Regional Round Up: Africa

Front: Reon Swart, Bernard Gramann, Greg Pascoe; Back: Michael Wessels, William Fryer, Byron Colquhoun.

CORE PRODUCTIONS GEAR UP

CHRISTMAS CAME EARLY LAST YEAR FOR CAPE TOWN BASED RENTAL COMPANY, CORE PRODUCTIONS, TAKING OWNERSHIP OF MA LIGHTING DOT2 XL-F, DOT2 F-WING, A DMX KING PRO1 (WHICH INTEGRATES WITH DOT2 ON PC SOFTWARE), AND A DOZEN LONGMAN FACEPARS.

For the tight-knit group of creative individuals who make up Core Productions, the new equipment will bring peace of mind. “We are always motivated to come up with amazing ideas, sell it to the client, stress on how we will pull it off, and then pull it off… blowing the socks off people,” grinned Bernard Gramann, owner of Core Productions. “That’s why I love my job and need to rely on gear that won’t fail.”

Gramann said he decided on the dot2 console and DMX King Pro1 due to the great functionality of the operating system and the after-sales service he will receive from DWR Distribution. “The dot2 also has the Resolume Profile which we often use for effects on shows, and my team is very excited about ‘giving it a go’ as well as triggering the dot2 through our Watchout for different video cues and so forth.”

MA Lighting’s dot2 XL-F is a compact light controller which has up to 4,096 channels and extensive connectivity options, making it ideal for all applications whether theatre, touring, corporate events, TV or training. The dot2 F-wing offers modular playback expansion to any of the dot2 consoles. The wings are connected plug and play via Ethernet and can be assigned to the correct fader or button location with the console in seconds, providing an additional eight faders and 16 playback buttons with an integrated touchscreen.

Adding to its existing stock, Core Productions also purchased an additional 12 Longman Facepars. “These are handy light fixtures that are small and punchy,” commented Schalk Botha from DWR. “They are particularly useful for corporate events, lighting up trussing, backlight, sidelight and even for FOH on small stages!” The

Longman Facepars utilise a 12W RGBW 25 degree LED chip set to produce rich and vibrant colours.

“We have a wonderful working relationship with Bernard and his team,” concluded Marlene Riley of DWR. “They have a great reputation in the industry for going the extra mile no matter how big, or small, an event. It’s wonderful seeing how much Core Productions have grown over the past few years and we are honoured to play a part in offering continued support as they grow even further.”

Bradley Bruchhausen, based at DWR Distribution Cape Town, delivered the gear and will be presenting training to the operators within the next week. “Core Productions are a great team who take pride in their work. I can’t wait to see what they do with the console,” he said. www.coreproductions.co.za

MGG COVERS COMIC-CON AFRICA

Tim Timpleton MGG’s Technical Production Manager

Comic-Con Africa, was hosted for the very first time in South Africa at the Kyalami International Convention Centre in Midrand, Johannesburg. MGG was appointed as the main technical supplier for the sold-out event, enjoyed by over 45,000 superheroes, villains and sidekicks.

Geeks, gamers and superheroes were spoilt for choice with an enormous exhibition area (just ask any of the visitors what their step count was for the day), and were enthralled by gaming panel discussions, cosplay contests and a chance to rub shoulders with celebrities like Travis Fimmel of Vikings fame.

MGG meticulously executed the technical setup for Comic-Con Africa, that included a main stage, four prescreening rooms, two VS gaming areas, kids’ entertainment area, an MTN outdoor stage which included a VIP and screening area, and lastly, audio for both multiple exhibition floors and the food zone. Professional gear was utilised all round, which included Robe and Claypaky lighting fixtures, Prolyte trussing, Absen LED screens, L-Acoustics PA and DiGiCo audio consoles that both amplified and magnified an exhilarating event.

“Getting these shows and putting them together really excites me,” said Timothy Templeton, MGG’s Technical Production Manager for Comic-Con Africa. “For me, 80 percent of an event depends on pre-production planning. This is also where you rely on the crew, and we would not have been able to accomplish, what I feel was a professional and seamlessly executed event, without them. The crew are a band of brothers if you will. They have a competition culture which is great to see, and it’s all about team effort.”

Not put off by the magnitude of the event,Templeton segmented each location to run independently, the crew of 35 plus knowing

exactly what was required of them, from the four-day set up to running the event. Attention to detail prevented any challenges on site. All equipment was labelled according to the allocated venue areas. Obtaining an extra day for rigging, made things even easier.

COMIC-CON MAIN STAGE The main stage seated an audience of a 1000 and carried a tangible air of excitement. This was the popular platform for South African cosplayers to jump in boots, wigs, body paint and all, as they represented characters from cartoons, comics, films, tv series and video games. The main stage area included panel discussions, Q&A sessions and interviews with celebrities in the comic book industry, such as the comic book writers, illustrators and a few international stars like Kevin Sussman from The Big Bang Theory.

“We deployed an Absen 2.9mm LED Screen (8m x 3m) which looked really cool,” said Templeton. “We used a DiGiCo SD11 at FOH for audio.” Robe Robin LEDWash 600s and Claypaky Sharpy’s hung off Prolyte V40 truss were used for beam work. Robe LEDBeam 150s were positioned on the stage floor. They are great little fixtures!”

PRE-SCREENING ROOMS Absen 2.9mm LED Screens and L-Acoustics audio were used in all four pre-screening rooms. L-Acoustics ARCS Wide and Focus coupled with SB 18m subs were located in the largest of the four pre-screening rooms. L-Acoustics 12XTs coupled with SB 18m subs were placed in the remaining three smaller pre-screening rooms. “The sound reinforcement for those rooms was important, while the visuals had to be high res,” he explained. “While the Absen 2.9mm hit the button I also absolutely loved the L-Acoustics and we were pleased to receive positive feedback from the international guests.”

VS GAMING ARENAS The CSGO and DOTA2 gaming arenas both captivated and mesmerised all spectators, progamers and novices alike. Pro Gamers were pitted against one another in heated battle in enclosed, soundproof booths, while spectators had a view of the game taking place on the ultra hi res Absen 2.9mm screen. “What is interesting about the gaming is that it’s a serious, competitive event and includes panel discussions, commentary during the game and post-match discussions, just as you would see for a regular football game aired on television,” said Templeton.

MTN ZONE STAGE The outdoor MTN Zone proved to be a popular venue with MGG erecting its Prolyte Arc Roof for jam-packed entertainment that included live music and SA’s favourite DJs. This zone also consisted of a VIP area, a screening area and hosted exclusive gaming competitions. A Vuepix 12mm LED screen was used for the backdrop of the stage while MA Lighting grandMA2 controlled the lighting aspects of the show.

FOOD AND EXPO AREA In addition, MGG had the responsibility for providing the audio solution for both the exhibition and food areas. “One thing that technically stood out for me was the comms solution that we put together for this,” said Templeton. “We covered an area of three floors and over 400m. It was very stressful, but worked brilliantly in the end.” MGG used the Clear Comms FreeSpeak system and integrated it with a wired comms system.

“There was an international expectation and scrutiny on the event,” ended Templeton. “Being Comic-Con’s first event on the African continent, there was pressure to meet the global standard.” Photos: Anriette van Wyk www.mgg.co.za

SPLITBEAM ADD TO ITS PROLYFT STOCK

GEARHOUSE SPLITBEAM, THE SOUTH AFRICAN THEATRE EQUIPMENT RENTAL COMPANY INVESTS IN 53 NEW PROLYFT AETOS MOTORS AND THREE AETOS 24 WAY REMOTE CONTROLLERS TO KEEP UP WITH DEMAND OF UPCOMING THEATRE PRODUCTIONS.

Established by Alistair Kilbee and Ofer Lapid in 2010, Gearhouse Splitbeam was set up to provide the best professional gear at the best possible prices to its clients.

“We have sent the 53 new Aetos motors, along with 47 of our existing stock – a total of 100 Aetos motors – to the Philippines where they will begin a world tour,” explained Alistair Kilbee, Managing Director. “I will be joining the production in Manila in January 2019 as Technical Director, but will not be touring with the show, only flying in for load in / load outs as required.”

Investing in half tonnes and one tonne units, Splitbeam have gone for double brake units. “The double brake is an international safety requirement so we have decided to upgrade our existing stock and purchase all new motors with double brakes so that we are not limited for touring purposes,” he explained.

“In order to tour internationally, it is important

to keep our standards high. The control is the most important part when it comes to operating motors, so it is worth every cent to go for superior quality and reliability. We purchased three Aetos 24 way remote controllers, these are a fantastic addition to our stock as they help to centralise control for the motors which is important when dealing with large quantities of motors.”

In addition, Splitbeam have invested in Eilon load cells. “The Eilon load cells are crucial in monitoring your load weights while lifting to ensure an even distribution of weight between motors. The great thing about the wireless Eilon system that we purchased is that the cells can be monitored continuously in real time via an iPad. This particular production has a complex rigging system, so the load cells will help to ensure the safety of the performers and longevity of our Aetos Motors.”

Splitbeam have been involved in a number of

international touring productions such as Priscilla Queen of the Desert, Evita and The Sound of Music to name a few, and the team are very proud to have built up a good reputation in the industry both in South Africa and around the world. “It is not always easy competing with the equipment requirements, fluctuating exchange rate and logistics but these challenges are what we thrive on and we are able to learn and continuously improve our service delivery as a result,” said Kilbee.

“Theatre is my passion and lighting is my background, so Splitbeam was originally just a lighting company specializing in Theatre rental. However, we have had to adapt to meet the technical needs of theatre productions and are very pleased to now be able to provide the full package, lighting, audio, AV and rigging as well as technical management services.” www.splitbeam.co.za

ALLEN & HEATH DELIVERS RECORDING AND BROADCAST SOLUTIONS IN NIGERIA

Based in Port Harcourt, Nigeria, Chicoco Studios is housed in the community gathering space, The Shed, which was built by young residents of the city’s waterfront slums. The studio was designed and installed by the Collaborative Media Advocacy Platform in conjunction with the Chicoco Collective and is home to both recording and radio broadcast spaces.

Directed by former BBC Engineer, Ana Bonaldo, with technical mentoring and support from another ex-BBC Engineer Colin Neal, Chicoco Radio is powered by a pair of Allen & Heath XB-14-2 compact broadcast mixers. That Neal said, “were chosen for their incomparable value and versatility. We found no other desk at this price point which features broadcast functions such as TELCO channels with clean feed, talkback and remote starts for playout channels.”

While Chicoco Radio was devised to give the residents of Port Harcourt’s waterfront their own voice, the studio and live performance area of The Shed also offered a creative outlet for local singers, DJs and musicians. Both feature A&H digital mixing set-ups, with a Qu-16 model at the heart of the recording set-up and Qu-24 mixer and A&H AR2412 AudioRack for live use.

“The Qu-16 was the first Allen & Heath desk we installed.” Said Neal: “I found it to be really well thought out and I liked the amount of facilities that it offered – the onboard effects, gates and compressors and so on. To get all these things in something so small and portable is impressive. so when it came to needing a second desk for PA use, the Qu-24 was a natural choice. This one is even more impressive, with four separate on-board effects available. The combination of the Qu-24 with the AR2412 digital stagebox and flexible CAT5e snake is great. You just plug it in, turn it on and it works, straight out of the box, no setting up required although – like all these products – customisation is easily possible. We’ve really been delighted with the set-up.”

The result of the investment in Port Harcourt’s creative spaces has both an increased

empowerment within the local community and a growing profile further afield. The Chicoco Collective were invited to perform at Felabration -Nigeria’s best-known music festival- in 2017 and were invited back again in 2018. They have been hailed among the hottest new acts in Nigeria by the likes of The Arts Desk’s Peter Culshaw. www.allen-heath.com

LAGOS JUMPS AT TRAINING

Often known as the ‘Giant of Africa’ due to its large population and economy, Nigeria has an estimated 197-million inhabitants, many of whom have a hunger and passion for knowledge not often seen elsewhere in the world. With this in mind, South African based DWR Distribution recently took hands

with Livespot Productions to present a two-day lighting workshop, hosted free of charge in Ikeja, GRA in Lagos.

The DWR team included Jannie de Jager and Michael Taylor-Broderick who presented the training, along with Duncan Riley, Kyle Robson and JP de Vernon, who were eager to be part of the adventure.

Topics covered included the objectives of stage lighting, controllable properties of light, colour and light theory, setting up and designing a lighting system, reading lighting plots and fault-finding.

“I loved the attitude of the attendees,” said Michael Taylor-Broderick. “They came thirsty for knowledge and were deeply invested in the training. I was humbled by their sense of gratitude towards us for the sharing of our

knowledge. There is huge potential in the entertainment industry in Nigeria and I believe the industry, as a whole, have yet to realise what these capabilities are… I believe they are boundless.”

The experience was echoed by Jannie de Jager. “There is an incredible desire for information by the people of Nigeria,” he said. “I have never had a workshop with so much involvement and feedback from the trainees. The questions asked were good and extremely relevant to their sitation and at times I had to think a little before answering! This enthusiastic involvement helped to steer the course in a direction that was pertinent to meet their needs.”

A distinct bond was formed within the DWR team as they travelled in unison to the Northern Hemisphere. “We had a special energy which went with us and made the trip exciting,” said Jannie. “We were very well accepted and taken care of by the locals.” The team really felt the love as locals asked for selfies, and all parties were appreciative to have spent the time together. www.dwrdistribution.co.za

SARA INVEST IN ABSEN AND GREEN HIPPO

EXPOSING YOUNG INDUSTRY PLAYERS TO THE LATEST TECHNICAL EQUIPMENT, SARA, THE SOUTH AFRICAN ROADIES ASSOCIATION, INVESTS IN AN ABSEN D3V INDOOR / OUTDOOR LED SCREEN CONSISTING OF 150 PANELS AND A GREEN HIPPO KARST+ MEDIA SERVER, TO DRIVE THE CONTENT, FROM LOCAL DISTRIBUTOR DWR DISTRIBUTION.

SARA is a non-profit training organisation based in Newtown, Johannesburg, providing young students with skills in lighting, audio, staging, power, rigging, AV and production. An On-The-Job Training program gives students hands on tutoring both locally and internationally.

The investment of a new Absen D3V Indoor / Outdoor screen and Green Hippo Karst+ was funded by the National Lotteries Commission (the NLC). “The equipment is crucial for SARA’s On-The-Job Training,” said Freddie Nyathela, SARA’s founder. “The purpose of purchasing this equipment is not to compete with anybody’s business or with any hire companies. The main focus is for students to have access to hands on training with the latest technical gear. We will also assist some of the SARA graduates who have set up their companies and need gear for an event. They don’t have large budgets and we will loan it to them at a minimal rental fee.”

Schalk Botha of DWR said the Absen D3V’s ability to produce a high-resolution screen for both indoor and outdoor applications make it a great choice. “The screen is simple to operate and easy to set-up thanks to its simple slot-and-lock

mechanisms and maintenance is made easy with the magnetic LED modules and quick release control modules,” said Botha. “Key features include the built-in curving mechanism and the high output white face LEDs, producing 4 000 NITS of output and sporting an IP65 front rating.” DWR presented training to the students and were pleased at their positive response.

With a total of three outputs, as well as two ZooKeeper monitor outputs, the Hippotizer Karst+ will drive content and any shows with ease.

“The Hippotizer Karst+ is a great choice for SARA because it allows them to gain experience and receive training on a Media Server used by some of the top companies in the Industry,” said Dylan Jones from DWR, who represents the Green Hippo brand.

“I’ve known Freddie for a long time, and what he wants to do is try and expose people who would not typically get the opportunity, to work on professional equipment so that when they get to the work environment, they will be able to say, ‘I understand that this is an LED screen, I know what it does and how it works,” said Duncan Riley of DWR. “Freddie has built a bridge where

people with limited resources are trained up and equipped to work in the industry.”

Each year SARA recruits 30 students each of which pay a small fee of R500 for the entire year and cover their own transport costs. That said, for many students the year is a sacrifice as they study and still have to continue to support their families at home. “That is why we offer on-jobtraining opportunities, where they work and get paid, helping them to survive,” said Nyathela. And once the year is complete, SARA students don’t struggle to find employment. “The industry know they are different and capable because of the formulae the training is based on, a syllabus comprising 30% theory and 70% practical.”

Freddie sees 2019 as the turning point. The SARA premises in Newtown have been paid off, again by the support of National Lotteries Commission, and they have also been allocated funds by the National Department of Arts and Culture to complete much needed renovations. DWR Distribution have made a commitment to present a range of training courses from lighting to audio, fixture service workshops and a list of other topics, to the enthusiastic students. www.sara.co.za

PLATTELAND, THE NEW HOME TO MUSIC PRODUCTIONS

A NEW VENUE BASED IN CENTURION, GAUTENG, DELIVERS AN OUTSTANDING MUSIC PERFORMANCE BY LOCAL AND INTERNATIONAL ARTISTS ON A PLATFORM WHEREBY; TECHNOLOGY MEETS A WORLD CLASS STANDARD.

The professionally equipped venue in Centurion, Gauteng, includes an L-Acoustics audio system, a DiGiCo S21 digital mixing console, and an impressive all Prolyte 8 x 5m, 4.5m high structure with an eye-catching circular truss that surrounds a screen. Most importantly, it offers a warm and vibrant atmosphere felt by patrons visiting the establishment.

“While the venue is new, my partners and I worked on the concept for the past three years, waiting patiently for the perfect site,” explained Marcus Oosthuizen from Platteland. “It took close to a year to secure the right deal and then to build the venue.”

The founders had all been involved in nightlife venues at some point of their lives. “We wanted to give the live music industry a boost by opening an internationally equipped venue which, in turn, would bring the best music to our customers and enable them to experience a quality production.”

Oosthuizen was referred to DWR Distribution through one of his suppliers, Music Junkies. “Jaco Beukes, Richard Smith and Duncan Riley of DWR guided us with the initial set up,” said Oosthuizen. “We did our research and spoke to many sound companies and audio engineers, and all of them mentioned L-Acoustics. We required a clean sound that would deliver a punch, and without a doubt, that is what the ARCS WiFo have

delivered.”

The audio system includes four ARCS Focus and two ARCS Wide. “The quality of the audio is what differentiates us from other venues,” said Oosthuizen. “If you want to be the best, you need to use the best equipment, not to mention the fantastic ongoing support we get from DWR.”

For the mixing console, Platteland choose a DiGiCo S21, a cost-effective solution backed up with the DiGiCo power. The compact dual screen design of the S21 provides 10 channel strips per screen allowing the operator instant feedback and control on 20 simultaneous channels. This amount of instantaneous feedback offers total reassurance when mixing large shows, but the newly designed drag, swipe and drop channel layout system makes it simple for operators to move channels and busses across the surface to design their own custom fader layouts. The beauty of having two screens is that it not only gives you more channels to view at any one time, but it allows you to utilise one as a setup or master screen, while still operating with the other. You are always looking in the same location, whatever function you have highlighted.

“Due to the design of the venue we were not able to hang anything from the beams in the ceiling, and we had a fair amount of gear that needed to be suspended,” explained Jaco Beukes from DWR, who managed the project. Platteland’s stage has an 8 x 5m, 4.5m high, H40

Prolyte structure that overshadows the entire stage with a circle truss flown on the back of the main structure and six totems with lights and TV displays on them.

“We needed a clean and professional look that would also be safe and secure and future proofed so that we can add sound, AV or more lights with ease of mind to the structure. Prolyte delivered on the spec,” said Oosthuizen.

Starting a new venue requires dedication, and the Platteland brand aims to attract fans and artists alike. “We have an amazing internal marketing team,” said Oosthuizen. “And by offering artists the best possible platform in regards to audio and the production as a whole, we find that bands are loving the opportunity as much as we are enjoying them on our stage.”

In the short time of its existence, Platteland has attracted artists such as Robbie Wessels, Brian McFadden (ex-Westlife), Francois Van Coke, Jo Black, Blood Brothers and Jack Parow, to mention a few.

DWR’s Beukes added: “It’s clear that the Platteland team have put much thought into their establishment, without doubt making a permanent impact on the local music scene. They have invested in quality gear and quality personnel. We wish them every success for the future and would like to thank them for the opportunity and for their support.” www.platteland.live