Market Focus: Follow Spots

MARKET FOCUS

FOLLOWSPOTS

In the past few years, a major development within the world of professional lighting has been the updating of the conventional followspot. From the advent of real-time tracking to the selection of popular remote followspot options, there is now a huge selection of gear to choose from. As well as expanding a lighting / show designer’s creative abilities, many of these solutions offer productions real health and safety benefits by keeping operators’ feet on the ground. TPi looks delves into the latest market offerings…

FOLLOW-ME

Follow-Me started in 2010 as a simple, flexible and affordable way of using moving lights as followspots. The system improves on show safety and addresses designers’ requests for creative flexibility. Effectively, Follow-Me is a software package providing manual control to track a moving target and supports all standard moving light fixtures. The system is not reliant on the artist wearing sensors but depending on the size of event, uses a single or multi-camera input to provide a live image feed of the performance area. The operators track target(s) using calibrated on-screen crosshairs.

Although the entire system operates from a single camera feed, multiple feeds can be integrated via a multi-system set-up. The software is designed for easy calibration and makes it possible to focus an unlimited amount of lighting fixtures in unlimited universes on 1 or multiple targets. Owing to lighting console integration, control of the fixtures can easily be shared between Follow-Me and the lighting desk with personality files already available for MA Lighting, High End Systems and ETC consoles. The lighting desk can set the maximum intensity with Follow-Me acting as an inhibitor. Follow-Me can also integrate with PSN (Posi Stage Net) motion control to track targets and update fixture positions.

Users can track multiple targets simultaneously from 1 Apple Mac OS X operating system with the ability to assign an unlimited number of fixtures to desired targets. Although Follow-Me manufactures dedicated consoles, the option remains to use a regular mouse on a single target or multiple 3D mice if controlling multiple targets and a midi keyboard to map fixture parameters.

The system consists of a mouse, fader and camera mounting box, all of which is manufactured in the Netherlands. Using the mouse and fader consoles together allow the user to connect multiple targets in one system.

The PoE (Power over Ethernet) connected mouse, provides an ergonomic handle for prolonged usage and proportional control for

smooth and accurate targeting. Two encoders and buttons can easily be mapped to fixture or target parameters. Then the fader console connects via a 4 pin XLR to the mouse console and provides an additional 4 faders - encoders and buttons for fixture parameter - camera function or z-height off-set functions. Finally, the Marshall camera can be hung and its controls accessed remotely using the Follow-Me camera mounting box and serial adaptor.

Follow-Me removes the limitations of traditional followspots. It gives designers the artistic freedom to position and use fixtures on static or moving trusses and change fixture assignments with each lighting cue. Over the past 2 years Follow-Me has been involved in an excess of 50 touring productions with major artists for renowned lighting designers. It’s cut its teeth on some of the largest European festivals and played its role on many TV studio and theatre productions. www.follow-me.nu

104

FOLLOWSPOTS

ROBE ROBOSPOT

Followspots done properly, from the calibration of the lightsource to the skill of the operator, has always been a bit of a black art. Far from ‘dumbing down’ this specialist discipline, the introduction of remote followspot systems brings it into a new, enhanced era. With the hope of giving lighting designers, directors and operators a far greater and more dynamic choice than before, the units also mean production managers and promoters have more safe, practical and cost-efficient options available.

Robe’s modular system is called RoboSpot and comprises several different elements that can be used in a variety of combinations to control up to 12 units of Robe’s newest fixtures including the BMFL range, MegaPointes, DL7 and DL4 series luminaires and Pointes.

At the heart of the remote-control element is the ergonomically designed, comfortable to operate RoboSpot BaseStation, which can be located anywhere in a venue or show space. The BaseStation has a large 15.6-inch HD touch screen display, so the operator observes the performance space from a first person perspective.

A live video picture relays visual and positional information from the MotionCamera(s) that are integral to or rigged adjacent to each individual remote spot fixture. The operator’s commands are instantly transferred to the luminaires via DMX signal with no lag. This means perfect motion tracking across the stage or performance area.

A full range of hand controls are available for operating the fixtures such as pan, tilt, intensity, focus and many others, all fully customisable for the operators’ benefit. Extra controls are also available through the touchscreen display, 4 programmable jog-wheels and 10 more fully configurable buttons, all designed to provide a bespoke user-experience.

The remote lighting desk retains control of all the internal parameters of the fixtures like intensity, gobos, colours and other effects. The console operator can also switch those fixtures designated to the remote followspot system between that and the main rig throughout the performance if they wish.

The benefits of running a remote followspot system like RoboSpot are numerous. From a creative angle, lighting designers can choose multiple fixtures - and different types of luminaires - to use for this role in the show; instead of being restricted to having 2, 4 or however many fixed FOH followspot positions, which is often the case with conventional set-ups.

They can now highlight an artist with multiple lightsources or with just 1 or 2 that are most appropriate when using a certain section of the stage or set, all helping in the creation of optimum drama and the most fabulous of stage looks. It also gives LDs the chance to use positions over the stage or in the air which might have previously been inaccessible, even for operated truss spots.

On the health and safety front, using a RoboSpot system means that operators don’t have to be at height in the rig throughout a show, creating a safer and much more comfortable working environment. Furthermore, pyro teams can deploy more fireworks without having to worry about the

fallout hitting spot operators. Being separate from the fixture unit being operated also reduces potential heat issues which crews have had to contend with in the past.

Using remote-spotted fixtures on the main rig could also mean that crews would not have to spend time and considerable effort getting heavy, awkward and fragile followspot components up twisty narrow staircases or in small service lifts in some of the more traditional venues around the world.

For scenarios where creating FOH or arena followspot positions can mean removing seats, this no longer needs to happen so promoters will be happier.

With one RoboSpot BaseStation being able to control up to 12 fixtures, Robe has produced a stable and reliable method with potential to be a cost-efficient solution for any productions where the design includes multiple followspots.

The RoboSpot systems have recently been in action on Enrique Iglesias, The 2018 Eurovision Song Contest, The Little Mermaid, The Golden Melody Awards in Taipei and many more. www.robe.cz

106

FOLLOWSPOTS

LITECOM SPOTDRIVE

When LiteCom Group won the tender as the main supplier for the 2016 Eurovision Song Contest, one of the demands for the production was a remote followspot operating system. At the time there were limited products that fitted the bill, resulting in LiteCom going back to basics to make a prototype of what is now in production as the SpotDrive.

Even before finalising the first system, the demand was removed from the tender and, for a while, the system was parked up in the company’s warehouse. But the company wanted a system that could operate any fixture on the market, integrate in a lighting system and be as ‘plug-andplay’ as possible. So, later that year, LiteCom continued in the development of the system, shipping out 4 of them on the final tour of Swedish rock group, Kent’s.

SpotDrive Project Manager, Jacob Møller told TPi: “The SpotDrive is a highly modified, yet very simplified, lighting console transmitting DMX512 protocol out. This gives the user a fair chance to meet more or less any requirement needed. When setting up the system you simply choose which parameters should be controlled directly on the fixture and what you want to trigger in the desk or not use at all.”

In most cases the SpotDrive will, as a minimum, control the pan and tilt,

along with dimmers, focus, zoom and iris. On top of this there are 2 optional pot-metres and 7 buttons that, as standard, are used for the fixed colour wheel equivalent to 6 colour frames of a conventional followspot. These are adjustable as long as they are fitted in the fixed colour wheel of the fixture. The 2 pot-metres is set to be CTO and magenta by default, but can be assigned any parameter of the fixture (or to a fader in the desk).

In the autumn of 2017, LiteCom Group supplied 10 systems to support the annual Victoria’s Secret Fashion show in Shanghai. On this occasion the Light Designer team had all the colour control of the 10 Scenius Profiles used for the SpotDrive’s, giving the operators only pan, tilt and dimmer to control. The rest of the parameters were fixed, either in the desks or in the SpotDrive systems.

Using the MA Lighting grandMA2 as a console, it also makes it possible to operate multiple fixtures from the SpotDrive, setting up the rig in the MA 3D and controlling a StageMarker on the desk; essentially handing all of the control to the main desk instead of the spot operator. “This clearly takes a bit more programming but gives a lot of options to the show itself,” commented Møller.

In 2017, Bruno Mars’ LD team choose to take out 8 systems for the 24k Magic Tour around Europe, just as with the 2018 Asian leg of the same production. Also the 2017 edition of X-Factor Denmark used 3 systems and the 2018 Danish Eurovision qualification contest (Dansk Melodi Grand Prix). Furthermore a good selection of tours, such as Ritchie Blackmore’s Rainbow and several Danish acts and theatres used the SpotDrive. http://litecom.dk

108

FOLLOWSPOTS

PRG GROUNDCONTROL

The PRG GroundControl (GC) Followspot System was the world’s first followspot system that allowed operators to remotely operate a high output automated luminaire as a fixture from up to 2,000ft away. Designers now have total creative freedom to put followspots in places that were either previously unusable or involved complex rigging. With the GC Followspot System, the operator is on the ground so the physical footprint of the luminaire is significantly smaller then a conventional followspot. Due to this small footprint and low weight, followspots can now be placed in a wide variety of positions. For balcony rails, low trim venues, ground support on a lift of truss tower or place out over a video wall instead of in front.

All of theses options can be accomplished with the GroundControl without the extra safety equipment, personnel access gear and rigging typically associated with truss mounted followspots. The GroundControl Followspot System consists of 3 parts; a GC Spot Luminaire, a GC Truss Box, and a GC Followspot Controller.

The GC Spot Luminaire Family includes the GC Best Boy, Bad Boy, and now introducing the evolutionary GC Longthrow. The fixtures have a high definition camera mounted on the fixture that outputs HD-SDI at 1080p enabling the spot operator on the ground to see the stage as if they were sitting right next to the fixture. The on-board camera has an optical zoom, targeting reticle, and a night vision mode that enables operators to pick up a performer on a virtually black stage. All GroundControl Spot Luminaires have cross-fading CMY colour mixing along with multiple colour correction options giving designers the ultimate in flexibility to dial in and tune the GC Luminaire to their exact needs. Details about specific luminaire features can

be found on the individual GroundControl Luminaire datasheets.

Another addition to the GroundControl offering is the 4-Way Switch Box, which enables operators to switch between 4 fixtures with 1 controller. Ideal for A/B stage, breakout rooms, backup fixtures, and many other configurations.

The GroundControl has recently been used on several tours including Britney Spears and Little Mix as well as several festivals including Wireless Festival and Barclaycard presents BST Hyde Park!. www.prg.com

110

FOLLOWSPOTS

BLACKTRAX

The importance of an exceptional followspot system is often underestimated. That ethereal glow is often taken for granted until someone misses a cue, the light needs to pan-flip, or the subject decides to improvise and starts bouncing across the stage - preparation is everything. The BlackTrax system tracks anything, or anyone tagged with the custom beacon, in 3D and 6D (positional and rotational data), translating it to pan and tilt values and instructing moving lights to follow the target, in any venue imaginable, except under exposed sunlight.

Unbounded creativity at zero cost to the quality of the production making it a great go-to for all production needs.

BlackTrax’s setup is easy. Hang the BlackTrax cameras around the space to be tracked, wave the calibration wand to collect data points, and autocalibration is done within minutes.

BlackTrax gives the user many customised options. For example, a tracking beacon can be used with either one or many LEDs (tracking points). It can also track the centre position calculated from multiple LEDs, creating a centroid. Tracking can be offset from a single LED or centroid to light only the chosen area to be lit, as the performer or object moves.

Benefits of the system include significant savings in equipment and personnel. With tracking, any moving light can be used as a followspot, so multiple spot positions can be used solo or in groups. This is important for use in venues that are small or with restricted space to have a followspot operator.

BlackTrax uses learning algorithms that analyse the tracked data from a subject’s stride, jog, and upper body movements. It then learns to suppress and refine the extra motion so the followspot will not shake with the person’s movements.

Behaviours, boundaries and trigger points can be programmed within a space and lets lights run continuously with automated controls from BlackTrax. If a performer crosses a point in space it can trigger an effect or new lighting cue.

Despite the ongoing debate about the labour lost to automation, it’s becoming more apparent that alternative solutions are required for increasing technical complexity and for projects that could place production personnel in precarious situations whilst expecting perfection. The unending quest for creative uniqueness is easily realised in all productions that have partnered with BlackTrax and take advantage of the benefits its automation has to offer.

BlackTrax is supported by a valued partner and customer ecosystem and it has been deployed in over 8,000 shows globally and kept the spotlight in focus at the recent The Weeknd Starboy Tour, Queen + Adam Lambert Tour, Cirque du Soleil shows, as well as corporate events, product launches and opening ceremonies. Photo courtesy of Stufish www.blacktrax.ca

112

FOLLOWSPOTS

ROBERT JULIAT SPOTME

The Robert Juliat SpotMe system is an innovative device that gives the positions of the performer on stage to the lighting console, without the need of emitters or cameras. With an easy and fast setup, the SpotMe system consists of sensors installed on the followspot and a server that communicates the XYZ positions and the beam size parameters to the console by Posi Stage Net (PSN) protocol. All parameters are used by the console to control any automated or static lights, then coordinating stage lighting to follow performers.

SpotMe is the only performer tracking system to be driven via a real followspot and its operators and can coordinate an endless amount of different stage lighting fixtures to follow performers on stage without the need for on-stage / performer sensors or cameras.

This system uses advanced algorithms and calibration to interpret information sent from its onboard sensors to communicate with any PSN console, and then coordinates the identical movements of other fixtures in the rig, even conventional fixtures with no feed back capability. SpotMe can also be used to define a stage area to avoid light spill into scenic or public areas, while iris movements can be converted into any other function, such as automatic zoom.

The SpotMe system features a server, a specific stand integrating a sensor module that collects the information related to the pan motion, and a bespoke yoke equipped with another sensor module dealing with the tilt motion data.

Quick and simple to assemble and set up, the system is calibrated with 4 stage markers that are positioned on stage to delimit a rectangular shape.

The SpotMe system is compatible with all Robert Juliat followspots

from the Touring, to the Grand and Compact ranges. It is not, however, compatible with the Ultra Compact Range (Roxie, Cricket and Buxie). Amongst SpotMe’s many features is the novel skill of being able to ‘blind’ follow an artist on stage, not with front light, but with back light and side light, overheads, foot lights, ground rows and cyclorama lighting. This is a bemusing but enjoyable new skill for an operator to play with and brings unique possibilities to a lighting designer’s palette. For instance, a performer can light up ground rows or footlights simply by walking or dancing next to these lighting units.

It‘s also possible to synchronise movement, irising, video sequences, colour change, offset and masking in a very efficient and effortless way.

The operator’s skill is not replaced with remote technology. Contrary to automated systems which just follow performers, SpotMe allows human control over the followspot, which means the operator is able to anticipate the performer movements, erratic or unforeseen happenings. This makes reaction time much quicker and more organic. Also the operator will be familiar with the sequences in a show and knows the artists and their potential reactions, all of which add up to smoother, more aesthetically pleasing and professional results.

With the SpotMe system, Robert Juliat upgrades traditional followspot usage to fit the modern age. It’s a valuable companion in the followspot operator’s and lighting designer’s toolbox, and this aesthetic approach drives people’s interest in SpotMe.

The system was recently used during the opening ceremony of the FINA World Aquatic Championships, at the request of LD Frédéric ‘Aldo’ Fayard. “The FINA Opening Ceremony was a good test for SpotMe, both as a trial under live conditions, and to ensure it meets the true requirements of lighting designers in all aspects prior to releasing it to market,” said Robert Juliat MD, François Juliat. “Live testing gives us the opportunity to fine tune the details and make sure it is a viable - and valuable - product in real conditions.” Photo: Julien Panieá www.robertjuliat.com

114