Light+Design Magazine issue 1

Adam Meredith uses Luxam LED to make MONA exhibits the envy of the world

GREEN... RED, BLUE & WHITE: Big interactive public art In Darling Quarter SWINGING CHANDELIERS: La Traviata rocks Sydney Harbour DOCK TALE: Jones Bay Wharf LEDs replace heritage fixtures

9 772200 913008

issue #1 NOV 2012

BEST CASE SCENARIO

• MONA: C#nts… and Other Conversations by Greg Taylor • Light Source: Luxam Micro LED • Lighting Design: Adam Meredith • Photographer: Remi Chauvin 2

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‘NOW YOU CAN COMPARE APPLES WITH APPLES’

Now with the world’s first and only AV equipment comparison tool www.av-iq.com.au Powered by

Antumbra is coming...

A new direction in user interface design for your lighting and building control.

Launch date: November 2012 www.philips.com/dynalite

EDITORIAL A Broad Church Well Lit.

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elcome to the first issue of Light+Design, we’re glad you could join us.

Light+Design exists because we believe it’s possible to have an independent magazine that’s relevant, enjoyable and informative for everyone across the entire lighting spectrum.

The team that brings you Light+Design is both knowledgeable and passionate about lighting, and delights in sharing that passion. The feature writers on this first issue bring a combined tally of well over 150 years of lighting experience to their articles.

Light+Design’s beat is every aspect of lighting and design technology, whether it’s innovations and advances in light sources, reflector materials, photometric measurement and computation tools, control technologies, power distribution, and energy management, or clever and innovative applications of existing technologies in surprising or exciting ways. Although we could never hope to cover every aspect of every topic in each issue, what we do intend to do is delight, intrigue, entertain and surprise you with what you find in each issue.

In this issue you’ll meet a museum lighting designer who’s just won an award from the IES for his work; a rock concert lighting designer who’s created an interactive public artwork work across the façade of the Commonwealth Bank’s new headquarters; Martin Professional’s new Viper 1kW profile spot; the team who transformed a concrete bridge into a work of lighting and fountain art, and the lighting designer who combines his experience of lighting the Olympic games opening and the buildings on the Hong Kong waterfront to light an opera on the waters of Sydney harbour.

You’ll also learn about the Gold Coast nightclub that claims to have the world’s biggest club LED installation, the undetectable refurbishment of one

of Sydney’s most desirable dockside precincts, the state of play in the world of regulations and standards, take a guided tour through the dimming technologies currently on offer, and have a look at a recently-released physically accurate, photorealistic 3D rendering system that runs on someone else’s computer hardware.

If there’s nothing there to interest you — which would surprise me, if you’re reading this right now — don’t worry, I can promise you that our second issue will have an entirely different collection of features, faces, reviews and technology.

To help get us started we asked representatives from each of the lighting industry associations to have a look at our proposed menu of content and make suggestions about how we could improve it.

Now we’d like to extend that invitation to everyone with an interest in lighting. Once you’ve read through this magazine, please get in touch with me and let me know how we can improve, tell me about the stories we should be telling, the technologies we should be covering, and most especially about what you’ve been doing.

Whether you light car parks, bridges, casinos, warehouses, stages, sports events, hospitals, offices, nightclubs, churches, studios, apartment blocks, exhibitions, public toilets, transport terminals, movie shoots, lecture theatres, surgical theatres, events, museums, rock concerts, rock crushers or ballet, Light+Design is interested in what you do, the tools you use and the way you work, and how we can help you to do it better, more safely and more easily.

Andy Ciddor Editor, Light+Design You can reach Andy at andy@lightdesign.net.au

the very latest news. www.lightdesign.net.au

CONTENTS issue one

12 News

Some highlights from around the industry.

20 Building A Canvas

Transforming the Darling Quarter precinct into a public plaything .

24 Opera Alfresco

Opera Australia’s top of the harbour production scheme.

28 On The Waterfront

Sydney’s landmark Jones Bay Wharf gets a lighting makeover.

32 The Wunderkammer Wunderkind A profile of award-winning museum lighting designer Adam Meredith.

36 River Deep, Fountain High Lights, fountains, action... a bridge too far.

40 Preview: Bloom Unit

A rendering and collaboration engine with its head in the clouds.

42 Dimming In The 21st Century A brief look at the offerings on today’s dimming menu.

44 Review: Martin Viper Profile A look at the profile spot from Martin’s new range of 1kW movers.

46 Change Here For The Future Owen Manley’s report on the regulatory environment.

48 Meet The Lighting Family

Introducing the lighting industry’s rich diversity of trade associations.

CONTENTS issue one

Bruce Ramus has extensive experience in using light, sculpture and visual media to create advanced media experiences. With an emphasis on the connection between the built environment and the people who inhabit it, his focus is on designs that are efficient and sustainable, using cutting-edge technology and a light-hearted approach that can be see in recent large-scale projects such as the Luminous interactive light display at Darling Quarter. Bruce has designed and directed international shows for 30 years including U2, David Bowie and the Academy Awards.

Cat Strom has been a writer for entertainment technology publications for more than 25 years and is also vice-president and co-founder of ALIA. With a background in graphic design, illustration and photography, she supplies PR and marketing material for several Australian lighting and audio distributors and manufacturers, as well as writing for a selection of international magazines such as Lighting Dimensions, Pro Audio Asia, Light & Sound International, Entertainment Design, CX and Pro Lights & Staging magazine.

Mandy Jones is the Events Producer at Museum Victoria, responsible for producing special events across the organisation’s four venues (Melbourne Museum, Immigration Museum, Scienceworks and the Royal Exhibition Building). She has worked in venue hire sales, theatre production and stage management, and lighting design and operation. For many years Mandy was the Melbourne correspondent and photographer for Connections/CX magazine, and also served on the ALIA committee as a board member and honorary secretary. She is also a regular contributor to AV Magazine.

Owen Manley is the technical manager for Lighting Council Australia and is our resident propeller head, with 30+ years of experience in lighting with an engineering background.

He is also a member or chair of numerous international and Australia standards, government and industry committees. For 15 years he enjoyed running Thorn Lighting’s NATA accredited laboratory and playing with its expensive technical toys such as goniophotometers, usually trying to find their limits. Fortunately he has an understanding wife and son that are also used to his extensive travelling to support industry interests.

Paul Collison is the lead designer, accountant, barista, cleaning lady and all round good guy from Sydney based design firm eleven DESIGN. For 20 years, Paul has been a significant part of the Australian lighting design fraternity. During that time Paul has worked on productions, both locally and internationally, in the areas of corporate, arena, dance, television and large-scale special events. Out of self-defence, in recent years Paul’s firm has delved heavily into motion graphic content design and creation from a production design perspective.

Tim Stackpool started his career in the media as a Technical Director at Sydney’s TCN 9, and has since worked for virtually all Australian broadcasters and many more overseas. He’s been instrumental in the establishment of a number of broadcast facilities and digital services, and continues to consult in this area. Moving into writing a number of years ago, Tim continues to report on a variety of both technical and consumer subjects across a broad range of media, that includes magazines, international TV, radio and online.

Light+Design Editorial Advisory Board Aaron Binion – ACETA Bryan Douglas – LCA

Jason Bovaird – ALIA Owen Manley – LCA

Marcus Pugh – ALIA

Ben Luder – IALD

Adele Locke – IES

Front Cover: Wunderkammer at MONA Brett Boardman Photography Advertising Office: (02) 9986 1188 PO Box 6216, Frenchs Forest, NSW 2086 Editor: Andy Ciddor (andy@lightdesign.net.au) Publication Manager: Stewart Woodhill (stewart@alchemedia.com.au) Editorial Director: Christopher Holder (chris@alchemedia.com.au) Publisher: Philip Spencer (philip@alchemedia.com.au) Art Direction & Design: Dominic Carey (dominic@alchemedia.com.au) Additional Design: Leigh Ericksen (leigh@alchemedia.com.au) Production Editor: Jen Temm (jen@lightdesign.net.au) Accounts: Jaedd Asthana (jaedd@alchemedia.com.au) Circulation Manager: Mim Mulcahy (subscriptions@alchemedia.com.au)

alchemedia publishing pty ltd (ABN: 34 074 431 628) PO Box 6216, Frenchs Forest, NSW 2086 info@alchemedia.com.au All material in this magazine is copyright © 2012 Alchemedia Publishing Pty Ltd. The title Light+Design is a registered Trademark. Apart from any fair dealing permitted under the Copyright Act, no part may be reproduced by any process without written permission. The publishers believe all information supplied in this magazine to be correct at the time of publication.

They are not in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. After investigation and to the best of our knowledge and belief, prices, addresses and phone numbers were up to date at the time of publication. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility is on the person, company or advertising agency submitting or directing the advertisement for publication. The publishers cannot be held responsible for any errors or omissions, although every endeavour has been made to ensure complete accuracy. 26/10/12

International Lighting Event 2013

4-6 June 2013 Overseas Passenger Terminal Circular Quay Sydney, Australia

• World class lighting exhibition • International speaker program • Spectacular Gala Dinner Attracting thousands of participants including major lighting stakeholders, manufacturers, suppliers and allied professionals across a broad range of related industries, this is an event not to be missed!

Keynote Speakers include: World-renowned architect Dominique Perrault • French National Library • European Court of Justice • Winner of prestigious European Union Prize for Contemporary Architecture

World-renowned lighting designer Motoko Ishii • Marketer, educator, public speaker and author • Redesign of lighting for Tokyo Tower • Over 30 Illuminating Engineering Society of North America Awards

SPARC 2013 program (to be confirmed): Tuesday 4 June

Wednesday 5 June

Thursday 6 June

3pm –7pm

Displays

12 noon – 9pm

Displays

7pm – 9.30pm

pening O Ceremony

12.30pm – 8.30pm Speaker Program

10.30am - 3.30pm Speaker Program

6pm – 8pm

7pm – 11pm

Happy Hour

10am – 4pm

Displays Gala Dinner (Sydney Town Hall)

Principal Sponsors:

Partner:

To register your interest and receive SPARC eNews, email info@sparcevent.org or go to website www.sparcevent.org.

For exhibition inquiries email info@sparcevent.org.

MOORE BEAMS PLEASE The inaugural Beams festival in Chippendale drew more than 5000 visitors to see light-art sculptures and installations, performances, workshops, food trucks and bars transform the inner Sydney suburb in September.

The lighting of the event was curated by Mike Day who coordinates the Masters of Design lighting design studios at the nearby University of Technology. Mike assembled groups of lighting, architecture, and interior and spatial design students from UTS and the University of Sydney to design, fabricate and install 28 site specific light installations and also light other artworks, performances and places throughout the narrow streets and laneways.

Students are encouraged to participate in public events for the real-world experience and the lighting students in particular enjoyed experimenting with a wide range of materials and ambient lighting conditions using high quality fittings. A range of light sources was used including LEDs, Redheads, theatrical PAR cans, candles and projections, all loaned by local suppliers including PRG, Xenian, ERCO and Zumtobel.

Organised by the Chippendale Creative Precinct and championed by the Lord Mayor Clover Moore, Beams will become an annual event to showcase the talents and products of the creative firms and design institutions found in this rapidly rejuvenating city suburb. www.beamsfestival.com.au www.chippendalecreative.com Image courtesy of Beams Festival

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FESTIVAL ON FIRE Matt Chromatic unleashes his inner dragon.

Text: Cat Strom Photo: Luke Davids Photography Every year thousands of hardcore techno-heads flock to the Sydney International Regatta Centre for Defqon.1, Australia’s leading dance music festival.

Described as a psychedelic wasteland, the event spreads across 200 acres with seven stages dedicated to celebrating everything from dubstep to hardcore techno. Founded in the Netherlands by festival organiser Q-dance in 2003, it is now in its fourth year in Sydney and is held mid-September, running from 11am to 10pm when it ends with a fireworks display.

Lighting designer and technical director for Australia is Matt Chromatic who works closely with Q-dance headquarters. This year the anthem for the event was ‘True Rebel Freedom’ so Matt created the key scenic element of a 25m high, 56m wide fire-breathing dragon breaking free from its chains on a main stage, made of scrap and everyday discarded objects: car parts, traffic cones, wooden pallets, barrels, a bath-

tub, all with a very raw edge.

Matt chose open fixtures such as Sunstrips, duets and open PARS to light the stage along with 10 Philips ColorReach LED fixtures to bathe the structure in strong saturated colour.

entire structure.

“We all know the Bad Boys have some serious output and it was good to use their extra power to add movement,” Matt said.

Set up for the show takes nine days with the usual problems associated with outdoor events: rain, wind, COOL TO BE HOT power supply. This year a day and a half was lost due “The open source fixtures deliver an intense, burning to high winds but it went fairly smoothly according to feeling which I think represents Defqon.1 because Matt. “The only real craziness comes with the 25,000 it is more of a raw, technology-based stage,” expeople who attend the event — they certainly know plained Matt. “Obviously we did have some cutting- how to do crazy,” he added. edge technology but it was cool to give it that burn- The lighting was operated on a grandMA console by ing hot effect.” a Dutch fellow who goes by the name of Freek. A Twenty Clay Paky Sharpy moving beam lights cast key element was the laser show supplied by Oracle their strong beams away from the stage, dancing in Attractions while Howard & Sons supplied the pyrotime to the heavy beat of the music. Three PRG Bad technics, and PRG the lighting.

Boys were situated on the other side of the dance area from where they cast a gobo wash across the 14

online

www.lightdesign.net.au

LIGHTING THE WAY FOR BUSINESS Along with its own belt-tightening measures the NSW government is recommending businesses drastically cut their power bills by choosing more energy efficient lighting.

Launching a how-to guide in Sydney recently, Bernard Carlon from the Office of Environment & Heritage said more efficient, commercially proven technology was now available to replace the lights most often used by NSW businesses – fluorescent, halogen and high bay lighting.

“Simply replacing a standard halogen light with an LED light can deliver up to 75 per cent energy savings and pay for itself in only two years,” he said.

“This is a practical, detailed report that will help business owners, facilities managers, procurement staff and engineers get to grips with the best lighting options for them and start saving energy and money sooner.”

As a case in point, the Energy Efficient Lighting Technology report launch was held at the Four Seasons Hotel in Sydney where a major lighting upgrade and other energy efficiencies are saving the venue $150,000, 945 MWh of power and 1042 tonnes of carbon pollution per year.

The 152-page guide states that lights make up 15 to 25 per cent of electricity bills for NSW businesses, a cost that can be cut by up to 82 per cent. It lists the benefits and drawbacks of upgrading with different types of lights as well as the potential costs and energy savings of each option, and lists questions to ask and criteria for choosing a supplier.

The report is produced by the Energy Saver program, which has run 370 energy audits in medium to large organisations across NSW, reducing their collective annual energy bills by $4.05 million. To download a copy or for more information visit www.environment. nsw.gov.au/sustainbus/energyefflight.htm

PLAYING IT GREEN Greener Live Performances (GLP) is a project by Live Performance Australia (LPA) to provide sustainability support for the live performance industry. The project is intended to support the entire live performance industry, including performing arts companies, producers, promoters, festivals, venues, touring coordinators and suppliers by providing: online resources, case studies, identification of funding avenues, as well as training and assessment tools.

The project is being funded by the Queensland Department of Environment and Heritage protection through its EcoBiz Business Associations program. It has established links with similar initiatives overseas in New York and London, and with Victoria’s Greening Our Performances, the NSW Green Arts Project and the national Sustainable Event Alliance.

While the project was initially focussed on live production in Queensland, some of the programs, including the lighting work, have already expanded to incorporate practitioners in other states and all project outcomes are being made available to the industry through a dedicated webpage and email updates.

Over the last six months LPA has hosted two lighting forums, inviting project participants and industry to come together to discuss what can be done to reduce the power consumed by production lighting.

Both forums have been well attended with representatives from many parts of the theatrical production world attending. Some of the major issues to arise from the discussions have included, the impact on creative freedom of lighting power reductions and the adoption of capped power allowances for lighting designs (as practiced at Sydney Theatre Company). Another thorny issue was the current practice of disposing of out-dated and inefficient luminaires by passing them on to community theatre companies and thus moving, rather than eliminating, the problem.

A core problem identified in raising awareness about energy consumption in production is making lighting designers aware of the power requirements of their designs. A working party has been set up to develop a means to provide production teams with this important feedback on the impact of their productions.

Details of all these discussions can be found on the Greener Live Performances webpage.

Greener Live Performances: tinyurl.com/greener-live

THE NEXT BIG THING FOR 50 YEARS NOW Fifty years ago the first practical, visible light LED was created. Although the phenomenon of electroluminescence was first discovered in 1907 by British experimenter Henry Round, it was in October 1962 that physicist Nick Holonyak submitted a paper on the creation of a red visible-spectrum gallium arsenide phosphide (GaAsP)-based LED to the American Institute of Physics, while working at General Electric.

Holonyak’s LED invention gave rise to the commercial introduction of LED displays as early as 1964. These handmade devices were expensive and, for the first decade or so, only red LEDs were available. However, given their size the miniature red LEDs had just enough light intensity and life-expectancy to be used as indicators in pocket calculators and digital watch displays during the early to mid-1970s.

Holonyak, a student of Nobel-prize winner John Bardeen who developed the transistor, also invented the quantum-well laser (which became the basis for compact disc players and fibre-optics) and codeveloped the SCR that lies at the heart of phase control dimming.

Since then growth in LED applications has been

driven by innovation in materials science, optics and the development of semiconductor technologies, bringing higher light output, higher efficiency and an increasing range of colours. The use of various semiconductor compounds such as gallium aluminium arsenide phosphide (GaAlAsP), indium gallium nitride (InGaN) and aluminium gallium phosphide (AlGaP), in conjunction with phosphor coatings, has enabled the development of LEDs that work across the visible spectrum.

Over the past 50 years, technology has advanced from red, through orange, yellow and green LEDs in the 1980s, to the first high-intensity blue galliumnitride (GaN) based LEDs a decade later. In 1991, Japanese professor Shuji Nakamura made a further LED breakthrough with the development of white LED lighting. He unveiled the first high brightness LED using a gallium nitride emitter that produced a brilliant blue light, partially converted to yellow by using a phosphor coating.

Of course, it’s not only the wide spectrum of LED colours that are now available, but also significantly increased light intensity and higher energy efficiency.

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Interestingly, the pace of LED improvement has a rule of thumb parallel to Moore’s Law in the semiconductor world, called Haitz’s Law. First proposed in 2000

by Dr Roland Haitz, it roughly states that for every decade the cost to produce LEDs per lumen will fall by a factor of 10 while the light output per LED package increases by a factor of 20. Haitz also predicted the efficiency of LED-based lighting could reach 200 lm/W in 2020 if enough R&D investment was directed towards advancing LED technologies by governments and the lighting industry.

According to Electronics.ca Research Network, the market for LEDs for general lighting could reach approximately $20 billion this year and about $30 billion by 2017. While LCD monitor and TVV LEDbacklighting applications are currently leading this growth, followed by mobile displays, analysts are predicting that LED lighting will capture the market lead by 2014. And by 2021, LED lighting is expected to capture more than 50% of the commercial building market.

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CLUB LIV DAZZLES THE GC Gold Coast nightclub supremo Craig Missen has upped the ante for the party precinct with wall-to-wall lighting and luxury.

Text: Cat Strom Photographer: Richard Mamando Club LIV boasts the world’s largest nightclub LED matrix according to owner Craig Missen, enabling the entire room to dynamically change with the music and the theme of the night.

A total 400sqm of LED is incorporated into the nightclub’s walls and ceiling with 20km of cabling, including 3km of power cables and 5km of network cables.

The air conditioning, house lighting, emergency lighting and a range of other services had to be custommade for the project to work.

The project is a collaboration between US LED manufacturer Cree, New Zealand’s Stellascape lighting controllers and Germany’s Madrix control software.

Craig’s in-house lighting expert, Bastian Foersterling, began his design with the Madrix program as he believes that the main point of a good LED system is the effects engine.

“Once we had the LED, the controllers and a dongle for the largest amount of universes ever, the real challenge began,” Bastian said. “There aren’t many lighting installation companies that would even go near a project consisting of 90,000 LEDs over 400sqm so we did it in-house. After maybe a dozen major engineering designs I figured out a way to mount and line-up the 320sqm of LED on the ceiling as well as the 80sqm we have on the walls.”

The solution involved 450sqm of 4.5mm thick Plexiglas (acrylic sheet) with 1.2km of 12.7mm square tube to frame it, 3km of 2.5mm electrical cable, 5km of cat5 network cable, and countless nuts, bolts and threaded rod.

HIGH LIGHTS

The ceiling needed to remain as high as possible for essential services, and to house cable for power and network as well as controllers.

For serviceability, all of the 34 ceiling sheets had to be removable and any utility connected to the panel had to be easy to disconnect. The LEDs radiate out from the DJ corner with the sheets carefully designed to fit the unusually shaped room while avoiding wrapping around any pillars. The custom-made air conditioning is triangular and fits in the ceiling corners all around the room; special slits were made to run between the 90mm gap of the LED, becoming invisible at nighttime while providing 360° air conditioning.

Eighty Stellascape controllers are used with each controller handling 16 strands of Cree LED. Every controller has a network cable that connects to two HP switches linked to each other on a gigabit network. These two switches are linked to a server running the Madrix software.

More information: Lighting Design: Bastian Foersterling LED Manufacturer: CREE www.cree.com LED Control Software: Madrix www.madrix.com LED Control hardware: Stellascapes www.stellascapes.com

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Building A Canvas Luminous creative director Bruce Ramus invites you to come and play with the world’s largest interactive light installation.

Text: Bruce Ramus Images: Robin Thomson

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ix nights a week, just as the sun sets over Darling Harbour in Sydney, a vast digital canvas gently breathes into life.

This is the world’s largest permanent interactive light display and it’s called Luminous.

Luminous is public art. It is innovative and interactive. It is sustainable and permanent. It is the result of a collaborative effort to create a unique approach to urban space that aligns public art, community engagement and commercial vitality.

I sought to ground Luminous with the feeling that we as humans are gentle in nature, we are playful at heart, and we wish to have the opportunity to shape our own environments and our own destinies. The intention of this piece now and in the future is to support and encourage that gentle, playful nature. I expect it to be embraced by locals and visitors alike, and intend to curate it like a 21st century digital art gallery.

Its resonance comes from a sense we all have about how we respond to the quality of light in our life. Light is not something we process in our minds, it’s an energy we feel in our body and that experience, I believe, connects us all.

As night falls the shutters on each window of the Darling Quarter façade automatically close and become a pixel on the Luminous canvas.

why we do it and that’s always more important than how.

We designed and implemented 180 hours of preprogrammed content that plays five hours a night, six nights a week, so the visuals only loop after six weeks of play time.

The visual content seen in the façade is gentle and abstract, using colour, movement and pace to convey meaning. It creates moods and contributes to a precinct that offers people an authentic space to feel wonder and stillness, free from political, commercial or religious agendas. It is meant as an offering to the community, not an imposition.

Engaging The Public

As the years go by the content will continue to be developed and curated.

Luminous will increasingly feature content created by community groups, local and international artists, public interaction and games, as well as special event programming for the community.

Encouraging the public to engage with the art is paramount to its long-term relevance and success.

When designing the interactive component, we paid close attention to making the experience simple and playful so anyone of any age or digital literacy level could enjoy it.

True Support We developed a standAs the creative director for alone API and several web Luminous, I enjoyed true applications that facilitate collaborative support from the interactive system. all parties involved in this Through two touchscreen project. They displayed an open, creative energy consoles located at the site, visitors can play single that not only brought this project to fruition, but and multi-player games on the facade in real time, also give it its gentle character. choose pre-produced visual content or make their Lend Lease, the Commonwealth Bank, and the own by painting with light on a vast scale. They Sydney Harbour Foreshore Authority had the cour- can also access all these facilities from their PDA age and vision to support the project. Project direc- or smartphone, or even design a light show from tor Stephen Brookes from Lend Lease Development home via a show-designer function on the Darling was key to shepherding it through the labyrinthine Quarter website. financial and permit approval process. Lighting Managing Director of development at Lend designer Mike Sparrow, architects FJMT, project Lease, David Rolls, explained the company is not managers Jeremy Tompson and Rob Van Wanrooy, only committed to creating iconic new spaces for and suppliers Klik Systems and ShowTech were future generations, it is also keen to give visitors also key players. the opportunity to create their own experiences.

“The interactive component of Darling Quarter is Content Design like no other in the world,” David said. “The digital Although the technical aspects of the design are facade allows guests to engage with the precinct. important to the overall outcome, it’s the visual This type of social interaction gives Darling Quarcontent that brings the piece to life. It represents ter a new dimension of engagement.”

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Technical Challenges

The 557 RGBW (red green blue white) LED lights were fabricated by Klik Systems in Sydney to Mike Sparrow’s and my design specification. We specified two types, large and small, to fit into the sills of the existing façade windows, and paid close attention to beam angles (5˚ vertical, 120˚ horizontal), dimming curves, and the myriad specifications of the various LED manufacturing processes.

We wanted to ensure the lights would have enough brightness to produce meaningful illumination at this scale, while remaining within the building envelope to conform to Sydney’s strict dark-sky regulations. We wanted to avoid disturbing the occupants inside as well, and maintain an even curve over the entire dimming range to avoid the spikes and drop-offs often associated with LED fixtures.

Timber blinds on each window automatically close each evening and create a perfect warm surface to catch the light from the fixtures. The windows become ‘pixels’ that in turn create one large low-resolution screen. The screen comprises two separate surfaces spread across four stories (14m) of the two Commonwealth Bank buildings and spans a width of 150m, making a total resolution of 207 x 4 pixels, with a 26 x 4 pixel gap between the two buildings.

The screens are controlled by a sophisticated set of Coolux media servers, media manager PCs and DMX show-stores all supplied by Show Technology.

These live in a basement control room and feed the control signals through a fibre-optic network to each floor and then get distributed over a cat5e network to each fixture.

One of the challenges we experienced was getting the video signal to speak to the W channel, as traditionally a video signal only speaks RGB.

Far Right: The Luminous canvas can be ‘played’ by random passers-by through the touchscreen interface.

Below: Two sizes of custom-manufactured RGBW LED bars wash the louvered shutters from below while having no impact on the occupants of the room behind.

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Coolux managed to write a rather complex algorithm that allowed this to happen, giving me a much broader palette of colours to work with during the programming phase.

We programmed for about two weeks, including integrating the interactive software and hardware.

Once we sequenced all the video content into the timelines, we also programmed the lights individually through the effect engine on a GrandMA and recorded that output to the show-store. This process enabled me to have very precise control of the fixtures to achieve another set of visuals that play during the week, a type of monochromatic movement that sets up the weekend where the screen is more dynamic and colourful.

Sustainably Solar

FOR MORE INFORMATION: Lighting/Video Design, Visual Content, Project Management — Ramus Illumination www.ramus.com.au Luminaire Manufacturer — Klik Systems www.kliksystems.com.au Control System — Show Technology www.showtech.com.au Interactive Hardware — FingerMark www.fingermarktouchscreenkiosks.com Interactive Software — iion ltd www.iion.co.nz

The LEDs are extremely efficient, each lasting about 50,000 hours, and the entire system is powered by 100 per cent renewable energy generated by solar panels affixed to the roof. The system uses 10.2kW — the same amount of energy as five household vacuum cleaners, and represents unprecedented advancements in green energy technology as befits Australia’s first six-star Green Star rated building.

This project is the latest international benchmark in urban digital innovation and it has established Darling Harbour’s vibrant new precinct as the fresh face of digital arts in Australia.

We will continue to generate new ways for people to engage with it as new interactive technologies are developed and implemented. Emerging and established artists will be asked to respond to it, and of course we’ll listen to those who engage with it and respond to their experiences. We hope you welcome it, play with it and shape it as your own.

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OPERA ALFRESCO The first of Opera Australia’s productions afloat finds a safe — if windy — harbour Text: Cat Strom Photographer: Lisa Tomasetti

S

taged on the waters of the harbour with Sydney’s striking skyline as a mere backdrop, Opera Australia’s La Traviata was its most audacious production.

Set designer Brian Thomson’s sloping, diamond-shaped stage provided a versatile, minimalist platform but it was his giant chandelier that drew all the attention. Measuring 9 x 9m, the 3.5-tonne chandelier hung from a blacked-out 26m crane and sparkled with thousands of Swarovski crystals, symbolising the world of Verdi’s muchloved opera with its glittering Parisian salons.

The aim was to create a sculptural element that sat on the water with the cityscape and Opera House as an integral part of the setting. The original idea for the staging was to moor barges off Sydney’s Royal Botanic Gardens but the production team soon realised this wouldn’t work — the water in Farm Cove was far too choppy. Instead they designed a solid 32 x 24m structure supported by nine pylons sunk into the harbour bed.

The spectacular set was complemented by John Rayment’s sophisticated lighting design. John’s biggest challenge was finding appropriate places to install the lighting without cluttering the stage or compromising sight lines.

“I was also keen to achieve back light even though there was no back light facility or backdrop,” John said. “The set was completely open but it was important for me to get some texture and definition for the live sculpting of the work. Fortunately I was able to hang Martin MAC2000 Wash XB lights off the crane post.”

WEIGHTY ISSUES

Initially John specified 18 of the washlights rigged in two rows of nine but they proved too weighty and he had to cut the number back to 10. He noted that the fixtures and data could be temperamental as the cable running up to them had to swing around and slew so the crane could spin.

The famous chandelier, which took 720 hours to

That chandelier took a lot of love and care... its glory and personality was largely a function of the lighting — John Rayment manufacture and another 240 hours to assemble, also acted as a support from which to hang lights.

Along with the 10,000 Swarovski Elements crystals, the chandelier contained 1025 crystal shapes, 23,104 facets, 3000 LED lights and 20 movinghead luminaires.

To complement the LED set electrics and point sources within the chandelier and comply with its weight restrictions, John chose lightweight LED moving-head fixtures: eight GLP Impression RZ moving-head zooms and 12 Vari-Lite VLX washlights.

“I felt it was important to continue the same LED light source, and the Impressions and VLX offered equivalent colour temperature,” he said. “I was very pleased with the Impressions, they’re feisty little critters and did the job very well; likewise the VLX fixtures which proved to be spectacularly reliable in what was really quite a hostile environment.”

The VLX were specially chromium-plated for the production so they sparkled and glinted within the chandelier when they moved.

SHUTTER UP

On either side of the stage were towers for lighting and speakers, sunk into the harbour bed far away from the set to keep it an isolated sculptural element. Rigging 30 lights on two 15m horizontal truss ‘goal posts‘ [this took place in Sydney, so we’re talking Rugby goal posts —Ed] over the water was no simple task and at 30m from the stage, the choice of lighting fixture was crucial.

“Dealing with a raked stage with a hard edge, I was very keen from the outset to use fixtures with shutters,” John said. “This was especially important for any light coming from the side so I could crop the light just to the performance area so that it floated, and not light the structure underneath holding it up.”

CREDITS Lighting Design: John Rayment Set Design: Brian Thomson Lighting supplier: Chameleon Touring Systems www.chameleon-touring.com.au

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John used Martin MAC III Performance high-output profile moving-heads with an interleaved framing system. Fifteen were placed in a straight line either side of the stage out on the goal posts alongside 15 Vari-Lite VL3500 washes.

There were three front of house lighting positions, with the two wide positions also holding Vari-Lite VL3500 washes with 12 VL3500 spots at the middle position.

“Trying to get all the heights of the front of house gear exactly the same was difficult and ultimately not quite achieved but not that you’d notice,” John admitted. “That throw distance was also over 30 metres. The VL3500 spots also gave me shuttering ability.”

Down in the pit area, eight Martin MAC 2000 Performances spent most of their time lighting the chandelier.

“That chandelier took a lot of love and care,” John said. “All its glory and personality was largely a function of the lighting — it was a tremendous gift from Brian and a masterstroke of an image. It gave the work a scale and opulence that so suited the context. It was an extraordinary feat.”

Four Lycian SuperArc 4K Xenon long-throw follow spots were out front with a further two at the sides.

Lighting control was by a MA Lighting MA2 chosen by lighting programmer Paul Collison for its shutter control palette.

WATER RESTRICTIONS

During the production period, Sydney was suffering one of its wettest summers on record and while there was a fair share of rain during rehearsals and setup, only one performance had to be rescheduled during the three-week run. For light drizzles, audience members were provided with rainwear.

This production of La Traviata was all about light: the lights of Sydney town across the harbour from the stage, the lighting from the production and the fireworks display reflecting in the harbour, and a central chandelier that was both a symbolic and a practical source of light for the performance.

Early on in the setup period the stage was found to leak like a sieve thanks to all the penetrations required to hold scenic pieces. Wind was also a problem and if a certain wind speed was reached, the chandelier was supposed to be dropped to a secure tie-down frame on the deck.

“One night the chandelier was shaking way beyond anything we thought would be allowed,” John said. “Watching your set being buffeted and the lighting trusses wave around as you’re trying to create a nice gobo look is not much fun and a little seasick-inducing.”

He also discovered on opening night that if you use military grade cat5 cable for the data runs and non-military grade cat5 plugs, the cables can pull the plugs out of non-military grade sockets, or loosen them enough to lose data.

“They all looked like they were in place so initially it was a bit confusing,” John said.

“Luckily the problems occurred during a scene where it was not so noticeable to the audience.

Obviously I noticed that the subtle closing in and changing of the space didn’t happen but fortunately it was a scene where it was essentially two people singing with follow spots.

“Once we realised what was happening we quickly supported the cable to take off the strain and rectified the problem the next day.

It was a classic example of ‘you are only as strong as the weakest link’, with the military grade cable being fantastic, running across the open air and possible salt water but terminating at a weak point.”

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SITE LIGHTS

John was also responsible for site lighting including the bars and VIP areas, choosing ETC Source IV, Altman Shakespeares, SGM Palcos to colour trees, incandescent balloons, Pulsar ChromaStrips and LED budlights.

With all large outdoor shows a certain amount of equipment failure is allowed for but John reports that all the gear performed well.

“It was really quite a happy time and I don’t remember any grief-stricken events,” he said.

“However, I’m sure Australia Opera’s head of lighting Colin Alexander and the guys from our lighting supplier Chameleon Touring Systems could tell you a number of horror stories I was never privy to!”

The main structure was dismantled at the end of the production but the pylons sunk into the harbour bed were left to facilitate future projects. A few days prior to going to press and a day after Handa Opera On Sydney Harbour won four Helpmann Awards for La Traviata, organisers announced the return of the alfresco opera with the Spanish sizzler Carmen to be directed by Gale Edwards, again using the talents of Brain Thomson and John Rayment.

Opera Australia will present another 18 performances over three weeks from March 22 to April 12 2013. Tickets from $79.

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ON THE WATERFRONT Sydney’s landmark Jones Bay Wharf gets a lighting makeover Text: Tim Stackpool Photographer: Albert Kwok

T

hey may have become the most popular locations to establish a city office but Piers 19 to 21 at Jones Bay Wharf in Pyrmont are steeped in a heritage of historic features and legacy materials so precious that even the simplest maintenance or upgrade tasks present a challenge.

The wharf stands as a prestigious building complex, an icon in Sydney and a popular location for Sydneysiders to do business. Its tenants include Fairfax Media, Prime Television, Electronic Arts, Bluescope Steel, ANL Shipping and the Wilderness Society. Throw in a handful of designers, media agencies, architects, real estate agents, the usual scattering of cafes and restaurants and a substantial marina, and you have a city within a city that’s in constant need of repairs and maintenance.

An energy audit was commissioned on behalf of the building management committee. Specialist engineering and consulting firm Practicable Sustainability was engaged with funding assistance via the NSW Department of Environment, Climate Change and Water, to report on energy saving initiatives including a lighting upgrade to maintain the expected light level in the common areas while improving the energy efficiency of the wharf’s common area lighting. The report contained numerous opportunities to improve the wharf’s infrastructure in general, but the lighting stood out as the most economically viable priority.

“We found the main challenge of the project was to match the existing fixture housings which were no longer available, whilst at the same time improving the existing lighting levels of the common areas and heritage features,” CBRE Senior Building Service Manager, Wayne McManus, said. “The maintenance of the old lighting was excessive, not only in cost but time.”

Credits: Design: Simon Tang Installation: Waterforms International Building Services: CBRE Suppliers: Yalwarne Pty Ltd: 02 9525 2893 Domus Lighting: www.domuslighting.com Havit Lighting: www.havit.com.au Pega Australasia: www.pega-aus.com

tures, yet also very long-life to reduce maintenance.

The company was invited to submit a tender to the LED light project in July 2011 and had previously worked on a quotation to replace a series of light fittings back in 2010, but had not done any other work on the wharf.

“We were extremely happy with the client agreeing to our concept, simply because several of the light fittings we suggested did not even exist at the time,” Tang said. “As the demands of this project were really high, Pega took the challenge to suggest LED lights which we anticipated to be available in the next three to six months in order to address the special requirements.”

CUSTOM MADE

A notable example is the three light fittings Pega developed with Domus Lighting. These formed the core of their offering and were eventually deployed in five separate areas of the wharf.

“We had to design the light fittings from scratch and develop the light for the wharf before we were certain a LED chip was even available to the industry,” Tang said. “Eventually we settled on a 30W Sharp single chip, 5000K. The light was custom designed entirely, from the power supply, LED chips, heat sink and fitting body, integrated within three months and made available in six months.”

New tools were created for fitting the housing and key components. All the internal components including the critical power supply, LEDs and optics were newly designed for the fitting. Since the LEDs are expected to run for many years, Pega’s lifetime test was run for more than two weeks and the sample fitting was then trialled onsite for a month before ongoing production was finally signed off.

The custom made fittings are all cylindrical downlights, each with different LEDs and mountTENDER CARE ings for seamless installation. To expedite the CBRE sought pricing and proposals from three dif- development process and production, the fittings ferent suppliers and accepted Pega Australasia’s have a similar design and use common internal tender, given the company’s flexibility and ability components. Construction and post-processing, such to supply matching custom-made fixtures with a as powder-coating, was undertaken to a very high relatively small lead time. specification to allow for the harsh environment.

“Pega Australasia submitted one design proposal There are no suitable products available off-theon the principal lighting fixtures throughout the shelf, according to Tang. Most commercial lights common area of the wharf, with the common still use power-hungry metal-halide technology concept being to maintain the special ‘look’ of the that need to be re-lamped every two years or so, wharf,” Pega’s Simon Tang said. “The lights must and didn’t meet the requirements of the brief. look good when they are turned on or not used.”

In addition, the project had to be undertaken with The complex is unique in that it was a fully oper- limited access to trial periods for testing and evaluational wharf before it was turned into prestigious ation. It had to fulfil light level requirements stipuoffices, Tang explained. The lights had to be nonlated by Work Cover, WH&S and local council, and intrusive and blend into the wharf’s existing feacomply with heritage restrictions for appearance.

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The modern lighting requirement limited the offering to LED and fluorescent technology. In many cases, the design called for a recreation of the 1920’s look but also had to ensure that at least 40lux was achieved. ”We were able to successfully create that look inside the lower walkway of the wharf, mimicking light from an old style kerosene lamp using a LED lamp,” Tang said. “The effect is stunning.”

In another instance, Pega had to prepare a prototype for a particular area that was to be inspected by the Building Management Committee (BMC) in just two days’ time.

“We were able to source the light fittings, get the lights installed, and once approved by the BMC the 75 sets of lights were fully installed within two weeks,” Tang said. “The BMC members were extremely impressed by our speed of response.”

LOCALE DEMANDS Overall, there are 15 different LED light fitGiven that the installation is mainly outdoors, tings and lamps used in the project. The LED progress was at the mercy of Mother Nature. high bay lamps are rated at 150W, while the The wharf has public access and a variety of LED lights replacing the High Intensity Disbusinesses, so work could only take place durcharge (HID) lamps are in the range of 12W to ing designated times and couldn’t disrupt regu- 30W. LED floodlights of 30W and 50W were lar operations. More than half of the installation used to replace 150W HID fixtures in the walkwas undertaken during evenings and weekends ways, and 6W LED spotlights were installed to so extra consideration had to be given to local replace the 50W quartz halogen MR16 lamps. high-end residents and noise restrictions. FurThe LEDs offer a 70 to 85 per cent power thermore, the regular power supply was intersavings and 35,000 hours of life, or four to 10 rupted because of the extent of the electrical years without servicing. work, so work lighting was powered externally.

“The maintenance of the old lighting was Overnight planning for parts and supplies was excessive, not only in cost but time,” CBRE’s another factor as local ‘go-to’ suppliers weren’t Wayne McManus said, noting that owners and open outside of normal business hours. tenants were pleased with the upgrade. “The “In addition, several old issues appeared when new fixtures have reduced this, allowing the we began to take out the old fittings,” Tang said. wharf’s maintenance team to concentrate on “Some of them were over 15 to 20 years old. It improving other features. The building’s diverse was like opening a Pandora’s Box.” Despite its security camera system and apron pedestrian age the cabling was in very good condition and safety have all benefited with the improved the physical mounting points were tested and external light levels.” found to meet the current standard but around 75 per cent of the original light fittings had completely corroded internally.

Inventory New fixture

Replaces

Supplier

Spec

150W LED high bay

400W high bay HID

Yalwarne Pty Ltd

150W 6000K

30W LED pendant

150W HID lamp

Domus Lighting (custom)

30W 5000K

12W downlight

150W HID flood

Domus Lighting (custom)

12W Cree PAR38

30W LED flood light

150W HID flood

Havit Lighting

30W cool white

50W LED flood light

150W HID flood

Havit Lighting

50W cool white

18W LED PAR

40W Compact fluorescent

Pega Australasia

18W PAR38

6W LED MR16

50W MR16 Quartz halogen

Pega Australasia

6W MR16 60°

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The Wunderkammer Wunderkind Adam Meredith’s work in museums has made him an object of international attention.

Text: Mandy Jones

H

e’s travelled the world lighting incredible objects from priceless Fabergé eggs to a giant wall of vaginas, becoming the goto-guy for museums and galleries. Over the last 10 years, Adam Meredith has established his reputation as a high quality lighting designer throughout Australia and internationally.

As director of Melbourne-based company Museum Exhibition Gallery Services (MEGS), he provides a comprehensive lighting consultancy encompassing design, installation and technical management with a portfolio of venues that reads like a grand tour wish-list.

Adam’s lighting career began at two of Australia’s leading cultural institutions — Melbourne Museum and National Gallery of Victoria (NGV).

It was while working as a technician at Melbourne Museum that Adam met a fellow lighting designer who would become a close friend and mentor, the late James Clavering.

MORE INFORMATION MEGS: megslighting.com Luxam: luxam.com MONA: mona.net.au Vision Design: wspgroup.com European Museum Technology: musea.com.au Opposite: The Casket — A ‘Wunderkammer’ or cabinet of curiosities located at the front of the MONA Pavilions. It was the Wunderkammer that prompted Adam’s association with MONA. (Photo: Brett Boardman Photography)

extensively is Luxam optical fibres and Mini, Micro and Nano luminaires.

“I first came across them at NGV where the system was used throughout the Decorative Arts, Asian Arts and Textiles sections of the gallery,” he explains. “The Luxam system is highly regarded in many museums as the remote light source suits conservation requirements. LED technologies have come a long way but for case lighting they do not have the focal qualities, colour rendition or conservation requirements. Nothing else has the ability to control the light with such accuracy for the size as the Luxam fixtures can. Being able to use a profile the size of your little finger with a variety of shutter shapes, and with a variety of beam angles and accessories for glare and control, the possibilities become pretty endless.”

CAREER KICK

While working at NGV a fateful opportunity kicked Adam’s career trajectory into the next gear. A LIGHTING INSIGHTS Luxam optical fibre system had been sold to a new “Working with James at Melbourne Museum gave museum complex being built in Hobart for installame an insight into what lighting can offer an extion in a custom outdoor Wunderkammer (or ‘cabihibition space in a controlled environment,” Adam net of wonder’), showcasing a variety of curiosities. says. “James’ teachings of light being an art form Unable to send one of its own install teams from in itself will always be valuable to me. This period the US or Europe in time, Luxam recommended also exposed me to how many specialists and deAdam for the job as he had used the system so partments have input into a finished display.” extensively at NGV. Adam and James both went on to work at NGV Lighting that Wunderkammer was the beginning where Adam honed his skills as Head of Lighting of a relationship between Adam and David Walsh’s and was fortunate to receive a travel grant from Museum of Old and New Art (MONA). Within a long-standing NGV benefactors, the Clemenger year Adam was appointed Exhibition Technical family, enabling him to participate in research Services Manager at MONA, working on the project placements at leading institutions including the from site construction through to install and the Guggenheim, Metropolitan and MOMA in New York, finished gallery space. and the Louvre and Pompidou Centre in Paris.

“The real pleasure of MONA was that it was so “It was the ideal chance to make international high quality and result-focused. It wasn’t about industry connections with both museums and budget, it was about achieving the best results and luminaire manufacturers. Working on touring that’s rare,” Adam says. exhibitions with international curators, directors and artists expanded my contact base as well, BEAUTY SPOTS and working with European products made me One of the more notable artworks Adam lit at aware of a variety of lighting systems and kept MONA was C#nts… and Other Conversations by me current with projects that happen overseas,” Greg Taylor, comprising 150 fine porcelain sculpAdam says. tures of vaginas, each illuminated by a 10º optic fibre spotlight from a custom mount bolted into the EVOLUTION OF LED low roof-space lighting track, with the fibre drivers The holy grail of any lighting designer working in mounted discreetly in the ceiling. the museum or gallery sector is a fixture that is Adam’s work at MONA has been widely praised discreet, bright, glare-free, long-life and enables and was acknowledged by the IES when MONA optimal viewing of the display while complying received the 2012 Supreme Brilliance Award for with strict object conservation requirements.

Lighting Excellence. To top this off, Adam himself Optical fibre lighting systems have long been has recently received the IES Lighting Design Exthe workhorses of object-based exhibitions but cellence Award for his design of the Theatre of the with the rapid evolution of LED technology, many World exhibition at MONA. displays are now being designed or retrofitted for “The MONA project was an opportunity not to be LED systems. missed. I believe that it was the best cultural gift Working with fine art and precious objects for to Australia, and it was always going to be history more than a decade has given Adam the opportuin the making. It was an absolute bonus to win the nity to try many different systems and sources in award with Vision Design’s Donn Salisbury and myriad applications. A system he has worked with Katarina Verkic. I engaged two of the best lighting

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For gallery and external showcase lighting it’s clear that LED is the new direction — Adam Meredith

technicians in Australia, Alex de Bie and Michael Agnew, to work with me, and every person that worked on MONA had a lot of passion and worked towards the same goal.

“When you’re confined to lighting a display case, it’s all about exposing the detail of the object while creating minimal shadows and it’s quite rewarding.

When you get the opportunity to do a whole space it’s even better because you can control the ambient light and stylise the whole space. But getting the chance to light a whole museum, it’s just amazing,” Adam says.

“I think David Walsh is the most generous thing that’s ever happened to Australian art. He’s turned Tasmania into a boutique cultural destination. He could have built MONA in New York or even Melbourne but didn’t want to build a museum that was on the circuit, he wanted it to be a pilgrimage.”

(From top) Luxam’s Micro range of optical fibre luminaires. Each of the vagina sculptures was individually lit by optical fibre (Photo: Remi Chauvin).

A display of blue Wedgwood at National Gallery of Victoria, lit by optical fibre and fixtures (Photo: courtesy National Gallery of Victoria). Imperial Fabergé Egg — The Renaissance Egg glowing from within, lit with an optical fibre (Photo: courtesy La Venaria Reale, Italy).

double-sided tape, ran across the dress panel, and created a remote front shot going from each side of the case. The Nanos are so discrete you can actually have them on a 6mm bar and exposed, they don’t need to be limited to an internal out-of-sight application. For the Rennaisance Egg I drilled into the base of the case and ran fibre up underneath the egg so it glowed from the inside as well.”

NEW DIRECTIONS

“For gallery and external showcase lighting it’s clear that LED is the new direction but for internal showcase lighting, LED isn’t ideal because there are still problems with focal quality, temperature and colour rendition, especially when you’re lighting gold objects, whereas with optical fibre you can run a bigger LED panel outside the case that’s fan cooled and remote to the showcase and still get the focal qualities to achieve beautiful results.”

TO THE TEST But as Adam points out, the use of LED as the “Having used the Luxam system to light objects source for hybrid drivers is enabling the best of in a variety of applications, Adam’s enthusiasm both worlds. for the compact and versatile luminaires is under“The exciting thing about LED and the focus standable. He has put them to the test in customqualities of the fibre system is that it takes you to built showcases, and in heritage collection cases an interactive level with the Luxam 24-port DMX/ where the only access to get light into the case is IP-controlled illuminator (a 24-channel hybrid fibre through existing screw holes. In other displays he driver enabling control of each fibre individually, has used the Nano fixtures as tiny uplights to avoid turning exhibition display cases into interactive shadows typically created by track lighting. environments). With a 6mm grid top, which is usu“Display cases will always be a large part of ally what you shoot for in a case, you can make exhibitions so when you can work with a case a little rock concert and have scenes of profiles, manufacturer such as European Museum Technol- washes, backlight and frontlight all behind a baffle ogy (EMT) to incorporate the lighting system, all in a showcase, and it gives you the flexibility to rerequirements can be addressed — even the size and ally tune the light and get it right by reducing the depth of the object mount to suit the light source shadow off the object. The interactivity of it makes becomes important. Computer design programs future possibilities endless,” he says. can assess this at design stage, which is a bonus.”

Looking back over the last decade, it is clear Adam has worked on some of the great internathat no-one is more surprised about the array of tional collections including an exhibition of Islamic precious artworks he has lit than Adam himself: Art at New York’s Metropolitan and, in a nice piece “Contemporary art has been fun to light. David of symmetry, at the Basel History Museum in Walsh’s collection is so cheeky — lighting C#nts…

Switzerland where he had the opportunity to light and Other Conversations is as much a once-inth original Wunderkammers from the 16 century a-lifetime opportunity as the Fabergé eggs. As Amerbach collection containing an eclectic mix impressive decorative art goes, I’d have to say the of objects such as puffer fish, gold, shells, guns eggs were the most incredible objects — they were and skulls. Most recently he travelled to Italy to out of this world. When I got to the end of it I light exhibitions of the Imperial Fabergé Eggs and realised, ‘wow, I’ve lit a billion dollars’ worth of art.

Vatican Treasures, a rare opportunity to get up In a week.’ I couldn’t even begin to estimate the close to some of the most exquisite decorative art total value of art I’ve been lucky enough to light objects in the world. over the years.”

The Luxam optical fibre system gave him the versatility to light the eggs discreetly from all MEGS is working on a variety of Australian and sides. “When I was lighting the Bay Tree egg I international gallery projects into 2013 including needed to put some front shots into it, so I ran a an exhibition in Marseille and a new commissioned single fibre down the back side of the glass on sculpture by Wim Delvoye at MONA.

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River Deep, Fountain High Lighting a wall of water over the Parramatta River offered a complex set of challenges.

Text: Cat Strom

W

Further information: Ausflow Irrigation: (02) 9949 1511 Harris Movement Engineering: harrismovement.com.au Fountain People products are available in Australia from HME. Interactive Technologies: www.interactive-online.com Interactive Technologies products are distributed in Australia by PRG www.prg.com

Opposite: Fountain People Liquid Color 360º nozzle/luminaire combos project water and light upwards, while Liquid Color Spots light up the descending cascade of water.

ater and electricity are not the best bedfellows, so it was a bold move for Parramatta City Council to commission a permanent lighting installation in a fountain of water in its bid to attract more visitors to the river foreshore.

The Barry Wilde Bridge fountain incorporates 21 high-volume fan jets delivering as much as 5000L of water a minute, carefully placed to create a wall of water that is lit from LED light sources.

Only two months was allowed to design and build all the components, excavate for the plumbing to extract the water from the river, build the pumphouse, fill it full of gear, and finally fit the pipework and outlets to the bridge.

Executing the complex works in the time frame required a number of highly skilled suppliers. Ausflow Irrigation took on the responsibility of getting the water from the river, filtering, treating and pressurising it ready for delivery to the nozzles.

Harris Movement Engineering (HME) then took that water at the pump shed and created the rest of the effect, installing the water delivery system, the control systems, and then engaging and working directly with Lighting Designer Martin Kinnane.

The result is a light show that occurs half-hourly, every evening from dusk to 9pm.

“From the beginning the concept was to create a wall of water that could be lit for effect,” HME director Glenn Harris explained. “The original concept of ‘many jets of water each with its own ring of light’ ultimately grew into 21 high-volume fan jets, 21 ring lights and another 20 intervening lights to light up the water as it falls back into the river.”

SOME ASSEMBLY REQUIRED

HME took the opportunity to cement its growing relationship with the US-based The Fountain People, the creative engineers behind some of the most impressive water fountain displays in the US. The Fountain People have a significant range of nozzles for different effects. Because this installation required a wall of water, traditional flow nozzles that create tubes of water on the air were not going to work. Fan jet nozzles created the right effect, but no one had tried to create a waterfall with them before so it took some practical research

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to get the best angle for the lights. It soon became apparent that the lights on the nozzle only lit the water as it apexed and began to fall so a second row of lights was needed.

The ring light used around each nozzle is a Liquid Color 360º which has a 264mm diameter annular RGB LED underwater fixture with 91mm centre opening, while the solid LED lights are Liquid Color Spot; both made by The Fountain People.

Meanwhile, HME had to build a design model of the 50-year-old bridge and work out how to get water from the pumphouse to the outlets. That might sound simple but when you are talking about high-volume water at pressure, you need to get the engineering just right. By ‘floating’ a combination of steel and heavy-duty poly pipe under the bridge rather than attaching it rigidly, HME eliminated the problems that could arise from the bridge and pipe expanding at different rates with changes in ambient temperature.

During the day the fountain runs as a simple water effect for the enjoyment of the lunchtime crowds, but it is after sunset that the real show begins. Once the sun goes down the LED lights come in to operation and every half-hour one of four carefully prepared and programmed lighting shows runs for 10 minutes.

LUCKY IN VEGAS

Lighting designer Martin Kinnane joined the design team after the structural elements had been decided, including the light fittings and placements. As luck would have it, he received the call from HME while he was working in Las Vegas — the best place on earth to research the lighting of fountains.

“I took the time to wander around Las Vegas

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Right: Careful design of the positioning of the lights ensured complete coverage of the waterfall effect. Above: Fan jet assembly prior to installation (photos courtesy of HME).

looking at fountain light installations such as the ones at Bellagio and Wynne,” Martin said. “Working on the Barry Wilde Bridge fountain was a fantastic experience. It gave me the ability to take all my knowledge from lighting theatre and events and apply them to such an exciting kinetic display.

“I have created four shows, each individual in content and style. One celebrates Australian music, another some strong international acts, the third has a movie theme and the fourth is a tribute to our local and national sporting stars. I have always been fascinated by light and water, not something that always mixes happily, and it was exciting to design thinking not only of the lighting in the jets of water but also how it reflected in Parramatta River.”

The major difficulty for Martin was the absence of any supporting material — such as music or actors — so maintaining interest for different shows was going to be a challenge.

“Initially I wasn’t sure we could do it,” he said candidly. “I needed something to design off so I came up with little sound tracks in my head. For example, for the sporting section I had in my head the theme song for the Parramatta Eels and I used the colours of the Eels, followed by the colours of the Great Western Sydney Giants AFL team, and ending with the gold and green of Australia.

Maybe no one will get that while watching it but it helped me!”

CEREBRAL PROGRAMMING

Martin transformed his thoughts into reality with a Strand Lighting Palette console into which he programmed the lighting and water pressure control sequences, allowing for complex controlled effects including pixel mapping to the 41 LED fixtures mounted on the bridge.

Martin endured three nights of programming in the wet and cold but was bolstered by many passers-by who took photos and came up to ask what was going on. “Most were surprised that it was a permanent installation, not just for a festival, and everyone was very positive about it.”

The water handling is controlled from a fairly typical irrigation style setup, with UV treatment 38

and basic filtering of the water that is drawn from the Parramatta River. While the water is fresh at this end of the system, it carries mud and fine particles so the anti-bacterial component of the UV treatment ensures the water sprayed through the air does not cause any problems for those watching.

The water delivery system is controlled using HME’s custom built variable speed controls adapted from winch designs typically used for theatres.

The whole machine is triggered by DMX, supplied by an Interactive Technologies CueServer Pro CS-800 DMX playback system housed in the control cabinet. The Cue Server handles the timeof-day triggers, sunset functions and the individual show playback for lights and water pressure.

MUDDY WATERS

Of course installation of all of this high-tech gear was a mammoth task. Not only was the river a hurdle, so was the extremely tight installation timeline. The key to making it work was special ramps that allowed boom lifts to drive out over the river. These ramps had to be strong enough to deal with the boom lift, stable enough to prevent any slipping on the canal floor, heavy enough to stay in position when the river flooded, and designed to match the contours of the canal floor.

The bridge fountain also provides environmental benefits, helping improve water quality and providing a better environment for native fish.

Solar panels will also be located on or near the structure to reduce the amount of grid electricity used for the fountain pumps and lights, and help reduce operating costs.

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BLOOM UNIT Photorealistic rendering and collaboration in the cloud Text: Andy Ciddor

P

hotorealistic rendering is not a task to be undertaken lightly. In the not-too-distant past if you wanted to see a half-decent rendering of your CAD model under more than a couple of generic light sources you needed a render farm of expensive high-speed multi-processor, but ultimately blisteringly-slow, workstations. Nobody in the visualisation workstation business was in the position to invest the resources required to develop the dedicated silicon and microcode needed for a task as specialised as real-time, on-the-fly, photorealistic rendering when the worldwide market for such products was only a few tens of thousands of systems.

Enter the dragon... and the alien zombie, and the gamer toting a BFG 9000 or a chainsaw around a Nazi castle or a haunted space ship. Suddenly there are millions of gamers, pumped-up on testosterone, lining up in computer shops, waving their credit cards and demanding to buy systems that do realtime, on-the-fly, photorealistic rendering. As one of the most successful companies in the business of meeting the demand for computer-generated images in all forms of entertainment, NVIDIA has been developing graphics processing hardware since the mid-’90s. Along the way it acquired image rendering software pioneers Mental Images, whose most recent development, the iray Integration Framework, was designed to run on NVIDIA’s RealityServer cloud-based rendering engine. The iray renderer provides what NVIDA describes as ‘an intuitive-to-operate, interactive, consistent, high-performance global illumination rendering technology that generates photorealistic imagery by simulating the physical behaviour of light’.

REACHING FOR THE CLOUD

Further information: Bloom Unit: www.bloomunit.com SketchUp: www.sketchup.com

Melbourne-based migenius, long-time partners of NVIDIA and Mental Images in providing CGI and rendering solutions to clients around the globe, last year acquired the rights to all future development of RealityServer, a platform they had been working with for over eight years. Meanwhile, NVIDIA will continue to develop the underlying technology platform. In the process migenius got to know quite a bit about the iray platform and its capabilities, the upshot of which was the development of Bloom Unit, the world’s first interactive cloud-based rendering plug-in for the SketchUp on-line drafting application.

Released into the market in early October, the features of Bloom Unit version 1.0 include: • Real-time, physically-accurate, photo-quality output, feeding continuously to the Bloom Unit viewport.

• Rendering at the press of a single button, with no need to tweak any specialist rendering settings.

• Direct control of all lighting conditions, including both sun and sky settings and inserted light fixtures.

• The ability to interactively add, delete or move any object in the scene, change materials or refocus light fixtures.

• IES photometric data provided with all 208 luminaires in the bundled library of fixtures from Concord Sylvania, ERCO, Lighting Group and Thorn.

• The 300+ materials in the bundled library are physically accurate in both appearance and environmental performance.

• Collaboration between the participants in a session includes real-time, interactively-shared screens and pointing devices.

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• Bloom Unit sessions run in any browser on any hardware platform or operating system, without the need for any additional plugins.

• A standard wi-fi, 3G or 4G connection is all that’s required for a full collaborative session.

• As the client feed is a stream of fully-rendered images, the complexity of the project has no impact on the responsiveness of the client.

BUYING BLOOM RENDER UNITS

Bloom Unit is free to download and comes bundled with one free hour on the cloud-based rendering server. After that the only cost is a $6 per hour fee for access to the rendering servers. Time can be purchased on-line from the Bloom Unit website in one-, five-, 10-, 20- and 40-hour packages.

While SketchUp is hardly the industry’s most commonly used CAD and visualisation tool, it’s certainly one that’s not hard to grasp if you need to keep working when you’re away from your office. While the free version will do quite a lot, you’ll need the US$495 Pro version to import and export drawings and models from other systems and

place custom objects and materials in your model.

However, once a model has been saved by the Pro version, you can then use the free version for all further rendering work with Bloom Unit.

IT’S RENDER TIME

All other considerations aside, Bloom Unit produces gob-smackingly gorgeous photo realistic renders in near real time as you manipulate the model and the light sources, and lets you share these visions with your clients and the others on the project.

Even if it had no value as an engineering or design tool, its value in sales and client communications would make it worth the money and time spent in using the product. If you would like to see a slightly cheesy, but interesting YouTube video on how this could work for you, just visit the Bloom Unit web site (www.bloomunit.com).

If you want to take the SketchUp and Bloom Unit combination out for a spin you can download trial versions of both systems. The SketchUp Pro trial gives you eight hours of running time and Bloom Unit comes with an hour of rendering time.

Top Left: A fixture selection screen of real luminaires, complete with IES data, from Bloom Unit’s bundled light library.

Top Right: A materials selection screen.

Left: The Bloom Unit viewport running in a SketchUp session.

Bottom: A Bloom Unit rendering of a SketchUp model.

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MARTIN VIPER PROFILE Introducing the first member of Martin Professional’s newest family of 1kW movers.

Text & image: Paul Collison

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ow often does a lighting fixture have pre-orders exceeding the delivery capacity of the manufacturer? How often is there so much hype about a fixture, before many people have had a chance to actually see it in action? You could say the folks in marketing at Martin HQ have done an exceptional job in creating that Apple-style anticipation, however, in the case of the Viper series of moving lights, there is a great deal of substance to the hype. With a PLASA Award for Innovation already on the shelf, the MAC Viper is set to become a new workhorse for lighting designers around the world. Even if most of northern Europe and Asia can’t pronounce its name properly!

The ‘Wiper’, sorry, ‘Viper’, is the latest lighting fixture from Martin Professional in Denmark.

The profile is the first of a new range to hit the market. Ultimately, the Viper family will consist of four lighting fixtures, Wash, Performance, Air FX and the now-released Profile. The Viper seems to hit that middle ground between the market-dominating MAC2000 series and the hard-working MAC700 series. For now, we have the Profile to play with, with the remaining fixtures not too far away.

LIGHT SOURCE REINVENTION

Like all lighting fixtures, the design starts with the light source. More often than not, a lighting fixture begins life on a piece of MDF with various lens arrays, lamp positions and reflectors scattered around. It might not seem like hightech development, but it really is a case of trial and error in finding the perfect combination of glass, lamp and arrangement. In the case of the Viper, Martin took the not-entirely-unprecedented step of looking for a lamp that didn’t exist. Martin knew it needed to invent a lamp in order to achieve the high expectations of the development team and began searching for a partner. Enter global behemoth Osram, Martin’s collaborator on many of its recent fixtures.

In conjunction with the R&D staff at Martin, Osram developed the short arc HID 1000W/ PS lamp, a more compact sibling for the HTI 1500W/60/50 used in the MAC III. The most important aspect of this lamp is the 5mm arc gap which is similar to the MAC III source. The narrow aperture of the arc allows for greater control all the way down the optical chain. As far as colour temperature goes, it does burn a little high (6000 degrees Kelvin), however, it maintains its integrity for over 70% of its 750hour life. A reasonable CRI of 85 edges it a little closer to the perfect CRI of 100 that only a tungsten lamp can achieve. The harnessed light of the Osram lamp is ultimately pushed through various lenses to a very large lens on the face of the unit — 140mm large to be exact. The recent trends of large-faced profile fixtures such as the PRG Bad Boy and MAC III are not purely about aesthetics, they help harness significantly more light than the smaller ones, resulting in greater light output. So much so, the Viper, with its 1000W lamp is over 25% brighter than its 1200W MAC 2000 Profile relative, and almost double that of the MAC700.

COLOUR MIXING

Colour mixing is an area that has had some fine tuning also. Martin has taken to cutting its own dichroic glass, as history proves that

outsourcing this particular part of the process can really bite you on the backside. A tiny micro fracture in the glass under the intense heat of a high-powered lighting fixture can cause problems very quickly. This has allowed Martin to make many improvements in the process and has resulted in some startling advances in areas such as the minus-green filter, which is now almost twice as efficient as previous fixtures. Subtle changes to the CMY system have improved the saturated colours and allowed for greater variation in the green and yellow areas of the spectrum — colours that have previously suffered in Martin fixtures. Above all, the colour mixing system is virtually silent. A system-wide CMY chase may no longer infuriate the audio department with the sounds of belts and glass rubbing. A variable CTO wheel gives the unit a seamless range of 6000K through to 3200K. Lastly, there is a single colourwheel with eight slots for greater colour control and those favourite snapping colour chases.

everything seems fast, however the snappy zoom takes the Viper into territory long dominated by fixtures such as those from Vari-Lite.

UNDER CONTROL

Control-wise there are two modes in the Viper Profile. Martin understands that a large DMX footprint comes at a cost, so keeping the control channel count low was a priority. The result is a 26-channel and 34-channel mode. The latter offering 16-bit control over colour, zoom and focus as well as channels for individual calibration of fixtures, should you come across a fixture that requires it. Following the tradition of the MAC III, Martin fixtures now only come with five-pin DMX ports — waving goodbye to non-standard three-pin connectors [Huzzah!

— Ed]. The fixture also facilitates RDM. Interestingly, Martin has not included an RJ45 connector on the unit. Given there is a complete lack of industry support for any one protocol over this medium, Martin decided that there was little or no need for such an inclusion.

GOBO SET

It is easy to skip over the fact the Viper has the stock standard list of gobos, prisms, iris and strobes, however, there are plenty of improvements in these little features that are worth exploring. For example, strobing is no longer entirely dependent on shutter blades. Subtle control over lamp voltage means a combination of shutter movement and lamp fluctuation allow for more organic strobe effects that seem less robotic. This control also extends to dimming.

At the bottom end of the dimmer channel, the lamps actually dim in order to smooth out that last bump in a fade that the optical shutters on many moving lights seem to produce.

There are two fully-rotating and indexable gobo wheels. The selection of the gobos was a long and rigorous process that treated aerial effects and projection effects as two separate elements. Designers around the world were surveyed with an ever-decreasing range of gobos until the final selection was made. There is also a third gobo wheel which houses four fixed gobos and a new-style animation wheel.

The new animation wheel does away with the endless animation effect of the MAC700 and 2K Performance fixtures, but does allow for some interesting animation effects. While a gobo set will never fully satisfy every designer, this is probably the best set of standard gobos ever to be released with a Martin fixture. The inclusion of a proper variable frost wheel brings to a moving light a real frost effect. To the point that slight adjustments in the focus and frost wheels gives the designer great control over soft edge effects. A four-facet prism and an iris fill out the beam effects portion of the fixture.

In typical Martin style, here are macro channels that make use of quick macro effects on these features for accurate and quick control.

The Viper has an impressive 10 to 44 range of beam angles. Most impressively, the fixture is fully-usable through that range and maintains a serviceable light output. Unlike some other fixtures in the same segment that lose all intensity, the moment the zoom is pulled from the tight end, the Viper is surprisingly bright throughout its zoom range. All gobo wheels are focusable through the entire range of the zoom. It should also be pointed out that the zoom on the Viper is fast. In fact,

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THE WHOLE PACKAGE

Although it weighs in at around 37kg, the Viper is still 12kg lighter than its MAC2000 predecessor and only 3kg heavier than a MAC700 Profile. The Viper could be considered a little bulky, however, when you consider the entire package, few can compete on a feature-for-size basis. The roadcases from Martin are from the solid Amptown brand that seem to be now an industry standard. Interestingly, the heads for the Vipers travel at an odd angle which I’m told is for easier transitioning in and out of the case.

Like all recent Martin fixtures and cases, the Viper can travel in the case with all its clamps on. People seem quite divided on whether this is a good idea as, of course, it adds to the height of the case. However, any person who has toured more than three venues will see the advantage. Also of great relief to LDs the world over, is the fact the Omega clamp fittings have the option of eight positions (as the MAC500600 series had) making for a better orientation of the fixtures during the hanging process.

SOLID WORKHORSE

How does the Viper actually perform? From an LD’s perspective, it rocks! You’re instantly slapped upside the head by the sheer intensity.

You know it’s going to be bright but for some reason it seems brighter in ‘the flesh’. Perhaps this has to do with the higher colour temperature, but the result is a fixture that is both powerful and solid. It’s funny how the word ‘solid’ suits the Viper so well. It really doesn’t have any more features than most other moving lights, it’s just that the Viper does them all better. It’s snappy, smooth and, early reports suggest the Viper is reliable. In fact, it’s hard to find fault with the Viper. The reality is, it is a solid package that represents great value. It is already apparent the Viper family will become a new generation of workhorse lighting fixtures very, very quickly.

Further information: Martin Professional: www.martin.com Australian distributor Show Technology: www.showtechnology.com.au RRP: $15,499 (inc GST)

DIMMING IN THE 21ST CENTURY A guided tour of the contemporary dimming landscape Text: Andy Ciddor

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hile dimming may no longer be at the leading edge of the technologies used in our profession, it retains a critical place in our design toolkit. Indeed, dimming has become so simple to implement and so reliable that to many of us it has just become the black box in the corner that controls the level of our fixtures. Perhaps it’s time to open up the black box and have a peek inside a 21st century dimmer.

The first thing you may notice when you focus in on dimming is the wide variety of technologies available to go in your black box.

These include phase control, reverse phase control, sine wave, direct optical dimming, pulse width modulation and constant current reduction. Most of these technologies are great for direct-driven incandescent sources, others work well with transformer-driven incandescents.

One technology can dim externally-ballasted sources like linear fluorescents and even metal halide discharge lamps. A couple of these work well with LEDs, while optical dimmers can control everything, especially the light sources that can’t be dimmed electrically.

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OPTICAL

The earliest known dimming technologies were variations on the same optical dimming tricks we use today to control the light from sources such as candles, the sun, and many families of discharge lamp. They involved using a range of ingenious shutter mechanisms or pieces of cloth to progressively obscure the light source.

Today’s DMX-controlled, motorised louvers may have a more sophisticated control mechanism but they still work by blocking the light with an opaque material.

In the early days of electric lighting the majority of dimming was achieved with resistances and, after the introduction of alternating current, with auto-transformers (variacs).

Although we’ve walked away from these crude mechanically-operated technologies and their incredibly-inefficient all-electric successor, the saturable reactor, these cumbersome monsters from the first half-century of electric lighting were generally much kinder to the supply network than most of today’s technologies.

ELECTRONIC

The overwhelming majority of contemporary electronic dimmers work by chopping chunks out of the power feeding the lamp. The older and more robust technologies take out big chunks just once in each half cycle of the mains power, while the newer and more agile devices take out delicate little nibbles, but do so much more often. Any device that chops up the power to a lamp this way produces distortions

Top: Forward Phase Control removes a chunk from the front (leading) end of the power cycle to control brightness. As the chunks get bigger, the lamp gets dimmer. The slight slope at switch-on is the inductive choke doing its job.

Bottom: Reverse Phase Control works the same way as the forward version, only this method removes the chunk from the back (trailing) end of the power cycle.

in the power supply, especially at the triplen T (3rd, 9th, 15th, etc) harmonics of the power supply frequency. In addition to the problems caused for other electronic devices connected to the distorted supply, these harmonics produce substantial currents in the supply neutral and in substation transformers. Any sizable dimmed installation must be designed with the harmonic distortion issues in mind, particularly where dimmers are being retrofitted to existing undimmed installations.

PHASE CONTROL

The very first all-electronic dimming technology, Phase Control has been around for about 80 years. In its earliest incarnation, using Thyratron valves as the switches, it was neither T sufficiently reliable nor anywhere near affordable enough to make it popular. The technology finally came into its own in the 1950s with the appearance of an affordable and highly robust solid state switching device, the SCR (Silicon Controlled Rectifier). This was later supplemented by other solid state devices such as 44

the Triac, the Metal Oxide Silicon Field Effect Transistor (MOSFET) and most recently, the Insulated Gate Bipolar Transistor (IGBT).

The basis of phase control dimming is quite simple. Rather than attempting to restrict the amplitude of the current flowing through an incandescent lamp, as earlier forms of dimming had done, it works by switching off parts of each cycle of the alternating current supply.

You might expect the resulting chopped current to cause the dimmed lamp to flicker, but the thermal mass of the filament smooths out the current output and it just gets cooler and less bright as the missing chunks get larger.

The SCR is a solid state switching device that only conducts current in one direction (like a rectifier diode), although it doesn’t conduct at all until triggered. However, once an SCR starts conducting, it snaps rapidly from fully-off to fully-on, producing very little waste heat, but it is extraordinarily difficult to turn off. This doesn’t really matter as the current stops flowing at the end of the half-cycle anyway. As an SCR can only handle current flowing in one direction, a pair of them is required to handle the alternating current supply. The Triac was a later development that is essentially an inverse pair of SCRs in a single device, although not quite as robust. As SCRs and Triacs are much easier to switch on than off, the unwanted part of the power cycle had to be cut from the start (or leading edge) of each cycle, hence the name Forward Phase Control.

Phase control is a long way from being the perfect dimming process. Switching on the current to a lamp partway through a cycle brings with it some serious side effects. The sudden surge of current in the lighting cables and luminaires produces a ferocious burst of electromagnetic interference (EMI) that finds its way into everything from unshielded audio and video cables to cousin Wilf’s hearing aid.

The inrush of current to the lamp being dimmed also brings with it mechanical stresses that not only shorten the working life of the filament but also cause it to vibrate at audible frequencies, a phenomenon known as a ‘singing’ (the filaments aren’t really singing — they’re humming, because they don’t know the words).

To reduce these problems, a substantial choke inductor is incorporated into the load circuit to slow down the switch-on. As such an inductor is generally both large and heavy, this limits the possibilities for both portability and miniaturisation of low-interference dimmers. Despite these shortcomings, the majority of dimmers installed over the last half century are variations on the forward phase control concept.

Phase control is also the preferred technology for controlling low-voltage lamps being fed by inductive (iron cored or magnetic) transformers.

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REVERSE PHASE CONTROL

Power MOSFETs and IGBTs are essentially very high powered transistors. Unlike Triacs and SCRs, they can not only be switched on and off with relative ease, they can also be switched on and off s-l-o-w-l-y, to reduce the production of harmonic distortion and EMI. These devices can be used to make dimmers that don’t require a substantial choke inductor or even dimmers that chop their chunks of power out from on the trailing edge of power cycle, a process known as Reverse Phase Control.

Switching the power slowly generates a lot more heat in the IGBT or MOSFET than is produced in SCRs or Triacs. These dimmers are characterised by their need for more aggressive thermal management and require larger heatsinks, thermal monitoring, and often also noisy fans. While it may be possible to make a more compact dimmer without a big inductor, the need for heat dissipation prevents the dimmers from shrinking very much in size.

There has been much discussion as to whether or not reverse phase control dimmers actually produce less EMI or mains distortion when dimming lamps but there is no doubt that they are much better for dimming low-voltage incandescent lamps that are fed through ‘electronic transformers’. These ‘electronic transformers’ are actually switch-mode power supplies which are much happier drinking their current from the front end of the power cycle.

Some MOSFET and IGBT based dimmer systems can dynamically switch between forward and reverse phase control.

nate singing lamp filaments (the main reason so far for the adoption of this technology), the cooling fans generally make the dimmers themselves quite noisy, requiring them to be acoustically isolated from the space they’re dimming.

Sine Wave dimmers can be used to control any type of load that isn’t voltage dependent.

CONSTANT VOLTAGE

Pulse width modulation is the time-honoured method of dimming LEDs, despite the US patent system allowing someone to patent the technique decades after it was in wide general use. The switching frequency of a PWM dimmer must be high enough to avoid perceptible flicker while producing the minimum amount of RFI and acoustic noise. The very fast rise time of the pulses produces little waste heat in the switching device.

As the output of a PWM dimmer is always at the same voltage while the brightness varies with the width of the output pulses, it is ideal for powering devices that operate at a fixed voltage.

Known in the LED world as Constant Voltage dimmers, PWM devices are suitable for controlling LEDs that vary in colour or output efficiency with changes in voltage.

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CONSTANT CURRENT REDUCTION

The simplest and oldest method for controlling the brightness of an electrical light source is to put a variable resistance between the power supply and the source. Historically that resistance was a long length of high temperature wire wound around a ceramic or mineral former (similar to that dangerous old bar heater in SINE WAVE your grandma’s garage). The same effect can Like the switch-mode power supply units used be achieved for moderate DC loads by using in most modern electronics, sine wave dimchunky power MOSFETs mounted on even mers use pulse width modulation (PWM) of chunkier heatsinks, often with a few cooling a switching device (in this case an IGBT) to fans thrown in. The advantages of the MOSFET control their output. Each cycle of power is over the original resistance dimmers are that divided up into a fixed number of slots (usutheir dimming curve is independent of the load ally between 400 and 600 of them) and the they’re controlling, and they’re totally electronic amount of time that the IGBT is switched on so they don’t require a big mechanical handle to during each slot (the width of the power pulse) vary the output. is used to vary the amount of power being alIn LED terminology, these dimmers are relowed through the dimmer. ferred to as Analogue, Constant Current ReducThis strategy ensures that there is no sudden tion or even more confusingly, as Constant Curinrush of current and no substantial distortion rent dimmers. They are suitable for controlling of the power waveform, producing an output the brightness of LEDs where possible colour power cycle that looks remarkably like the sine shifts and variations in output efficiency are wave shape of the original power supply, only not critical. lower in amplitude. However, to achieve this While a significant amount of dimming is feat, these dimmers incorporate very sophistibeing incorporated directly into luminaires and cated monitoring and control electronics and even the light sources themselves, the underlycomplex cooling systems, making them subing technologies in those black boxes remain stantially more expensive than any other form comfortably familiar. of dimmer.

When it comes to acoustic noise, although the sine wave power output may reduce or elimi-

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Top: The output of a sine wave dimmer is a smooth power cycle of lower amplitude. There are no big spikes to cause EMI or rattling lamp filaments.

Middle: Sine wave dimming is achieved by high frequency PWM of the power cycle using very fast switching devices like IGBTs and MOSFETs. Bottom: Pulse width modulation of the DC supply to an LED delivers pulses of the same frequency and the same amplitude. Dimming is achieved by varying only the width of the pulses.

ALL CHANGE HERE FOR THE FUTURE Lighting Council Australia’s Owen Manley keeps a watchful eye on lighting standards and regulations.

Text: Owen Manley

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hange is inevitable and the rate of technological change in lighting is accelerating — rapidly. And while it’s a given that standards, regulations and industry guides will lag behind technology, they’re absolutely critical to ensuring the so-called level playing field. In this first column on standards and regulation let’s establish the state of play by taking a quick tour of some of the changes that are having impact on our industry right now.

LED UP THE GARDEN PATH

Many of us may see change as being driven by the onrush of LEDs as light sources, but the acceptance of the LED is itself being driven by the urgent need to improve our energy efficiency. Beyond these obvious trends we need to deal with a range of subtle lighting-related issues, some of which are even raising doubts about long-established assumptions and standard measurement methodologies.

Recent research is posing questions about such matters as light and its relationship to our body’s circadian rhythms, the role of the retina’s 5th receptor, the possibility of adverse biological effects arising from exposure to continuously-pulsed LEDs, and the possibility of side effects from the use of colour-change lighting to avoid the well-known after-lunch melatonininduced drowsiness. There is new work underway to address the possibility that existing problems are being exacerbated by the lack of spectral continuity in current-generation LEDs and to address test methodologies that for instance, underrate the way some colours often appear more saturated under an LED than under a conventional light source.

With our bodies having spent millennia adapting and responding to the dynamics of light across the day and between the seasons, there is now research being done to consider the effects on our health and wellbeing from spending a lot of our time under static artificial light. Perhaps dynamic lighting, with its distinct possibility of working with, rather than against our biology, is on the way for all artificially lit environments.

THE REGULATORY ENVIRONMENT

Consumer expectations are changing, bringing with them greater responsibilities for the lighting industry. More than ever we need to take into account such matters as waste management, recycling, restrictions on the use of hazardous substances, design for disassembly and product stewardship. Minimum energy performance and energy efficiency expectations are now being applied not only to individual products, but beyond this to entire buildings.

As regulation is often used as a means to address market failure or encourage market transformation, regulations are in place in

many areas that impact on the lighting industry. We are already regulated in such matters as product safety, Electromagnetic Compatibility (EMC), minimum energy performance, building energy use, commercial building disclosure, warranty claim requirements, ‘Don’t DIY’ marking, workplace health and safety, movement of hazardous substances and minimum design illuminance — to name just a few.

Many of these requirements have been in place for some time while some are relatively new, but what you can be sure of is that there will be more changes. Let’s take a look at what’s coming our way.

Such a transformation would require a MEPS to be developed and introduced to address the current situation where, since 2002-3, there have been an additional 270,000 street lights installed and 50,000 street lights bulk-replaced, the majority of which have used inefficient mercury vapour technology. Unfortunately there seem to be very few bulk replacement programs in place, which is surprising given the age of current assets.

STANDARDS BODIES

The primary international standardisation bodies with responsibilities that include lighting are the International Electrotechnical Commission (IEC), the International Organization for StanEESS dardization (ISO — derived from the Greek for The Electrical Regulatory Authorities Coun‘equal’ and not its initials) and the International cil (ERAC) new Equipment Electrical Safety Scheme is due to be rolled out in Australia from Commission on Illumination (CIE — which comes from its formal French title Commission 1 March 2013.

Internationale de l´Eclairage). The IEC is responsible for product safety and performanceGEMS related requirements including Electromagnetic The Greenhouse and Energy Minimum StanCompatibility (EMC) and immunity, ISO focuses dards (GEMS) legislation that was passed into law in late September introduces national on applications such as general and emergency lighting, while the CIE is responsible for all matlegislation to regulate equipment energy efficiency and to expand that regulation into new ters relating to the science and art of light and lighting, colour, vision and photobiology — but product areas.

As a national framework, it should streamline there are overlaps.

The dedicated lighting committees of IEC the generation of Minimum Energy Perforwere established in 1948, the ISO Photonics mance Standards (MEPS) and requirements and Optics committee in 1978 (with a new in Australia by addressing inefficiencies and encompassing lighting committee in 2012) and inconsistencies that have arisen in the statethe CIE in 1913. All are represented in Australia regulated programs during the past 20 years. and New Zealand.

GEMS replaces seven state and territory The IEC currently has over 60 LED, product legal frameworks with a single, consistent national law, and will also replace four existing safety and performance-related standards and ammedments either under review or in developstate regulators with one national energy efment to address matters as diverse as new light ficiency regulator. sources, control technologies, photobiological The MEPS development and standardisation issues, UV or IR radiation from lamps, and acprocess will also change. This will allow easier celerated reliability testing. development of new regulations that are likely There are also many regional bodies. Some to include updating existing MEPS requireof them such as CEN (the European Committee ments for incandescent and halogen lamps, reflector lamps and CFLs. It may possibly extend for Standardisation) produce standards such as the harmonised European Norm (EN) famthe range of fluorescent lamps and ballasts ily of standards, while others produce guides, captured and add requirements for LED lamps technical reports and memorandums. The IES and LED luminaires. There is also the possibility of creating MEPS for mercury vapour lamps of North America (IESNA) publishes nearly 100 technical publications in its own right, and or luminaires, and maybe even a star rating works with related organisations to jointlyscheme for luminaires. publish documents and standards.

TAKING GEMS TO THE STREETS

GEMS could allow additional focused strategies to further improve energy efficiency in such areas as street lighting for example. It could be used to prepare for regulations banning mercury vapour lamps, paving the way for the introduction of more energy efficient technologies. This could enable other programs to source capital to fund and deliver transparent replacement programs and set up a supporting public information program.

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ON THE LOCAL FRONT

Australia and New Zealand cooperate via a wide range of joint standards committees and will frequently adopt IEC and ISO standards where they are appropriate. Four new product safety standards are presently being adopted

by Australia including one to address safety requirements for double-ended LED tubes.

A number of joint Australian and New Zealand committees have met recently after

being dormant for years. These include LG002 Lighting for Roads and Public Spaces and LG-007 Emergency Lighting for Buildings. LG007 will consider requirements arising from changes including the uptake of LEDs, control systems, computers, obsolete and changing technologies such as the batteries employed in emergency fittings.

Further lighting project proposals will be submitted to Standards Australia for consideration.

One of these could result in an expanded scope for the Intrusive Light standard while another will be looking further at traffic signals.

THE VEXED CASE OF LEDS & STANDARDS

Tales from the new territory of LEDs for illumination read like something from the early days of America’s Wild West before law and order were established. Information is always sketchy when a new and undefined technology is moving into the marketplace but in the gold rush to mine the public’s enthusiasm for new and green technologies, there have been some pretty wild goings-on.

The public’s lack of understanding together with the absence of guidelines, standards, regu-

lations and so on, has allowed claims made by one party to be considered misrepresentation by another — whether intentional or not.

An example is energy savings, usually presented to the unwary as dollar savings alone rather than being coupled with an improvement or otherwise in light quality. Even the wellestablished measurement of a luminaire’s light output required the use of an alternative (but previously rarely used) absolute photometry test method for LED luminaires. New definitions, measurement methods and interpretation processes are required to accurately represent such information as an LED’s operational life.

Internationally, LED technology and its applications have triggered widespread reevaluation of the methods and equipment used to calibrate, test and measure LED performance.

These processes are being encapsulated in regional documents and standards in the first instance, then later in international standards.

These in turn are increasingly being picked-up by regulators, particularly where the standards define test methods. Regulations are all regionally based.

Regional documents that have already caught

ILS

• Heavy Industrial high specification LED luminaires • Solid State device with robust construction. Withstand constant vibration and impact resistant up to IK10 • 5-10 year full replacement warranty • IP 66/67 • High ambient operating temperatures of up to 70°C • Up to 70% energy savings vs conventional light sources • Instant on/off switching (dimming options)

the attention of standards bodies and regulators around the world include the IESNA’s LM-79 (2008) Approved Method for the Electrical and Photometric Measurements of LED Light Sources and LM-80 (2008) Approved Method for Lumen Maintenance Testing of LED Light Sources because they are providing the basis for some consistency of measurement and interpretation.

These documents were developed not only to meet the industry’s need for measurement consistency, but in response to threats of regulation to prevent damage to a product and a market identified as having great potential. The USA Department of Energy’s CALIPER test program had already highlighted many of the problems caused by the lack of good and timely standards.

THE TAKE HOME MESSAGES

• Okay, so standards and regulations may be boring — but you ignore them at your peril.

• If you want to know what’s going on before it happens, get involved. Join an industry association or a standards body, or talk to someone who already has.

Why Australia's leading resource companies are choosing Dialight LED products for expansion projects and lighting maintenance upgrades

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Emergency options available Range of operating voltages, thermal and surge protection Superior light quality Full range of IECEx certified Zone 1 luminaires No UV or IR in light beam (reducing insect problems) Full design service available Certification, testing, photometrics and compliance reports available on the website

• Fully integratable with lighting control systems Dialight ILS Australia • P: +61 8 9244 7600 • F: +61 8 9244 7601 • E: info@dialight.com.au

For more product information or to find your nearest stockist, please visit our website www.dialight.com.au

MEET THE FAMILY Introducing the industry associations that make up the lighting community

ALIA Australian Commercial & Entertainment Technology Association (ACETA)

Australasian Lighting Industry Association (ALIA)

ALIA is an organisation for people who share a passion for light. Indeed, sharing information about Established in 2011, ACETA is the industry associalighting is our primary activity. Through our backtion for manufacturers and importers in the comstage tours, technology expos, and our impressive mercial and entertainment technologies sector. It represents and promotes the common interests of its website with its daily news and industry forums, members, and provides a united voice in the areas of we offer many opportunities to find out more about lighting and the lighting industry. A lesser-known but audio, lighting, vision, staging, communications and control equipment, and their associated technologies. important role played by ALIA is to communicate with institutions, governments, the media, regulators and The association’s purpose is to provide a forum and a representative peak body to address the challenges the general community about the lighting industry.

Our advocacy in these areas has had considerable confronting such a rapidly changing sector. impact on the way safety standards and regulations Current projects include the crowded trade show have been implemented. calendar, addressing the skills shortage, developing ALIA’s membership stretches from the most expea manufacturers’ resource centre, creating industry rienced lighting designers and senior technicians to guidelines, and convening AWAG, the group which students starting out with their first school or commurepresents the interests of all users and suppliers nity production; from community theatre to concert, of wireless audio devices in respect of the digital broadcast and film; and from casinos and clubs switchover. to exhibitions, shopping malls and dance festivals.

ACETA: www.aceta.org.au Organisations belonging to ALIA include schools, universities and TAFE institutions; television networks, venues and performing arts centres; manufacturers, importers and suppliers of lighting products; rental, production and events companies; and exhibition and conference centres.

ALIA: www.alia.com.au

International Association of Lighting Designers (IALD)

IALD’s vision is to create a better world through leadership and excellence in lighting design; to cultivate the universal acknowledgement and appreciation of the power of light in human life. Our mission is to serve the IALD worldwide membership by promoting the visible success of its members in practicing lighting design.

Founded in 1969 and based in Chicago, Illinois, USA, the IALD is an internationally recognized organization dedicated solely to the concerns of independent, professional lighting designers. Governed by an 11-member board of directors, the IALD is a volunteer association that relies on the active participation of its members. In Australasia we have a secretariat for our region and a committee of management split between Sydney and Melbourne.

Currently we are focusing on holding meetings that are of interest to other design professionals such as Architects, Interior Designers and the like. We also have a hard working group addressing the topic of credentialing with a view to have lighting designers recognised an as professional and an essential part of the construction industry. Architectural Lighting Designers are most welcome to join us and both committees seek assistance and ideas on how to grow our association.

IALD: www.iald.org

WHY DO WE NEED LIGHTING COUNCIL AUSTRALIA?

Text: Bryan Douglas, Chief Executive Officer, Lighting Council Australia Lighting Council Australia’s (LCA) recently marked its fifth anniversary as an incorporated independent entity representing Australia’s lighting industry. In those five years, the industry has experienced watershed changes in technology, innovation, application and creativity. Lighting is now poised for a future with infinite possibilities.

A UNITED VOICE FOR INDUSTRY

LCA was formed in 2001 as part of a broader electrical and electronic industry association — why strike out on your own as a new peak body in 2007?

Originally LCA operated as a forum of the Australian Electrical and Electronic Manufacturers’ Association.

This was a good fit for several years but by 2007 the lighting industry had reached sufficient critical mass

to support a robust and influential association of its own. Becoming an incorporated peak industry association enabled us to be a more powerful advocate for the industry in Australia.

The fact we made the right decision is reflected in our growing membership. We’ve grown from around 30 to 85 members including manufacturers and suppliers of luminaires, control devices, lamps, solid-state lighting and assorted technologies.

We are bringing these industry leaders together with the common goal of encouraging the use of environmentally friendly, energy efficient, quality lighting systems that conform to all of Australia’s regulatory requirements.

Why such an emphasis on the environment and energy efficiency?

The lighting industry has a critical role in mitigating greenhouse gases and lessening the effects of global warming. We also recognise that the shift towards energy efficient light sources is driving major change in the market.

Australia was the first industrialised country to phase 48

out inefficient incandescent lamps. We welcome this move — it is estimated to eventually save four million tonnes of greenhouse gases a year, or the equivalent of taking one million cars off the road.

By representing the industry’s views to policy and decision-makers, and by encouraging international cooperation on good quality, energy efficient lighting products, we are helping to secure a strong future for the lighting industry.

Why does the lighting industry need a peak body?

LCA was formed to represent a strong, united and ethical lighting industry in Australia. We emphasise the importance of high-quality, low-environmental impact lighting. We influence international and Australian performance, safety and environmental standards. We promote the use of safe lighting that complies with the relevant standards, and we encourage good lighting design, education and training.

How do you do this?

LCA’s policy program is developed by our board of directors in conjunction with the CEOs of our member companies who meet four times a year. We

Illuminating Engineering Society of Australia and New Zealand (IES ANZ)

Lighting Council Australia (LCA)

IESANZ was formed in NSW in October 1930 and today includes members from Australia, New Zealand and the Asia-Pacific region. Its vision is to promote the art and science of lighting, encourage professionalism in its practice and establish and maintain standards for its application.

Universities and TAFE colleges across Australia and New Zealand offer professional lighting courses accredited by IESANZ and members regularly lecture at these institutions. The society also provides entrylevel lighting education courses.

Members attend professional development courses and seminars on the latest in lighting practice, and individual chapters hold regular technical meetings where local and overseas members and guests present original and review papers.

IESANZ is a nominating organisation to Standards Australia and plays an important role in the development of lighting standards. Members are kept up to date with international codes and trends through the society’s affiliation with CIE Australia, Australia’s voice on the setting of international lighting standards.

Together with Lighting Council Australia, IESANZ has instituted the major biennial lighting events SPARC Design, a celebration of lighting design, and SPARC International Lighting Event, a major international conference and exhibition.

LCA is the peak body for Australia’s commercial lighting industry. Its 85 member companies include manufacturers and suppliers of luminaires, control devices, lamps, solid state lighting and associated technologies.

The organisation: advocates the importance of energy efficient, quality, low environmental impact lighting products and systems represents the Australian lighting industry to policy-makers and other key stakeholders nationally and internationally influences international and Australian standards relating to the lighting industry promotes the use of electrically safe lighting that complies with relevant Australian and international standards encourages good lighting design, education and training LCA’s code of conduct is binding on all members and includes the requirements that members must: supply products that meet all mandatory standards and regulations, maintain standards of conduct consistent with good commercial and corporate conduct, and adhere to the World Economic Forum’s Partnering Against Corruption Initiative.

Policy directions are determined by a board of directors and quarterly meetings of the CEOs of member companies. In addition, lighting sub-industry groups meet four times a year to address sectoral issues (solid state lighting, lamps, emergency lighting, and lighting controls).

IES: www.iesanz.org

LCA: www.lightingcouncil.com.au

service the major sectors of the industry — lamps, solid-state lighting, emergency lighting and controls — through dedicated sub-industry groups that also meet four times a year. We have a heavy technical focus and a dedicated technical manager to assist members with relevant standards and regulations.

We hold positions on Australian and international standards committees, as well as on the electrotechnology policy forum of Standards Australia.

LCA is also an active member of the Global Lighting Association (GLA), provides the chair for the GLA’s environment committee and participates in the GLA’s LED committee and LED HS code task force.

We also work closely with electrical safety, energy efficiency and radiocommunications regulators — and, where appropriate, other electrical industry associations.

You say you are a voice for industry so why don’t you accept all membership applications?

We don’t apologise for being selective about membership. All applications must be approved by the board of directors and we certainly welcome mem-

bers who build on the good reputation of the industry.

LCA strives to be seen as credible and responsible and our code of conduct requires members to maintain good standards of commercial and corporate conduct, supply safe products that abide by all regulations, and adhere to the World Economic Forum’s Partnering Against Corruption Initiative. These principles go to the heart of our philosophy as an organisation. They set our members apart from others who may not subscribe to these ideals and also explain why some applications for membership are unsuccessful.

ucts entering the Australian market are excellent, many are poor quality and do not live up to suppliers’ claims.

While new LED standards are being prepared at an international level, LCA has launched a voluntary quality certification scheme for LEDs. Our SSL Quality Scheme provides confidence to the market that a luminaire carrying the scheme’s label matches the supplier’s performance claims in certain critical areas. We verify those claims based on test reports or other evidence provided. Only members of LCA and Lighting Council New Zealand are eligible to join the scheme.

Exciting research is happening in laboratories around KEY ISSUES FOR TODAY’S MARKET the world including work on organic LEDs, which LEDs are touted as the future of lighting but quality provide areas or planes of light as opposed to a point still varies. What is your position on LEDs? source. This is where the potential lies for walls or There’s no doubt that the use of light emitting diodes panels of light to not only provide a soft glow but also is on the rise. As a type of solid-state lighting (SSL), double-up as display screens with news, weather or LEDs have several advantages: they are highly energy other images. efficient, have a long life, do not contain mercury and Creativity and innovation are creating whole new are not affected by regular on-off switching. markets, opening the door to a future for the lighting However, while some of the numerous new LED prod- industry that is truly only limited by our imaginations.

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Sodium vapour at centre stage Full story in Light+Design issue 2

• Chunky Move: An Act of Now • Choreography: Anouk Van Dijk • Lighting design: Niklas Pajanti • Photographer: Jeff Busby

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