ETA DEC 2019

For The Technical And Production Professionals in Asia

DECEMBER 2019

Creative Technology at the IAAF World Athletics Championships Doha 2019

Evan Morris on The Psychology of Light and Colour

Yamaha RIVAGE PM10 Playing Key Role in Urinetown

Prolight + Sound to Celebrate 25th Anniversary With Focus on Present and Future www.e-techasia.com

CONTENTS

3 DECEMBER 2019

54

IN THIS ISSUE

VOL 20 ISSUE 12 DECEMBER 2019

41 04 FIRST WORDS 06 NEWS 26 VIDEO FILES 28 ENNOVATIONS SHOW PREVIEW 41 Prolight + Sound to Celebrate 25th Anniversary

With Focus on Present and Future

USER PERSPECTIVE 44 Yamaha RIVAGE PM10 Playing Key

Role in Urinetown

ALEX COLUMN 47 Why Do We Even Need to Hear About dBFS? ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

FEATURE 48 The Psychology of Light and Colour!

LIVE 50 QATAR: IAAF World Athletics Championships Doha 2019 54 CHINA: Absen Supplies LED for the 2019 Zhuhai Championships 56 AUSTRALIA: Shure Axient Digital Provides Flawless Coordination

at the NRL Grand Final 58 SOUTH KORIA: Christie Projectors Light Up Artworks of Prominent

South Korean Artist Park Chan-kyong

60 EVENTS CALENDAR 61 MARKET PLACE

FIRST WORDS

4 Ram Bhavanashi DECEMBER 2019 Editor, India And Middle East ram@spinworkz.com

Enhancing Sports Programmes Ram Bhavanashi Julie Bhavanashi Tan

Sound, lights and visuals have generally been extensively used during sporting programmes such as during intervals or at the opening and closing ceremonies of games.

However, there has been a different type of trend of late. During the T2 Diamond Table Tennis League tournament that was hosted in the state of Johor Bahru, Malaysia, in July 2019, lighting effects were used when a player is welcomed into the match. During the match, only static lighting was used, and the number of fixtures helped in creating a soft, but at the same time, bright ambience feel for each match. From the picture below you will notice that this does not look like a typical tournament setup but more like a concert set-up. Organisers are using technology to further enhance the audience experience.

I bring this up because of our cover story in this issue. The IAAF World Athletics Championships Doha 2019 had projected trackathlete introduction which covered the entire running track, entertainment lighting as well as LED athlete entrances for both track and field positions. Arguably the most impressive and talked about innovation at the Championships this year was the track projection. Creative Technology used over 100 21K and 31k laser projectors to project custom content across the entire running track – bringing it to life during the finals.

One particular sport that has taken full advantage of sound, light and visuals is e-Sports. The all-encompassing ambience is created to drive the adrenalin of not only the competitors but the audience.

Editor, And Middle East East Admin India & Circulation admin@spinworkz.com ram@spinworkz.com

Julie TanChew Natalie

Admin Writer & Admin & Circulation Circulation natalie@spinworkz.com admin@spinworkz.com

Daniel Daniel Ngiam Ngiam

MEDIA Rep for Natalie Chew MEDIA Rep for Spinworkz SpinworkzPte Pte Ltd. Ltd Tel: Tel: +65 +65 84410258 84410258 Writer first_dm@hotmail.com first_dm@hotmail.com natalie@spinworkz.com

OUR COLLABORATORS Atmaram Rawool Shankar Venugopal Daniel Ngiam ART / LAYOUT ETA

ART / LAYOUT MEDIA Rep for Spinworkz Pte Ltd shankar@creativecult.in Elissa Nadine Tel: +65 84410258 Web Content and Social Media Specialist first_dm@hotmail.com CREATIVE CULT

Rosalind Tan

Website Management Wizard

PV Anthony

Shankar Venugopal

Server and IT SecurityART Guru/ LAYOUT

shankar@creativecult.in

Halim, TrueDesignLab.com

HTML Design and Coding Maestro CREATIVE

CULT

The above examples show a possible new revenue path for rental & staging companies.

To subscribe to Entertainment Technology Asia click here: https://www.e-techasia.com/subscribe/

Thomas Richard Prakasam Publisher / Editorial Director

PUBLISHED BY

thomas@spinworkz.com

71, Bukit Batok Crescent, #06-13 Prestige Centre, Singapore 658071. Tel: (65) 6316 2716 Fax: (65) 63162715, www.spinworkz.com Disclaimer : Entertainment Technology Asia is published 12 times a year. All rights reserved. No part of this magazine is to be reproduced, whether mechanical or electronic without the prior written consent of the publisher. Views expressed in this magazine do not necessarily reflect those of the editor or the publisher.

Unsolicited contributions are welcome but the editor reserves the discretion to use them. Whilst every care is taken to ensure the accuracy and honesty in both editorial and advertising content at press time, the publisher will not be liable for any inaccuracies.

Please be informed that products and company names mentioned in this publication may be protected with tradenames, trademarks or registered trademarks of their respective owners. Our non inclusion of such symbols is not an indication of us not recognising the copyright but rather to have a common look across our articles. Misuse of tradenames, trademarks or registered trademarks is strictly prohibited. It is the obligation of our readers to check if company names and products are protected with tradenames, trademarks or registered trademarks.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEWS

6 DECEMBER 2019

DUBAI

Protec Fields Outline’s Newton Processor for Mariah Carey’s Dubai concert

KLANG training in China

(L-R) Tim Allison, Luca Gianni and Chris McAlesse Thanks to the logistic support of Outline’s Newton distributor for the UAE, Prolab LLC, Production Technology LLC (Protec) recently took delivery of the first Newton in the region.

Established by industry leader and habitual pioneer Stephen Lakin, Protec, which has branches in the UAE, KSA and UK, has been the cornerstone of the events industry in the Middle East since 1999 and is one of the largest and most reliable technical & staging solutions company for events in the area. Protec delivers production solutions ranging from hi-end corporate events through to large stadium shows across the Middle East, Africa, Asia, UK & Europe.

Newton Product Specialist Middle East Luca Gianni helped to organize a demo in the field during an event in KSA and hosted a complete in-depth training course exclusively dedicated to Protec technicians, to ensure that the new processor’s possibilities were exploited to the utmost and the team was able to make the best possible use of its great processing capacity and versatility.

Tim Allison, head of Protec’s audio department, stated that the Newton processor (to be precise a Newton 16+8 plus patch panels) would be immediately put to use on large-scale events in the UAE and KSA, and continued, “I envisage the Newton (or maybe more than one) as an integral part of all our FOH main processing racks.”

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Luca Gianni confirmed, “The Protec team is highly qualified and will definitely make the very most of the Newton, thus increasing the company’s in the field and particularly during festivals and large-scale events.”

One such event that gave Protec the opportunity of immediately putting the Newton through its paces was the Mariah Carey concert, held on October 20 at Burj Park. One of the world’s most successful artists in music history, with over 200 million album sales and five Grammy Awards to her credit, Carey performed as part of the celebrations of the One Year To Go Expo 2020 campaign.

Gianni concluded, “For a product specialist, explaining the technology and features to a team of professionals is always extremely satisfying and this was definitely a truly great start for a long-lasting collaboration with one of the largest production companies in the Middle East.”

newton.outline.it www.prolabllc.com www.productiontec.com

Wash light – with an Edge

Get your Pix fix

highend.com/solapix

etcconnect.com | highend.com salesinfoasia@etcconnect.com

NEWS

8 DECEMBER 2019

SINGAPORE

Singapore Night Festival Shines Bright with Modulo Pi’s Media Servers

CHIJMES

Banyan Tree

Specializing in large-scale projections and as the official projection partner of the 2019 Singapore Night Festival, The Electric Canvas utilized Modulo Player media servers on four different projection sites across the precinct.

audio for “Waves of Time”. The projection content was created by local artists, Chips and Toon, whom The Electric Canvas assisted in mapping the show onto the architecture of the building, using the exclusive X-Map function of Modulo Player for 2D warping.

The main façade of the National Museum of Singapore was the canvas for “Keep Dreaming” by French company, Spectaculaires Allumeurs d’Images. The Electric Canvas deployed 3 x Modulo Player media servers to deliver 10 channels of video plus two channels of audio for the installation.

In addition, the clock face of the Stamford Court building was brought to life with projection designed and delivered by The Electric Canvas, in a fun mapped piece entitled, “Tropicana”. Once again, 1 x Modulo Player media server delivered two channels of video and two channels of audio.

In the gardens of the National Museum was “The Legend of Ramanyana”, also by Spectaculaires, staged on a beautiful old Banyan Tree. The narrative son et lumière featured lighting and sound, with projection by The Electric Canvas for which 1 x Modulo Player delivered three channels of video.

Event Production: National Heritage Board, Singapore Projection Technical Design and Delivery for all sites: The Electric Canvas

www.modulo-pi.com

On the chapel building of Chijmes, The Electric Canvas utilized 1 x Modulo Player to deliver four channels of video and two channels of

Singapore National Museum ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

NEWS

10 DECEMBER 2019

INDIA

QSC Plays It Loud with Dev Electronics

Dev Electronics – the official distribution partners for QSC products in Western India - recently concluded a day-long informative and interactive session that emphasized QSC’s range of impressive technologies; with the session hosted at Dev Electronics’ plush live demo room at their headquarters in Mumbai.

The session involved QSC’s pro digital sector specialist answering questions regarding QSC’s range of TouchMix consoles. The attendee profile, which comprised sound engineers and technicians from a diverse application segments, were introduced to the features and various I/O options available on TouchMix mixers, and were also given hands-on experience time on the consoles, in addition to providing an overview of the consoles’ features and compatibility, the latest firmware updates, recording capabilities, availability of offline editors and remote apps.

Alongside, QSC and Dev Electronics also proudly launched the new KS118 high output active subwoofer that promises impressive low frequencies for mobile entertainers, AV production and clubs/venues applications. Featuring an 18-inch direct radiating driver powered by a 3600 Watt Class D amplifier, the KS118 delivers high sound pressure

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

levels with dynamic and musical sound reproduction of very low frequencies. On-board DSP optimizes and protects system performance as well as offers advanced capabilities such as the ability to array two units in a cardioid arrangement; while multiple operation modes including the Selectable DEEP™ mode for extremely low frequency extension, assures dependable low-frequency reinforcement for any application need.

The initiative received a rousing response; as it proved to be a platform where users were actively engaged with the brand and its partners. It also provided users the opportunity to learn the updated features that have been added to the TouchMix series of mixers; and get acquainted with new impressive technologies from QSC like the KS118 subwoofer.

“Dev Electronics and QSC are committed to providing the latest technology, prompt customer service and up to date knowledge. These kinds of initiatives are very useful and recommended as a must-visit for every pro audio professional.” said Dev Electronics Director Dilip Devjani.

develectronics.com

NEWS

12 DECEMBER 2019

MALAYSIA

Crystal Clear Sound Achieved at Choir Performance Through DPA Microphones

DPA Microphones’ recently launched 4097 CORE Supercardioid Choir Microphone was used to great effect in Kuala Lumpur when a choir of 12 men and women gathered in Independence Square to mark the 50th anniversary of the Department of Enforcement, Kuala Lumpur City Hall.

engineers in the live performance sector because it delivers exceptional sound quality and reliability. The capsule used in the 4097 CORE Microphone has been specifically designed to capture dynamic choir sound and it is ideally suited to indoor and outdoor use.”

The event, entitled Hari Penguatkuasa DBKL, featured a parade in conjunction with the Golden Jubilee Celebration of Enforcement Day. It culminated in a live performance by the DBKL City Hall Choir who performed in front of an audience of approximately 2,000 people.

Launched at InfoComm 2019, DPA’s 4097 CORE Choir Microphone is available in both wireless or wired configurations. Featuring DPA’s famous flat off-axis supercardioid pattern, it makes the entire choir sound natural from all angles and also offers very high-gain-beforefeedback. These characteristics make it easy for engineers to use multiple mics on a choir and then mix and blend the various parts of the choir together without having to fight the artifacts created from uneven mic pattern pick-up.

Ajun Mubari, head of Malaysian audio rental company Mubari, says DPA’s 4097 CORE Supercardioid Choir Microphones were chosen to amplify the choir because their integrated shock mount and wind screen made them ideally suited to outdoor use.

“The 4097 microphone is awesome and very easy to work with,” he says. “We used one pair to cover the choir group and positioned them on either side of the choir who were standing in a semi-circle. The concert generated very high sound pressure levels – in excess of 90dB – but thanks to the 4097’s high isolation, the sound coming from the stage monitors (which were placed in front of the choir and behind the microphones) did not affect the available gain during the performance.

This was a huge advantage as it meant we could capture the true sound of the choir without picking up any other sound.”

Mr. Chin, Managing Director of DPA’s Malaysian distributor AV United, adds: “DPA’s new 4097 CORE Choir Microphones use a variant of the highly regarded 4099 CORE capsule that is widely accepted by

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

The inclusion of CORE by DPA amplifier technology ensures that a clear sound is achieved at all levels as it lowers the distortion and expands the dynamic range. Furthermore, the 4097 includes three shock mounts so that any rumble caused by movement on the stage is effectively damped.

The 50th anniversary celebrations for Enforcement Day also featured other performances and some of these were amplified using six DPA 2011C Twin Diaphragm Cardioid Microphones, which were again chosen for their sound quality and reliability.

www.dpamicrophones.com

TEAMWORK

GREAT FEATURE SET – PERFECT WHITE 350 W LED – 6,000 K – FRAMING

NEW:

 /GLP.German.Light.Products  /GermanLightProducts  www.glp.de

NEWS

14 DECEMBER 2019

DUBAI

Protec Scores Firsts with Massive Claypaky Xtylos Purchase

Protec tallied a number of firsts on the lighting front recently. Protec was the first in the world to order Claypaky Xtylos, inking a deal to receive 350 of the market’s first-ever laser moving fixtures. Protec also became the first AV equipment supplier in the Middle East to take delivery of Xtylos in September. Launched in 1999, Protec is one of the world’s largest and most comprehensive event technical and staging companies delivering solutions for all event types across Europe, the Middle East, Africa and Asia. Protec boasts an expanding, state-of-theart inventory, including robotic and drone technologies, and an expert staff based in Dubai, Abu Dhabi, Riyadh and Birmingham, England.

“We are very excited that Protec was the first in our world sales network to place the order at Prolight + Sound 2019 in Frankfurt where we launched Xtylos,” says Egor Popovski for Claypaky in the Middle East. “Protec is also the first in the Middle East to receive the shipment of these fixtures and has become the largest stockist of Xtylos in the Middle East region.” Xtylos is a compact beam moving light with unique optical and chromatic characteristics featuring a tailor-made laser source, which is the powerful engine of an incredible array of colours.

The most dynamic light on the market, Xtylos is the first moving head light with a laser light source opening up new, surprising prospects for the development of the entire entertainment lighting world.

“Protec are always investing in the latest technologies, and Xtylos is the next innovation in lighting technology,” says Aaron Russ, Head

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

of the Lighting Department. “Xtylos is more efficient from an energy point of view, but its real selling point is how its laser-sourced engine reproduces colour with such intensity and definition. We believe this offers something unique on the market and introduces a whole new world of creative lighting solutions for our clients.”Russ believes Xtylos will be ideal for large outdoor events such as concerts, festivals, opening and closing ceremonies, and stadium shows.

“The Xtylos’s energy efficiency has a green appeal, which is something the events industry needs to continue to make improvements on, but the main attraction here is the fixture’s ability to maintain colour intensity and vivid brightness over a long distance compared to its predecessors and other market options,” he points out. “Xtylos sends a focused solid beam of colour through the sky with minimal diffusion.”

He also cites the fixture’s compact size while “packing an incredible punch. Xtylos is a game changer that will allow us to deliver more spectacular effects.”

In addition to growing its inventory with 350 Xtylos Protec also acquired 48 Claypaky Sharpy Plusfixtures to further expand its lighting capabilities.

www.claypaky.com

COLOR RANGER Outdoor-rated RGBW Wash High CRI: 2700K~ 8000K Ra/R9 ≥ 90 EK Color Ranger at The National Stadium ( Bird's Nest ) , Beijing Olympic Park

www.eklights.com

www.youtube.com/c/EKLightingTV www.facebook.com/EKlighting www.twitter.com/EKlights

Huadu District, Guangzhou, China www.linkedin.com/company/ek-lights Email: sales@eklights.com

NEWS

16 DECEMBER 2019

MIDDLE EAST

SIXTY82 Continues Global Expansion with Unusual Rigging LLC

SIXTY82 has recently appointed Unusual Rigging & Engineering LLC as its exclusive representative in the United Arab Emirates, Oman, and Saudi Arabia, for its full trussing and staging product range. Unusual Rigging will exercise skilful supervision on a broad scope of possibilities, advising customers on the best SIXTY82 solution for their specific needs.

Established in 2008, Unusual Rigging is a highly experienced provider of rigging and stage engineering solutions, working around the globe, principally in the entertainment, special event, exhibition and presentation industries. In 2009 Unusual Rigging & Engineering LLC opened for business, bringing to Dubai a wealth of experience and expertise unmatched anywhere else in the world.

The team of Unusual Rigging has spent their entire working lives on the production side of the entertainment business: their specialist teams boast a wide range of disciplines, and all are passionate about what they do. “At SIXTY82, we share this passion for the industry,” comments Fokko Smeding, CEO of SIXTY82. “We therefore believe that Unusual Rigging & Engineering is a perfect fit to meet the needs of our everexpanding customer base.”

SIXTY82’s Sales and Marketing Manager Rainier Smeding continues: “We are extremely excited to be working with a team that has this kind ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

of knowledge and expertise, supported by an unrivalled track record.

With these dynamic and experienced people, we can focus on nextgeneration structures, based on the highest knowledge and working skills, as well as safety regulations.”

Denis Bramhall, Managing Partner at Unusual Rigging LLC, commented: “We are delighted to take on the role of distributor for SIXTY82 in the United Arab Emirates, Oman, and Saudi Arabia. By adding their products to our portfolio, we are offering our customers in the region something new and something which complements our current range.

The quality of SIXTY82’s products is second to none, and we are proud to have formed this new partnership with them.”

Headquartered in Drachten, Netherlands, SIXTY82 has every element required to innovate in the way that lightweight structural systems are used. With over 100 years of experience in the entertainment industry, the team of SIXTY82 is committed to the continuation of improving product and service. They are driven by a passion for their craft,to ensure their customers can continue to build incredible stuff.

https://www.sixty82.nl/

Xtylos The Laser Revolution in Beam Moving Lights

SSL Live L.550 Absolute Power and Ultimate Flexibility

Tempoâ„¢ Flat Panel Floor Support System

MALAYSIA SINGAPORE THAILAND INDONESIA

+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480

NEWS

18 DECEMBER 2019

CHINA

Arf & Yes Runs 148 Universe Show for Juhuasuan with ChamSys MagicQ MQ500 Stadium

STV’s 99 Juhuasuan Shopping Day Show is big by any measure. The sheer volume of sales generated by the event sponsored by this Alibaba subsidiary leave no doubt about that. Neither does the spectacular lighting design by Ghent, Belgium-based Arf & Yes. Hovering over the 40-meter wide by 45-meter deep stage like some giant extraterrestrial craft, the stunning show transfixed the audience at this high-profile happening by directing intense, colourful beams of light outward, downward, and in every other conceivable direction to create an immersive matrix of effects that was balanced beautifully against a captivating pixel wall.

Featuring 1,533 moving heads, 800 RGBW scenic lights, the show involved 148 universes and 49,515 parameters. This massive design was controlled by four ChamSys MagicQ MQ500 Stadium consoles without the need for any distribution nodes.

Amazingly, the entire show was programmed on-site in a matter of days. “Because of a delay in the building of the rig, we had to program the show while some parts of the lighting rig were not finished,” said De Mets. “Our multi consoles allowed us to program songs and offset at the same time. While I was programming songs, Michiel Goedertier from our team was offsetting a group of lights on stage with a third console. Fortunately our entire team, including LD Ignace D’haese, Philippe Vanderheeren, Tijs Coene, and Joeri Pluym did a great job handling everything.”

De Mets also praised the ChamSys MagicQ MQ500 for making a vital contribution to the success of this impressive show. “Given the scale of this project, it involved a great deal of teamwork and reliable ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

performance from our consoles,” he said. “There were three moving screens, two moving risers, and two catwalk elevators to give you an idea of the show’s size. We worked with four consoles on the same network on the same show, and the MagicQ performed extremely well.

The Replace Pallet, Offset Patch, Group FX and Page Holdover were all very helpful in this application.”

The Arf & Yes lightshow was more than just grand in its scale. Its power to move the audience also emanated from the artful balance of its design. Brilliant shafts of light that rained down on the stage endowed the show with an evocative translucent quality. The triangular configuration of lights on three levels positioned over the stage, created a sense of depth. As these mesmerizing looks were being created, deft key lighting seamlessly supported each of the 36 songs from the north and south of China that were performed at the event.

A highlight of the design, and one that gave the show a magical, transcendent quality, was the 26-meter by 10-meter pixel wall that the Arf & Yes team created with the inbuilt MagicQ Pixel Mapper. “I used the Pixel Mapper with many layers with the addition of extra normal FX on the duplicated heads,” said De Mets. “What’s more, I added sometimes extra normal FX on the duplicated elements” The dreamy pixel wall played off well against the overhead lighting elements. At an event fueled by excitement and tinged with anticipation, this balance between raw power and evocative imagery fit the mood to perfection.

chamsyslighting.com

All your lighting & staging solutions under one roof

KINESYS

20

NEWS

DECEMBER 2019

THAILAND

Sonos Libra Sets Out to Train Next Gen On Allen & Heath Allen & Heath’s Thai distributor Sonos Libra, has recently completed a nationwide hands-on roadshow showcasing the mixers of the moment, culminating in a spectacular finale in Bangkok with the unveiling of Avantis.

Hosted by Sonos Libra and 10 of the most prominent FOH engineers in the country, over 120 live sound engineers and rental company owners attended the roadshows, which featured one-on-one time with the complete range of Allen and Heath products, as well as demonstrations and mixing masterclasses. The events also provided a great opportunity for the seasoned engineers to share their experience with the next generation and offer advice on how to get started in the industry.

Held in one of Thailand’s top recording studios, Studio28, the roadshow’s finale provided a fantastic environment for the first public

demonstration of the brand new Avantis console.

Attendees were then given the opportunity to test out the new console, ask questions and gain valuable insights into different mixing workflows.

“Users are loving the dark mode appearance of the new Avantis Console, together with the ease of use. It’s been great to have so many of the highly respected engineers and rental companies in Thailand with us to celebrate the launch of Avantis,” comments Alfonso Martín (CEO, Sonos Libra). “We’d also like to thank the FOH engineers who gave up their time to help support these events and of course, to all of those who joined the roadshow along the way. Stay tuned for more events and training around Thailand in the very near future.”

www.allen-heath.com

GLOBAL

Robert Juliat Strengthens Collaboration with ETC Having been the first manufacturer, in 2016, to collaborate directly with ETC in having its award-winning 8-colour Dalis 860 cyclight fully calibrated with the Eos family of lighting desks, Robert Juliat has now strengthened that collaboration with an extension of those capabilities. With immediate effect, the same colour control possibilities are now available for Dalis Access 863 Cyclight and Dalis 864 Footlight. Operators and lighting designers will benefit from the ease and transparency of using Eos consoles to gain full, precise control of the complete Dalis colour spectrum, including a wide array of whites, across all three models.

Dalis Access 863 is a 150W LED cyclight designed to give those with smaller budgets the first access to Dalis technology. Sharing all the technology of the original Dalis 860 Cyclorama fixture, Dalis Access 863 has just four colours and 24 of RJ’s patented Dalis asymmetrical microreflectors, but otherwise all the functionality and quality of the original, at a fraction of the price.

Dalis 864 Footlight is a 150W colour variation of the original Dalis 862 tuneable white footlight, designed for the creation of colourful upstage or downstage lighting. A 75W, half-length (50cm) option, Dalis 864S, is also available for more accurate lighting of curved or compact spaces.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Both fixtures feature a 4-colour mixing system of red, green, royal blue and warm white LED sources calibrated at 2200K which can now be finely and precisely controlled

by Eos consoles, along with a wide array of whites with very high CRI. Lighting designers can harness the full power of the Eos family desks and easily select and calibrate any colour they wish – by whatever method they prefer. They can synchronise their Dalis fixtures to a precise colour, or match any manufacturer’s gel palette, and rapidly fine tune and modify the colour spectrum at will.

ETC has carried out extensive research to decode colour specifications and calibrate them with their lighting desks. Using the same calibration process with in-house analysis of Dalis’ LED colours, Robert Juliat’s Access cyclight and colour Footlight now also benefit from this colour analysis and precise control. The result is the creation of a dedicated fixture library which will cover Dalis 860, Dalis Access 863 and Dalis 864 and 864S Footlights.

www.robertjuliat.com www.etcconnect.com

NEWS

22 DECEMBER 2019

INDIA

Newton - Just What The Doctor Ordered!

Although holding a degree in medicine, Dr. Rajesh Khade is the son of a professional musician and his passion for music and audio and desire to connect artists with their audiences eventually led to him becoming a sound engineer or, to be more precise, a system engineer and official Smaart Trainer in his home country of India.

In recent years, Khade’s work in the audio field has enabled him to build up considerable experience with major PA brands, worked as a system engineer for numerous events with major acts across India, as well as holding his own system engineering courses.

He became a Smaart Instructor in 2019 and hosts training sessions throughout India in English, Hindi and Marathi. This work brought him into contact with German system technician and Smaart Instructor Michael Häck, who introduced him to Outline’s new Newton processor, which he used during Stuttgart’s 2018 Jazz Open Festival, one of the largest jazz festivals in Europe.

Khade explained, “I’d been constantly on the look-out for a processor for more than a year, but was undecided on which to go for, as each one lacked some features. But, when I first got to know about Outline Newton, through the SMAART API integration feature, and I went through its specs, I was mind-blown, as it definitely ticked all the boxes in my list!”

Following some more insight from Häck, Khade decided to definitely go for it, even without being able to have a demo unit in India.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“What appeals to me the most is its use as a central system processor: driving, controlling and processing all the PA components, with the ability to take in multiple consoles when in multi-band scenarios, flawlessly run back-up consoles on projects where redundancy is of utmost importance, and switch between them seamlessly. The nolatency WFIR filters and all-pass filters in particular will be extremely useful to me, as I often combine different models and brands of speakers on the same setups, and getting them to work together has been a problem in the past, but with Newton I’m sure it’ll be plain sailing from now on! Also, the multi-format I/O option has taken away all that worrying, planning and arranging for multiple devices, as interconnections are all packed into a powerful 1 RU device.”

Apart from all its processing and hardware capabilities, Khade stresses that Newton particularly impressed him with its amazingly user-friendly GUI of the Dashboard software. “Almost everything is just a click away, unlike many others, where to run the same function I would have to navigate through multiple menus. Newton is literally a one-stop solution to all my system engineering needs and I really look forward to deploying it on all my projects this upcoming season and, apart from applications in the field, Newton is definitely now an integral part of my training rig for all my Smaart training sessions!”

newton.outline.it

with M-F3A PRO line array EASILY SCALEABLE

PLUG & PLAY

600W DSP amplification built in

built in line length adjustment

SMALL & LIGHT A4 size / only 8 kg

EXTREMELY FLEXIBLE for small to larger venues

HORNLESS DESIGN promotes full fidelity

M-F3A PRO

is part of the M-line series Available in black & white se® Audiotechnik | Alex Schloesser (Business Development Asia Pacific) | P +65 8777 29 44 | Skype: alexschloesserkoeln | alex.schloesser@se-audiotechnik.com

www.se -audiotechnik.de

HIGH PERFORMANCE

24 DECEMBER 2019 GLOBAL

Ayrton Welcomes Chris Lose and Jonas Stenvinkel

Michael Althaus, Global Sales Director, Chris Lose, Designer Relations Manager, Jonas Stenvinkel, Director of Strategic Development, Jerad Garza, International Sales and Chris Ferrante, CEO

Chris Lose takes the role of Ayrton’s new Designer Relations Manager and will be based in North America. Jonas Stenvinkel is Ayrton’s new Director of Strategic Development and based in London. Both positions commence with immediate effect.

Chris Lose is an international touring lighting director, programmer and columnist who has dedicated his life to solving problems through pragmatic decision making. His most recent clients include Hall and Oates, Nicki Minaj, Fleetwood Mac, Don Henley, Calvin Harris and corporate events around the globe.

At Ayrton, Chris’s role will be to develop successful relationships with the predominant designers and specifiers in the industry.

Jonas Stenvinkel originates from Sweden and has spent the last years in a senior EMEA role at Martin/Harman, after many years heading up Martin/Harman APAC out of Singapore. With his international

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

experience he will develop mid- and long-term relationships on the distributor and customer side.

“We are delighted and excited to welcome Chris and Jonas to the Ayrton team,” says Ayrton Global Sales Director, Michael Althaus.

“Ayrton is expanding at a phenomenal rate and the addition of the rich industry experience proffered by our two latest team members will progress this development still further whilst ensuring we maintain our high standards of customer relations that have become the hallmarks of Ayrton.”

www.ayrton.eu

CONNECT WITH THE AUDIO AND LIVE EVENTS COMMUNITY ISE is the international showcase for audiovisual integration

COLLABORATE Meet the world’s leading innovators and solutions providers in the Audio and Live Events Technology Zone

EXPERIENCE Be inspired by industry insights at our conferences, keynotes, presentations and masterclasses

NETWORK Join the conversation where the global systems integration market comes together

REGISTER NOW

VIDEO FILES

26 DECEMBER 2019

1Minute Projection Mapping competition with Modulo Player

IAAF World Athletics Championships Doha 2019

For the 2019 edition of the 1Minute Projection Mapping festival, organizers relied upon the Modulo Player by Modulo Pi. The media server played a key role in the technical set-up for the international festival organized in Kanagawa, Japan. More than 170 projects were submitted from 43 different countries. Among them, 20 top projects were selected by the organizers and could present their work during the festival.

Creative Technology was responsible for a multitude of technical innovations that were introduced to the event including light shows, new camera angles and increased engagement with athletes, which brought a new and exciting dynamic to the event. It was an amazing coming together of technology and talent.

New Chauvet Maverick and Rogue Moving Heads

High End Introduces SolaHyBeam

Chauvet’s Product Manager Mike Graham takes us on a tour of the ruggedly designed, storm-ready Maverick Storm 1 Spot and the powerfully dynamic Rogue R1 BeamWash and Rogue R2X Wash at LDI 2019 Las Vegas.

No need to choose between spot and wash luminaires - High End Systems’ SolaHyBeam series fixtures bring an unprecedented and spectacular array of hard edge, soft edge and animation effects - all from a single fixture. Take your shows to new levels with the endless variety of lighting effects inherent in the HyBeam fixtures.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

28

ENNOVATION

DECEMBER 2019

Martin by HARMAN Introduces Broad Extension of Martin ERA Product Line The new Martin ERA Performance Series includes the 400, 600 and 800 fixtures, along with the first outdoor rated moving head, the ERA 500 Hybrid IP.

ERA 600 Performance also features variable CTO for colour temperature adjustment. Ideal for small-tomedium productions, the ERA 400 Performance is available in CLD and WRM variants, both with a 1:3 zoom range. The 10,000-Lumen CLD version features a 6,500k colour temperature, while the 5,000-Lumen, 3,200k WRM version emulates the warmer colour temperature of tungsten fixtures.

The Martin ERA 400, 600 and 800 Performance fixtures and ERA 500 Hybrid IP outdoor fixture offer powerful, versatile and cost-effective solutions for entertainment and rental applications, covering everything from the smallest stages to the largest live productions and events.

The feature-rich ERA Performance fixtures feature full CMY colour mixing and separate colour wheels, plus an iris for beam adjustment and a full curtain framing system.

Fixed and rotating gobo wheels loaded with user-favourite gobos from the renowned MAC range offer a wide variety of effects. The ERA Performance Series’ full curtain framing system offers lighting designers a high degree of flexibility to achieve precise looks on stage. The entire system can rotate, allowing designers to direct light exactly where they want it to go and achieve unique movement effects not otherwise possible.

At 34,000 Lumens and 800 watts with a 1:8 zoom, the ERA 800 Performance is the brightest moving head in Martin’s history and is designed for the largest arena and stadium productions. Additionally, the ERA 800 Performance features variable CTO for colour temperature adjustment. The 550-watt ERA 600 Performance is a fantastic option for medium-sized shows, putting out 19,000 Lumens with a 1:8 zoom. The

The ERA 500 Hybrid IP fixture is a fully outdoor rated moving head with a highly efficient 370W Philips lamp with a superior 6000 hour lamp life.

The all-in-one optics design features an amazing 1:20 zoom and multiple projection modes, including “beam” for tight or wide coverage, “spot” for projection of gobos, or “wash” for a softened light effect. The ERA 500 features CMY color mixing and a separate color wheel, including CTO, ½ CTO, and 1/4 CTO. With nine rotating gobos and 15 static gobos and two prisms, lighting designers have a myriad of options to achieve any combination of midair effects, pattern projections and prisms. The ERA 500 packs a suite of class-leading features into a compact design with an IP65 rating, making it a reliable workhorse fixture for concert tours, festivals, and outdoor events, even in inclement weather.

www.martin.com

MILOS Steel PA Delay Towers Offer Impressive Strength for Demanding Events MILOS Steel PA Towers provide unbelievably large loading capacities for flying PA Systems for monstrous events.

Special ultra high-strength steel alloys allow truss sections to handle an average of 2.5x more loading at just double the weight compared to aluminium systems with the same dimensions and under the same deflection.

The PA Tower can go up to 20+ metres high. There are pinned connectors for increased safety and strength, integrated forklift pickup points and end frames equipped with lateral connection options. Steel base lugs feature a variety of guy wire attachment points and the tower has optimized dimensions for packaging and/or nesting in truck

A single tower can safely fly up to 2,500kg without the need for guy wires and little to no ballast (up to 2t) due to the self-weight of the tower (70kg/metre). And thanks to its extreme stability, secured structures can withstand wind loadings of up to 28m/second.

www.milossystems.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

ENNOVATION

ENNOVATION

29

DECEMBER 2019

Robe Introduces New Linear Bar Fixture TETRA2 The compact and practical design of the fixture allows end-to-end placement of units on the stage deck, floor or truss, maintaining equal spacing between pixels.

TETRA2 (from Tetragnatha) is a new linear bar fixture that builds on Robe’s Spiider and Tarrantula LED technology.

Utilizing the same LEDs, with an ultra-tight 4.5° beam from each of the 18 pixels, these can be combined to produce a bright, highly defined “sheet” of light or Svoboda-style light curtain and fixtures can be positioned end-to-end for longer seamless curtains of light or washing effects.

There are two exclusive Robe patented MCFE™ (Multi-Colored Flower Effects) within the LED engine which set the pixel-driven Tetra2 apart from other LED battens by projecting super-cool in-air animations.

The homogenized beams, together with the smooth 10:1 zoom, provide a wash opening out to 45° or an effective footlight, wall grazer or for eye-popping in-air effects with fast-paced sweeping movements. This is much more than a standard LED batten.

With the latest Robe proprietary technology, including L3 (Low Light Linearity) for imperceptible fades to black, the 18-bit control ensures very smooth colour mixing.

An embedded Ethernet switch and wide range of protocols (sACN, ArtNet or Kling-Net) allow a quick network installation and ease of control via media servers, DMX or the internal effects engine.

www.robe.cz

R-4 Series Wireless Microphone System

MALAYSIA SINGAPORE THAILAND INDONESIA ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

+603 8075 8990 +65 642 30682 +662 769 8199 +62 21 8082 1480

ENNOVATION

30 DECEMBER 2019

Waves Audio Ships the Next Generation of Plugin Processing Software for Live Sound and Broadcast SuperRack is a natural extension of your mixing console, designed from the ground up for quick setup time, flexible touch-friendly workspace and unlimited workflow customization. FOH, monitor, broadcast, and AV engineers can now run plugins in real time, customize their workspace with floating windows, set extended-scope snapshots, and run any live show with more speed and confidence than ever before.

Waves Audio, is now shipping Waves SuperRack, the next generation of plugin processing software for live sound and broadcast engineers.

This cutting-edge plugin rack lets users run up to 128 audio channels through multiple instances of Waves plugins with near-zero latency and offers endless customization options that make it easy for you to tailor the application to your very own mixing workflow.

SuperRack operates in a SoundGrid Audio-over-Ethernet network, processing audio on a dedicated SoundGrid DSP server, which moves plugin processing from the host computer to an external DSP server in order to significantly increase plugin count, minimize latency, and enable the host and I/O devices to be far apart from each other while accommodating the most complex setups.

The SuperRack comes with a host of features: - View and control multiple plugin instances simultaneously - Multitouch-friendly graphic interface - Expand your workspace to up to four monitors - Easily tweak small plugin parameters with a “Touch & Slide” fader - Quickly access up to 12 plugins per snapshot via the Hot Plugins panel - Map application and plugin controls to MIDI & computer keyboard for quick hands-on access - Switch inputs and outputs while maintaining processing chains - Adjust multiple racks simultaneously with the “Linking” function - Share SoundGrid I/Os in a network to build complex setups - Selectively recall snapshots via extended scope filter - Comprehensive device and network monitoring - Advanced latency alignment management - Host mirroring (DiGiCo) and DSP server redundancy

www.waves.com

Claypaky Sharpy Plus Aqua Designed in the spirit of the award-winning Sharpy Plus platform, the SHARPY PLUS AQUA luminaire is an IP65-rated moving head fixture perfect for outdoor events, touring, permanent installations, cruise ships, and much more. This new fixture maintains the same performance features of its predecessor, the Sharpy Plus luminaire, in a new weather-resistant package; giving you greater flexibility in a single luminaire.

When designing a weather-resistant moving light, performance and features are often sacrificed. Not with the SHARPY PLUS AQUA luminaire. Claypaky addressed and enhanced the design of the SHARPY PLUS AQUA in critical areas to make sure this fixture maintains the brightness, efficiency, and performance you need and expect.

The cooling system was redesigned and optimized specifically for this new outdoor configuration for the Osram Sirius HRI 330W X8 lamp currently used in the Sharpy Plus fixture. This lamp is a proven performer in its reliability, output, and being consistent in both brightness and colour temperature.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Just like the Sharpy Plus, the SHARPY PLUS AQUA fixture offers two distinct operating modes – beam or spot. The 3° to 36° zoom covers the entire zoom range linearly with a beam that is always perfectly sharp and uniform in either mode. The SHARPY PLUS AQUA also offers the same complement of prisms, rotating and fixed gobos, colour wheels, CMY colour mixing, and more. So, if you need to use both the Sharpy Plus and SHARPY PLUS AQUA on a production, you can be assured of a consistent look and performance from these fixtures.

The SHARPY PLUS AQUA is also an appealing unit when you consider the value. At a price point every rental company will appreciate, you can take home a light with truly excellent performance, which you can use in a wide range of environments and entertainment venues, whether your requirements are for a beam or spot fixture, for indoor or outdoor applications.

www.claypaky.it

RE S HA P E YOU R B U SINE SS W IT H D IG ITA L TR ANSFORMATION G ET T H E W I N N I N G E D G E W I T H T R AN S FO R M AT I O N A L T EC H N O LO G I ES AT I N FO C O M M S O U T H E AS T A S I A 2 0 2 0 27 - 29 May 2020 Bangkok International Trade and Exhibition Centre (BITEC), Thailand The latest sound systems. Projection and lighting magic like you have never seen. Augmented and virtual reality.

Expo Inter Co.,Ltd. Tel: +66.2.115.8930 E-mail: kob@expointer.net

The most exciting technological innovations which deliver wow experiences are shaking up not only live shows, events and entertainment, but any business that can benefit from enhanced experiential communications.

Check them out at Southeast Asia’s premier Professional AudioVisual and Integrated Experience Technologies event: InfoComm Southeast Asia 2020.

Organizer

Event Manager

A Project of

WWW.INFOCOMM-SEA.COM

Supported By

ENNOVATION

32 DECEMBER 2019

Robe Launches Brand-new Ground-breaking ESPRITE LED Profile This very bright and precise moving light is the first to use Robe’s ground-breaking new generation 650W WTE (White Transferrable Engine) light source. This has been fully designed, developed, patented and manufactured by Robe in its factory in the Czech Republic … to ensure the very best performance.

ESPRITE is the first in a new series of Robe luminaires that will feature fully replaceable / transferable white source LED engines! This highperformance luminaire can potentially replace old and entire fleets of workhorse discharge fixtures.

Offering a cost-effective and easily changeable LED engine, Robe has eliminated the white source problems of unpredictable life and performance inconsistency. The LED module holds a host of useful data in addition to the date, serial number and usage … which can be accessed via a free mobile App. The crystal-clear, extremely bright and hugely economic WTE LED engine brings another wave of true lighting evolution! Thanks to this powerful LED light source and highly efficient optical system, the fixture is outputting 27,000 Lumens. With this amazing light output and a way-cool set of features, the ESPRITE is ready to stun and impress users working across all lighting disciplines.

Many other design innovations include a new cooling system that removes any airflow over the optics, resulting in reduced residue deposits and vastly extending the periods between cleaning.

A 5.5 – 50° zoom range provides a high-quality flat-field beam, combined with fabulously smooth CMY colour mixing, extremely fast bumping color wheels and a unique multicoloured slot on the colour wheel for producing new levels of effects and animations.

Versatility can be maximized with effects like the animation wheel, variable CTO, two colour wheels, rotating and static gobos, a 6-facet rotating prism and a selection of 1°and 5° frosts.

Together with a set of accurate framing shutters, and invaluable LED ‘adjuster tools’ like C-Pulse flicker-free management for optimization with the latest HD and UHD cameras, the unit also has L3 (low light linearity) dimming for perfect results in the most demanding of performance conditions.

All these factors ensure that ESPRITE will enjoy great longevity and provide the excellent maximum short, long and extended ROI that’s synonymous with Robe products.

www.robe.cz

High End Systems Launches SolaHyBeam 3000 High End Systems has introduced the new SolaHyBeam 3000 automated fixture.

With a feature set designed for beam control, aerial effects and raw power, the flagship luminaire has all the elements to cut through the haze and shine brilliantly in the world’s largest venues. Powered by an exceptionally efficient White Light LED engine, SolaHyBeam 3000 features a large front aperture and optimized long throw optics for superior light output throughout the fixture’s wide zoom range.

Automated Lighting Product Manager Matt Stoner commented, “We are so excited to have the SolaHyBeam 3000 added to our family of ultra-powerful premium quality fixtures. The SolaHyBeam 3000 specializes in a fantastic narrow 3.1 degree beam, turning its massive output and dazzling front lens into a powerful narrow beam. Whether used as a long throw front light (yes it has framing shutters) or for

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

shining dazzling aerials across your rig, SolaHyBeam 3000 is a beam light unlike any other, a wash light with punch and versatility, and so much more. We can’t wait to see this fixture burning the skies on festivals and tours around the world!”

HES General Manager Becky Koester added, “Our development and product management teams did an exceptional job on defining and pioneering the narrow beam capability and unique lens effect that offer a unique tool set for designers and end-users. The SolaHybeam 3000 addresses a universal segment of the market that has been dormant the past several years. The early product previews have been remarkable.”

highend.com/products/lighting/solahybeam

ENNOVATION

34 DECEMBER 2019

Leyard and Planar Expand Rental and Staging Portfolio with Leyard VS Series LED Displays At less than 62 pounds (28 kilograms) per square meter, the Leyard VS Series is a lightweight yet rugged solution designed to meet the needs of today’s fast-paced rental and staging industry.

Leyard and Planar, announced the launch of the Leyard VS Series, a full-featured series of rental and staging LED video wall displays built for easy assembly and transport, adaptability to diverse environments and fast serviceability.

Offered in 2.5, 3.9 and 4.8 millimeter pixel pitches, the new Leyard VS Series is aimed at rental and staging professionals who assemble video walls for events, concerts and mobile studio backdrops. The LED displays have been built from the ground up to address the real-world requirements and feedback from customers who desire a lightweight, simple design that is quick to assemble, teardown and transport—but also rugged enough to withstand wear and tear.

“The Leyard VS Series balances the needs and desires of rental industry professionals with the innovative ideas of Leyard and Planar’s research and development team,” said Chris Prosio, general manager of Rental & Staging at Leyard and Planar. “We believe this purpose-driven design will save time, while adding impact and excitement to almost any event.”

The Leyard VS Series rounds out Leyard and Planar’s rental and staging portfolio with a complete set of LED display solutions designed to meet every need. It joins the Leyard CarbonLight LED Displays, a comprehensive line of lightweight, versatile and easy-to-deploy LED displays that includes a wide range of models for eye-catching, creative installations. It also complements the Leyard VVR Series, a family of indoor and outdoor LED displays that deliver fast assembly and easy access to electronics.

The series supports single-person installations with magnetic points that hold the LED cabinet in place as it is being installed, along with integrated ratcheting cabinet locks to easily secure cabinets together. It also comes with integrated corner protection and an anti-collision bottom edge to prevent damage as cabinets are moved around.

The Leyard VS Series offers a flexible design that can be adapted to a wide variety of rental and staging environments. The displays can be hung or stacked to form video walls of nearly any size. In addition, curved designs can be achieved at different angles.

The Leyard VS Series supports universal modules for stress-free serviceability. The displays also include swappable power supplies that can easily be removed and replaced.

The Leyard VS Series will begin shipping in the first quarter of 2020 through Leyard and Planar’s worldwide network of authorized resellers.

www.leyard.com/VS www.planar.com/VS

AV Stumpfl AT64-SHIFT Screen System No extra measuring is needed to ensure that the frame is level, due to a clearly marked height scale.

Based on the same principles as the revolutionary T32-SHIFT, the AT64-SHIFT projection screen legs can be used for much larger mobile projection screens and are compatible with all mobile AV Stumpfl screen systems.

www.avstumpfl.com AV Stumpfl’s AT64-SHIFT system is a large mobile projection screens.

With the AT64-SHIFT, it’s possible to assemble a large mobile projection screen in minutes and to adjust its’ height in a matter of seconds.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

35

ENNOVATION

DECEMBER 2019

CHAUVET Professional Introduces Maverick Storm 1 Spot The weather may not always be ideal at a festival or other outdoor event, but designers and rental companies will always be able to rely on optimal performance from the new Maverick Storm 1 Spot. Just introduced by Chauvet Professional, the 480W cool white moving spot fixture, takes outdoor reliability to a new level, not just with its IP65 rating, but also with aluminium alloy housing, marine grade 316 stainless steel screws, M12 Gore valves and a sunshield optical protection system.

Rain or shine, the Maverick Storm 1 Spot delivers a flat even field of light with variable CMY + CTO color mixing to create a wide palette of colors. Designers will enjoy a range of creative options with this fixture, thanks to features like its 8° to 48° zoom angle and field angle, 16-bit dimming for smooth control of fades, 5-facet motorized and rotating prism, animation wheel, iris for beam control, and independently controlled light and medium frosts.

Compact enough to allow easy installation on any rig (it weighs in at just 38.19 kg or 84.2 lbs.), the Maverick Storm 1 Spot is nevertheless powerful enough to punch through the light from other fixtures or video panels on stage. The fixture’s 32,000 lumen source and illuminance of up to 28,829 lux (at 5 meters) ensure that it can makes its presence known on stage even during daylight hours.

A very user-friendly fixture, Maverick Storm 1 Spot offers a variety of control options, including DMX, RDM, WDMX. ArtNet and sACN. Its easily accessible menu system makes it simple to adjust control protocol, as well as features like fan control, pan and tilt, and dimming mode. By setting up a menu preset, the end-user can save time by loading choices on all of the Maverick Storm 1 Spot fixtures in a rig simultaneously, instead of manually presetting each unit individually.

The Maverick Storm is as easy to maintain as it is to set up, thanks to its rugged construction and a design that prevents dust intake into the fan.

www.chauvetprofessional.com In keeping with its flexible design, the versatile Maverick Storm 1 Spot offers a wide array of gobo options. The fixture has seven glass rotating and indexable gobos on Wheel 1 and nine metal static gobos on Wheel 2.

Adam Hall Group Introduces Cameo OPUS X Profile With the OPUS X Profile Cameo unveils its new flagship of the renowned OPUS series. Based on a 750 W white light LED, the High-Power Profile Moving Head generates an impressive luminous flux of 33,000 lm and 72,000 lux illuminance @ 5 m. In combination with CMY colour mixing system - including a colour wheel with six dichroic filters and linear CTO correction ranging from 6,500 K to 2,600 K - as well as an enormous zoom range of 6° to 48°, the OPUS X Profile enables even projections without disturbing hotspots even in the most demanding environments. The Profile Moving Head works completely flicker-free thanks to selectable PWM frequencies up to 25 kHz for particularly critical use in theatre and broadcast applications.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Further features of the OPUS X Profile include a rotating animation wheel, a rotating gobo wheel (six indexable and rotatable interchangeable glass gobos + open), a static gobo wheel (seven interchangeable glass gobos + open), a rotatable and indexable circular 5-facet prism + linear 6-facet prism plus a variable frost filter for wash light effects. In addition to the battery-powered touchscreen display with 6 sensor buttons for mainsindependent configuration, the OPUS X Profile can also be controlled via the integrated W-DMX receiver, DMX, RDM, Art-Net or sACN.

www.adamhall.com

ENNOVATION

36 DECEMBER 2019

Elation Introduces Magmatic, an Inspiring New Brand of Dependable Atmospheric Effects Elation Professional is excited to be launching a completely new brand of inspiring and dependable atmospheric effects – Magmatic!

Designed, engineered and exclusively distributed

by Elation, Magmatic specialty effects products encompass a comprehensive range of haze and fog machines with the Magma and Thermatic series, atmospheric snow machines with the Polar series, and CO2 cryogenic simulation effects with the Rocket series. To complement all of the special effects machines, Elation has developed a complete line of specially formulated effect fluids called Atmosity.

Also available is an IP65 rated series of UV LED lighting products in the Prisma series.

Magmatic effects are built for professionals from the ground up by a passionate and proven R&D team with over 30 years of experience.

From the tour stage to the travel it takes to get there, Magmatic atmospherics are strong solutions that are on-the-road tough and made to endure. More than a machine, Magmatic are quality solutions that inspire confidence and equip professionals with tools to put on an incredible show, no matter the occasion.

Magma: Magma is Magmatic’s water-based series of dependable haze and fog machines that uses advanced engineering designs to generate an extremely high output, dry haze effect with low fluid consumption. A large fluid intake and advanced air pump technology reduce the risk of heater clogging while automatic self-cleaning and energy-saving “Sleep” mode make operation even more effortless and economical.

Thermatic: Thermatic is a line of oil-based haze fluid designed to give a raw haze effect that hangs in the air for longer-lasting atmospherics.

Thermatic pure haze fluid is mineral based to create a fine particulate that enhances light beams and mid-air effects for more impactful visuals.

Polar: Polar is a series of professional, highoutput snow machines that introduces new, more silent snow producing technology. Featuring extremely high output with the capacity to adjust snowflake size for greater versatility, whisper quiet operation makes Polar snow machines ideal for any stage.

Rocket: Rocket is a robust line of powerful CO2 cryogenic type simulated fog effects for specialty atmospherics. Capable of generating a heavy blast of fog that dissipates instantly, each effect is arrayed with high-output RGB LEDs for the ultimate in dynamic fog jet effects.

Atmosity: Atmosity is a professional universal fog fluid series formulated for use with all types of fog and haze machines. Atmosity fluid is rigorously tested and controlled to ensure it is the most pure atmospheric fluid available.

Prisma: Prisma is Magmatic’s advanced UV LED lighting series that combines true 365nm UV output for long and wide throw performance with the control and efficiency of LEDs. IP65 rated with a rugged yet sleek fanless design, a variety of narrow to wide beam angles are available.

www.magmaticfx.com

Claypaky ReflectXion – The Moving Mirror Not all the lighting equipment on stage must be a lighting fixture.

Claypaky introduces a new tool for lighting designers to expand on their creativity called REFLECTXION, the next generation moving mirror.

This moving mirror has a highly reflective 390 by 280mm mirror, featuring up to 99% reflectance without chromatic aberrations.

REFLECTXION can redirect beams of light from any stage light with the same intensity as it receives them. The unit offers 540° PAN and unique, ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

continuous TILT movement at adjustable speeds. Furthermore, the REFLECTXION’s mirror is the same on both sides giving you two highly reflective surfaces with which to direct light beams.

Using the same omega clamp hanging system as with all Claypaky luminaires, this compact moving mirror can be used virtually anywhere on or off stage in any working position. For control, the unit uses only six DMX channels and pan and tilt resolution are both 16-bit for precise movements. The unit’s onboard LCD menu system is very user friendly and makes addressing and setup a snap. The REFLECTXION is a simple, yet effective tool that adds a touch of magic to any light show.

www.claypaky.it

ENNOVATION

37 DECEMBER 2019

Lightware Announces New UBEX-Pro20-HDMI-R100 R-type for Rental & Staging

Lightware announces the newest members of the UBEX product family to bring 4K UHD 60Hz 4:4:4 uncompressed signal extension capability to the world of Rental & Staging.

The new UBEX-Pro20-HDMI-R100 R-type is Lightware’s unrivalled solution for the challenges faced by professionals across the rental and broadcasting industries by allowing lossless, latency-free HDMI 2.0 multi-streaming over fiber-optic, 10G Ethernet networks in a wide range of rental applications.

The integration of UBEX into any rental environment is a seamless procedure thanks to the application of Neutrik connectors and flanged HDMI ports that also provide protection against external impacts.

The interchangeable, reinforced SFP+ modules offer an easy solution to swap between single-mode and multimode operations to completely eliminate the need for two separate devices, not to mention the time and money saved on cables and accessories that industry professionals often already have at hand.

In order to achieve the highest level of durability without sacrificing signal quality, the UBEX R-type also presents standard M10 threads on side and top for truss assemblies, mounting ears and loops for secondary safety clamps as well as an exchangeable cooling air filter inlay.

The system features source redundancy at the two HDMI inputs when operating in TX mode, and sink redundancy at the two HDMI outputs when used in RX mode.

Plus, a revolutionary optical link redundancy also comes to play; during multistream, the signal is evenly distributed between the two links, and if any of the two links fail, the stream seamlessly continues through the remaining active link. This full end-to-end redundancy makes the UBEX R-type a particularly suitable solution for any rental environment.

Based on user feedback following real-world applications, Lightware’s unique Perfect Video Sync feature also raises the stakes on the standard SDVoE solutions when it comes to achieving ultra-low latency (Source Locked mode) or fast switching (Free Run mode).

UBEX units in receiver mode can also be used for video wall processing to build and configure various layouts easily, and the capability to operate in TRX mode (transceiver) also adds to the UBEX R-type’s unrivalled versatility.

The widely renowned features and innovations of the UBEX product family combined with the UBEX-Pro20-HDMI-R100 R-type’s rentalfocused specifications make this unique device a must-have for every serious player in the field of Rental & Staging. Its five different product variants also allow application for various environments and scenarios.

Beyond further utilizing the UBEX product family’s renowned features, such as their capability to extend uncompressed signals for maximum distances of 400m up to 80km, it also introduces rental-specific abilities to mitigate the safety risks that most Rental & Staging applications carry.

lightware.com

Adam Hall Group Launches Cameo F4 series The new Cameo F4 series comprises three LED Fresnel spotlights in Tungsten (3,200 K warm-white), Daylight (5,600 K cold-white) and RGBW Full-Color with tunable white function (1,600 K – 6,500 K). Thanks to its energy efficient LED with a total output of up to 34,000 lm the F4 series replaces traditional 2,000 W Halogen Fresnel lights and dimmer racks in a perfect way.

To ensure perfect illumination of people and objects in various kinds of theatre and TV environments, all F4 models feature a high Colour Rendering Index (CRI > Ra90), an adjustable zoom range from 12° to 40° ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

as well as 16-bit technology for high-resolution dimming including four selectable dimming curves and adjustable dimming response.

Flicker-free operation is guaranteed by a selectable PWM up to 25K Hz. When it comes to particularly noise-sensitive applications in theatre, TV and film, the F4 LED Fresnel Spotlights are equipped with a highly efficient heat pipe cooling system and a whisper-quiet silent mode.

For comfortable handling from the ground, the all-new Cameo F4 series is also available in a pole-operated version.

www.adamhall.com

38

ENNOVATION

DECEMBER 2019

Equipson Unveils LS-Wing – An Innovative OSC Hardware Controller LS-Wing, the latest addition to WORK PRO’s award winning LightShark DMXbased hardware lighting console range, is set to revolutionize the lighting industry by giving professionals access to an Open Sound Control (OSC) hardware controller.

LS-Wing can send OSC commands via ethernet networks to any device or software controlled by the OSC protocol. What’s more, it can also use ethernet networks to send UDP/IP commands, making it compatible with virtually every lighting, music, video and media server software in use today.

The launch of LS-Wing brings huge versatility to the lighting market because it can be configured in a variety of different modes to suit different applications. Developed as a 3 In 1 product, LS-Wing can be a straightforward fader wing, an OSC hardware controller or a standalone MIDI console for any device that accepts MIDI control via USB. A total of four USB ports are provided, including a USB-B port, making it easy to connect to MIDI devices and charge smartphones and tablets.

In all three modes, LS-Wing has a built-in ArtNet/sACN to DMX converter node offering two Direct DMX universes. WORK PRO’s existing LightShark products - the LS-1 and LS-Core – already offer two Direct DMX universes via an XLR connector, so by adding LS-Wing it is very easy to double the number of Direct DMX universes available to each console.

Since launching in 2017, WORK PRO’s LightShark consoles have already changed the lighting landscape by delivering intermediate level products that are not limited by their features or their price. Available in two versions - the LS-1, which includes a hardware console, and the more affordable LS-Core – LightShark offers completely integrated hardware and software control via smartphones and tablets. These remarkable consoles can handle up to 4096 DMX channels and work with industry-standard DMX, ArtNet and sACN lighting protocols, enabling easy integration into existing production environments and lighting rigs.

Designed to reflect the look and aesthetics of WORK PRO’s existing LS-1 hardware controller, LS-Wing also incorporates a device holder than can accommodate up to a 13” tablet. For safety’s sake, two fixing points are incorporated so that smart devices can be tethered to the console via Kensington locks.

LS-Wing’s surface control comprises 20 executor buttons and 10 playbacks with their respective selection, flash and execution of scenes.

Alongside its surfeit of USB ports, LS-Wing also has three ethernet Gigabit switch ports, a TrueOne (110/220V) mains connector and an XLR connector for a 5V LLG-1 LED lamp.

https://www.workpro.es/lightshark

Defender Presents the MICRO 2 Cable Protector Series The new MICRO 2 series provides space for two cable runs and ensures even greater protection for people and cables with its newly developed 3-D LaserGrip surface. Produced from over 90% recyclable materials, the MICRO 2 Cable protectors don’t only stand out thanks to their environmentally sustainability but feature a re-engineered, ergonomic design.

The larger and more spacious an area, the higher the safety requirements are for both people and materials. Nowhere else is this truer than at trade fairs, exhibitions, malls, and other public indoor and outdoor facilities, where there are lots of pedestrians walking around, as well as many smaller vehicles, trolleys, scooters, and wheelchairs out and about. That’s why Defender has developed the compact MICRO 2 cable protectors for use in these areas. Built to withstand up to two

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

tons per 7.8 × 7.8 inches, their two 1.4 × 1.2-inch cable runs protect power cables and water hoses from external influences.

A maximum level of grip and slip resistance is guaranteed by the innovative LaserGrip surface, which features a special ergonomic design and surface structure to reduce the risk of an entire cable protector line accidentally moving out of place.

Defender cable protectors and ramps are DEKRA certified (DIN 31000, EN 61537), comply with fire protection class B2 (DIN 4102, B1 also available), and meet the requirements of the Low Voltage Directive.

defender-protects.com/micro

39

ENNOVATION

DECEMBER 2019

ELC Lighting Offers the Final Word on DMX Redundancy Now, however, ELC Lighting’s dmXLAN nodeGBx system offers complete system redundancy. To enable this redundancy, the user simply connects the last fixture from the DMX run back into a nodeGBx unit and configures this port as a ‘DMX backup’ via the standard dmXLAN software interface. This ensures a smooth and seamless takeover in case of failure in the DMX run.

“In this way,” says Henk-Jan Blok, “the last remaining vulnerable part of the lighting data distribution chain is now also failsafe. The lights will keep working, even when a DMX cable is unplugged by accident or damaged in any way. That last, single point of failure is now a thing of the past.”

Until now, redundant DMX networks could be built right up to the ethernet-to-DMX node. However, the last link in the essential chain of lighting data – the DMX cable itself – always remained vulnerable as a single point of failure. With the new Redundant DMX feature, lighting production crews can rely on ELC Lighting’s dmXLAN nodeGBx system to provide automatic, seamless take-over in the event of damage or disconnection of the DMX cable, or even of partial network failure.

“The lighting industry asks for more and more redundancy, to ensure that the show always goes on,” says ELC Lighting’s support and application specialist, Henk-Jan Blok. “In today’s production environment, it should be inconceivable that a system should fail simply because a single item or DMX cable fails, but this was not possible with DMX before now. A single DMX cable could take out a complete run of lights – and it has happened.”

The nodeGBx system is capable of extremely fast takeovers in the event of failure, with virtually zero glitches visible in the lighting rig. In the case of a DMX cable breakage or unplugging, the backup port will take over the DMX output within 50ms. In case of a partial network failure, takeover will occur directly after the set DMX hold time. When the ‘fault condition’ has ended, the recovery time is less than one DMX frame. Together with the dmXLAN software, the system also provides early detection of failure.

ELC Lighting’s Redundant DMX feature is available as a firmware upgrade to the dmXLAN nodeGBx system.

www.elclighting.com

Symetrix xIO Stage 4x4 Dante Stage Box the Antidote to Network Endpoint Weak Links Say goodbye to traditional analog microphone lines that are prone to noise induction and general signal degradation; the new Symetrix xIO Stage 4x4 Dante stage box offers a far superior digital solution for professionals installing audio systems in difficult and demanding stage environments.

The Symetrix xIO Stage 4x4 is a rugged, durable, audio-over-IP solution that installs cleanly in any NEMA 8”x8”x4” electrical enclosure. Delivering pristine audio quality, the xIO Stage 4x4 provides four analog microphone/line inputs and four line-level outputs, converting the signals to and from Dante for transfer over standard CAT5/6 cable from a stage or other source location to a Symetrix Radius NX, Prism, or Edge DSP. An excellent choice for performing arts theaters, school gymnatoriums, houses of worship, courtrooms, conference rooms, and more, the xIO ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Stage 4x4 employs high quality 24-bit, 48 kHz A/D/A converters; premium Neutrik XLR connectors; carefully considered cable-management tie-points; and simple reconfiguration of input sources. The xIO Stage 4x4 is powered by a PoE injector or PoE network switch. Once signals are on the Dante network, they can be routed by a Symetrix DSP, without degradation, into multiple zones. Symetrix Composer software enables real-time setup and control from a Windows PC. “A system is only as good as its weakest link,” observes Symetrix owner and CEO Mark Graham. “The Symetrix xIO Stage 4x4 is the antidote to endpoint weak links that diminish the performance of your audio system designs. We at Symetrix are proud to put our name on this highly engineered product of exceptional quality.”

www.symetrix.co/products/dante-enabled-expanders

ENNOVATION

40 DECEMBER 2019

Astera’s LED Tubes – Hyperion, Titan & Helios Hyperion Tube

Hyperion Tube

Capitalizing on the enormous success of the TitanTube, Astera created the double-length Hyperion Tube which measures 2 metres / 80 inches, offering double the LEDs, double the batteries, brightness and pixels … with the same high CRI and pure quality of light, together with App, CRMX and local on-tube control as well as a wired DMX option.

Astera’s best-selling 1-meter long TitanTube is designed as an invaluable lighting tool for TV, film / video / broadcast cinema and photography.

It’s also featured on some highly imaginative stage lighting designs for bands like The Who, The Eurythmics etc., and has been used for fashion shows, art exhibitions and installations.

TitanTube is optimized for an ultra-high TLCI, a very high CRI and peak brightness, with beautiful colors as well as hue, saturation and intensity that can be set directly on the tube or utilizing Astera’s proprietary smartphone app.

Helios Tube

The colours, brightness, battery life and other elements are perfectly matched to those of the Titan and Hyperion Tubes so combining the different fixtures gives seamless lighting coverage.

Eight fit into Astera’s neat Helios Case which can be used for charging and transportation. It holds the same useful and practical sets of accessories as the Titan Tube case (16 eyebolts, 16 holders, 8 x floor stands, 16 x bolts, all included with the case) together with eight Wing Plates.

A Helios Handle can be screwed into the Helios Tube so the light can be held and aimed at people or objects – ‘lightsaber style‘ – when filming, and it also has a ‘babyplug’ attached for mounting to various objects.

These and other dynamic, flexible and extremely easy to use Astera products are making waves in the worlds of film, video, promos and television as well as in a whole range of events, rental and staging applications and some more esoteric public arts projects.

The TitanTube can also be run wired (from mains power) and controlled via DMX using special power / data combination cables, further dramatically increasing its flexibility as a creative tool for lighting and visual designers.

The fabulous new Helios tube has all the features and functionality of the TitanTube in a smaller, lighter and more transportable package – a neat and powerful little tube that can be mounted in places where a Titan or a Hyperion Tube might be too long or impractical to rig.

The super convenient Helios has 8 pixels and is half the brightness of the TitanTube but with the same high CRI ... making it perfect for areas like pop-up dressing rooms, makeup stations at fashion shows as well as for lighting rooms, sets and other spaces!

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

astera-led.com

SHOW PREVIEW

41 DECEMBER 2019

Prolight + Sound to Celebrate 25th Anniversary With Focus on Present and Future

For the last 25 years, Prolight + Sound has been synonymous with trends and innovations in the entertainment-technology industry.

The next edition from 31 March to 3 April 2020 will present itself as an independent platform occupying the whole of the western section of Frankfurt Fair and Exhibition Centre. More than ever before, the focus of Prolight + Sound will be on professional encounters, offering new trade-visitor services and an even bigger gamut of conferences. A clear structure of the product portfolio makes orientation and networking easier for both visitors and exhibitors.

“Our promise for Prolight + Sound 2020 is unequivocal: we will bring companies together with top decision makers from the industry, increase visitor quality and help continuously generate new, high-grade leads. The event has set a clear course towards the future and creates new incentives for buyers and planners to come to Frankfurt”, says Michael Biwer, Group Show Director of the ‘Entertainment, Media & Creative Industries’ Business Unit of Messe Frankfurt Exhibition GmbH.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Thanks to its focus on the western section of Frankfurt Fair and Exhibition Centre, Prolight + Sound offers short walking distances and optimum presentation conditions. In addition to the display of products in the exhibition halls, companies also have the opportunity to show their latest products and brands in demonstrations and workshops as part of the complementary event programme. Demonstration rooms for elaborate product presentations are also available. Numerous key players from all segments of the market have already announced that they will be exhibiting at Prolight + Sound 2020. They include Adam Hall, Amptown, Analog Way, ASM Steuerungstechnik, AudioTechnica, AV Stumpfl, Ayrton, Bosch Rexroth, Bütec, Chain Master, Chauvet, Clay Paky, Coda Audio, d&b Audiotechnik, dbTechnologies, Elation Professional, ETC – Electronic Theatre Controls, FBT Elettronica, Gerriets, GLP German Light Products, JB-Lighting, Kling & Freitag, Klotz, König & Meyer, L-Acoustics, Lawo, MA Lighting, Meyer Sound, Music & Lights, nivtec-flexibel, Prolyte Group, Riedel, ROBE Lighting, SBS Dresden, Serapid, SGM Light, Sommer Cable, Waagner-Biro and Yamaha.

SHOW PREVIEW

Full commitment to visitor quality and customer retention In close cooperation with companies and associations, Messe Frankfurt is implementing a wide variety of measures to reinforce the position of Prolight + Sound as the foremost business platform for decision makers.

For the first time, exhibitors can invite an unlimited number of contacts to the event with free admission ticket vouchers. Also new is a Hosted Buyer programme: Messe Frankfurt will bear flight and hotel costs for a limited number of new top buyers, which are selected in cooperation with key-account exhibitors. Visitors from specialised market segments with a high budget responsibility enjoy exclusive admission to the Tulip Club, the VIP lounge of Prolight + Sound. Additionally, Messe Frankfurt organises guided tours for international visitors in different product groups.

Clearly structured product portfolio and specialised programme Prolight + Sound is positioned as the international trade fair for technologies and services in the events and entertainment business. The focus is on innovations for use at concerts and shows, theatre productions and open-air events, corporate events and conferences as well as in film and sound studios. In this connection, the fair encompasses products for both mobile and fixed applications. In other words, Prolight + Sound covers a broad yet clearly defined thematic spectrum and is split into five main sections: ProAudio, ProLight, ProStage, ProMedia

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

42 DECEMBER 2019

and ProEvent. Individual options are available for each of the different thematic sections.

ProAudio In Hall 8.0, visitors can discover the entire world of professional audio technology. Moreover, several companies will be demonstrating their PA systems under realistic conditions at the Live Sound Arena on the outdoor exhibition area. Additionally, there will be demonstration rooms with the focus on immersive sound applications. The new Centre Stage offers an opportunity for companies to present future-oriented solutions in the audio field. On top of that, experts will pass on their specialist knowledge on interdisciplinary themes, such as green events, talent development and the legal frameworks. Furthermore, the Audio Makers Square is a special area for the international DIY community.

ProLight Hall 12.1, the upper floor of the biggest and most modern exhibition hall at Frankfurt Fair and Exhibition Centre is the first port of call for visitors interested in professional lighting technology. In addition to lighting technology, projectors, spotlights and lighting-control systems, the hall is the setting for spectacular laser and stage effects in action.

The complementary programme of events at Prolight + Sound offers insights into trending subjects, such as intelligent light controls, digital transmission protocols, pixel and voxel mapping and energy-efficient lighting.

SHOW PREVIEW

ProStage Over the years, the product segment of theatre and stage technology has developed into one of the main elements of Prolight + Sound. Thus, the last editions welcomed an increasing number of manufacturers of over-stage and under-stage machines, stages, grandstands, automation and curtain technology and specialised lighting and control desks for use in theatres. Once again, this product segment will be in Hall 12.0 where, for the first time, there will be a special lecture platform with a programme especially for professionals from the theatre sector.

There, companies can take part with demonstrations and workshops or hold lectures relevant to the subject. Moreover, Prolight + Sound is the venue for the presentation of the renowned Opus – German Stage Award.

ProMedia In 2020, companies from the professional AV media technology and systems integration sectors will relocate to Hall 11.0 in the western section of the Exhibition Centre, bringing them closer to the other Prolight + Sound product segments. There, visitors will be able to gain an impression of tomorrow’s large-scale displays, digital and interactive signage AVoIP, projection, conference and communication solutions and media control and distribution. Together with associations and exhibitors, Messe Frankfurt is organising a new conference focusing on media technology in Hall 11.0. The main points of the programme include IP-based transmission technology and the interoperability of AV devices.

Additionally, Hall 11.0 will be the setting for another edition of the renowned Sinus – Systems Integration Award.

ProEvent At Prolight + Sound, visitors responsible for events will find everything they need to ensure a successful occasion. The spectrum ranges from innovations in the fields of AR and VR, via mobile tent systems and onsite attractions, to software solutions for event organisers. Particular attention will be paid to safety and security and major events and, at the International Event Safety & Security Conference (I-ESC) on Wednesday, 1 April, experts will discuss a variety of subjects such as

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

43 DECEMBER 2019

crowd management, occupational safety, etc. Furthermore, Hall 11.0 offers a special exhibition area for manufacturers of safety and security solutions.

A première at Prolight + Sound 2020 is the Start-up Area in Hall 11.0 where companies that have been on the market for less than five years can make presentations for a reduced stand-rental price, including stand construction using sustainable materials.

All conferences, seminars and workshops are open to Prolight + Sound visitors free of charge. Tickets for Prolight + Sound are also valid for Musikmesse from Wednesday to Friday (1 to 3 April). Musikmesse 2020 will be held on the eastern section of Frankfurt Fair and Exhibition Centre on these days but remain open until Saturday.

www.prolight-sound.com

USER PERSPECTIVE

44 DECEMBER 2019

Yamaha RIVAGE PM10 Playing Key Role in Urinetown

For a period of just over three weeks, Singaporeans were given the opportunity of an insight into a strange, dystopian world: “Urinetown”.

In case your eyebrows just went up because you haven’t heard of it before despite it having won several awards including three Tonys and even more nominations, and despite it nearing its 20th anniversary since debuting in New York City, fret not, as you are not alone.

“Urinetown” is a comedy musical set in a fictive city under the spell of a dangerously long drought, to which the government reacts by strictly banning the use of private lavatories. Instead, public toilets are to be used, operated by a company whose owner charges ever-increasing “pee fees” only to grow his own wealth. Citizens left with either going broke or, in case of an offence, being deported to “Urinetown” from where no one ever returns, can’t hold it anymore and start a revolution – of course, in the most hilarious, satirical way.

Reputed Singapore theatre production company Pangdemonium staged

the musical at the Drama Centre Theatre, located inside the Singapore National Library Building. To warrant a perfect sonic experience for the audience, sound design and system operation were assigned to Ctrl Fre@k, a firm known for excelling in design and control work of complex shows, orchestral and theatrical productions also far beyond the borders of home base Singapore.

Jeffrey Yue, Ctrl Fre@k’s co-owner and acclaimed sound designer/ engineer, chose a Yamaha RIVAGE PM 10 digital mixing system for managing all audio duties. We sat down with Mr Yue to find out his reasoning and, of course, how it went.

Q: You have worked on many musicals before. How did you approach sound design and control of Urinetown?

JY: Urinetown is not a rock or pop musical. There are loud passages but, with it set in post-depression America of the 1930-40s and orchestration like piano, clarinet, saxophone, I would describe it as more “traditional”, with a mostly subtle, nuanced score. I love this style, not too much close-miking of the cast, the orchestra is in the pit where it can be seen and heard, so we reinforced naturalistic sound just “on top” of it. It’s what I’m doing most of the time.

When bringing a full-scale two-and-a-half hours musical with a large cast and an orchestra to a stage, we usually require a more sophisticated mixing solution than what most house consoles adequate for other types of shows can offer. I have used the RIVAGE PM10 in the past for rock musicals, so I was very curious how it would work with neo-classical material such as Urinetown.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

USER PERSPECTIVE

Q: How did the setup go?

JY: Different from Broadway or West End, where crews have several weeks for load-in and setup, in Singapore we have typically just very few days, mainly due to the tight booking schedules of venues and budget restraints. Actually, for Urinetown we had only just over two days for setup, followed by two to three days of rehearsals. Thankfully, we have virtual soundcheck. Recording everyone, musicians and cast, then returning and continuing to work on the same console – it’s a life-saver.

The layout of the PM10 surface is also very helpful for an efficient workflow. As opposed to other consoles, with the PM10 I can work on the left bay while my colleague Lee Yew Jin, who mixes the shows, works on the centre and right bays, without interference or even “elbow fights”.

Q: What was the input channel count?

JY: It was 17 cast members, all on radio microphones, a six-piece orchestra including percussion, playback sound effects, and effect returns such as from my external reverb in addition to the ones inside the console, all in all over 90 channels. The PM10 allows such high channel count, a lot of automation and processing, plus it fulfils my requirement to run everything at 96kHz all the way to the amplifiers.

Q: How were the outputs configured?

JY: First, the PM10 allows us to split all input channels, so each microphone channel got split in two with one going to FoH and one to monitors, each with completely separate processing. The orchestra used in-ear monitoring systems, and so did our engineer in the pit who looked after the musicians.

In total we were using 22 matrix outputs, and then the outputs for loudspeakers from the Drama Centre Theatre’s inventory for on- and ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

45 DECEMBER 2019

off-stage monitoring purposes like providing cast with audio from distant singers, or cues which they might otherwise not have heard.

In addition to the front of house PA, for correct localisation we were as well using spot and effects loudspeakers on stage and upstage.

Q: How were you and the console coping with such complexity?

JY: We are constantly pushing ourselves to work both “well” and “accurately”, and to get the balance in between right. Urinetown is a complex production, quite high in my ranking of demand. We were running around 120 scenes. Few cues were sync’d and running automatically, but we triggered everything manually, including the majority of sound effects. We used lots of DCAs, lots of automation, and the PM10 did it all well and reliably.

Mixing a musical is vastly different from mixing a band at a concert. It’s like flying a helicopter without an autopilot, whereby one must hold on to the controls. It requires constant “line-chasing” and mixing even during dialogues as the use of multiple microphones leads to phase cancellation.

There was a scene where cast members were thrown off stage onto a crash mat, and we had to mute their mics and trigger a playback of their recorded screams concurrently, without any noticeable difference.

Especially during the finale, when it went from storytelling to singing, followed by chorus movement, dancing and, subsequently, back to storytelling with polyphonic singing on top, while mixing the band and highlighting solos, and so on – the most lively scenes with pretty much everything happening. This is where automation comes in and it’s good to have a PM10.

USER PERSPECTIVE

Q: Why a RIVAGE PM10?

JY: As mentioned, it has a high channel count running at 96kHz, and it allows the team to work on it simultaneously. The ability to do more and faster, to program faster during setup, which is essential with the limited time available and at the number of scenes and automation required. Its stability of software, overall reliability. I’ve never heard of a Yamaha console crashing. It’s good knowing you have a PM10 there, means you can continuously do what you’re doing without it failing, you can keep adding more inputs, more scenes, more processing, you can keep programming. I strive to never be in a position where I am limited by my equipment and falling short of delivering, performing, where I am stuck. With the PM10, I always have enough, tons of channels, tons of processing.

And it’s not that you can’t fix that odd kick drum sound the drummer isn’t happy with. In fact, the PM10 sounds absolutely fine – not only FoH. With the channel split, I can spend a bit of time on the drummer’s in-ears and get it right for him, too.

Q: Are there specific plugins or features you relied on heavily?

JY: The PM10 is loaded with great sounding Rupert Neve plugins, some of which we used, but only gently, in very subtle ways. For instance, six PM10 reverb engines in the console were in use with settings dedicated to various sources, and it was great to have the processing power available for this.

Yamaha keeps adding to the software, and since I had last used the PM10, a theatre layer had been added, so I have not used it before. It adds theatre-specific features and functionality to the basic PM series software, DCA groups and more. For instance, each channel allows you to store multiple different EQs which can be recalled quickly. This proved very useful for us, considering the fact that the same cast

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

46 DECEMBER 2019

members were playing multiple roles which involved quick changes to different costumes and specifically, different hats. Hats are our enemies because different hats produce different reflections into the omnidirectional sub-miniature microphones causing the same voice to sound different, something we were able to adjust with the help of the theatre layer.

Q: Summing it up, how would you describe your PM10 experience with Urinetown?

JY: Having used the PM10 a few times, including a rock musical and now also with a traditional, neo-classical piece, I now have a wider scope and a better idea of what I can do with it. It works fine with these different styles and fits either.

The key to the success of any such production is in the planning and preparations. The choice of equipment depends on various factors such as availability and budget. While striving to push the envelope, you’re trying new things. But ultimately equipment translates to actual added value for the production. And, in my opinion, the PM10 has positively added value to this type of productions. Our entire team is very happy about the level of quality we achieved in the short amount of time available and, as part of the system, the console played an important role in this. Looking forward, I think for much of the large-scale orchestral work, it would be handy to have the PM10.

This interview is reproduced from the Yamaha webpage with permission.

Pictures courtesy of Pangdemonium Theatre

asia-latinamerica-mea.yamaha.com

ALEX COLUMN

47 DECEMBER 2019

Why Do We Even Need to Hear About dBFS? So I am writing a column that should have never needed to exist, but here we go. As most of you know well, I am a huge fan and proponent of digital consoles and I think that there is no real good reason to stick to analogue for 99% of the applications and the benefits of digital consoles vastly outdo the downsides, if any.

In the very early stages of large scale digital consoles with 64 or more channels, some manufacturers (actually one manufacturer in specific) decided to offer a new set of metering for their digital consoles. This was the dBFS and it refers to the digital domain with reference to maximum use of all available bits and bytes. Zero dB FULL SCALE means that all available binary bits are filled with “1” and that there is no more headroom at all. Of course the resolution and sonic performance of the console depends on the number of bits that the console will use and weather it is fixed point or floating point, but what has to be clear is, there is nothing beyond 0 dBFS. One single bit more, an infinitesimally small amount will lead to total destruction of the signal. I hope we can all agree that we need to stay away as far as possible from this level.

Next the digital console deals with the same rule, that any signal, that is not modified from the input stage to the output stage, will have to travel at 0dB attenuation or amplification. In layman terms, what goes in must come out, if no processing in between. The big difference between analogue and digital is that in a Digital console there are two elements to interface analogue with digital and those are the A/D and D/A converters. Of course for the input stage we want quite a bit of head room because of the known challenges with microphones and preamps and also with the occasional artist in front of the mic. So when we want a headroom of 24 dB or more on the input, then because of the A/D and D/A converters and for the fact that 0dB on the input needs to come out as 0dB on the out, we end up with a huge headroom on the output of digital consoles as well. The D/A provides us with 24 dB headroom on the output in this case of a console with 24 dB input headroom. This gets more weird as the input headroom goes higher and some manufacturers offer 28 dB or even 32 dB headroom on the input these days.

However we do not need that kind of headroom on the output and it is quite stupid actually since all gear which handles line levels only (Amps, Processors, Loudspeaker Management), never need this kind of headroom, or if you do, there is something wrong with your mix and what you are feeding into the system. If the console shows you a FULL SCALE metering it shows you levels, which no analogue gear can even

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Of course the resolution and sonic performance of the console depends on the number of bits that the console will use and weather it is fixed point or floating point, but what has to be clear is, there is nothing beyond 0 dBFS. handle and your analogue gear will start clipping at -18 dB FS levels.

This is because in this example that would be +6 dB line level output.

If like in this example your console handles a 24 dB headroom on the input and we look at nominal studio levels, then +24 dBm or dBu on the output equals is a very serious amplifier gain and output Voltage.

This is like if your car normally meters the speed in km/h but because you are going digital inside the car, you now meter in lightyears/ second. Guess what, your metering would look like when you drive 100 km/h and you will only see this at the 10th digit behind the comma. A lightyear per second metering is as useless as a 0 dBFS metering so let’s please get rid of this. In the real world we deal with dBu, dBm and dBV and this works perfectly fine.

Join the conversation and share your thoughts with Alex. Alex can be reached at alex@asaudio.de

FEATURE

48 DECEMBER 2019

The Psychology of Light and Colour!

LIT Lighting Design Award-winning Lighting Designer Evan Morris originates from consulting and designing weekly parties and karaoke for Chinese and Korean audiences in Times Square, New York City. He moved to Amsterdam in 2012 hoping that its geographical position would help create contacts all over the world. Amsterdam is accessible and one of the most significant international cities in Europe. It’s also the worldwide hub for electronic music, both incredibly talented producers and performers come from The Netherlands.

“Evan Morris” Evan Morris at the MAD Fox Nightclub Amsterdam

Butcher Social Club

The annual Amsterdam Dance Event is one of the most significant electronic music festivals and events. With parties at night and conferences during the day, it takes over the city for 5 days every October. This year, Morris presented in the ‘Asian Invasion’ conference programme designed to bring East & West parties together. There were presenters from many aspects of nightlife and production, including Event & Artist management, festival branding gurus & visual creation studios.

1 - Timing When presenting light shows with music, the impact on the audience gets exponentially larger when the two are in perfect sync. Our brains are all hard-wired to ‘light up’ when we receive signals at the same time from two or more senses. It’s like fireworks inside our head! In large festivals, they sometimes time-code to the musical program - this allows for extremely tight integration. For smaller venues, finding tricks to operate the lighting in sync with the musical breakdowns and drops are extremely important.

In his talk, Morris delved into the physiological effects of lighting and how these affect people with some really interesting results. Some highlights that can be applied to lighting design:

2 - Movement Today’s lighting can move all different directions, and it usually comes from many different angles at once. Moving lighting not only provides

Arena Nightclub, NYC ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

FEATURE

Pulse Karaoke Lounge and Suites, NYC

49 DECEMBER 2019

Arena Nightclub, NYC

excellent aerial shows for the audience to look at, but it can even help foster group cohesion. When the movement light changes speed with the tempo of the music, shadows also move in sync with the beat.

When one looks over the crowd, it can appear as if everyone is moving to the music even when this is not necessarily the case.

5 - Blue The other base colour for lighting work is blue light. Like red light, it also simulates a glandular response, but this time it’s melatonin. Blue light can, by itself, make people relaxed and comfortable. Too much can make the audience sleepy, though!

3 - Colour Colour is one of my favourite topics - there are so many possibilities!

We see colour every day and often see coloured lighting. Specific colour combinations are one of the main ways I use to differentiate between tracks & impact audiences. Whether mixed with RGB LEDs or by colour filters on white light, coloured lighting involves frequencies along a scale - not too different from sound frequencies & musical scales.

Further reading: www.excitinglight.com

4 - Red Even though colours mean different things in different cultures, specific lighting frequencies have a particular impact on humans. Red light is one of the most important. It activates adrenaline production - so it can really get the crowd going in a way that nothing else can.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Credits for Images: Arena Nightclub, NYC © Exciting Light Pulse Karaoke Lounge and Suites, NYC © Exciting Light.

THE BUTCHER Social Club in Central Amsterdam

LIVE

50 DECEMBER 2019

QATAR

IAAF World Athletics Championships Doha 2019 Creative Technology handles a multitude of technical innovations for the tournament with aplomb

The IAAF World Athletics Championships made history when it took its tournament to the Middle East for the first time since the inaugural event in 1983. The 10-day competition is one of the largest sporting events in the world and saw nearly 2000 athletes from 209 countries compete. The 17th edition of the event took place at the Khalifa International Stadium in Doha and saw some fantastic performances and record-breaking results.

Innovation for 2019 For 2019 a multitude of technical innovations were introduced to the event including light shows, new camera angles and increased engagement with athletes, which brought a new and exciting dynamic to the event. Florian Weber, IAAF Event Presentation Manager, was responsible for the ground-breaking athletics presentation concept and challenged Creative Technology (CT) to deliver; a projected track-athlete introduction which covered the entire running track, entertainment lighting, LED athlete entrances for both track and field positions, and an LED medal ceremony podium on top of the usual Event Presentation control and stadium relay screens.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

VR Pre-Visualisation In order to successfully deliver the track projection, it was essential that the stadium was dark which required the sports lighting to be switched off. Naturally, switching the stadium lights off during a televised stadium sports show is not something Broadcasters are comfortable with, so Florian Weber commissioned CT to deliver a VR model of the Khalifa Stadium featuring athletics apparatus, production overlay and the proposed LED screens and track projection. This was primarily to present the lights-out track projection concept to the broadcasters to ensure they understood and bought in to the concept, but it quickly became a key pre-production tool for the IAAF as the project took shape allowing for pre-visualisation of the entire stadium which was hugely beneficial for stakeholders and sponsors. This bespoke previsualisation service also assisted the broadcast team in allowing them to pre-plan camera locations around the stadium and even specify individual camera and lens specifications – reducing site-visit requirements and reducing overall broadcast costs.

LIVE

The VR model and the easy visualisation of design changes allowed CT to work closely with the IAAF sports presentation team to plan and design the in-stadia overlay, integrating all sports, functional, presentation and broadcast elements of the event. This could then be viewed by stakeholders to assess the project and pre-visualise the whole event from all locations within the stadium and from a live broadcast perspective.

LED Screens To enhance spectator experience within the venue and create a greater focus on the finals for each athletics discipline a number of LED screens were installed throughout the stadium with the key placements including: the medal presentation and ceremonies stage, stadium relay screens, and athlete entry screens. CT supplied over 500sqm of their recently delivered curveable 4.8mm LED screens providing a highresolution, high brightness, high quality solution to display all the sports presentation content including event information, live video feeds, athlete information, and live results.

CT also supplied eight mobile battery-powered LED Monoliths, an innovative solution to field of play displays giving the athletes taking part in the field event finals the star treatment they deserved.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

51 DECEMBER 2019

The LED Monoliths could be positioned anywhere around the athletics arena displaying live data for athletes’ names and country flags – a world first!

Lighting Lighting was added to enhance the overall entertainment and draw focus to areas such as the athlete’s entrances, medal ceremonies, and every time an athlete won a tournament. CT supplied over 80 lighting fixtures which consisted of a mixture of Robe BMFL Blades, Clay Paky B-Eye K15 and Clay Paky Sharpy Plus fixtures.

In addition to the lighting fixtures at the athlete’s entrance and medal ceremony stage, CT also provided lighting fixtures around the top of the stadium. These fixtures were part of the entertainment feature and added to the atmosphere of the architectural lighting of the stadium for the duration of the event.

Projection and Projection Mapping Arguably the most impressive and talked about innovation at the Championships this year was the track projection. CT used over 100 21K and 31k laser projectors to project custom content across the entire running track – bringing it to life during the finals.

LIVE

The creative team, headed up by Florian Weber, consisted of Rob Currie and Nick Clark-Lowes who worked closely with the CT team, led by Project Manager Matt Hartfree, to develop the content and technical solution to deliver the vision. This was no mean feat, considering the size and varying textures of the projected surface not to mention the resolution of the content and the last-minute line-up information for the track finals.

Over a year in planning, one of the initial tests required the team to hire the use of a local athletics track close to CT’s headquarters in London Gatwick to undergo a feasibility study, measuring the required light levels for good image visibility, and monitoring the colour of the projected image on the track surface alongside other LED display devices. The development then continued with projection tests onto samples of the actual Mondo track surface installed at the Khalifa stadium in order to look more closely at the colour qualities of the surface.

The projector placement and light levels required were then modelled in the Photon server to work out how to project a single continuous image taking into consideration environmental and structural constraints of the stadium as well as other stakeholder requirements.

Camera Systems and Production CT provided cameras and switching to ensure a seamless delivery of the sports presentation content for the stadium LED screens which included: EVS playback, custom graphics, real-time edit and playback for production highlights. In all, 24 broadcast and dedicated camera ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

52 DECEMBER 2019

feeds were fed into the PPU and sent out via the switcher as 4 separate HD video outputs, each fed to the stadium control system over a Mediornet wide area network (WAN). Communication and audio feeds were also transported along with the video signals via the Mediornet WAN. Editing System As part of the event presentation team, three Editors were working round the clock to deliver content bespoke to each event final for use in the live event presentation and international broadcast.

Multiple feeds and an 8-channel recorder linked on 10GB network to multiple NAS drives were supplied to three Editors which enabled them to select and record the action from all the available camera feeds within the venue. In addition to this, the editing team had access to all the broadcast EVS content collected on-site via IPD Director, including that of our colleagues at NEP Broadcast.

Stadium Control The stadium control system based around two Barco Encore switchers controlled the content to every display, eight Watchout media servers providing 32 HD outputs provided the content playback to the LED. These were also capturing 4K live data from Mercury Sports to display the digital flags and athlete names for the medal ceremony.

The projection mapping and content playback was handled by six Photon media servers. CTs Mercury sport application interrogated and formatted the results and timing data to drive Character Works,

LIVE

allowing CT to deliver 13 independent scoring outputs, each capable of displaying different graphical states for 49 athletics events.

Controlling the feed to the stadium PA system CT supplied a Yamaha CL5 desk, and Sigma Spot-on for audio playback.

Comms Creative Technology supplied the communication systems for the event presentation team and broadcast production team, an essential and critical service on which the success of the live show depended on. The event presentation system was built around a Riedel artist 128 matrix and featured 16 comms panels, 12 ways of Riedel C3 belt-packs. Also managed through the artist matrix were 20 Bolero wireless belt-packs for the floor management team and 4 CCP-1116 commentary units. As a backup the event presentation system CT supplied 50 duplex hand portable radios.

For the broadcast rights holders CT provided 150 hand portable radios with 18 duplex talkback channels linked from the stadium via an audio over fibre solution.

24 channels of MADI delivered over Mediornet were used to make four-wire connections between event presentation and the broadcast compound.

Another 36 radios, four channels of Helixnet talkback and Glensound commentary units were provided at the Corniche for the Event Production of the road racing events, the system also featured

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

53 DECEMBER 2019

motorbike communications and audio channel.

Corniche Doha 2019 saw the debut of the first midnight marathon taking place along Doha’s corniche with the iconic skyline as a backdrop. CT was contracted to supply video and audio solutions for the marathon and walks along the corniche with further audio and comms for the spectator grandstands. CT was also responsible for distributing all live signals and content to the LED screens that ran along the finish line.

Irum Ashraf, CT’s Middle East General Manager adds, “Our local office fully supported the wider Creative Technology team with both human and technical resources. Having been part of several Athletic meetings held in Doha over the last year, CT’s local office played a pivotal role in providing knowledge of the local market, which helped with our successful delivery. It’s a very exciting time for Sport in Qatar right now and having a base here puts us in a prime position to be involved in such great events in the future.”

Steve Purkess, Head of Sport at Creative Technology, “Working towards the IAAF World Athletics Championships in Doha has been an amazing journey, delivering presentation techniques at a scale more commonly seen in opening ceremonies into live athletics gave us a unique challenge. It has been a privilege for CT to play a part in delivering this game changing approach to event presentation.”

www.ctme.co

LIVE

54 DECEMBER 2019

CHINA

Absen Supplies LED for the 2019 Zhuhai Championships A total of 172 sqm Absen LED display was utilized throughout the venue

As part of the ATP World Tour 250 series of 2019, the Zhuhai Championships took place at the Hengqin International Tennis Center in Zhuhai, China, from September 23–29.

This star-studded men’s tennis tournament played on outdoor hard courts was the first edition of the Zhuhai Championships and it attracted the exciting addition of Andy Murray to the player field which also featured proven champions No.5 Stefanos Tsitsipas, No.13 Roberto Bautista Agut, No.14 Borna Coric, No.20 Gael Monfils. No.27 Nick Kyrgios, and No. 38 Alex De Minaur.

Alex de Minaur, after he had beaten Andy Murray in an impressive, energetic display earlier, claimed a 7-6 (7-4) 6-4 win over Adrian Mannarino in the final of the Zhuhai Championships to earn his third ATP Tour title of 2019.

Absen was selected as the exclusive official LED display supplier of this 7-day tournament, providing the most reliable and professional LED displays and services at Hengqin International Tennis Center. With a floor area of approximately 117,000 square meters, designed by ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Populous – the sporting architectural company behind the Wimbledon Centre Court, Hengqin International Tennis Center was the playing field of this big event, which had been spoken highly of by the awardwinning players.

A total number of 172 sqm Absen LED display was utilized throughout the tennis tournament, including two 37 sqm perimeter LED displays on the east and west side of the central playing court, a 50 sqm LED video wall on the stage of the Carnival, a 36 sqm LED display at the main entrance of the stadium, and three scoreboards with an area of 4 sqm on three different playing courts, mainly for creating a prominent new commercial brand activation platform, providing the live broadcast of the competitions and also providing technical reference for referees on site.

Featuring high level of contrast ratio, refresh rate and gray scale, as well as outstanding viewing angle, Absen’s UEFA-standard sports display solution is able to maximize the value for the sponsor partners as well as in accordance with the competition environment of the stadium.

LIVE

“Absen’s LED displays had shown wonderful performance,” said Stephen Zheng, the marketing director from the event contractor, Huafa Sports, “Absen has won a worldwide reputation for providing LED displays for top-playing competitions, that’s why we choose Absen to cooperate with at the very beginning. And the actual result has proven that we had made a sound choice. The LED systems had given very steady performance in spite of different applications during our diversified activities and the Absen team were extremely professional in providing service, showing a deep understanding of our needs and

55 DECEMBER 2019

ability to get the job done. We really appreciate the hard work put in by Absen and look forward to future cooperation.”

“In order to achieve the best results, the Absen team have been working very closely with the organizers, as always,” said Allen Lyu, Absen sports engineer onsite. “We monitored the system closely on site for each activity and performed multiple tests to ensure the system function smoothly for different events. I’m very proud that the Absen system performed well and sponsors’ content was delivered smoothly.”

As the official and exclusive LED display supplier of Chinese Super League, Absen has extensive experience providing equipment for major sporting events, like the Trophée des Champions 2019, the 2018 FIFA World Cup, the European Cup, the 2019 Mauritius Ocean Games, the 2019 International Champions Cup (China), the Premier League Asia and the coming 2019 Beijing International Marathon Competition.

www.absen.com

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

LIVE

56 DECEMBER 2019

AUSTRALIA

Shure Axient Digital Provides Flawless Coordination at the NRL Grand Final Creative Technology handles a multitude of technical innovations for the tournament with aplomb

On Sunday October 6, the Canberra Raiders squared off against the Sydney Roosters at the NRL Grand Final in front of 82,922 spectators at Sydney’s ANZ Stadium, with millions more watching the broadcast.

Impressive numbers - as was the 229 radio microphones active at the ground that Peter Twartz, Radio Frequency Manager for the Stadium and the NRL, had to coordinate to work flawlessly with one another.

“At JPJ, we wouldn’t use anything else but Shure Axient for this kind of application,” declares Wayne Mulder. “The mics have to work when millions are watching, and Axient Digital’s performance is flawless. I trust Shure Axient completely - it turns on, does what it says it’s going to do, and even in the crazy, hostile RF environment of the NRL Grand Final, it’s bulletproof.”

Wayne Mulder, Engineering Coordinator for production provider JPJ, made Peter’s job that bit easier by using Shure Axient Digital and PSM1000 IEMs across pre-show entertainers OneRepublic, the choir, MCs, hosts, and national anthem performers. All up, 52 channels of Shure’s premium wireless mic and monitor products, Axient’s unparalleled frequency management backbone, and Shure’s Wireless Workbench software kept the show running flawlessly in an extremely hostile RF environment.

Wayne and the JPJ team chose four handheld ADX2 transmitters for the main vocal channels, running in dual frequency diversity mode.

This mode sees a redundant signal transmitted from the ADX2 to the receivers, which automatically select the best signal from the two independent frequencies. Both are automatically managed, and change undetectably if RF problems occur.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

LIVE

Another huge advantage of using the ADX2 is Shure’s ShowLink control system, which enables parameters like gain and channel to be changed remotely without having to physically touch he transmitter. “ShowLink is fantastic,” agrees Peter Twartz. “You have total control over what is usually only available from the panel on the transmitter. If a singer belts it out louder than you bargained for, you can take the gain down while they’re on stage. I like to think of ShowLink as insurance in case there’s anything you end up wishing you’d done before you gave the performer the mic!”

JPJ deployed a site-wide fibre optic network carrying both Dante and MADI for interconnectivity, making integrating Dante audio from the Shure Axient receivers a simple matter of connecting to the network.

Settings in the transmitters themselves allow JPJ to keep control data streams and Dante separate. Three AXT600 Axient Spectrum Managers were used to monitor and control the top, middle, and lower tiers of the stadium respectively.

Amazingly, the whole system needed only two antennas to cover the entire ground. “The MCs could go up to level seven on the far side of the stadium and do an interview with their ADX2s,” relates Wayne.

“Nothing else could have given us that kind of coverage. We didn’t have to run in Quadversity mode and use four channels for one transmitter, but the option was there. Just running in dual frequency diversity mode gave us peace of mind, because you never know when a random reporter is going to turn their RF device on. We didn’t have to turn the power up on the receivers either, which kept our noise floor low.”

DECEMBER 2019

New zone management features in Shure’s Wireless Workbench software made the almost mathematically impossible task of coordinating nearly 400 fundamental frequencies and their intermodulation distortion products (IMDs) achievable for Peter Twartz.

“Wireless Workbench is exceptionally good with its Zones,” explains Peter, “either geographical Zones or time-based Zones, which you can individually select. Between zones you can choose to care about fundamental frequencies being unique, but not IMDs, which is an important distinction as IMDs aren’t as critical. The latest version of Wireless Workbench has also added the capability to distinguish when Zones are physically far enough apart to not care about fundamental frequency overlap, and determine which frequencies need to be clean and IMD- free, with whom, and when.”

“If we’d tried to create a frequency and channel structure that was IMD-free, it would have been impossible,” concurs Wayne. “The ability for the new version of Wireless Workbench to create six or seven Zones and then adjust the IMD and frequency settings where they overlap is fantastic.”

“At the NRL Grand Final, we had Channel 9 and NEP working on the TV broadcast, and ABC radio, Triple M, the Continuous Call Team from Macquarie, and NRL Nation, all using radio frequencies,” outlines Peter.

“In the stadium, we had Encore Event Technology and AVE running 36 channels in function rooms between them, all just a sheet of glass away from the field. Add to this multiple news crews and others using wireless mics. While we try hard to document and manage them all, some make it past us on the day. This is where Shure Axient Digital and all of its spectrum management tools is a life saver.”

www.shure.com www.jands.com.au

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

57

LIVE

58 DECEMBER 2019

SOUTH KOREA

Christie Projectors Light Up Artworks of Prominent South Korean Artist Park Chan-kyong Artist impressed with the projections that have brought out the best of his works with excellent contras

Projections of photographs from “Fukushima, Autoradiography” using two Christie D13WU-HS laser projectors.

(Photo credit: © National Museum of Modern and Contemporary Art Korea) Digital projections of two signature artworks by award-winning South Korean artist Park Chan-kyong using Christie laser projectors are wowing visitors with extraordinary depth and realism at his solo exhibition titled Park Chan-kyong—Gathering.

Currently staged at the National Museum of Modern and Contemporary Art Korea (MMCA) until February 2020, the four-month exhibition showcases a collection of Park’s artistic works, including “Fukushima, Autoradiography” and “Belated Bosal” presented in photographic and film format respectively. Both are focused on the 2011 Fukushima nuclear disaster in Japan and how radioactive contamination had adversely affected humans and nature.

Images depicting the after-effects of the nuclear meltdown are vividly displayed on screens using three ceiling-mounted Christie D13WU-HS 1DLP laser projectors that captivated visitors with brilliant colours and contrast. The projectors were provided by Christie Korea and installed for the exhibition by its local partner, SNC Alliance Co., Ltd.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

“The digital projections of these two artworks have blown visitors away with unprecedented depth and realism that captures a sense of despair and isolation that the artist, Mr. Park, seeks to portray to audiences,” said Dong-Woo Lee, CEO, SNC Alliance. “Kudos to the Christie D13WUHS laser projectors that are deployed for these exhibits – their trueto-life colours and performance have impressed even Mr. Park himself, who commented that the projections have brought out the best of his works with excellent contrast.”

Lee noted that the artist was present for a preview of the exhibition before its official opening, and was pleasantly surprised by the image quality of the D13WU-HS. “The quality of the projected visuals seamlessly matched his artistic intent, and this is probably the best presentation of these two artworks so far. Mr. Park would like to convey special thanks to Christie for making them stand out in his first solo exhibition at the MMCA.”

LIVE

59 DECEMBER 2019

Projection of Park Chan-kyong’s 55-minute film “Belated Bosal” using a Christie D13WU-HS laser projector.

(Photo credit: © National Museum of Modern and Contemporary Art Korea) Paul Lee, Sales Manager, Enterprise, Christie Korea, commented, “We’re pleased to return to MMCA as the projection technology provider for this exhibition by renowned artist Park Chan-kyong. We are also delighted that the D13WU-HS laser projectors have captivated visitors with astounding visuals, which added more depth and meaning to Mr. Park’s works. I’m also thankful to our partner SNC Alliance for completing the installation and demonstrating to museums that digital projection is the way to go to in enhancing visitors’ appreciation of art exhibitions.”

Setting benchmarks in brightness, colour accuracy, power requirements, and form factor, the HS Series offers a powerful, reliable and cost-effective option for almost any high-use application. Colors look natural and true-to-life thanks to Christie’s patented BoldColor Technology while the onboard Christie Twist warping and blending engine and optional Christie Mystique automated camera-based alignment tools make, setup, alignment, recalibration and maintenance of multi-projector systems quick and easy.

www.christiedigital.com Christie was previously involved in two major art exhibitions staged at the MMCA which won critical acclaim from the general public. In 2012, it supplied 100 Christie MicroTiles to showcase the digital art of Do Ho Suh, a renowned Korean installation artist, in an exhibition titled “Deoksugung Project.” In 2016, five Christie E Series 1DLP projectors played an instrumental role in bringing the artworks of legendary Korean painter Lee Jung-Seob to life with digital projections of his masterpieces.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

60

EVENTS CALENDAR

DECEMBER 2019

EVENTS CALENDAR 2020 Please Click on Event Name to View Site Jan 16 – 18

NAMM Show 2020

Venue: Anaheim Convention Centre, Anaheim, USA

Feb 05 – 07

Live Entertainment Expo Tokyo

Venue: Makuhari Messe, Tokyo, Japan

Feb 11 – 14

Integrated Systems Europe 2020

Venue: Amsterdam Rai, Amsterdam, Netherlands

Feb 13 – 15

BES EXPO

Venue: Pragati Maidan, New Delhi, India Feb 16 – 19

Guangzhou Entertainment Technology (GET) Show

Venue: Poly World Trade Centre Expo, Guangzhou, China Feb 19 – 22

Prolight + Sound Guangzhou 2020

Venue: Area A, China Import & Export Fair Complex, Guangzhou, China Feb 24 – 26

Entertainment Design Expo - Shenzhen

Venue: Shenzhen Convention & Exhibition Center, Shenzhen, China Feb 24 – 26

LED China 2020 - Shenzhen

Venue: Shenzhen Convention & Exhibition Center, Shenzhen, China Mar 26 – 28

InfoComm China Beijing

Venue: China National Convention Center (CNCC), Beijing, China

Mar 31 – April 03

Prolight + Sound Frankfurt 2020

Venue: Messe Frankfurt, Frankfurt, Germany Apr 19 – 22

NAB SHOW

Venue: Las Vegas Convention Centre, USA May 13 – 15

KOBA

Venue: COEX, Seoul, South Korea

May 27 – 29

Jun 17 – 19 Conference Programme starts on June 13

InfoComm

Venue: Las Vegas Convention Center, Las Vegas, USA Jun 24 – 26

LED Expo Thailand (Incorporating Light ASEAN)

Venue: IMPACT Exhibition and Convention Center, Bangkok, Thailand Jul 09 – 11

Summer NAMM 2020

Venue: Music City Centre, Nashville, TN

Jul 15 – 17

InfoComm South East Asia

Digital Architecture Asia

May 28 – 30

Pro AVL Indonesia and Tourism Technology Asia

Venue: Bangkok International Trade and Exhibition Centre (BITEC)

PALM Expo 2020

Venue: Bombay Exhibition Centre, Mumbai, India May 28 – 30

AV-ICNx Expo 2020

Venue: Bombay Exhibition Centre, Mumbai, India Jun 09 – 11 Conference Programme starts on June 08

IAAPA Expo Asia 2020 Venue: Macao Jun 09 – 11

ConnecTechAsia (Incorporating BroadcastAsia)

Venue: Marina Bay Sands, Singapore June 09 – 11

ConnecTechAsia (CommunicAsia and NXTAsia)

Venue: Marina Bay Sands, Singapore Jun 09 – 12

Guangzhou International Lighting Exhibition

Venue: China Import and Export Fair Complex, Guangzhou, China

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

Venue: Indonesia Convention Centre (ICE), Jakarta, Indonesia Jul 28 – 30

Venue: Jakarta International Expo, Jakarta, Indonesia Aug 19 – 21

Integrate

Venue: International Convention Centre (ICC) Sydney, Australia

Sep 02 – 04

InfoComm India

Venue: Bombay Exhibition Centre, India

Sep 06 – 08

Plasa 2020

Venue: London Olympia

Sep 17 – 19

LED China 2020 - Shanghai

Venue: Shanghai New International Expo Center

Oct 29 – 31

Broadcast India Show

Venue: Bombay Exhibition Centre

MARKET PLACE

61 DECEMBER 2019

Enquire

FOR ENQUIRIES OR TO LIST YOUR USED EQUIPMENT CONTACT 10K USED GEAR ASIA CONTACT BASED IN SINGAPORE:

MANOJ CHAMANLAL

manoj.chamanlal@10kused.com

Enquire

JBL VTX and CROWN I-Tech Package

Martin MAC Quantum Profile

For sale a brand new JBL and CROWN Package.

Includes 24 x A12, 12 x S28, 4 x A12 AF, 6 x A12VT, 6 x A12CVR, 4 x S28VT, 4 x S28CVR, 12 x IT3500HD, 6 x IT12000HD.

For sale brand new Martin MAC Quantum Profile Moving Head Lighting Fixtures and the price shown is per fixture with double flight case.

€179,975.00

Enquire

€3,250.00

Enquire

Enquire

L-Acoustics LA12X

Kinetic Show DMX WINCH System

L-Acoustics Kara Modular WST

We have for sale L-Acoustics LA12X available new. Price above is per unit.

For sale a used Kinetic Show DMX WINCH System in great working and cosmetic condition. The price shown is for the complete system.

For sale used L-Acoustics Kara Modular WST line sources that are in excellent condition and the price shown is per piece.

€6,250.00

€66, 670.00

Enquire

Enquire

Soundcraft Vi7000 Audio Mixer

SGM G-Spot

For sale a used Soundcraft Vi7000 Audio Mixer in excellent condition, like new, exdemo. Price shown is for 1 x mixer, Full size stagebox and flightcases.

For sale used SGM G-Spot waterproof moving light with road case. Gear in good, fully working condition with minor cosmetic damage on the units.

€26,090.00

€12,945.00

For sale used Meyer Sound LEO Line Array Loudspeakers in very good condition and the price shown is per speaker.

Enquire

CM Lodestar (Classic) LV 1000Kgs Chain Hoists

€2,725.00

Enquire

Meyer Sound LEO Line Array Loudspeakers

€2,760.00

€885.00

For sale used CM Lodestar (Classic) LV 1000Kgs Chain Hoists in very good condition. Price is per piece. Comes with top spec packhorse single flighcase includes certification.

Enquire

Robe BMFL Blade Lighting Fixtures

€6,205.00

For sale used Robe BMFL Blade Lighting Fixtures in excellent condition. Price is per piece. Only sold as a complete lot of 150.

Includes brand new double cases.

ENTERTAINMENT TECHNOLOGY ASIA | www.e-techasia.com

PRICE MIGHT DIFFER AT WEBSITE DUE TO DYNAMIC PRICING MECHANISM