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Archive for October, 2015

Philips Selecon PL1 MK II luminaires make touring debut on Land of Our Fathers

29th October, 2015

Chris Urch’s critically acclaimed, award-winning play Land of Our Fathers has embarked on a new run, with international lighting designer Hartley T A Kemp employing the recently launched Philips Selecon PL1 MK II range for crucial colorizing throughout the performance.

Described by The Stage as a ‘breathtaking masterpiece’, Land of Our Fathers focuses on a group of Welsh miners trapped underground as Margaret Thatcher is elected. Kemp specified five PLprofile1 MK II and two PLfresnel1 MK II luminaires, using them to provide an underlay of saturated color to the various lighting states.

“We wanted to create a gritty, oppressive world, which becomes more heightened as the piece develops,” explains Kemp. “The PLprofile1 MK II LED units were used to suggest light glistening off wet rocks, to help convey emotion especially during some of the more hyper-real sequences, and to add color when needed.”

The PL1 MK II range offers improved color consistency with infinite color choices from the RGBW engine, plus a fully homogenized mixed color output with no color shadows.

“The color rendering of the MK II luminaires is even better than before and the lack of fringing on the beam is impressive. The brightness is also good even with saturated color,” continues Kemp.

To intensify the feeling of claustrophobia, the set is closed in with side walls and a roof structure. The two PLfresnel1 units provide back/side light though the USL doorway, the only stage entrance and exit. Three PLprofile1 units are applied as low front system cover with two PLprofile1 profiles as low front of house booms at just above head height.

“The reduced noise output of the MK II luminaires is good given the close proximity of the front of house units to members of the audience,” adds associate lighting designer Chris May. “The LED units also bring great benefits in terms of reduced power consumption.”

Land of Our Fathers is produced by Tara Finney Productions, Theatre503 and Wales Millennium Centre. It opened at Wales Millennium Centre on the 22nd of October and will tour Wales throughout November. Dates for England are yet to be announced.

Avolites Expert Pro and Ai S4 servers go bright with WHITE Club Dubai

29th October, 2015

Dubai – A team of Avolites S4 servers, Expert Pro console with Wing and TitanNet Processors were deployed to control more than 350 fixtures and 150sqm of LED screens for an extraordinary party to open WHITE Club Dubai’s new season.

Procom Middle East, the Dubai-based professional audio, lighting and video equipment supplier and Avolites official distributor delivered the venue at the request of Addmind, the venue’s owner and manager.

They teamed up with club lighting designer Dave Parry of Most Technical, lighting programmers Ross Chapple and Tony Chidiac, and Immersive’s John Munro and Martin Harvey to create the awesome event.

“The club’s opening party set a new frontier in entertainment technology, giving a ‘reality-altering’ experience with impressive lighting shows, effects and a cutting edge video mapping show on a 3D video wall,” says Procom’s Rami Harfouch.

Two Avolites Ai S4 servers were specified to control over 150 sqm of LED screens and over 200 pixel bars. Immersive created the spatial design of the installation and produced all the custom video and animation for the venue.

“The large amount of LED made of 36 separate facets had to be efficiently arranged over three processors which made the Ai S4 perfect for the complex task of mapping,” says Munro. “It meant that we could run multiple layers of 3.2k custom content while simultaneously mixing effects and using live capture in different ways.”

The screen was ‘chopped up’ into 12 segments, allowing it to be isolated and used in a mixture of ways within Ai.

“The S4 was configured to a MIDI controller, to be able to mask out any of the screens with a hit of a button, as well as play each layer like a piano keyboard,” Munro continues. “We wanted the experience for the VJ to be seamless and for the server to be an extension of their body’s rhythm.”

Avolites White Club Dubai screens

More than 350 fixtures were used on the night, including Cyclops Zoom 37 and CPX436-MZ, and Philips Showline SL NITRO 510C strobes. An Avolites Expert Pro with Touch Wing controlled the entire lighting rig, with two Avolites TitanNet Processors expanding the universes controlled and providing increased reliability and control over the massive set-up.

“My role on the project was to program all fixtures using the Expert Pro and Touch Wing, in a way that would make sense for an in-house operator to use over the course of the season,” programmer Ross Chapple explains. “The circular stage was the centrepoint and focus of the design with fixtures on the legs of the ground support through the joining cross-trusses and finishing on the concentric rings above the central stage. Fixtures on the rings were used predominantly for fully cue-listed intro moments and dance acts.
Ai rack White Club Dubai
“The Expert Pro was the ideal desk for this – its wealth of faders being one of the primary reasons. This is also expanded on significantly when a Touch Wing is introduced. Having to store palettes on the expert faders would have meant storing playbacks across more pages, which in a club environment where fast paced busking is key – having to frequently change back and forth between pages is not the ideal scenario. The new Key Frame Shape generator was also put to good use, making the creation of more complex shapes quicker and easier.”

The x2 Avolites TitanNet Processors were used to expand the number of channels controlled from 4 universes to over 12 universes. “Reliability was also key,” says Procom’s Rami Harfouch. “The processing power of the units allows for delay free command on the club fixtures.”

The TitanNet Processor (TNP) enables any Titan console to be expanded to a total of 64 universes. Each TNP processes up to 16 universes of which 8 are provided as DMX512 on the unit and all 16 universes are available via Art-net over the dual Ethernet port.

WHITE Dubai is a high-tech and ultramodern space that markets itself as ‘the ultimate go-to party destination to steer anyone’s evening escapades in the right direction, a night full of energy, thumping music and an overall feel-good vibe’. The club will be open on weekends throughout the season.

Triple E supplies ModTruss to Lyon Equipment for ‘Work at Height’ training

28th October, 2015
Triple E has supplied a 12″ ModTruss Rigging Structure to Cumbria-based Work at Height specialist Lyon Equipment for use as a platform for its Work at Height and rescue training.
The Lyon team first discovered ModTruss – the ‘universal building system’ likened to full size Meccano – at the ABTT Theatre Show at Alexandra Palace in June, where it was named ‘Engineering Product of the Year’. Lyon Equipment’s Ben Alderson used Triple E’s Fly Tower, constructed from ModTruss, to carry out rescue demonstrations using Petzl and Lyon Work at Height and rescue equipment.
“When we first set up our systems, we were instantly impressed with how easy ModTruss was to climb on – the design of the product allows the user to climb it in a similar manner to a ladder,” says Alderson. “The size of the smaller holes, certainly on the 12″ section, means the user can attach themselves directly to the ModTruss with a karabiner/connector and lanyard. This helps reduce the weight of the user’s system and prevents having to carry extra kit.”
Lyon ModTruss structure
 As well as being the UK and Ireland distributors for Petzl Equipment and many other leading brands, Lyon Equipment’s premises offer a large purpose-built training centre from where it provides a wide variety of training courses for all things Work at Height related. Courses include Level 1 to 3 Industrial Rope Access Trade Association (IRATA) qualifications and specific courses designed for the theatre and entertainment industry. Lyon has now installed the ModTruss structure, supplied by Triple E, which is the exclusive UK distributor of ModTruss.
“One of the main reasons for constructing ModTruss for the training area was because of its versatility in terms of how it can be assembled and the fact it is fully rated for people to climb/stand on it,” Alderson continues. “We also felt ModTruss would really help people who want Work at Height training for the entertainment sector as it gives them another form of structure/scenario they may not have come across before.”
It is not just the Entertainment related courses that will benefit Lyon as the ModTruss structure will help create different scenarios/challenges for IRATA training as well as Police and other Emergency Services Work at Height courses.
“We frequently provide Work at Height and rescue training for technicians in the entertainment and theatre sectors, and will no doubt make good use of the ModTruss, so it’s looking like a pretty busy time for our new structure already!” says Alderson. “In terms of future projects, ModTruss has the potential to become a permanent trade show stand for us. We’re looking forward to working much more with ModTruss, and playing with different configurations to see what we can achieve.”
New to the UK, ModTruss is set to revolutionise the theatre staging, set building, stage machinery, scenery, construction and event markets.
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 allows ideas that once took extensive custom design and fabrication to be constructed incredibly simply, easily, and speedily.
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.

Philips Selecon and Showline deliver crucial LED versatility on The Addams Family

27th October, 2015
London, UK – Philips Selecon and Showline LED luminaires have performed a range of crucial lighting roles whilst complementing a traditional tungsten rig on macabre musical The Addams Family at the John McIntosh Arts Theatre in London.
The Wimbledon Light Operatic Society production was based on an original story by Jersey Boys authors Marshall Brickman and Rick Elice, which has been described as an ‘off-beat take on 19th century gothic’. The plot line is a ghoulish romp, involving ancestors of the family making their annual visit from the grave only for chaos to ensue.
Lighting designer Paul Flook’s theatrical brief was to differentiate between the living and dead characters using colored light. He added 10 Philips Selecon PLprofile1 luminaires, four PLcyc1 luminaires and eight Philips Showline SL WASH 180 movers to a basic rig, creating a versatile mix of traditional and LED fixtures.
“I wanted to be able to separate the ancestors from the rest of the ‘live’ cast as the action moved,” says Flook. “With the SL WASH 180’s great optics I was able to track and focus wherever I needed with ease.”
As the play did not feature any major set transformations, Flook was also tasked with using lighting to convey change in location.
“With the SL WASH 180 fixtures I could split the visual picture during the course of the action. They allowed me to wash an area of the stage in traditional colors to evoke a particular setting whilst simultaneously highlighting the ‘ancestors’ in contrasting moody hues,” he explains.
The Philips luminaires were also applied to create looks that swung from the moody and intimate to the bold and vibrant during some of the bigger musical numbers.
“The Philips Selecon PL1 range allowed me to switch from delicate to flamboyant in an instant with its color pallet, which rivals traditional tungsten colorising across the majority of hues,” says Flook. “To apply a full rig of traditional lanterns in the same way as we used the Philips Selecon and Showline fixtures would have been power, weight and space hungry, so adding LED to the mix was the ideal solution.”
The Addams Family was co-directed between Helen Flook and Janet Huckle.

Philips Showline strobes create ‘reality-altering’ experience at Middle East’s biggest club

21st October, 2015
Dubai, UAE – Over thirty Philips Showline SL NITRO 510C LED strobes have dazzled audiences at the packed opening party for WHITE club Dubai’s third season.
WHITE Dubai is situated on the rooftop of the glamorous Meydan Grandstand racecourse. Each season sees a roster of international DJs take to the decks, with the club offering one of the most extravagant audio-visual party experiences in the Middle East.
During the opening party’s ‘reality-altering’ light show, the Philips Showline strobes were employed to deliver beat-perfect bursts of color that filled the space with light. The SL NITRO 510C is the color version of the highly popular SL NITRO 510 and boasts an array of 264 tightly packed RGB LEDs to ensure maximum output.
“The SL NITRO 510C fixtures played a huge role in providing intense color washes in conjunction with the LED wash lights,” says the club’s lighting designer Dave Parry of Most Technical. “Having the ability to color change is fantastic and allows every look to be in sync. I also wanted to have a strobe effect running across the entire space, again working with the moving lights. When the place is rocking the strobe effects cut through and look absolutely awesome.”
The Philips Showline strobes were positioned onto vertical trusses to add a perspective-bending edge to the light show. The plan is to also place some units under the central stage to add extra effects to the upcoming season’s performances.
“As a stand-alone strobe the SL NITRO 510C is fantastic and the icing on the cake is its range of static and macro effects. These give me a much broader palette to work with as a designer,” says Parry.
Rami Harfouch of Procom Middle East, the lighting and video supplier of the venue and distributor of Philips Showline, Selecon and Strand Lighting for UAE, adds: “WHITE club is a flagship venue for lighting and video equipment in Dubai. Addmind, the owners and managers of WHITE, are always on the lookout for cutting edge effects, which is why they embraced Procom’s proposal to use the Showline SL NITRO 510Cs to replace their existing strobes.”
“This is one of the most impressive club venues I have worked on,” says Parry. “The beautiful set-up and environment in addition to the quantity and sophistication of the equipment supplied by Procom has allowed us to create one of the best nightclubs in the world.”
WHITE Dubai is open on weekends throughout the season and is set to see a jam-packed calendar of events.

XLNT CyberHoist II unveils new system surprises at LDI 2015

19th October, 2015

Las Vegas, USA – LDI 2015 will see the North American premiere of the latest upgrade to entertainment motion control systems expert XLNT Advanced Technologies’
industry respected CyberHoist II™ system on Booth #142.

The new incarnation of the world’s first intelligent, variable speed, robust chain hoist and control system, CyberHoist II CH528 (2015), has been specifically designed to overcome the creative, logistical and physical rigours of automation design for entertainment environments, large scale events and touring.

Since the system’s successful preview launch at Prolight + Sound Frankfurt 2015, XLNT’s research and development team has continued to fine tune its pro-user-valued features.

Although the system still features its signature strength, smooth operation, intuitive plug and play interface and compact design, under its hood is a range of improved software and hardware features, each steered by XLNT’s valued customer feedback. Today it offers a motion controller, world-wide multi-voltage power supply (200-440V (+/- 10%) / 50-60HZ), absolute positioning (0.1 mm), elevated duty cycle (60%) for fast lifting of heavy loads and network controlled E-stop and Dead Man’s Handle without additional cabling.

The CyberHoist II™ CH528 (2015) enables a show designer to create precise, complex 2D and 3D movements at variable speed (up to 30 m/min. = 100 ft/min), with multiple actuators in single, group or subgroup formations.

Since its launch, The SIL3 (Safety Integrity Level 3) compliant system has provided the smooth, silent scenic automation solution on such large-scale, heavy-duty projects as the colossal KCON LA convention this summer and Linkin Park’s sell-out European tour earlier in the year.

Esteemed Belgium-based lighting, video and motion control house Gravity recently invested in the system and praised XLNT’s attention to customer feedback: “We greatly appreciate that we can participate in the development of the product’s software as XLNT takes our comments on board,” says Gravity’s Robin van Bael.

XLNT will be demonstrating the system in live presentations throughout LDI 2015 and invites show visitors to come along and test drive its extensive capability and ease of use.

LDI will take place between the 23 and 25 of October at the Las Vegas Convention Center.

Avolites showcases Arena and Optical Titan Net Switch at LDI

19th October, 2015

USA – Avolites’ family of consoles, dimmers and networking products will be showcased at LDI Las Vegas on booth 2004, hosted by Group One Ltd. Avolites Media will be on booth 2216, exhibiting its industry-leading range of Ai media servers which work intuitively with the entire Avolites family of products.

Key members of the Avolites team, including MD Steve Warren and Sales Director Koy Neminathan, will join Group One, its respected distributor and US partner.

One of the stars of the showcase is the Avolites’ Arena console with Optical Titan Net Switch, both of which are now shipping. 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.

“The Arena console has attracted a huge amount of attention since launch – we’ve been inundated with lighting designers, rental companies and specifiers,” says Avolites’ Sales Director Koy Neminathan. “Feedback has been fantastic on the vast array of faders and buttons alongside an integrated touch screen, as well as the 7″ touch screen and the rotary encoders. The unique Optical Switch built in to the console was hailed as an incredibly useful tool.”

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.

Alongside the main display, a second touch screen provides an additional workspace window, also labelling the adjacent macro buttons and rotary pots.

These fully assignable playback encoder pots allow intuitive control of channels and effects. The six LCD screens display electronic legends for 30 faders, for speedy access to all your playbacks, fixtures and palettes.

A brand new optical output means the Arena is equipped for fibre connections, with no signal loss over long distances, from front of house to the stage – essential in large and outdoor venues.

Offering seamless Multi User compatibility, the Arena can be used as master, back-up or extra programming surface, considerably cutting your programming time by allowing multiple Titan programmers to work simultaneously, before the main console takes charge.

Arena is capable of processing 16 DMX universes, with 8 physical DMX outputs, and this can be further expanded with Titan Net Processors for up to 64 universes.

Both the new Arena and Quartz consoles offer MIDI in and headphone out on the console as well as a 7 band Audio Trigger functionality.

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.

LDI exhibits from 23-25 October at the Las Vegas Convention Center.

Charcoalblue attends opening of St Ann’s Warehouse NYC

13th October, 2015

USA – Charcoalblue’s managing partner Andy Hayles and his team of theatre and acoustic consultants attended the opening of New York’s St Ann’s Warehouse last week.

The official launch of the $31.6 million development of the waterfront theatre situated under the famous Brooklyn Bridge follows a transformation of the derelict Tobacco Warehouse by Marvel Architects with theatre, acoustics and architectural lighting consultancy by Charcoalblue.

The new St Ann’s Warehouse is a 25,000 sq ft site housing two flexible performance spaces. Firstly, a 10,000 sq ft versatile theatre space, with capacity for 300-800 people, to accommodate St. Ann’s core theatre and music programming, large-scale festivals, and special community milestone events. Secondly, a 1000 sq ft multi-use studio, dedicated to local artists and community groups, to especially suit intimate, smaller scale programmes and events.

It is constructed within the historic 1860 Tobacco Warehouse in the hip neighbourhood of DUMBO. It is hoped that the project will make Brooklyn Bridge Park a home for culture for future generations.

In addition to theatre consultancy, Charcoalblue provided architectural lighting design and acoustic services to the project.

“In 2012, the Tobacco Warehouse was a ruin – converting it into a theatre has been a complete joy, and a particularly tricky thing to do!” says Charcoalblue’s Managing Partner, Andy Hayles. “When there is so little of the original building left – really just a 20′ high perimeter wall – every column, beam and wall has to be perfectly placed and carefully considered not only for its immediate impact, but also for its impact if the next production turns the auditorium through 90 degrees!”

The design celebrates contradiction, with discrete yet unexpected materials of glass bricks, black steel and plywood. The new theatre is inserted snugly into the walls on three sides, allowing the historic arched doors and windows to remain untouched. The fourth side is occupied by support spaces and community amenities. A broad circulation hall defines the theatre and community spaces, and offers flexibility either to host events or to expand.

St. Ann’s Warehouse (SAW) fills a vital niche in New York City’s cultural landscape as an artistic home and destination for the American avant-garde, international companies of distinction, and talented, emerging artists ready to work on a grand scale.

“It is a new building which past audiences will recognise. The lines between public areas, backstage and auditorium are purposefully and sensitively blurred – in fact almost non-existent in places – offering the SAW team infinite opportunities to challenge the environment and continue to surprise audiences,” says Charcoalblue’s John Owens, who runs the company’s NYC studio.

Charcoalblue’s acoustician Byron Harrison comments: “We are proud to have also provided our in-house, integrated acoustic design service for the project. SAW has made its home in a neighbourhood between two of the noisiest transport thoroughfares in the City – the Brooklyn and Manhattan Bridges – which presented a challenge. While the existing walls are very thick masonry they don’t provide the acoustic separation that typical contemporary cavity wall constructions provide. Therefore, new specialty acoustic windows and doors have been fitted into the existing openings, but largely without the vestibules we’d normally expect into a theatre and certainly between a performance space and the exterior.

“A much-considered design decision was putting concrete on the roof of the performance area. A minimally thick concrete slab was included to combat the helicopters on the East River and the Brooklyn Bridge traffic noise, which is almost overhead. We also installed a distributed ventilation system with cooling. Contending with continuous background noise due to air movement is not something SAW has encountered before. While low noise levels are needed for dramatic performance, we’ve opted to not go too low to help disguise low levels of intrusive noise.

“It was a particular delight that at the opening gala, founding SAW Artistic Director Susan Feldman picked out the sound of the room as being the star of the show.”

In addition to the design and planning of the performance spaces, acoustic design and the technical design of all the theatre systems – stagelighting, audiovisual and stage engineering – Charcoalblue developed a bespoke theatre seat for the new auditorium, which is comfortable, relates to the building and is capable of withstanding the flexible and robust nature of the room.

The catwalks above the space are worthy of special mention, as the rhythm they create in the space aesthetically echoes the function of the old warehouse. Despite looking like they’ve always been there, they are in fact brand new and will transform the working practices and speed of operation for SAW’s technical team.

The project was led by Susan Feldman and Executive Director Andrew D. Hamingson. In addition to Marvel Architects, Charcoalblue worked closely with BuroHappold engineers, Silman Associates structural engineers, Yorke Construction and David Belt’s team of project managers.

“Susan first found us through our work on the Royal Shakespeare Company’s temporary Courtyard Theatre, the Young Vic and Kneehigh’s Asylum,” Hayles continues. “It has been humbling to develop and advance our work in collaboration with Susan, Andy and their technical director Owen Hughes.

“We treasure Susan, not only because she sent us our first ever fan letter, but also because of the opportunities she gives to UK artists and organisations to present their work in New York; many of them Charcoalblue’s clients in the UK. The Donmar, whom we worked with on their new rehearsal complex in Covent Garden, will open the inaugural season at St Ann’s Warehouse; while Kneehigh, Shakespeare’s Globe and the Tricycle (all also Charcoalblue clients) have featured in seasons over the last couple of years, and the Young Vic will present A Streetcar Named Desire early next year.

“At a time when the London press is lauding Cameron Mackintosh for opening a new space to showcase work from these producers; Susan has been pioneering their work in New York for the last decade.”

Following Susan’s faith in appointing Charcoalblue, the London-based company opened its New York studio on West 26th Street in 2012 and has subsequently won commissions from Steppenwolf Theatre, Chicago Shakespeare Theater, Centerstage Baltimore, La Mama, TheaterSquared, Oberlin College, the Pratt Institute and the forthcoming Performing Arts Center at the World Trade Center site.

Susan Feldman comments: “The Charcoalblue team are master theatre-makers whose enthusiasm and awesome skill get you through challenge after challenge. The world outside the UK is just getting to know them – luckily for us!”

Such has been the importance of St Ann’s to Charcoalblue that every founding partner has contributed significantly in the design development: Andy Hayles to the strategic setting out; Gavin Green on the auditorium design and Jon Stevens on the technical design. Byron Harrison led the acoustic team, and the project delivery featured John Owens, Charcoalblue’s New York studio principal, and Jerad Schomer, its talented team leader. Charcoalblue team members include Paul Franklin, Steve Roberts, Evelyn Way, Peter Ruthven Hall, Ben Hanson, Tanya Burns and Alex Wardle.

Philips looks forward to a ‘refreshing’ PLASA London 2015

12th October, 2015
London – Philips Entertainment Lighting will be showcasing the eagerly anticipated ‘PL Refresh’ range at PLASA London this Sunday, which sees the Philips Selecon PLprofile1, PLfresnel1 and PLcyc1 reinvigorated with brand new features.
Joining valued dealer A.C. Entertainment Technology Ltd on stand F30, Philips will also be demoing the latest products from Philips Vari-Lite, Strand Lighting and Showline, which have enjoyed global success since launching this year.
A much-loved range of workhorses, the PL1 MK II Series now offers boosted color benefits such as color consistency across the family of matched products, increased color rendering and no color fringing. The MK II luminaires will also have a higher output balanced with reduced operating sound.
“We are really excited to demo all the fantastic additional features of the PL MK II range to PLASA London visitors,” says Philips Entertainment Group Europe General Manager Grant Bales-Smith. “The new benefits breathe new life into what is already such a popular series and we’ve seen a lot of interest building.”
Set to be a further highlight is the Philips Vari-Lite VL4000 range. The VL4000 Spot was the talk of PLASA London 2014, winning an Innovation Award for its color-animation wheel and quiet yet powerful ‘Studio’ mode.
Hot on its heels came the multi-functional VL4000 BeamWash, which is both a stunning wash and powerful beam light. A huge hit with lighting designers internationally, the VL4000 BeamWash is currently traversing the globe on AC/DC’S Rock or Bust tour with lighting designer Patrick Woodroffe.
Also launched this year and available for demo on the AC-ET stand will be the Philips Strand Lighting 500ML Console, intuitive to use and tailored for small to medium sized shows. The 500ML followed the highly flexible NEO, which saw expansion this year with brand new Wings, Playback Controller and Rack Mount. Philips product manager Bill Richards will be showcasing both consoles and their features on stand.
Last but not least, visitors can get to grips with the latest LED products from Showline. The SL PUNCHLITE 220, the SL STRIP 10IP and the SL BEAM 300FX all hit the market in 2015.
The IP65 rated, decidedly flexible, high output SL PUNCHLITE 220 delivers a powerful, blended beam and features an impressive motorized zoom range of 8°-47°enabling designers to pinpoint performers with a narrow shaft of light or flood a wide area with a powerful color wash.

The SL STRIP 10IP – also rated for outdoor entertainment applications – delivers strong, blended washes of color that emulate the traditional halogen strip light effects.

Both the SL PUNCHLITE 220 and the SL BEAM 300FX work as a beam or a wash luminaire, however the SL BEAM 300FX’s dual rotating front lens and effects wheel offers designers a myriad of different looks.

PLASA London 2015 will take place at the ExCeL exhibition center between the 4 and 6 of October.

Light Initiative’s bespoke LED PAR can frames give Mumford & Sons the edge

12th October, 2015
World – Lighting designer Ed Warren has commissioned a large number of pioneering LED PAR can frames from LED design and manufacture house Light Initiative (LI) to add an extra punch to his design for Mumford & Sons’ world tour and headline festival dates.
The folk rockers have been traversing the globe in support of their latest number-one album ‘Wilder Mind’. To reflect the slightly edgier sound of their new material, Warren took his usual tungsten-based design to the next level. To do this the designer incorporated some new elements such as strobes, unusual colour contrasting and LED.
“To maintain the Mumford vibe amidst all the new tricks, I decided to use a back wall of 120 PAR cans positioned in a 10-fixture wide by 12-fixture high grid,” explains Warren. “However I felt it’d get old quickly if all they did was flash on and off for a whole set, so came up with a way of making the PARs change colour using a removable ring of LED tape.
“I took the idea to the legends at Light Initiative who jumped at the chance to build and trial the rings and sent me some test videos. I then showed these to the band who loved them.”
Light Initiative created 120 of the LED products, named ‘Halo 64’, building them on robust chrome frames.
“The Halo64 product we ended up creating was a derivation of a previous bout of creativity a couple of years ago which then stalled,” says Bryn Williams, Light Initiative’s founder and creative director. “Working with Ed was great as his clear vision helped us take a working concept through to a polished end product which exactly suited his needs.”
Warren agrees: “The frames are very solid and worked better than expected from the off. Output and looks-wise they are everything I imagined. With plenty of haze in the air they give a very unique, eerie glow.
“LI has also developed them further to make them more adaptable to changing weather conditions, which has been great for Mumford & Sons’ outdoor festival shows.”
Warren and LI are also working together to expand the Halo range to a high-resolution pixel, HaloPIX, with increased pixel-mapping capability.
“At the moment, I’m using the Chamsys console’s in-built pixel mapper to create shapes but there’s nothing too elaborate going on – just a few sweeps, strobe effects, fades,” explains Warren. “However the updated version will have individual control of each pixel around the ring, so a wall of rings can become a higher resolution wall of pixels capable of more intricate mapping and effects.”
Light Initiative will also be developing the product with its IntelliFLEX control system to offer increased versatility. “We’re very excited about our groundbreaking new system of control, which converges both lighting and video into a single control entity, and will be ideally suited to the upcoming HaloPIX range,” continues Williams.
Warren and LI’s Halo 64 products are set to evolve over the coming months, with a 3-channel version, a pixelated version and a white high power LED strobe version HaloStrobe, all available in a variety of black, white or silver frames. There are also plans to release the frames as stand alone units that can be clipped together.
“The Light Initiative team is great to work with – they’re basically a bunch of mad professors working in a lab concocting a thousand different bubbling potions,” says Warren. “It was great to sit around a table with them and riff off ideas – we’re all on the same page when it comes to making these things look good and work well for tour at the same time.”
Mumford and Sons are set to embark on a UK arena tour this November and December, with dates including Manchester, Sheffield and London.


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