturer’s industry leading technology - a testament to their growing confidence in the brand.
Ng said: “We have used Outline systems for some time, so we were familiar with the reliability and high-performance levels of Powersoft amplifiers. When the opportunity to invest in Powersoft amplifiers presented itself, it really was a no brainer for us. Since Powersoft works with all our speakers in our inventory, being an open platform, we couldn’t be happier with our decision.”
As well as the high praise Singesen had from the products themselves, he also highlighted the effectiveness of Powersoft’s ArmoníaPlus software during this particular application.
The Powersoft amplifiers in the rack
The Powersoft ArmoníaPlus software
Jackie Ng with local crew and the artist engineer
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CHINA
Nick Ho Powers MCW19 Shanghai Show with ChamSys MagicQ MQ60Power, mobility and ingenuity captivate the tech savvy crowd
Technology, even at its highest levels, seems to be most impressive when it is accompanied by human ingenuity. Nick Ho and his team demonstrated that point in convincing fashion recently at MWC19 Shanghai (short for Mobile World Congress). Putting on lightshows for some of the brightest minds in tech, and surrounded by cutting edge contrivances like self-driving cars, 5G mirrors and 8K 360° virtual reality experiences, Ho navigated his way through time constraint issues to interface on short notice with some advanced laser software. Helping him accomplish this feat were his own resourcefulness, and the flexibility of his personal tech tool, the ChamSys MagicQ MQ60 console
“For the past few years of the MWC event, I have programmed the conference’s opening stinger (walk-up music for the speaker introduction) with lights,” said Ho. “This year, my client decided to build this show around laser fixtures. We had to use Pangolin Beyond software. Now, my MQ60 receives Timecode via SMPTE LTC, but our Pangolin was not able to receive LTC due to the short notice we were given, which left us no time to prepare the LTC convert for Pangolin.”
Ho credits “ChamSys flexibility” with helping him and his team employ an effective workaround that overcame this challenge. “We used a feature in the ChamSys, called the ‘ArtNet Retransmit’,” he said. “This allowed us to use the MQ60 to transmit the incoming LTC to Pangolin via ArtNet.”As a result, Ho and his colleagues, Justin Poh the MQ60 programmer, and Wang Jin, who programmed Pangolin Beyond, were able to create a stunning 8-universe show that married the best of lighting and lasers to captivate the tech savvy crowd at MCW19 Shanghai.
“Everyone was very pleased with how this show turned out,” said Ho. “There was a lot of movement, colour, intensity, and multiple layers of looks. It represented the creative spirit of the conference. To blend laser and lighting with different cues and timing was interesting and challenging. I wrote all the cues, Justin programmed them in the MQ60, and our laser assistant Wang programmed in Pangolin Beyond. I then did the final timecode touchup and operated the ChamSys console on the show days. It all went very smoothly.”
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In addition to the laser displays, the opening day stinger was enlivened by a colourscape created with RGBA fixtures. “Our opening show featured seven different RGBW colours and some LED Ribbons,” said Ho. “The MQ60 can easily create a fixture profile within minutes in order to program the launching device that was built especially for this conference.”
Given the variety of roles they had to fill at MCW19 Shanghai from creating opening shows to lighting sessions, Ho and his team were continuously programming during the event. The user-friendliness and compact design of the MQ60 made it easier for them to keep up with this demand.
Those who use it know that the MQ60 is very mobile and compact,” said Ho. “This was invaluable to us. For three days, we left the show
floor with an hour of programming time remaining to be done. Not a problem – we just brought our ChamSys back to the hotel to finish the programming.”
Power and mobility -- two of the three themes that ran through MCW19 Shanghai -- also characterized the console that Ho and his team used to run the conference’s lightshows. As for the third theme, “ingenuity,” that was very evident in the collective imagination of the designers that worked this event to perfection.
www.chamsyslighting.com
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AUSTRALIA
The Electric Canvas Lights up Luna Park with Christie Boxer Projectors Glowing colours and bright fairground imagery mesmerize visitors
Half a dozen Christie Boxer Series 3DL projectors deployed at Coney Island in the iconic Luna Park Sydney wowed visitors with vibrant and lifelike images during Vivid Sydney, the annual festival of light, music and ideas known as the biggest event of its kind in the world.
Audiences are mesmerized by the bright and colourful projections using six Christie Boxer 2K30 projectors. (Photos courtesy of The Electric Canvas)
Titled “The Spirit of Fun,” the dramatic and emotive son et lumière celebrated the history and magic of the beloved amusement park. The visuals were designed and executed by Christie’s valued Australian partner, The Electric Canvas (TEC), using six Christie Boxer 2K30 projectors to cover the 33-meter building façade and both its towers and steeples. TEC is famous for its experience and expertise in large-scale events, bringing to life the artwork, characters and soul of the park.
“Coney Island is an old school funhouse that’s been delighting visitors since the park’s opening in 1935, and it certainly has a special place in the hearts of every Sydneysider,” said Peter Milne, Managing and
Technical Director, TEC. “We are therefore very honoured to be given the opportunity to design and deliver a projection show to celebrate the history and magic of this legendary site.”
The 30,000-lumen projectors were housed in three weatherproof towers, installed atop the cement slabs of two of the amusement park’s rides, 25 meters apart from each other and networked over a catenary. TEC’s creative team also composed a whimsical soundtrack to complement the visual content and enhance the experience. The result was a seamless, high-resolution, optimal performance with perfectly balanced brightness.
“As a longtime user of Christie projectors, we are very familiar with the various models that we have in our fleet, including the J Series and the new Crimson Series, which have served us well for numerous events,” Milne explained. “The Boxer 2K30s used for this project have been outstanding – the images were bright and flamboyant, and we were very impressed with their reliability and performance throughout the show period.”
“The Spirit of Fun” tells the story of Luna Park’s colourful history and provides a window into the future of fun
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Charming audiences two years in a row
“The Spirit of Fun” created a huge sensation during its debut at Vivid Sydney 2018. The beautiful and lively projections as well as the innovative soundtrack that accompanied it blew audiences away. The Australian media hailed the show as one of the 10 must-see highlights of Vivid Sydney, describing it as “a magical adventure transporting visitors into a 3D experience.”
Luna Park was so impressed with the spectacle and large turnout that they decided to repeat the entire show for Vivid Sydney 2019, which took place from May 24 to June 15. As expected, the rerun was a major crowd-pleaser with the stylish light and sound show mesmerizing visitors with splashes of glowing colours and bright, fairground imagery.
“The TEC team was really pleased with the highly enthusiastic response from both the media and public,” said Milne. “We are delighted that the show has resonated with audiences both young and old, and we’re very proud to re-stage ‘The Spirit of Fun’ again for this year’s edition of Vivid Sydney to charm both returning and first time visitors alike.”
Congratulating the TEC team for a job well done, Michael Bosworth, Executive Director, Head of Enterprise for Asia Pacific, Christie, commented, “Peter and his team have delivered a visually stunning
show that once again demonstrates they are at the top of the game. ‘The Spirit of Fun’ is a huge success in bringing people together and taking them on an adventure that creates joy, excitement, wonder, and lasting memories. We are also thrilled that our Boxer Series projectors provided bright and vivid images that added much excitement to the show during the 2018 and 2019 editions of Vivid Sydney.”
theelectriccanvas.com.auwww.christiedigital.com
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SAUDI ARABIA
Protec Shines at Jeddah World FestProtec deliver audio, lighting & rigging for historic Saudi music festival
Jeddah World Fest was a record-breaking historic end to the Jeddah Summer Season. Held on July 18th, the inaugural edition of the music festival took place in the grounds of King Abdullah Sports City, Jeddah, and attracted a sell-out crowd of almost 40,000 music fans. This was the largest music festival ever held in the Kingdom of Saudi Arabia and the atmosphere was electric! Protec proudly delivered an extensive audio, lighting and rigging package for their client ‘The Manual’ on behalf of Roqu Media.
This event ties in with Vision 2030, a progressive plan which sees the country open up as an entertainment destination and relax some of its stricter laws around events. With the country’s General Entertainment Authority set to inject upwards of an estimated $60 billion dollars into the sector over the next decade, Jeddah World Fest is the first of many jaw dropping events which will fuel the AV and events sector in the Middle East. Its successful execution places Jeddah as a new concert destination for the world’s biggest artistes visiting the Middle East.
The emotional crowds witnessed stellar performances from international artistes Janet Jackson, 50 Cent, Chris Brown, Liam Payne, Steve Aoki, Tyga, Future, R3wire and Varski.
Project manager for Protec, Luke Doyle, reflects on the success of the show. “The show looked and sounded incredible. The stage structure was the largest ever seen in the Middle East. This type of event had never been done to this scale in KSA and it was a great show to be a part of for sure. Definitely one to remember! The crowd were fantastic and it was almost emotional to witness.”
Pulling off an ambitious show like this was not without significant challenges.
“As the line-up wasn’t 100% confirmed until last minute we were under immense pressure to fulfil the technical rider for each artiste. We had catered well technically for the event using stock from our Riyadh and Dubai warehouses, however, we had to move quickly to discuss the requirements with the relevant artiste’s teams and production and get the extra kit rushed into the country once the last line up was finalised. The event was also a few days behind on build schedule so we were tightly pushed on time to deliver from our side with only 2 nights for build and rehearsals. 22 crew were on site and managed to set up in two days and derig in one shift.”
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Established in the region for 20 years, the Protec team know how to handle the challenges of the KSA climate.
“The extreme climate was a constant challenge. Working long hours it was imperative to keep the crew hydrated. We worked throughout the night to avoid the intense heat and humidity during the day. Hydration salts in Camelbaks and frequent water breaks kept the crew well hydrated.
Constant communication with our client and the production team (who were supportive & always positive) , good teamwork with other companies on site, long hours and a great deal of hard work from all the team led to us overcoming the weather and all the other challenges a show of this magnitude possesses delivering an incredible event that we are very proud to have been a part of.” Doyle explained.
Audio Solutions
Protec’s technical director Ed Ross talks us through the audio setup. “We chose our L-Acoustics K2 as the primary PA for the event. This was for a combination of factors, including rigging height and weight loading. The PA comprised of a main left and right hang of 23 K2 each and two large outer hangs of 4 x K1-SB, 13 units of K2 and 6 units of
Kara per side, as the venue was very wide. Two small hangs of Kara were used behind the follow spot towers just to fill out the dead spots in that area. 32 x SB28 subs were used in a sub arc configuration, with Kara frontfills. The power to weight and size ratio of the K2 made this perfect as we were able to hang very large hangs as the main left and right to get the throw needed without main delay towers which the client didn’t want.”
Protec chose all DiGiCo consoles; SD7, SD10 and SD11 were used at FOH and an SD5 and SD10 at monitors. They also provided all the DJ equipment which was primarily 4 x CDJ 2000 Nexus and DJM 900 Nexus.
“We had 20 channels of Sennheiser 2000 series IEMS and 16 x L-acoustics 115xtHIQ wedges for use by all the artistes, as well as large sidefills of L-acoustics ARCSII and SB28 onstage.” Ross added regarding the onstage package, “We had a mixture of Shure Axient and Sennheiser wireless microphones along with a complete package of top end wired microphones from Shure, Sennheiser, Neuman, DPA and AKG.”
The audio team faced a reduced setup time and worked through the night due to the intense heat in order to get everything perfect.
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With rehearsals continuing right up to show day, the team showed dedication and tenacity in the face of challenging circumstances.
Lighting Solutions
Award winning lighting and production designer Mark Cunniffe designed the set up for this elaborate stage design. Protec provided the fixtures which included “74 x SGM Q7 on outer SL & SR towers, 80 x SGM P5 on inner SL & SR towers, 66 x Clay Paky Scenius Unico used on stage rear wall and stage sides, 20 x Clay Paky Scenius Profile used on stage rear wall and stage sides, 72 x Clay Paky K.10 B.Eye used on stage rear wall and stage sides, 25 x Clay Paky K.20 B.Eye used on stage rear wall,40 x Robe Pointe used to line the catwalk and the aprons of the SL/SR towers,” project manager Luke Doyle explained, “These fixtures were controlled by 3 x grandMA2 full size along with 2 x NPU and a complement of Luminex Gigaswitch. We also supplied a WYSIWYG suite for this event. Two Robe BMFL Blades were used in conjunction with two Robe RoboSpot ground control follow spot systems and 4 Gladiator followspots were used.”
The creative lighting design looked impressive from all angles and with the major challenge being time the crew managed to dead hang approximately 340 fixtures in two nights. Despite this large quantity of fixtures, and the harsh weather conditions not a single fixture failed.
Production & lighting designer Mark Cunniffe shared his experience working with Protec.
“An ambitious show the scale of Jeddah World Fest requires an excellent team to pull off successfully so it was a pleasure to work with Protec through my client The Manual. Protec have years of experience in Saudi Arabia and the whole team came on site with a professional and confident attitude. They know the pitfalls and were prepared for any eventuality. The equipment was faultless and despite the extreme weather conditions and short setup time they managed to deliver a spectacular show. It was a pleasure working with the entire team but I’d like to especially thank Luke, Robert and Frank who went above and beyond. I look forward to working with Protec again very soon and would recommend them for any future events as a technical supplier.”
Richard King, director of The Manual sums up the event nicely with these final words,
“When our client Roqu Media came to us with the brief for Jeddah World Fest we knew it was going to be an important moment in history throwing Jeddah into the international media spotlight. Jeddah World Fest was the first of its kind in many ways, the first festival in Saudi Arabia, the first large scale outdoor show, amongst many other ‘firsts’. We created a historical moment where the audience came together to produce an experience never before seen in market. When creating the show it was essential we used excellent suppliers, like Protec, who are known for their reliability and huge inventory available locally, it’s not suppliers you need when producing shows like this, it’s ‘partners’, and that’s what Protec became. With 20 years’ experience in the region they confidently coped with tight deadlines and changes to riders and pulled out all the stops to ensure Jeddah World Fest put Saudi on the map as an entertainment destination. Consummate professionals, they are an excellent choice for any event. The Manual looks forward to working with Protec again on next year’s production which will be even bigger and better!”
Image credit: The Manual and ROQU Mediawww.productiontec.com
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EVENTS CALENDAR 2019 / 2020
EVENTS CALENDAR
2019Oct 15 - 17Prolight + Sound Middle East 2019Venue: Dubai World Trade Centre
Feb 05 - 07 Live Entertainment Expo TokyoVenue: Makuhari Messe, Tokyo, Japan
Sep 04 - 06 InfoComm China ChengduVenue: Chengdu Century City-New International Exhibition & Convention Center, China
Oct 17 - 19 Broadcast India ShowVenue: Dubai World Trade Centre
Feb 16 - 19 Guangzhou Entertainment Technology (GET) ShowVenue: Poly World Trade Centre Expo, Guangzhou, China
Sep 15 - 17Plasa 2019Venue: London Olympia
Oct 24 - 26 Broadcast IndonesiaVenue: Jakarta International Expo, Indonesia
Feb 19 - 22Prolight + Sound Guangzhou 2020Venue: Area A, China Import & Export Fair Complex, Guangzhou, China
Sep 18 - 20 InfoComm India 2019Venue: Bombay Exhibition Centre, India
Nov 18 - 24Exhibition starts on Nov 22Live Design International (LDI)Venue: Las Vegas Convention Centre, USA
Feb 24 - 26LED China 2020 - ShenzhenVenue: Shenzhen Convention & Exhibition Center, Shenzhen, China
Sep 18 - 20 LED China 2019 - ShanghaiVenue: Shanghai New International Expo Center
2020Mar 31 – April 03Prolight + Sound Frankfurt 2020Venue: Frankfurt am Main
Oct 9 - 11Jakarta AV WeekVenue: Kota Kasablanka, Jakarta, Indonesia
Jan 16 - 20 NAMM Show 2020Venue: Anaheim Convention Centre, Anaheim, USA
Please Click on Event Name to View Site
Oct 10 - 13Prolight + Sound Shanghai 2019Venue: Shanghai New InternationalExpo Center, Shanghai, China
Feb 11 – 14 Integrated Systems Europe 2020Venue: Amsterdam Rai, Amsterdam, Netherlands
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FOR ENQUIRIES OR TO LIST YOUR USED EQUIPMENT CONTACT 10K USED GEAR ASIA CONTACT BASED IN SINGAPORE:
MANOJ CHAMANLAL [email protected]
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