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Archive for September, 2015

Light Initiative and FIX8Group mastermind bespoke creations for the KOI Awards this weekend

30th September, 2015

UK – Controllable LED specialist Light Initiative and event technology expert FIX8Group will reveal their custom creations for the Knight of Illumination Awards (KOI) ceremony this weekend.

The eighth KOI Awards is this Sunday, 4th October at London’s glamorous art deco Troxy, organised by The Association of Lighting Designers (ALD), The Society of Television & Lighting Design (STLD), The Fifth Estate Ltd and Clay Paky.

Light Initiative (LI) was asked to create the table centrepieces for the occasion, drawing on their talent for amazing LED designs.

“We wanted to add something special to the Knight of Illumination evening, something beautiful and subtle while celebrating the creativity of every lighting designer in the room,” says LI’s Bryn Williams. “These playful centrepieces can allow guests to create their own lighting states using a touch-activated interface.”

Williams continues, “Key to our concept was the sense of unity at this industry event and with this in mind, at points during the evening volumetric effects will create the illusion of an ocean of light across the whole room: each is a part of the whole.

“This further innovation demonstrates the convergence of lighting and video – using video content to control the parameters of a lighting fixture – and with this we are tiptoeing intoa new paradigm for lighting control.”

The centrepieces are based on Light Initiative’s own Infinity Tubes, and controlled by its embedded Electron media servers.

The unique and striking pieces were created specifically for KOI, but will be available for hire soon afterwards, either as table centrepieces or hanging pendants.

FIX8Group’s Richard Kenyon and Henry Crawfurd were approached to create the visuals for the KOI ceremony main screen.

“Our design concept was developed as a continuation of the previous year’s thematic imagery of a ‘starry night sky’, a nod to both the title of the ceremony and the obvious connotations evoked by the word ‘Illumination’,” says Kenyon. “Our primary focus was to develop a presentation that featured a variety of moving imagery that both captured and further expanded upon this theme. In many respects, you could say that we looked beyond the stars for inspiration, exploring and recreating the array of nebulae and galaxies that lay far beyond our own constellations. These astrological phenomena not only project/reflect light across the universe but some are believed to be regions of new star formations, a concept that we believe to be particularly fitting for an awards ceremony.”

Kenyon says that the initial design stages began with a simple pencil and paper to plan and storyboard designs. These designs where then recreated digitally using Adobe After Effects CC CS6 running on a Apple Mac Pro (additional After Effects plugins for this particular project included ‘Trapcode Form/Particular’ and ‘Optical Flares’ to name a few). In order to operate this show live FIX8Group will be utilising Watchout Version 6 running on two custom servers.

“We’re thrilled to have two of the industry’s leading innovators creating especially for the KOI guests this year – we’ve had a sneak preview of FIX8Group’s visuals and Light Initiative’s centrepieces and they are incredible,” says Sarah Rushton-Read from The Fifth Estate. “We’d like to thank Bryn Williams and his Light Initiative team and Richard Kenyon, Henry Crawfurd and the FIX8Group team for adding even more sparkle and creative technological genius to KOI this year.”

Light Initiative whips up LED magic on Blur

30th September, 2015

World – Light Initiative’s inspired IntelliFlex and NeonFlex LED systems are pumping beat-matched visuals through spectacular staging on Blur’s current tour in a design by Dave Byars.

Byars commissioned Light Initiative to create individually controllable RGB LED light boxes from its in-house-invented IntelliFlex LED system.

The bespoke IntelliFlex and NeonFlex LED systems are incorporated into a trio of 2.2 metre-high mirrored structures called ‘baguas’ – a Chinese good luck totem, and four giant ice creams.

The colourful set pieces are being used on Blur’s current The Magic Whip album tour. They also appeared during the band’s ‘British Summer Time’ headline performance in London’s Hyde Park in June.

“The brightness of IntelliFlex is incredible,” says Byars, who came up with the idea after meeting LI’s Technical Director, Ben Vaughan. “I immediately knew it would be the ideal tool for our concept.”

LI incorporated the IntelliFlex to the baguas in-house, internally mapping it on its 8LS processor.

“Dave’s concept for the baguas would usually require 39 RGB controllers per bagua, plus a plethora of cabling,” Vaughan explains. “We offered an alternative with IntelliFlex. This meant that instead of needing more than a hundred cables, we could reduce it to just eight per set piece. In the three baguas, we replaced over 100 controllers with just three.”

With LI’s control system, Byars made the baguas come alive, powering striking beat-perfect visuals through the structures in time with each song.

“Being able to control each panel within the bagua mirror was absolutely brilliant,” says Byars.

For the British Summer Time show, Light Initiative outlined the ice cream set pieces and accompanying ice cream van, which frontman Damon Albarn purchased especially for the BST gig, with NeonFlex.

“The Intelliflex and NeonFlex products added the ultimate visual impact to the set pieces,” says Byars. “People had never seen anything like it, and absolutely loved it.”

Blur is set to tour South America this autumn, before a performance at Madison Square Garden in New York City.

Triple E’s ModTruss stages land at PLASA London

29th September, 2015
UK – Triple E’s ModTruss is being deployed as the ‘universal building system’ for the Theatres Trust stage, the Technical Theatre Awards/USITT stand and the Technical Theatre Awards stage at PLASA this year.
Triple E launched ModTruss – best described as full size Meccano – in the UK market at the ABTT Theatre Show in June 2015. It was immediately recognised as ‘Engineering Product of the Year’ at the ABTT Awards.
ModTruss was Triple E’s most ambitious launch since the company was formed in 1984. The product is set to revolutionise theatre staging, set building, stage machinery, construction and event markets.
Sunborn_London_Yacht_Hotel
“We’re very excited that visitors to PLASA London will be able to experience ModTruss,” says Triple E’s managing director, David Edelstein. “The feedback at ABTT was overwhelmingly positive, not only from the wider industry but also from the ABTT Awards judges. Since then, ModTruss has continued to gain momentum in the UK market and we’re thrilled to be working with the Technical Theatre Awards, USITT and the Theatres Trust for the show.”
Technical Theatre Awards organiser Ian Taylor comments: “We’re delighted to have Triple E supporting the Awards again this year and are especially excited that we get to create both our PLASA stand and Awards Ceremony stage from ModTruss. The flexibility and infinite options available with this product make it a joy to use and create with, perfect for a group of techies like us with wild imaginations. We will be sharing our stand at PLASA with USITT this year so we welcome everyone to come say hello and take a look at what Triple E has created for us.”
The Technical Theatre Awards stand is D70, USITT is on D71. The Sunborn Yacht is moored just outside ExCel and will host the Technical Theatre Awards ceremony on Monday 5 October from 8pm.

Avolites Ai S6 server powers visual set for Eric Prydz at Creamfields

28th September, 2015

UK – The unstoppable force of EDM, Eric Prydz, headlined his own ‘Pryda’ stage at Creamfields with another explosive visual performance powered by Avolites Ai servers and an Arena console.

London-based creative technology expert Realtime Environment Systems Ltd (RES) provided the Avolites Ai media server know-how for the performance, which was a completely new and bespoke set up for Creamfields.

“We designed a custom metal frame which surrounded Eric on the stage – we wanted to move away from just huge video shows which Eric has done lots of in the past, and design a stage that used set, lighting and video to give an illusion of depth,” explains RES founder Mark Calvert.
Prydz_CreamF_505∏Antonio Pagano
More than 100 lighting fixtures were employed for the spectacle, including Clay Paky Sharpys, Robin LEDWash 600s, and various strobes, wash and blinders all supplied by Colour Sound Experiment. In addition, the team rigged x4 22W RGB lasers from BPM, and an 8m x 8m 15mm LED screen upstage, supplied by XL Video.

Calvert served as Show Producer, Co-Designer and VJ, working alongside Dave Green, Technical Director at RES and Ai expert.

Eric Prydz’s VJ was Liam Tomaszewski and Lighting Designer was Ross Chapple.

For the visuals, RES specified an Ai S6 server and x2 Apple Macbook Pro laptops with Avolites Miami dongles. These allow users to run Ai on laptops, enabling creation, design and full 3D visualisation of projects on the move. The Ai unlock keys also allow output of HD video, enabling shows and presentations to be run directly from a laptop or a full server.

“Simply put, we worked with the S6 as given its hardware spec, we find it never drops a beat!” says Calvert. “Eric’s creative genius Liam Tomaszewski designed some incredible custom clips for the show, fired using Ai on the laptops.”

The S6 is Avolites’ most powerful server, designed to output 4 x 4K output streams and run the industry’s most challenging Apple Pro Res 4444 codec.  It is built using the latest cutting edge components, housed in at custom Avolites casing designed for life on the road.

Ross Chapple used Avolites’ Arena console to control the lighhting for all of the acts on Eric Prydz’s ‘Pryda’ stage, which included Maceo Plex, Adam Beyer and special guest, Sasha. The line up was curated by Eric Prydz himself.

“The main idea behind the design was to combine ‘installation’ style lighting effects and looks with the more standard format ‘big looks’ of an electronic music show,” says Chapple. “We programmed the fixtures to provide looks and chases that accentuated the shape and internals of the structure.

“Creamfields was the first time I had used the Arena, and I’m very keen on the physical layout of the desk – the positioning of the faders on the Arena works very well, and the desk itself is a very manageable size. We rarely know what is going to be played during Eric’s performances and it is common for new tracks to be played that we have never heard before! I wanted to try the new Arena to see how the physical layout of the desk assisted in this workflow. I found that the LCD fader labelling and the ability to place a playback window in the new screen on the top-right hand corner of the desk expanded on the Avo’s already strong ability to support this working style.”

Chapple’s Arena was loaded with Titan V9, meaning he had the power of the wealth of new software features for the show.

“The new Key Frame Shape tool was ideal for creating some of the ‘internal effects’ used on fixtures within the structure,” he says. “It allowed me to break down the effects I desired into steps, using a logical workflow that allowed for quick creation.”

The Avolites Arena is the ideal console for festivals, theatres and anywhere that a larger control surface is required. It combines the popular interface of the Tiger Touch II with 30 additional Playback faders and expanded live control options and features.

Avolites to showcase total visual control at PLASA London

24th September, 2015

Lighting and video control specialist Avolites is going all out for PLASA London this year with a brand new stand designed to echo the coherence of the current Titan and Ai product ranges.

This will feature two specific areas, focusing on Network functionality and Lighting and Video integration.  Avolites’ stand D10 will promote a compatible family of products which all work intuitively together.

Highlights of on-stand products include the new Arena console with Optical Titan Net Switch, both of which are shipping on the date of the show. In addition, new software in Titan version 9.1, featuring enhanced pixel mapping functionality, fully custom Key Frame Shape engine and fully featured theatre functionality.

“There is much talk about the future of the PLASA London show, but this year Avolites is investing more than ever before,” says Avolites Sales Manager Stephen Baird-Smith. “The UK is a huge market for all the major brands in entertainment, and very important to Avolites.  We feel the customers in the UK deserve our best efforts at our home show, so we will be looking our best and the stand will be buzzing!”

The Avolites Arena is the ideal console for festivals, theatres and anywhere that a larger control surface is required. It combines the popular interface of the Tiger Touch II with 30 additional Playback faders and expanded live control options and features.

The Optical TNS is perfect for connecting FOH to stage using Cat5E Ethernet cables for distances under 100m, and an Optical input for fibre connections over distances exceeding 100m. The 1 Gigabyte network switch also features a built in UPS to ensure the stability and resilience of your show setup.

The on-stand Avo Bar will be open from 5pm Sunday and Monday, and 3pm Tuesday.

Avolites is on stand D10 at PLASA, London ExCel from Sunday 4 – Tuesday 6 October 2015.

Charcoalblue announces a trio of changes to its senior management team

21st September, 2015

Charcoalblue has announced the opening of its Melbourne, Australia studio.

The Antipodean branch of the London-based theatre consultancy launched on the 1st of September 2015, and follows the opening of the company’s New York studio in 2012 and Bristol Studio earlier this year.

Leading the Australian business is Eric Lawrence, Melbourne resident and long-term Charcoalblue associate, who has worked with the team on the RSC Courtyard, Chicago Shakespeare Theatre and the forthcoming Astana Expo 2016.

He extends a warm welcome to anyone visiting or passing through Melbourne to the Design Studio, which is based at 104 Johnston Street, Suite 4A, Fitzroy.

“We share our building with a film co-operative in Fitzroy,” says Eric. “There’s great coffee, decent wifi and our local bar is the wonderfully named ‘Naked for Satan’!  Pop in for a pint if you dare!”

Supporting this global growth is Gary Sparkes in Charcoalblue’s London studio, who is promoted to Chief Operations Officer, managing resourcing and commercial administration across the company’s four design studios.

“Gary’s years of experience managing the complexity of the technical departments at the National Theatre has stood him in great stead for managing our global growth. And in recognition of his talents, Gary has also been offered a partnership role in the business,” says Charcoalblue’s Managing Partner, Andy Hayles.

Gary comments: ”I’m thrilled to have been made a partner and proud to be leading such an innovative and talented team of designers across our studios – and to be part of an inspiring global management team.”

Gary joins Katy Winter as the additional second partner at Charcoalblue.

“As Gary’s focus broadens, we are similarly proud to announce that our senior consultant Paul Crosbie is promoted to UK Studio Principal,” Andy continues. “Leading the business development of our London studio, Paul continues to innovate and inspire our team as he develops new opportunities in commercial development and the tech industries for our unique brand of Theatrical Innovation.”

Paul comments: “I’m delighted to be given the opportunity to lead our UK studio head-on into the next iteration of an ever-evolving marketplace. At Charcoalblue we have always prided ourselves on innovation, and as we look to the future and broaden our offer we’ll be re-invigorating our approach, getting our hands a bit dirtier and allowing our enthusiasm to shine through even more than usual.”

Andy Hayles concludes: “I’m sure everyone will join us in congratulating Eric, Gary and Paul on their new appointments. Alongside Our US studio Principal John Owens, Byron Harrison leading our acoustics design service, and Ian Stickland heading up our digital design we now have a winning senior team at the top of their game. It’s a privilege to be working alongside such talented team players.

“These exciting changes will allow us to support projects around the world as well as maintaining our dedication and passion for grass roots theatre here in the UK.”

Knight of Illumination Awards 2015 TV shortlist announced

18th September, 2015

UK – The Knight of Illumination Awards (KOI) TV judging panel has announced its eagerly anticipated shortlist for this year’s ceremony, which will take place at London’s glamorous Troxy club on Sunday 4th October.

Organised by the ALD, STLD, The Fifth Estate Ltd and Clay Paky and now in its 8th year, the KOI Awards is a celebration of the creative talents of international lighting and digital content designers working in the UK across TV, Theatre and Concert Touring and Events.

The sub-categories for Television are: Drama; Light Entertainment; Small Studio; Events; and Video Graphic Display.

The TV shortlist judging panel comprised: Stuart Gain (Chairman) – Rob Horne (Small Studio) – John O’Brien (Drama) – Stuart Gain (Light Entertainment) – John King (Events) and Mike LeFevre (Graphics).

The shortlist is as follows:

DRAMA – Gavin Finney for Wolf Hall; John Sorapure for Harry and Paul’s Story of the Twos; and John Daly for Up The Women.

LIGHT ENTERTAINMENT – Roger Williams for The Jump; Gurdip Mahal for The Voice Final; and Tom Sutherland for X Factor Bootcamp 6 Chairs Challenge.

SMALL STUDIO – Dave Evans for The One Show; Andy Cottey for Election 2015 Wales; and Jeremy Tobert for Weekend.

EVENTS – Gurdip Mahal for Sports Personality of the Year; Nick Collier for the Nobel Peace Prize Concert; and Nigel Catmur for Young Dancer Competition.

VIDEO GRAPHIC DISPLAY – Jack Linaker for the Nobel Peace Prize Concert; Dave Newton/Alberta Torres/Jessy Wang for Strictly Come Dancing; and Julien Rigal for Got To Dance Final.

“This year has given us a record number of entries, so the competition has been keen,” says STLD Chairman Stuart Gain, who is also chairman of KOI’s TV category. “It was decided to get the whole of the STLD Committee involved in the judging, so they were divided up into groups with a co-ordinator to come up with a shortlist. We then had a meeting to decide the winners. As in past years, there is an incredibly high standard of entries, particularly in Drama and Small Studio sections. I would like to thank all those who put in entries this year and wish all the shortlisted entries the best of luck.”

Awards co-coordinator, Durham Marenghi, comments: “A big thank you must go to the STLD for handling the nomination and organising the judging process for the KOI committee at a very busy time of year. We also thank them for finding a way for designers to submit their work for review in a world where many do not even posses DVD drives anymore.”

This year’s event is sponsored by Ambersphere Solutions, Ayrton, FIX8Group, Hawthorn, Light Initiative, MA Lighting, OSRAM, Robert Juliat and XL Video and supported by ABTT, ET Now, Lighting and Sound America, Lighting and Sound International, Mondo*dr, The Theatres Trust and Total Production International. Table sponsors include: AC Entertainment, Avolites, Chauvet Professional, Creative Technology, d3, ELP, ETC, GLP, GLS, Green Hippo, Howard Eaton Lighting, Martin Professional, Panalux, Philips Vari-Lite, PRG, Richard Martin Lighting, SGM, Stage Electrics, TMB, TSL and VER.

Avolites Sapphire Touch tours the US and UK with Hozier

16th September, 2015

UK – Lighting designer Matthew Kilmurry is controlling Irish musician Hozier’s US and UK tour lighting this autumn using an Avolites Sapphire Touch.

Kilmurry’s design for the Hozier tour is based around a warm tungsten atmospheric feel, using old school Edison bulbs dotted around the stage which gives a wonderful glow to the performers.

“I’ve been using Avolites consoles since I started out in lighting in 2001,” says Kilmurry. “I trained in Ireland and the first console I used was a Pearl 2000. I chose the Sapphire Touch for the Hozier tour in the UK and US this year as I find the cloning/exchange fixture works very well and I can get around it much quicker than other consoles. Everything I need seems to be a few less button pushes away.”

IMG_0611 The Sapphire Touch is designed for ambitious shows, with more submasters, more flash and executor buttons, and the power to control larger, more challenging rigs. The two wide screen touch monitors offer a huge workspace area, expandable further with Sapphire Touch and Sapphire Media Wings.

“I really like that I can see all of my fixtures on one page, all of my pallets on the other and select anything I want very easily without changing pages or layouts,” Kilmurry continues. “My favourite feature on Titan is the double tap pallet feature. It makes recording pallets exponentially quicker when programming from scratch. Colours, Gobos, Beam Focus and groups can be programmed in minutes.

“The customization feature for the pallets and playbacks is also a nice addition to the console. I like being able to see the colour of my pallet not only by text but by the actual visual colour that is stored there, and being able to write into the desk exactly what is in a playback as opposed to typing it. I also really like the path fixture window. I set it up as you see the rig, meaning there is no need to make a stage view, grid or plan in a separate window.”

For the UK shows, PRG supplied the Sapphire Touch. In Ireland, Just Lite and Production Services supplied the console, and in the US, the Sapphire Touch was supplied by Christie Lights and PRG.

To create his looks, Kilmurry is controlling a diverse rig.

“I’m using par 64s and 4 Lite Moles to back light all seven musicians,” he says. “I also use Mole Richardson Mole Beams, which I’m a big fan of as they create a large shaft of Tungsten light which gives a spectacular effect for live shows. All this Tungsten in conjunction with Martin Vipers or Robe’s BMFLs, Martin Atomics and some LED movers and pars gives me the ability to make it really punchy or very mellow at any time during the performance. Also with a mostly colour mixing rig I can seamlessly create different moods, for example cold looks and warm colour temperature looks with nice fade times that complement the music without overshadowing any of the performance. I always strive to capture the dynamics and feel of the music visually.”

Hozier – real name Andrew Hozier-Byrne – performs across the US during September and October, including New York, Los Angeles and Portland. He lands back in the UK in early January to play in Edinburgh, Manchester, Sheffield and Liverpool.

“The Sapphire has been perfect for this tour so far,” says Kilmurry. “It has never let me down, it’s been extremely stable, never crashed nor frozen. Shows load extremely quickly on it and I cannot speak highly enough about the product – the Sapphire Touch most definitely my favourite Avolites console!”

Avolites consoles and servers add colour to Secret Garden Party 2015

10th September, 2015

UK – Avolites’ consoles and servers controlled diverse rigs on 12 major stages and further smaller performance areas at this year’s eclectic Secret Garden Party festival.

More than 20,000 revellers travelled to Mill Hill Field in Huntingdon, Cambridgeshire to experience the unique atmosphere and hear headliners including Public Service Broadcasting, Roots Manuva and Kate Tempest.

The Great StageLondon-based Colour Sound Experiment supplied a 22-strong team of LDs and operators to man numerous Avolites Sapphire Touch, Quartz, Tiger Touch II with Wing and Expert Pro consoles. Jonathan Ricketts was Head of Lighting for the festival, working directly with festival producer, The Dark Horses.

On the Great Stage, Frankie McDade and Chris Brown manned an Avolites Sapphire Touch, with a Quartz running as backup. An ART2000 touring rack and Power Cube powered the rig, which included Robe MMX Spots and 600 LED Wash fixtures, Clay Paky Sharpys and Source Four Profiles, also supplied by CSE.

In addition, an Ai EX8 server drove an upstage LED video screen made up of 3 separate screens from 50 square metres of Colour Sound’s BT-6 6 mm high definition product. The content and cameras were all supplied by Immersive, running through the Avolites Ai server and controlled by a Sapphire Media.

“Ai’s new ‘Prime Shot’ feature enabled me to to cut between 8 live cameras via touch screen over the 3 separate LED screens using the Sapphire media,” says Ralph Lambert, Director of Immersive. “This touch and multi-screen operation feature within Ai’s ‘Prime Shot’ enabled fast, easy, intuitive operation of what would otherwise have been a very complicated and confusing form of operation when only using faders and buttons.”

Further Avolites consoles were found across the 220-acre festival site. On the ‘Where the Wild Things Are’ stage, a Tiger Touch II with Play Back Wing and Power Cube was used by Haydn Williams and Sarah Payne, with a Quartz also being used by a visiting LD. The rig here included Robe Pointes, LEDWash 300s, SGM XC-5 LED strobes, a bunch of Moles and Chauvet COLORBand PiX LED battens.

The Lost Disco and The Rum Bar areas both featured a Tiger Touch II, operated by Jordan Talbot and John Richardson, respectively. Ed Blackwell and Ben Everett manned an Expert Pro over at the Little Horrors stage.

Quartz consoles were operated by Jonathan Ricketts in the Spectacle and Stu Bar in the Collo-Silly-Um areas.

Andy Barak-Smith from It’s All Done With Mirrors also used an Expert Pro on the Pagoda area at the festival. The rig on this DJ-based stage included 6x LEDJ 136 Tri IP LED PAR, 6x Showtec Suntrips, 4x Martin Wizards, 2x Fogets and to uplight the front of the Pagoda 8x LEDJ 24T3 IP Battens.

“I used my own Expert Pro – it’s always my main show desk and is what I’m most comfortable with for a busking show,” says Andy. “It’s so easy to use and quick to program that I could enjoy the hardcore crowd turning up to dance in the rain!”

All of the consoles were running Titan V9.

“I’ve always loved Avolites and have worked with their consoles and dimmers for the last 15 years,” says Jonathan Ricketts. “Whenever I’m writing the specs for a gig, Avo racks and control is my first choice!”

Avolites Ai servers drive 400m LED screen at Singapore National Day Parade

9th September, 2015

Singapore – A squadron of six Avolites Ai Infinity EX8 servers were out in force for the Singapore National Day Parade celebrations in August driving specially created content onto a massive 400m-long LED screen.

Singapore-based The Show Company, which specialises in large-scale productions and offers ‘a hearty appetite for innovation’, was challenged with finding the technology to pull off such an event, which celebrated 50 years of Singaporean independence. The team was employed by the Singapore Armed Forces, which ran the ambitious celebrations.

The huge LED screen was stretched out like a massive ultra curved HD screen all around central Singapore’s ‘Padang’ open playing field, and situated just behind the spectator stands. Content varied from visuals of the country’s flag to images celebrating the island nation’s rich history.

“We used a total of 6 Ai Infinity EX-8 – three main and three hot backups – plus three Lightware Matrices which had all the outputs of the Ai Servers going in,” says The Show Company’s Rick Goh. “The signal was then sent out via 10 lines of 600m long fiber optic cables to the processors running the screens. The Ai servers were controlled via an Avolites Sapphire Touch. We had timecode being sent to us from the audio department which was used to trigger all the cue stacks done on the lighting desk.”

The team needed a server powerful enough to run a canvas of nearly 20 thousand pixels wide. Not only did it have to be powerful, it had to be flexible as well as be able to handle the quality of the content being rendered.

Ai Singapore 7 © Louise Stickland“The EX8’s Aim Codec is truly amazing, all I can say is that if you don’t see banding with content rendered at 6k pixels wide at the highest quality, it just goes to show we’ve picked the right server,” Goh contines. “The other feature that made Ai right for the job was that the Ai was able to pixel map content onto the LED screens with much ease. It’s not easy to map a 6k pixel wide content onto such a huge screen and we had a relatively easy time stitching three servers together to look like one long 20k pixel wide screen.”

For the first time since 1969, foreign Heads of State and Heads of Government attended the parade. The entire event was broadcast live across Asia and replayed on various channels, including YouTube, for a global audience.

“With so many people watching, we needed a reliable set up,” says Goh. “The servers did their job, everything went as it should and it ran perfectly on the most important day.

“The support Avolites has shown us for this project has been outstanding. We’ve had phone calls going in and out and Avolites has been very quick to respond to them. I’d very much like to give special thanks to Annalisa Terranova, Selvin Cooper, Gregory Haynes, Phil Meyer, Jack Sayer, Peter Budd, and Steve Warren especially for having such a great team and also for flying all the way down to Singapore to support us for the show. They’ve shown us great commitment and understanding throughout the entire duration of NDP 2015.”

Ai Singapore 9 © Louise SticklandTrusted for the world’s most incredible productions, Ai media servers are designed for maximum reliability, offering features such as internal EDID management, anti-shock, and a floating sub-frame construction.

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