Marketing, PR, Content Production, Branding

The Fifth Estate

Archive for June, 2015

Philips Selecon is integral in re-design of immersive light installation

30th June, 2015


Paris, France – Award-winning lighting designer Flynn Talbot has chosen Philips Selecon PLprofile4 luminaires as part of the re-design of his light installation ‘Primary’ for the Éléphant Paname gallery in Paris.

‘Lumières – The Play of Brilliants’ exhibition, organized by Light Collective, was ‘Primary’s’ second installation following a period at the PSAS Gallery in Perth last summer. For the Paris exhibition, Talbot re-scaled the piece to be around 10% smaller than its first incarnation and chose to use PLprofile4 luminaires instead of the PLprofile1 units he originally specified.

“Due to having a smaller space to work with I felt Primary was a bit too large at its original size,” explains the Australian designer. “It also meant the luminaires I used had to be positioned closer to the piece, which is why I turned to the PLprofile4 this time around. Its wider beam angle was integral in washing the sculpture evenly.

“I was pleasantly surprised at how wide the PLprofile4 luminaires were able to go. Naturally the LED light is saturated and pure but being able to achieve that in a wide angle wash isn’t easy.”

A three-sided triangular wall installation made from cardboard, Talbot’s piece explores the three primary colors of light – red, green and blue, with the structure designed to fragment the light and demonstrate how colored light is mixed.

“Intense color and absolutely pure light is vital for Primary,” explains Talbot. “The installation is purposefully designed to break up light into many shadows but unless the light source is completely even, the effect and the magic is lost. I had fantastic feedback from people of all ages about Primary, with visitors often sitting in front of the sculpture and watching the light show loop again and again.

“I’d like to say a special thanks to everyone at Éléphant Paname for exhibiting and promoting my project, to Light Collective for inviting me and to Bob Roos at Philips for the support and working hard to get the fixtures to Paris. The Selecon units performed perfectly for the entire three months of the exhibition and I wouldn’t hesitate to use them wherever I show Primary next.”

‘Lumières – The Play of Brilliants’ was an eclectic mix of light art, distributed over three floors to create an immersive, moving and interactive visitors experience. It ran from 6 March to 31 May.

Charcoalblue designs technical systems for transformed Lyric Hammersmith

29th June, 2015


UK – Hammersmith’s Lyric Theatre now showcases state of the art rehearsal, film, cinema, dance and recording studios with technical systems designed by theatre consultancy Charcoalblue.

The new facilities are part of the Lyric’s mulit-million pound expansion and modernisation designed by Rick Mather Architects.

The new extension, called The Reuben Foundation Wing, houses brand new state-of-the-art facilities and will enable the Lyric to expand its programme of activity with young people, emerging and professional artists. Part of the Lyric’s future business model is to work closely with resident partner organisations who will contribute new art form expertise in dance, music, film and digital media alongside the Lyric’s specialism in theatre.

Charcoalblue joined the project in 2011, and worked closely with the design team and Lyric team: including Jessica Hepburn (executive director), Seamus Benson (head of production), Chris Harris (head of lighting) and Nick Manning (head of sound). The project was a challenge, with a tight footprint, complex lease negotiations and funding.

“We met with Chris, Jessica and Seamus to discuss how the vision of providing a new series of learning and educational experiences with the local community and people new to performing arts could be enhanced by making the technical systems and equipment accessible and usable,” explains Charcoalblue’s Managing Partner, Andy Hayles. “In turn, we joined Rick Mather Architects’ team and became part of the delivery of the new extension.”

Chris Harris comments: “During the tender process for a theatre consultant, Andy met with us and asked to see the architect’s plans. He instantly recognised the need for fluid movement between backstage and the new Reuben Foundation Wing and started to move room designations about.  Most of these changes ended up in the final design.”

Charcoalblue drew on a decade of experience working on some of the UK’s most prestigious theatres to design the technical systems for the new Wing. Facilities include a film studio with track-mounted pantographs, allowing lighting equipment to be moved around easily; a theatre studio with motorised truss grids; dance studio and recording studios. All the studios are interconnected with audiovisual tielines. A small cinema is equipped with digital cinema technology. Charcoalblue needed to specify standalone systems for the new spaces and also interface these spaces to the existing building-wide services, such as paging systems.

“The new spaces at the Lyric are equipped with a broad range of entertainment technology,” explains Charcoalblue’s Senior Consultant, Ian Stickland. “Working with the client, we designed a cohesive overall infrastructure and then individual packages for the loose equipment. This ensured that the equipment for each different type of room was provided by a specialist in that area.”

Charcoalblue also worked closely with a number of other companies on the project, including the main contractor Mace, the electrical contractor ESG, and LSI Projects, which installed the technical infrastructure.

Additionally, Charcoalblue collaborated on the works with Sound Associates, which installed the cinema, and stage engineering systems contractor Independent Studio Services.

The stagelighting was supplied by White Light, and Autograph supplied the audio equipment.

“The process of creating professional facilities for rehearsal, dance, film and TV, digital arts and pro-audio all focused on providing young people with access and experience has been a truly enlivening experience,” Hayles continues. “Assembling these facilities in immediate adjacency as a factory of creativity is now the envy of many a higher education facility.  And these can be accessed without A stars! You just need motivation and talent.”

Jessica Hepburn comments: “Charcoalblue is simply the company of choice when it comes to theatre consultants. They have worked with us to design and install a range of high spec professional facilities at the Lyric for our new Reuben Foundation Wing. People are just blown away by the spaces whenever we show them around and we couldn’t have achieved it without Charcoalblue’s expertise and experience behind us.”

Enter Shikari hits festival circuit hard with bespoke Light Initiative set

24th June, 2015

After their busy ‘Mindsweep’ UK tour, high-octane alternative rockers Enter Shikari have hit the festival circuit hard, with lighting designer Steven Bewley taking his bespoke Light Initiative set to outdoor locations around the country.

Playing on the neural ‘Mindsweep’ theme, Bewley commissioned the stunning ‘thought process’ set piece from the Light Initiative team, who decided their pioneering IntelliFlex system was the best placed product to suit the versatility of Bewley’s brief.

“Intelliflex has been performing perfectly despite the demanding outdoor conditions and being constantly transported around. It’s a fantastically robust system,” says Bewley.

During the tour, six metre lengths of Light Initiative’s Intelliflex strip doubled up to 12 metres were weaved around the stage and up into the roof of each venue, with a horseshoe-shaped metal framework holding up the ‘neural pathways’.

Bewley has adapted this set up for the run of festival shows that kicked off at heavy metal extravaganza Download in Donnington Park, creating a double tier of the horseshoe frame so that half could fly up into the roof during the day and half could roll on from behind.

“The rig for Download was an extension of what we had originally, making it much bigger than the standard floor package festival show,” explains Bewley. “We also doubled up on the amount of Light Initiative Intelliflex to cover all the frames, ending up with around 400 metres of the product. Of course, it hasn’t been the same for each festival show as each venue has varied in size but the Light Initiative rig has been brilliantly adaptable each time.

“What also clinched IntelliFlex for us from the beginning was the ability to video-map it, as we could create content that evoked a neural pulse. It’s been fantastic to see my idea realised so well.”

Ben Sheppee at Light Rhythm Visuals created the beat-perfect vibrant content that pulsed through the Intelliflex set. “Ben rose to the challenge and created some amazing effects,” continues Bewley, who programmed a GrandMA2 Lite to trigger a HippoPortamus media server to deliver the content via Light Initiative’s LED control.

“IntelliFlex really was the ideal solution to what we wanted to do for both the album campaign tour and the current festival shows. Not only because it looks superb but also the service we received from Light Initiative has been consistently great,” Bewley continues.  “We really appreciate all their help in making this such a successful tour and festival run.”

Bryn Williams, founder and MD of Light Initiative comments: “Steve’s incredible design really pushed the boundaries of what’s possible and broke new ground within the LED world. To deliver on vision and on budget we designed and manufactured a bespoke touring rig that was also adaptable to festivals. We are very proud to be a small part of these amazing live shows.”

The First Night Riders charity ride embarks in July

23rd June, 2015
This year’s First Night Riders charity motorbike and classic car tour of British theatres, which raises money for The Theatrical Guild’s (TTG) vital work, takes to the roads on Friday 3rd July.

This year marks the sixth year that some of the theatre industry’s biggest movers and shakers zoom together for a weekend aimed at raising awareness and much-needed funds to help TTG support Backstage and FOH staff in need. Established in 1891, TTG is dedicated to looking after theatre personnel who, due to a variety of circumstances need welfare advice, counselling, educational sponsorship and many other forms of help.

The charity has many supporters in the industry, including Dara O’Briain who is also a Trustee of The Theatres Trust.

Taking place between 3rd and 6th July, this year’s route starts in Scarborough and visits the Spa Theatre & Grand Hall and The Stephen Joseph Theatre. Over the weekend, the ride visits Harrogate’s Royal Hall, Theatre Royal York at their temporary home in the National Railway Museum. Theatre by the Lake Keswick, Morecambe and Blackpool’s Winter Gardens and ends at the Liverpool’s Everyman Theatre.

“The event is going from strength to strength, we have a great bunch of regulars taking part with many from overseas and I always look forward to meeting new riders,” says David Edelstein, MD of track systems specialist Triple E, who is organising the event with partner Brenda Edelstein. “The international group has a great time visiting many kinds of theatres informing theatre staff about this wonderful and very appropriate charity. Brenda and I are very proud to be organising this event, and for us, it is another example of Triple E’s commitment to supporting the industry that supports us.”

This year the First Night Ride hope to surpass well over the £60,000 mark for TTG, enabling the charity to help theatre’s unsung heroes.

More information is available at

You can watch a video promo for this year’s ride at

Innovative Venue Design Company Studio Three Sixty launches at ABTT

23rd June, 2015

Award-winning designer Lucy Osborne, internationally acclaimed lighting designer Emma Chapman and lighting specialist and designer Howard Eaton are officially launching their innovative new venue design company Studio Three Sixty at the ABTT Theatre Show.

Studio Three Sixty designs and builds a new kind of temporary venue, using the latest technology to create beautiful spaces bursting with versatility.

The story began life with Roundabout – a very special commission from new writing theatre company Paines Plough to design and build the world’s first Plug and Play Theatre.  Roundabout went on to win The Stage Awards “Theatre Building of the Year 2015”.

Studio Three Sixty was founded by Osborne, Chapman and Eaton to design more temporary venues using the ideas and technology developed for Roundabout.

“We are absolutely delighted to be at ABTT at the launch of our new venture,” says Chapman. “Interest in the company has been inspiring and the support we’re receiving is incredible. We seem to have captured the imagination of the industry with what we can achieve by harnessing the latest technology to deliver something exceptional.”

The team’s next venue, ‘Studio 360’, is designed to stand-out in an urban environment, as well as on green field sites. Self-contained and fully weather-proof, Studio 360 has a unique heating and ventilation system which means it can be used all year round.

“It is up and running in a day, and our plug and play technology means shows can be replicated anywhere without the need to refocus or replot,” explains Chapman. “Seating can be reconfigured quickly and easily to create a versatile space able to accommodate a variety of programming throughout a day.”

The venue is available to hire for arts, corporate and private events from May 2016.

“We’re excited to meet the industry and introduce our new venue concept – so head over to our stand and we’ll be happy to speak with you about your event,” says Chapman.

Howard Eaton comments: “Also on the Studio Three Sixty stand will be a small section of one of the lighting units developed for the Roundabout. These used RGBW and tuneable white LEDs in custom fixtures developed by Howard Eaton Lighting Ltd (HELL).

“The 591 fixtures used for the stage lighting used a narrow angle collimator and a 16 bit dimming engine by HELL. The vomitories to the Roundabout were lit with a fitting using an ellipsoidal collimator and the installation was completed by the houselights which used the tuneable white LEDs and a medium angle collimator.”

Find Studio Three Sixty at the ABTT Theatre Show on stand F17 at Alexandra Palace, London, on Wednesday 24th to Thursday 25th June.

Light Initiative creates the next generation of wearable LED for Eurovision UK entry

22nd June, 2015
This year’s Eurovision Song Contest was once again a veritable feast for the eyes with UK entry Electro Velvet’s LED costumes one of the hot topics on news sites and social media across Europe. A bespoke and pioneering design by LED specialists Light Initiative, the beautiful yet robust LED took wearable tech to the next level.

“We were approached by creative director Dan Shipton and the BBC Eurovision team to help make Electro Velvet stand out during this year’s performances,” says Bryn Williams, creative director of Light Initiative.

Working alongside costumer designer Frank Strachan and his costume maker Natascha Stolle the team incorporated 20,000 video-mapped LEDs into the outfits with 5,500 on singer Bianca’s dress alone. Unlike many incarnations of this idea seen in the past, the costume team’s clever design ‘seamlessly’ assimilated the LED into the costumes, along with the fabric, glittering sequins and tassels, with no detriment to the overall aesthetic.

“It was of paramount importance that the costumes be beautiful,” says Williams. “Often when people shoehorn LED into a costume it’s just inappropriate. We wanted it to maintain the stunning look of the outfit and for it to be discrete when off, so that the big reveal had maximum impact’.

As well as looking incredibly stylish, the design of the LED was ground-breaking in its durability. Delivering this was no mean feat, as the Light Initiative team faced various time constraints and challenges in the lead up to the show.

“From the settling of requirements, we only had only two weeks to get the first costumes built before tech rehearsals began,” explains Williams. “Alongside integrating the LED into the costumes, we had to create a bespoke wearable control device, like a mini media server, from scratch. This meant writing all the software and building the hardware, which was small and discrete, about the size of an iPhone with custom batteries.”

Despite the quick turnaround, everything went off without a hitch on the night. Light Initiative’s clever design solved the common issue of LED costumes breaking under the strain of on-stage movement. And with Electro Velvet it wasn’t a case of a little shimmy here and there – the LED costumes functioned smoothly even with the backing dancers somersaulting off the set’s staircases.

To really bring it all to life, tailored content for the screens and costumes was created by Potion Pictures. The costumes were then video-mapped using an Avolites Ai media server to capture a portion of this overall canvas, such that during the performance the on-stage elements became a single cohesive whole.

Eurovision 2015 lighting designer Al Gurdon could wireless trigger playback and also dynamically set intensities of the costumes using DMX dimmer channels, an additional feature of the system provided by Light Initiative.

“We were nervous about the wireless environment out in Vienna, and we had to assume a really degraded radio spectrum, so any solution we came up with would need to massively reduce its dependency on radio – in the end result the system only ended up needing receipt of a single packet of 12 bytes of error corrected data to initiate an in-sync playback. To put this in context to stream data we would have needed a huge and vastly unachievable 65 universes pumped out at 35 frames per second” says Williams. “All in all, this was a major leap forward with LED and the way it is controlled”.

“When coming up with the idea for the performance I wanted a surprise that would make it unforgettable,” says Dan Shipton. “Light up costumes were discussed very early on in the process and so I approached Light Initiative with a tough brief and what we ended up with far surpassed what I thought would be possible. From my experiences of LED costumes in the past the tech always takes over the costume design and the end product almost ends up looking like body armour. I was determined that we would keep the softness to the garment and stay true to the Charleston style even though we would then surprise the audience. The process of working with Bryn and the LI team was yet again perfect. The willingness to brain storm ideas together and think out side of the box makes it very exciting for me as a Creative Director to work with them.”

Every year around 180 million viewers tune in to the Eurovision Song Contest. This year Sweden came out on top, with its entry ‘Heroes’ by Måns Zelmerlöw.

Triple E launches ‘EEE-Build’ brand at ABTT with truly game changing construction solution for UK market

15th June, 2015

Forward-thinking track expert Triple E is launching an industry-changing construction arm to its business under the name ‘EEE-Build’ at the ABTT Theatre Show.

The first product to be launched is an inspired new ‘universal building system’ best described as full size Meccano, set to revolutionise the theatre staging, set building, stage machinery, scenery, construction and event markets.

Known as ModTruss, the system features lightweight aluminium construction and a repetitious hole pattern, meaning applications are practically unlimited. The ModTruss product line lends itself to create endless configurations using standard accessories, and makes ideas that once took extensive custom design and fabrication to be constructed incredibly simply, easily, and speedily.

The product will be launched on an Art Deco-inspired theatre structure designed for Triple E by architect Konstantinos Korakakis and constructed from the new ModTruss product range. The debut will be at the ABTT Theatre Show at London’s Alexandra Palace from Wednesday 24 – Thursday 25 June on stand D10.

“This will be the most ambitious exhibition for a Triple E product since the company was formed in 1984,” says Triple E’s Managing Director, David Edelstein. “We’re extremely excited about the possibilities of ModTruss – it really is rare to be able to offer a product of such simplicity-yet-genius that has the power to truly change the way our industry approaches set building, design and machinery fabrication and even complete building structures – think of it as full size 3D Meccano.”

ModTruss can be reused, repurposed, and recycled, and in the process reduce waste scenic materials, allowing designers, production managers and producers real cost savings coupled with enormous flexibility for creative design.

“There’s an unwelcome amount of wastage in our industry,” Edelstein continues. “Using ModTruss as the backbone of scenic construction and being able to the re-assemble the components in a new configuration for the next show is a totally new concept in our world. The product can serve for years as a kit of parts for building supporting and articulating successive shows for any size of stage or event. We believe that there is nothing else like it on the market.”

Example uses of the ModTruss include: Construction of stage scenery including multi level designs; Stage machinery modules; Complete modular fly tower/stage house construction; Temporary structure design and construction; Pop-Up theatre construction indoor and outdoor; Event stages indoor and outdoor; Sporting event viewing platforms, broadcast commentary and camera positions. ModTruss can also span long distances and maintain high point loads with laminated construction technique.

There will be an industry seminar at 11:45am on Wednesday 24th June, where Edelstein and a specialist panel will officially unveil ModTruss and demonstrate its unique properties.

Knight of Illumination Awards 2015 recruits two new judges for Concert Touring and Events

12th June, 2015

UK – The Knight of Illumination Awards (KOI) has recruited two exciting new judges for its Concert Touring and Events category, who between them have over 40 years journalistic experience in the live event industry.

For the 8th year of the prestigious Awards, editor of live event technology publication Total Production International (TPi) Kelly Murray and Financial Times arts pages production journalist David Cheal will join The Fifth Estate’s Sarah Rushton-Read, PRG’s Scottie Sanderson and Philips Vari-Lite’s Coral Cooper to appraise submissions to the category. Both Murray and Cheal will draw on their experience of covering shows from two different perspectives.

Murray’s career began as a reporter in the darkened pits of DIY touring with various international music magazines, radio stations and online blogs. Her love for live music and creative talent then led her towards the bright lights of live event technology, turning backstage interviews into an altogether different beast.

After four years of learning about every aspect of touring productions – and travelling the globe to see some of the most watched live events, high profile tours and environmentally challenging show designs the industry has to offer – she now makes up one half of the new journalistic addition to the KOI judging panel.

“Over the busy summer months, my role with TPi will enable me to see an abundance of productions and no doubt, innovative show designs in all manner of venues,” says Murray. “Feeling in awe of technology at gigs and festivals is fantastic, so I’m very pleased to have been asked to be a KOI judge alongside some leading industry names in order to award recognition to the designers who are truly enhancing our experience of live music. I’m looking forward to seeing the bespoke and beautiful paths these creative experts and technological artists will take during the 2015 season.”

David Cheal has been writing about music for more than 30 years, beginning as a contributor to the weekly music paper Echoes in the 1980s before moving to The Daily Telegraph in 1990, where he spent 20 years contributing concert reviews, book reviews, features and interviews. He has also written extensively on music for The Arts Desk website.

Now working as a production journalist on the arts pages of the Financial Times, Cheal also contributes music reviews, interviews and features. His reviews have covered the spectrum of popular music from Take That and Kylie to Metallica and Led Zeppelin, and his interviews have included notable figures such as Mike Oldfield, Tori Amos, John Cale, Neil Tennant and Rufus Wainwright.

“I’m delighted to have been chosen as a judge for these awards. One of my first experiences of live music was, as a child, watching Tchaikovsky’s 1812 Overture with cannons and fireworks, which was a terrific introduction to the idea of a concert as a spectacle. I think the visual aspects of live music are vital to the whole experience, so this judging process will be a great chance to look more carefully at the importance of lighting.”

The Knight of Illumination Awards celebrates the creative talents of international lighting and digital content designers working in the UK in the sectors of TV, Theatre and Concert Touring and Events. Submissions are open for the Television and Concert Touring and Events categories and shows performed or broadcast between 1st August 2014 and 31st July 2015 in the UK are eligible. As with previous years the Theatre section can only be nominated by the judging panel.

Sharing KOI’s determination to forge closer ties between the world of lighting design and the lighting industry as a whole are main sponsors Ambersphere, Clay Paky, Osram, Ayrton, Fix 8, Hawthorn, Light Initiative, Robert Juliat and MA Lighting.

To find out more about the sectors and subcategories or information on how you can submit an entry for television, theatre or concert touring and event lighting and visual content please visit

Avolites Titan solutions provide glow for Electric Run London

8th June, 2015

UK – Wembley Stadium was awash with neon light as thousands ran, danced, shone and partied through the night, basked in the Avolites controlled glow of the Electric Run UK. VME took on the event production, also supplying the lighting kit for the event. Their appointed lighting designer and programmer Pete Watts chose a selection of Avolites control solutions including Titan One dongles, an Expert Pro and a Titan Mobile.

Electric Run, an internationally run event originating in the US, is in its second year in the UK. It has grown from a single Wembley date to multiple events across the country in 2015.

Watts, who also programmed the show last year, specified an Avolites control solution for the 5k run around Wembley Park. This included five Titan One dongles, running on touch screen Panasonic Toughbooks, all provided by VME.

Designing colourful and energetic displays across a number of ‘worlds’ along the course, Watts programmed his show on a Tiger Touch II, before exporting it to the various control solutions. “The fact that I could take a TT show and put it straight onto the Toughbooks running Titan One was very important,” says Watts. “It’s that flexibility that puts Avolites on top for an event like this.”

Because of the nature of the event, the equipment on each world was exposed to the elements. “It’s wet and there’s not much shelter available,” says Watts. “It made sense to use the Titan Ones. They, along with the Toughbooks, gave us a waterproof playback option, running Titan.

“They were all absolutely good as gold, despite some heavy rain,” Watts continues. “The dongle is great – for a simple plug and play solution it works really well, and everyone was very happy with the end result.”

The entire event ran off Avolites’ latest software release, Titan Version 9, with all the worlds making use of the new Key Frame Shapes feature and Titan’s class leading Pixel Mapper helping to get the job done.

“I found Key Frame Shapes to be a great tool,” says Watts. “It gave me the ability to program complex effects very quickly, and Pixel Mapper allows effects across fixture types, rather than just sets of fixtures. I can do complex stuff really easily on sixty or seventy fixtures. Using these has saved me hours of programming time.”

Watts also praised the new cue list functions. “The ability to open cues already made and edit fixtures and individual parameters is a great benefit,” he said.

Huge congratulations to Avolites UK Sales Engineer Arenna for completing the run!

Electric Run returns to the UK later this year.

Philips Selecon delivers ultimate versatility on world premiere of Peter Gill play

3rd June, 2015

London, UK – International lighting designer Hartley T A Kemp has turned to the versatile color changing of Philips Selecon’s LED range of luminaires for the world premiere of Peter Gill’s new play As Good a Time As Any.

Shown at the Print Room at the Coronet, Gill’s play is centered upon eight London-based women and comprises five choruses in which they recount their life experiences through interwoven monologues.

Kemp specified 12 Selecon RAMA LED Fresnel, four PLprofile1 and eight PLcyc1 luminaires to complement the tungsten-halogen rig, giving the opportunity to fade between colors and from saturated to tint.

“During each chorus, the actors speaking sat facing the audience, while the others sat facing upstage. In between each chorus they changed position,” explains Kemp. “The set, designed by Bruce McLean, was a 9.5m-wide painting that hinted at the journeys and decisions made by the women, with two rows of chairs back to back in front of it.  The lighting concept needed to support this Greek Chorus staging style, evoking the characters’ world and illuminating the set in a way that helped the audience follow the differing stories. We wanted them to be able to see the actors all at once, yet be able to focus on the individual tales being told.”

Kemp employed the RAMA LED Fresnel units to provide two toplight and two backlight color washes across the width of the stage, with the use of three units per wash and individual channeling allowing the designer to increase the light for one part of the stage as needed.

“I was very impressed with the match to tungsten in the RAMA LED Fresnel, with the lack of warming at lower levels the only noticeable difference,” says Kemp. “Sometimes this could be a hindrance but I can also see it being a help, especially when working with a white or pale set and wanting to maintain cleanliness of color.

“The RAMA LED Fresnel luminaires produced a great natural white without the need for gel to soften the LED so I was very pleasantly surprised to be able to use them in white on an off-white set. The units also worked very well with color, getting very rich yet clean tones from the Lee 232 and Lee 711 used as backlight.”

Kemp employed two of the PLprofile1 units as crosslight, providing an underlay to the lighting state for each chorus. Two further units performed as low angle front light, illuminating the faces of the performers. In both roles, the PLprofile1 luminaires perfectly balanced the tungsten-halogen units to add a little more color richness.

“The PLprofile1 luminaires worked very well as crosslight and as low front fill – I find if you have a few LED profiles in a conventional rig these are great positions to use them in and their versatility in terms of color can make a real difference.”

To illuminate Bruce McLean’s painting, which spanned the whole back wall, Kemp rigged the eight PLcyc1 units one meter downstage from the piece.

“This was the first time I had used the PLcyc1 to light anything resembling a cyc, in this case the full width of the set’s backdrop,” says Kemp. “The units performed very well, giving great color tones on the painting in the scene changes as well as good warm and cool white during the choruses.”

As Good a Time As Any ran between the 27 April and 23 May at the Print Room at the Coronet in Notting Hill Gate, London.


01273 660784

12-14 The High Street,