Entertainment Technology November/December 2018 by Sun Circle Publishers

www.entertainment-tech.co.za

November / December 2018

FEATURES AARDKLOP CREATES A PLATFORM FOR NEW TALENT JOBURG BALLET AT MONTECASINO

COVER FEATURE

RE-SOUNDING SUCCESS AT THE AULA THEATRE

C ON T E N TS

ROBE'S LIGHTING TECH

www.entertainment-tech.co.za

BARNYARD THEATRE

AN IMPACT ACROSS THREE CITIES

MOTORISED RIGGING SYSTEMS

SMAART PRODUCT REVIEW

34 Joburg Ballet waltzes to Montecasino

30 RE-SOUNDING SUCCESS FOR THE UNIVERSITY OF PRETORIA

HOW TO SURVIVE THE STRESS OF TECH

24 AARDKLOP CREATES A PLATFORM FOR NEW TALENT

Editorial Disclaimer The views, opinions, positions or strategies expressed by the authors and those providing comments are theirs alone, and do not necessarily reflect the views, opinions, positions or strategies of Pro-Systems Africa News or any employee thereof. Sun Circle Publishers makes no representations as to accuracy, completeness, correctness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use. Sun Circle Publishers reserves the right to delete, edit, or alter in any manner it sees fit comments that it, in its sole discretion, deems to be obscene, offensive, defamatory, threatening, in violation of trademark, copyright or other laws, or is otherwise unacceptable. All contents of this publication are subject to worldwide copyright protection and reproduction in whole or part, in any form whatsoever, is expressly forbidden without the prior written consent of the Publisher.

THE NEW REFERENCE POINT

w w w . r o b e . c z Official DistributOr fOr sOuth africa: DWr DistributiON Itâ&#x20AC;&#x2122;s all about the people

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EDITOR'S WORD

EDITOR'S COMMENT

2018 CLOSES WITH A GLOBAL BANG

elcome to the final edition of Entertainment Technology Magazine (ETECH) for 2018. This year has been an eventful one for the ProSystems team. Highlights have included visiting ISE in Amsterdam and Prolight + Sound in Frankfurt earlier in the year, as well as a highly educational factory tour in Guangzhou, China. I have had the opportunity to see some truly breathtaking shows, attend some of South Africa’s finest festivals and witness some really inspirational installations throughout the country. Most significantly, we have successfully relaunched our publication and are proud to offer a multi-media platform that is best tailored to the needs of the entertainment technology industry. This has been a challenging process, and would not have been possible without the dedication of the team, input from the industry and support from our advertisers. I want to extend my gratitude to everybody that has contributed to making this project a success. Despite our impressive accomplishments this year, the greatest achievement remains the deepening of partnerships and strengthening of relationships between ourselves and the industry. I remain profoundly grateful to every person that has made themselves available to discuss ideas, share their knowledge and tell their stories throughout the year. It is an

enormous privilege to have the opportunity to shine a little of the spotlight on the Men and Women In Black - who work so incredibly hard, often under challenging circumstances, and who often receive very little recognition for the work that they do. I am looking forward to having the chance to bring many cups of coffee to front of house in 2019 – and to continue to share your experiences and achievements with the world. With all that being said, the year is not winding down - but is instead ending with a big bang. I am sure that you share my mounting excitement about the Global Citizen Festival, being held at FNB Stadium in December. According to the vice president of Global Events and Experiences, David Beame, the Mandela 100 Global Citizen Festival promises to be the biggest production that South Africa has ever seen and will feature the largest stage ever used at the FNB stadium – a record previously held by U2. The event presents a priceless opportunity to prove what we already know: that the South African technical entertainment industry is more than capable of competing with the best in the world. I wish you all a safe and enjoyable festive season. Regards

es Nicole Barn

@etechza

@etechzaW

EDITORIAL Nicole Barnes – Editor editor@pro-systems.co.za +27 (0)66 489 3482 David Cornwell – Staff writer Phuti Matuba – Cover photo

PUBLISHERS PUBLISHER Simon Robinson | simon@suncirclegroup.com

SALES

Claire Badenhorst | sales@suncirclegroup.com

SOCIAL MEDIA Lesedi Makeketa | socialmedia@suncirclegroup.com

DESIGN Trevor Ou Tim | design@suncirclegroup.com

SUBSCRIPTIONS

Albertina Tserere | data@suncirclegroup.com

ACCOUNTS

Helen Loots | accounts@suncirclegroup.com

Sun Circle Publishers (Pty) Ltd Tel: +27 11 025-3180 Epsom Downs Office Park, 13 Sloane Street, Bryanston, Johannesburg PO Box 559 Fourways North 2086, South Africa

INDUSTRY NEWS

AUDIX MICROPHONES IN SOUTH AFRICA DWR Distribution recently announced that they will be the sole distributor for Audix Microphones in South Africa. Audix is a leading designer and manufacturer of microphones for the professional music and installed sound industries, with a product line that includes a wide variety of handheld vocal mics, instrument mics, wireless mics, and installed microphones for business, government, house of worship, education, and healthcare applications. “Over the past two years, our company has seen tremendous growth in the audio products we offer to the industry,” said Robert Izzett from DWR. “The one thing we did not have were microphones. Audix is one of the leading brands across the globe, and what makes the company special and approachable is their passion for the end user. By investing in research and

DWR Distribution’s Robert Izzett, Richard Smith, Duncan Riley and Bruce Riley

development over the past thirty years, and listening to their customers’ needs and requests, Audix has developed innovative and performance driven microphones.” Audix has also established itself as a leader in the installed sound industry, where their hanging mics, tabletop mics, and other installed solutions are often preferred by professional audiovisual contractors, integrators, and consultants for their superior fidelity, durability, ease of installation, and overall value. “This product range will be of particular interest to companies installing in the corporate realm, government institutions, venues and

CHARL SMIT APPOINTED GEARHOUSE GM Gearhouse recently announced that Charl Smit has been appointed to the role of general manager – with oversight across all three regional branches of Gearhouse South Africa. Smit started his career freelancing as an audio technician at Gearhouse 20 years ago, has worked in sales and projects and has managed both the Cape Town and Johannesburg branches of Gearhouse, so he is very familiar with the ins and outs of the business from the bottom up. “My mandate is to ensure that our standards around the country are exactly in synch,” he explains. “At times, our equipment utilisation and practices have been influenced by regional conditions, and we are now selecting the most effective methodologies from around the Group to adopt countrywide, with the aim of rationalising our processes and eradicating unnecessary wastage.”

Charl Smit

The company has recently invested in an extensive IT infrastructure and software upgrade, as well as staff training. “Our people are being trained to multi-task from the top down,” he says. “For example, our departmental heads will have the ability to enter their own data directly – which will enable us to get a very accurate quote out to our clients in a matter of hours. The fact that there is involvement across all operational tiers from the outset also

schools,” said Izzett. “We are excited to have DWR represent Audix in South Africa”, said Cindy Bigeh, Interim VP Sales for Audix. “DWR Distribution represents a wide variety of products to several industries and a wealth of clients. From lighting to theatre, schools to places of worship and even restaurants, including installation and service, DWR can meet the needs of most any customer. DWR also hosts trainings as they are focused on supporting their clients.” For more information about DWR Distribution, visit dwrdistribution.co.za ; for more information about Audix Microphones, visit AudixUSA.com.

means that by the time we have completed the quote, much of the preevent planning will already have been done and all parties involved will know exactly what is expected of them. “Thanks to technology we can meet via Skype remotely at any time of the day, and the current update of the Gearhouse IT infrastructure allows me to easily attend internal and external meetings around the country from wherever I am stationed. Our brand comes first, and we are passionate about that.” A strong advocate for empowerment and transformation through training, Smit is also passionate about the success of the Gearhouse Kentse Mpahlwa Academy. “One of the company’s greatest attributes is that there is no ceiling at Gearhouse. It is up to the individual to grow as fast as they want, as long as they have the right attitude and mindset. We empower wherever we can to promote passionate people and transform our industry with a new generation of technical experts,” he concludes. By Robyn D’Alessandro

PRODUCT NEWS

PORTMAN LIGHTING NOW AVAILABLE Electrosonic SA recently announced that they will be taking on the sole distribution rights of Portman Custom Lights to its South African client base. Portman is a young Polish company, headed up by dynamic duo Dominik Zimakowski, a passionate entrepreneur and Łukasz Sztejna, who has worked as a professional lighting designer in the entertainment industry for more than ten years. Specialising in the design and creation of lighting that is uniquely retro, while taking advantage of modern lighting technology sets the company’s product range apart. “Our aim is to design and create stage lighting of remarkable quality, master details and the utmost beauty, to enhance any event,” states Zimakowski. Understanding such passion and originality in product design, Electrosonic’s director of live events

Portman lighting at Defqon.1 Festival in the Netherlands

products, Bruce Schwartz, immediately recognised the synergies and enormous potential for a fruitful partnership between Portman Lighting and Electrosonic. He says: “Portman products offer an exciting range of custom designed lights that create an effect that never been seen before at any South African show. It is a totally unique product range, one that will bring a different experience to our local stages and audience. “With a product so unique, we simply could not resist bringing this aesthetic and mind-blowing range into our product offering,” he concludes. The Portman range includes the P1

Retro Lamp, P2 Hexaline and, their latest addition, the P3 PIX3L. Events across the world have benefitted from these magnificent lighting effects, and the pictures on Portman’s Wall Of Fame are definitely worth a thousand words. According to Electrosonic, Schwartz is positive about building a solid business relationship with the Portman team: “They are really a good, ethical group of people to deal with, and this is a great opportunity for Electrosonic to work with a rapidly growing company”. Contact Electrosonic for further information on Portman Custom Lights’ revolutionary range.

CHAMSYS WINS PRODUCT AWARD AT WFX ChamSys had a lot to be happy about at the 2018 WFX Conference and Expo, recently held in Orlando, Florida. WFX provides education, hands-on training, networking, inspiration and creative solution options for ministry teams, including worship, tech, communications, facilities, and administration. In addition to drawing large crowds to the four training sessions it held at the show, ChamSys went home with a prestigious New Products Award for its new user-friendly console, the ChamSys QuickQ 20. A panel of judges drawn from leading church technical directors and the Worship Tech Director website selected the ChamSys QuickQ 20 for the honour. Key to their decision was the many features in

ChanSys QuickQ 20

the affordable, plug-and-play console that make lighting control readily accessible to virtually any end user. “The worship market was clearly on our mind when we developed the QuickQ 20,” said Philip Watson, ChamSys USA director. “The console was designed to make it simple and straightforward for students, volunteers and part-time technicians at a house of worship to have hands-on control of dimmers, LED colour mixing functions and moving lights.” With its intuitive smartphone-like 9.7” touchscreen interface, the ChamSys QuickQ 20 offers an easy path

to setup, programming and playback. It is also rich in features that help to create an immersive mood at worship services by adding hue to a room. For example, its dedicated “Color Control Area” includes hue and saturation encoders. The console also allows users to select colours from in-built palettes and gel libraries using the touchscreen. “We’re very happy and honoured to receive this award,” said Watson. “Our team paid careful attention to the needs of churches when designing the QuickQ 20, so this recognition is especially gratifying.”

PRODUCT NEWS

SOUNDFIELD BY RØDE RELEASES AMBISONIC MICROPHONE RØDE Microphones recently announced the launch of the SoundField by RØDE NT-SF1 360° Surround Ambisonic Microphone. SoundField first revolutionised 3D audio production with the introduction of the A-Format and B-Format audio ambisonic microphone. RØDE, in turn, transformed the microphone industry by using advanced manufacturing techniques to deliver broadcast-quality precision microphones at accessible prices. For the first time, the unique strengths of these two iconic brands have come together, resulting in the launch of the SoundField by RØDE NT-SF1 360° Surround Ambisonic Microphone.

The NT-SF1 records the entire spherical sound field – capturing every sound from every direction. As a result, one can manipulate the sound during postproduction, including altering the mic directivity, position and rotation to create a full 7.1.4 surround mix and a fully head-tracked 360-degree soundscape for immersive video. At the

heart of the NT-SF1, is the brand-new TF-45C true condenser capsule. Created in-house at RØDE’s Sydney HQ, the TF-45C true condenser capsule is machined to tolerances of less than one micron. The result is a capsule with outstanding clarity, sonic purity and exceptionally low noise. The new NT-ST1 is perfectly matched to the new SoundField by RØDE plugin ambisonic processor. Intuitive, powerful and easy to learn, the SoundField by RØDE Plugin is also a visual feast, with unique sound level visualisation providing immediate feedback into levels and soundscape, while ‘advanced’ mode opens up all parameters and controls for the ultimate in sound shaping. The new SoundField by RØDE plugin has been designed to offer the most accurate spatialisation and sound reproduction when used with the NTSF1 and is available for download at www.rode.com. For more information, kindly contact Musical Distributors www.musicaldistributors.co.za.

MCTRL660PRO

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Low latency controller for a low latency world

Ultra-low latency controller

2 more outputs, allowing for greater flexibility in fine-pitch, large cabinet mapping

Loading capacity of 4-port MCTRL 660 not enough for all mapping configurations

With panels exceeding 192x192, the issue in following example often occurs Panel : 384×216

Screen = 1920×1080

Loading capacity of 6-port MCTRL 660Pro sufficient for all mapping configurations

Dual mode

Free switching between seeding and fiber converter modes

Wide variety of input ports, including: 3G-SDI, HDMI, DVI, and HDBaseT. Full support of 12bit input resource

Web page control

TRADE SHOW

MEDIATECH 2019 HIGHLIGHTS LIGHTING DESIGN SESSIONS

Final of the Lighting Design Competition held at Mediatech 2017

MEDIATECH AFRICA 2019

BOOK YOUR SPOT AT THE CONTINENT’S LEADING MEDIA AND ENTERTAINMENT

TECHNOLOGY TRADESHOW Stand sales are now open for the 2019 iteration of Mediatech Africa, which will run from 17-19 July 2019 at the Ticketpro Dome in Johannesburg, South Africa. Mediatech Africa is a biennial advanced media and entertainment technology trade show held in Johannesburg. The expo showcases new technologies and services from industry leaders in AV system integration and communications; live entertainment technology; television and broadcast; animation and film; studio and production; DJ and pro-audio equipment. Mediatech attracts buyers, top decision-makers and influential visitors from across the spectrum of its target markets. Mediatech 2017 featured 148 exhibitors with 700 internationally recognised brands and attracted more than 7500 visitors. The show also hosted one of the most successful lighting design competitions to be held in South Africa. The show also offered visitors the opportunity to learn from some of the top lighting designers in the country at the hugely popular multimedia experience, Black Box. According to exhibition director, Simon Robinson, Mediatech Africa is the largest and most established trade show for the advanced media, entertainment technology and AV integration markets in Africa. “The show is supported by some of the world’s leading technology manufacturers and local distributors. Exhibitors are afforded the opportunity to network, launch new products, participate in a wide range of events and – most importantly – engage with new customers and existing clients.”

Lighting is an essential element in creating atmosphere for live events, theatrical productions as well as for architectural design, and has the potential to make or break the success of a project. While technically challenging, light is a necessary medium requiring the mastery of varied and continuously evolving disciplines. Lighting designers are specialists at utilising light as the medium of expression to create mood and effects, shift emphasis within performances and enhance the desirability of spaces. Mediatech 2019 will be offering a number of information sessions and demonstrations featuring the latest in lighting design technology available on the global market.

PRESENTATION ZONES With rapid advancements in technology and the shift in social dynamics affecting content demand, delivery and platform selection, members and specialists within the industry will be discussing emerging trends and media solutions for the African context.

OUTDOOR SOUND DEMOS Deep bass, clear treble and a rich middle range are just some of the qualities expected from high-quality audio and line array systems. Mediatech 2019 will feature a number of outdoor demo sessions, where visitors get to experience the versatility and capabilities of some of the most technologically advanced sound systems, without the restriction of indoor displays.

BLACK BOX What do you get when you combine the most creative minds in the media and entertainment technology industry with trailblazing technology? Mix in high energy-music; a dancer, powerful lighting, projection stances, and pixel mapping and you have a taste of Mediatech Africa’s Black Box. This fully automated light and visual experience was among the most popular events to be hosted at Mediatech 2017.

VIRTUAL REALITY AND DRONE EXPERIENCE Experience a fully rigged drone in action at the drone cage or step into a virtual world to experience a completely new reality. The Mediatech drone cage exhibition will enable film makers to experience the drone in action. Participants will have a handson experience operating the camera on the Freely Movi Pro gimbal while attached to the drone. Mediatech 2019 will once again offer visitors a first-hand experience of the latest in VR technology.

For sales queries and bookings, contact Claire Badenhorst on +27 (0) 71 688 4065, or at sales@mediatech.co.za.

BROADCAST - TV & RADIO

PRO AUDIO - LIGHTING - STAGING

FILM & VIDEO PRODUCTION

AUDIO VISUAL INTEGRATION

DIGITAL MEDIA STUDIO - RECORDING - DJ

TICKETPRO DOME

17-19 JULY 2019

www.mediatech.co.za

BOOK YOUR STAND TECHNOLOGY TRADE SHOW SHAPING THE WAY CREATIVITY PLAYS. CREATES. LIVES.

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TRADE SHOW

MUSIKMESSE PROLIGHT + SOUND The 2019 edition of Musikmesse and Prolight + Sound will be held concurrently at Messe Frankfort, from 2 to

2019

5 April, offering two fairs at the same time and place.

“Musikmesse and Prolight + Sound are combining their strengths, with all days now concurrent, in compliance with requests received from the sector,” says Michael Biwer, group show director of the Entertainment, Media and Creative Industries Business Unit of Messe Frankfurt Exhibition GmbH. Musikmesse will strengthen its profile as the platform of choice for the exchange of ideas and information between musicindustry professionals. Visitors can discover the entire spectrum of products for the music and live-entertainment sector over a combined four-day period. “The concept for 2019 emphasises the strengths of the two trade fairs: professionalism, internationality and the synergistic effects between the industries represented,” says Biwer. According to Biwer, the floor plan for Musikmesse and Prolight + Sound has been designed to achieve the best possible concentration of products groups and themes. The entire spectrum of audio products will be concentrated in a single exhibition hall (Hall 8.0) for the first time, where visitors will find public-address systems, permanent sound installations, and

studio and recording technologies. Hall 12 will be home to lighting, stage equipment, entertainment technology and event safety and security systems. Hall 4 brings together associations of the music and event sector and will host a joint business and networking area for both fairs. Halls 3.0 and 3.1 will offer a host of keyboard, percussion, plucked, string and wind instruments, as well as sheet music and equipment. Rounding off the hall layout is Forum.0 for full-range companies and the Congress Centre with the programme for musical instruction. With free admission on all days of the fair, free cloakroom service, guided tours and many other benefits, the ‘Insider’ VIP programme means qualified dealers receive first-class treatment. In 2019, the programme will be extended to include buyers from the entertainment-technology sector. Also new will be a joint hall dedicated to business and networking for both Musikmesse and Prolight + Sound (Hall 4.1), which will offer a lounge with a lecture stage and catering zones, designed to encourage business discussions in a relaxed atmosphere. Biwer explains that the Saturday following the fair has not been cut from the programme, but will be taking a new format with a B2C focus, and will be marketed separately as Musikmesse Plaza on 6 April. The new event will take the form of a pop-up market with numerous musical events and direct exhibitor sales. The Musikmesse Festival, which accompanies the trade fair for the music industry, is being extended by a day and will present musical highlights throughout Frankfurt. For more information, visit https://pls.messefrankfurt.com/ frankfurt/en.html

Save the Date 2. â&#x20AC;&#x201C; 5. 4. 2019 prolight-sound.com

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LDI

DELIVERING INNOVATION

TRADE SHOW

Live Design International (LDI) has retained its reputation as one of the leading events for the professional live design market by delivering a recordbreaking event at the Las Vegas Convention Centre in October. The 2018 edition of Live Design International (LDI) hosted 390 exhibitors, including the world’s leading original equipment manufacturers for the professional live design industry, and was attended by more than 14,000 delegates, representing more than 80 countries. The show also included an impressive array of product world premieres, with the majority of the leading equipment manufacturers bringing new products and innovations to the show floor at the Las Vegas Convention Centre.

PRODUCTS LAUNCHED Robe Lighting impressed with the debut of the T1 Profile recently launched locally during the DWR Robe Roadshow. The Robe T1 is built around a new Multi-Spectral Light (MSL) LED light source and designed to address the requirements of theatre, television, and touring. Robe also brought its revolutionary Robe RoboSpot Follow Spot system to the US market for the first time. The RoboSpot allows follow spot operators to remotely control up to 12 fixtures simultaneously and can be used in a wide range of venues. Martin by HARMAN introduced the Martin MAC Allure Profile, which includes the first fully-featured moving head to combine a proprietary, solid state RGBW additive colour mixing engine, a 7-segment pixelated beam and onboard P3 and DMX controllability. The Martin ELP LED ELP fixtures a highly efficient gear-based Fine Focus adjustment knob and 16-bit dimming with four selectable curves and 26 colour presets. Elation also introduced a number of innovations at LDI 2018, including two all-new visual effects that feature TwinkLED™.

TwinkLED is a novel, patent-pending LED twinkle effect that uses dedicated high-brightness pixels inside large front lenses to provide additional layers of creativity for the lighting designer. Both the recently launched RAYZOR 760 and IP65-rated Proteus RAYZOR 760 incorporate the unique system. Signify announced the global launch of the new Philips VariLite VL10 BeamWash luminaire, the first lighting fixture to be designed around the new high-performance Philips 25R Platinum 550W lamp. The VL10 BeamWash produces 28,000 lumens of output from the concentrated power of the new lamp, making it the brightest and most versatile fixture in its class. ETC and High End Systems joined forces in one large-scale, combined booth where they debuted several new automated fixtures. A firm favourite was the Relevé Spot fixtures, a mover that combines nearly a decade of LED optical engineering with forty years of theatrical experience. Claypaky introduced the Sharpy Plus, a hybrid moving light built around an Osram Sirius 330W X8 lamp. Features include fast movement and a linear 3° to 36° (1:9) zoom in both spot and beam modes.

INDUSTRY COLLABORATION One of the more exciting announcements at LDI this year came from Vectorworks, Inc., MA Lighting, and Robe lighting. These companies have jointly developed a new data format, General Device Type Format (GDTF), to standardise the exchange of device data between consoles, CAD, and pre-visualization software. GDTF creates a common data exchange language that will be the basis of a fully connected workflow. Luminaire manufacturers now have an open and universal data exchange format that can be read by any console manufacturer and be included in any CAD or pre-visualisation software. The format is human-readable, royalty-free, and easy to implement and maintain. According to the announcement at LDI, “no longer will custom, one-off interpretations of DMX values and conversions for specific control data be needed.” For more information on GDTF, visit www.vectorworks.net.

INDUSTRY EVENT ROBE LIGHTING

LIGHTING TECHNOLOGY

ROBE'S INNOVATIVE

Caption

INDUSTRY EVENT ROBE LIGHTING

DWR Sales Director, Robert Izzard demonstrates the fixture-mounted RoboSpot camera

Robe Roadshow at the DWR offices in Johannesburg

DWR Distribution recently took to the road with the latest product offerings from Robe Lighting, fresh off the showroom floor at PLASA in the UK and LDI in Las Vegas. The Robe Roadshow visited Cape Town, Durban and Johannesburg, offering users across the country a rare opportunity to get their hands on some of the most advanced lighting technology available on the international market. Accompanying DWR managing director Duncan Riley and his dynamic team on the week-long tour were Robe CEO and cofounder Josef Valchar and international sales director Harry von den Stemmen, who travelled from the Czech Republic to be part of the event. Speaking to ETECH during the final leg of the Robe Roadshow in Johannesburg, von den Stemmen pointed out that attendance at this year’s iteration of the roadshow was outstanding, especially in Cape Town and Durban. “South Africa remains a very special market for Robe. We try to visit the country in the latter part of each year, to ensure that our South African customers have the same opportunity to access our new product range as those who have access to the big international shows. “We are very pleased to see a wide range of customers – both old and new – attending DWR’s Robe Roadshow,” Von den Stemmen said. “The event offers a great opportunity for those in the market to have a hands-on experience of Robe’s product line, and to hear about the technology from Josef in person.” Valchar did not disappoint on the technology front, adding a number of innovative lighting technologies to the Robe range at this year’s Robe Roadshow. Attendees had the opportunity to see the brand-new Robe T1 Profile moving light in action, as well as the iParfect, RoboSpot, SuperSpikie and Tarrantula. One of the most popularly received innovations was the Robe RoboSpot Follow Spot system, a device that allows follow spot operators to control up to 12 Robe fixtures, remotely and simultaneously. Using the RoboSpot, operators can safely control multiple

Robe fixtures, such as the BMFL range of products, T1 Profile, DL4S, DL7S, MegaPointe and Pointe from any location within the venue, reducing set-up times and operating costs. The Robe RoboSpot system features a Base Station with a large 15.6-inch HD touch screen for the operator to observe the performance from a first-person viewpoint and a full range of hand controls for operating the fixtures such as pan, tilt, intensity, focus, faders and many others, all of which are fully customisable for the operator’s benefit. The RoboSpot screen receives the live video feed from the RoboSpot MotionCamera or the fixture-mounted RoboSpot camera, and the operator’s commands are instantly transferred to the luminaires via DMX control with no lag for perfect motion tracking across the stage. Extra controls are available through the touchscreen display as well as four programmable jogwheels with an additional ten fully-configurable buttons for a truly customised user experience. The remote lighting desk still retains control of the internal features of the fixtures such as light intensity and colour. All these features combine to make RoboSpot a truly innovative follow spot system. Also featured on the Robe Roadshow was the T1 LED Profile. Specifically designed for theatre, television and touring, the T1 is one of the most versatile fixtures that Robe has brought to market, and is receiving a stream of positive reviews following its launch earlier this year. In Von den Stemmen’s words: “The T1 is a particularly good fit for the South African market because the fixture is both very bright and extremely versatile and can be used for theatre, in television work and for the rental market.” For more information on Robe’s full range of lighting solutions for the professional market, visit http://dwrdistribution.co.za.

INDUSTRY EVENT ETC

MOTORISED RIGGING SYSTEMS

ApexPro, the local distributor of ETC's full range of lighting, control and automation technologies, recently hosted a brace of launches featuring ETC’s motorised rigging systems in Johannesburg and Cape Town. Nils Becker, the global ETC rigging products manager, spoke with ETECH during the Joburg leg of the launch, held at The University of Johannesburg in October. ETC has been a global leader in the design and manufacture of lighting and rigging technologies for the theatre, film and television studio environments for more than 40 years, and has a well-established reputation for innovation, responsiveness and outstanding customer service. ApexPro, the distribution arm of Prosound, has a long-standing relationship with ETC, having distributed the company’s lighting and control systems for a number of years. With the rapid adoption of automated staging technology in theatres across the globe, ApexPro decided to invite Becker to introduce ETC’s innovative range of stage automation solutions to the South African market.

NEW POSSIBILITIES In 2009, ETC introduced the Prodigy range of automation solutions: a new class of over-stage machinery systems that were custom-designed to meet the needs of medium-sized theatres, studios and corporate venues. According to Becker, ETC’s Prodigy family enables smaller venues access to motorised staging technology that, as little as a decade ago, was only available to the world’s largest and most affluent professional venues. Prodigy hoists are built around a groundbreaking sloped drum, which makes for a smaller, lighter machine that fits into more places and requires less structural support. There are a variety of models, each of which can be installed in a number of configurations, with a slender design that enables close line-set placement. All Prodigy hoists use ETC’s unique compression-tube technology, which allows the system to be connected to a structure with fewer brackets, independent of the loft-line placement. This technology cancels out the lateral forces usually created by traditional rigging systems, meaning it can reduce new-installation costs and allow for retrofits in spaces not traditionally designed for stage-machinery systems.

INDUSTRY EVENT ETC

ApexPro at The University of Johannesburg Arts Centre Theatre

SIMPLICITY DELIVERS RESULTS The Prodigy system requires an extremely simple infrastructure, as each hoist needs just one cable for power and one for control. A package of 24 machines only requires a single Cat5e cable to connect the hoists to the controller. Prodigy can include a low-profile cable-management system that cleanly hides cabling, as well as pantographs or traditional power options. They accommodate many circuits of power, including emergency circuits, and can contain DMX or network-based data communication. ETC’s automation controllers deliver high functionality at an affordable price and have been designed with the end user in mind. From the most basic QuickTouch series to the flagship Foundation controller, the user interface features easy-tounderstand displays, such as current weight and position. Also, the system offers a range of installed and remote options to fit the specific requirements of the particular venue, enabling the end user to execute set changes efficiently and effectively.

SAFETY STANDARDS ETC’s commitment to safety means that operational safety is a priority of the design and everything in the load path is engineered in terms of a ten-to-one safety factor. The ETC Prodigy hoist has built-in sensors that constantly track, test and log information, such as distance travelled and weight load errors. Every model includes a slack-line sensor and load cell displaying the real-time weight, coupled with an intelligent profiling technology; each motor will instantly halt when it unexpectedly encounters an obstacle in its path.

“In response to increasing awareness about the importance of safety and risk reduction in the workplace, there is a growing aversion among universities, professional theatres and corporate venues to placing people on ladders and within fly rails to access equipment. As a result, there is a growing demand for affordable motorised rigging systems that make it possible for equipment to be lowered and adjusted, which is exactly what the ETC Prodigy range allows,” says Becker.

SCALABILITY “One of the most important features of the Prodigy family is that it offers venues a highly scalable and customisable solution, that is easy to install and cost-effective to maintain. Also, the system is highly flexible and can be implemented in phases. A venue may invest in just two or three hoists to start with and add to the system as the need arises over the years. As a result, the capital cost of changing from a counter-weight to a motorised system can be managed over a number of fiscal cycles,” Becker concludes. ETC’s Prodigy offers a package that is user-friendly, affordable to install and increases both the functionality and safety of flying equipment. The Prodigy family promises better access to your flown systems from an approachable interface, thereby making your venue safer and more efficient. Kindly visit www.etcconnect.com/Products/Rigging-Systems for more information about ETC’s innovative motorised rigging solutions.

AN IMPA SPONSORED EDITORIAL

ACROSS THREE Wild & Marr recently held their Impact Tour, which covered South Africa’s major cities, including Johannesburg, Cape Town and Durban.

Wild & Marr is in the process of transforming from a predominantly audio company to a complete solutions provider covering disciplines ranging from AV, conferencing and delegate systems, room booking systems, video distribution, and professional displays. Existing and potential clients, freelance engineers, institutions of learning, houses of worship, system integrators, rental companies and others descended on the tour to see our wide range of Harman professional brands. JBL Professional, Shure, Crown, Soundcraft and BSS Audio formed the pillars of the integrated system system developed for the tour. Integration was supported by products from DirectOut Technologies, Avid Pro Tools, RME and TASCAM. In addition, various technologies were used in the integration and connection process, including Dante, MADI, AES3, BLU-Link, and MIDI with triggering aligned using timecode and clocking. Gabriel Le Roux of Audiosense, a highly respected monitor and recording engineer in the industry, and Soundcraft’s brand ambassador in South Africa, pointed out that the goal of the tour was to showcase an advanced degree of audio integration, which was achieved by utilising an audio infrastructure where all source and playback audio remained in the digital realm. “The attendees were impressed by the main speaker system consisting of the 2x JBL CBT1000 and 2x JBL CBT1000E bass extension arrays. This latest addition to the CBT range of column line array speakers created an incredible impact in each venue.

JOBURG

Sub-bass was augmented with 2x JBL VTX G28 Subwoofers to create a very well-balanced and cohesive frequency response with various music genres that formed part of the listening experience.” says Juan Soothill of In-Harmony Productions. Amplification and processing were provided by Crown I-Tech HD, with control and monitoring through Performance Manager by Harman. Harman’s business development manager, Lyle Tarby, added: “I think the session had a good turnout and presentations were seamless. The attendees were very engaged, asked lots of questions and were impressed overall. Attendees were taking photographs of the model numbers so they can go back and do some research. The JBL VTX A12s were well received, and the audience was impressed with the ability to rig them and adjust them to varying degrees. It’s an impressive system, and from a rigging perspective it’s very easy to set up with minimal effort.” Shure has a rich history of being a globally trusted quality product and leader in microphone technology. Andrea Granata, systems solutions manager at Shure EMEA, introduced the audience to Shure’s Axient Digital Wireless Microphone System during the tour. She focused on the ability to enable Quadversity mode, the patented technology which allows for extended coverage of a microphone channel. With the ability to achieve a high density of channels into a single “white space”, with the limitations being placed on RF engineers, is a major selling point for this system. The Axient Digital systems were

CAPE TOWN

ACT

E CITIES complemented by KSM8 capsules with patent pending dualdiaphragm design. “The tour was successful. Most of the interest was derived from the very basic foundation of Shure with its reliability when it comes to wireless microphone technology. There was a fortune of interest generated by the listening station, and it certainly piqued the interest of what I’ve seen”, observed Granata. The Soundcraft Ui24 digital mixer coupled with the Shure PSM300 system and Shure SRH840 headphones, with touchscreen control via the Sharp Professional Touch Screen Display was intuitively operated by the attendees at the listening station, who got to compare a range of Shure microphones. “The response has been very positive. What got the attention of the attendees was the fact that we are not running any analogue audio between the various devices. Most of the attendees had not seen this level of integration in the digital realm before, and that was one of the three key drivers behind this tour, being connectivity, integration and innovation. By focusing on the technology in the solution whether audio or data as opposed to the individual products, allowed the attendees to use their own creative thinking in solution concepts based on their relevant applications. From that perspective it’s been an amazing success, bringing the innovation not only in the products but in the complete design process too.” concluded Wild & Marr’s sales director, Gary Furman Wild & Marr, recently being appointed sole distributors of Harman Professional’s AMX Control Systems and SVSI Video Distribution, are well positioned to bring your complete solution to fruition.

DURBAN

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2018. 08. 14. 9:48

PRODUCT REVIEW

SOUND ANALYTIC TOOLS ALLOW USERS TO SEE AND UNDERSTAND THE SCIENCE The sound industry is awash with tools and BEHIND WHAT but there are very few products THEY’RE HEARING technologies, out there that can legitimately claim to make – Ruan Joubert

By David Cornwell

you a better sound engineer. As a number of local end users revealed to ETECH, however, the Sound Measurement Acoustic Analysis Real-Time Tool – more commonly known as the Smaart software platform by Rational Acoustics – can do exactly this, provided you invest time into learning how to use it properly.

PRODUCT REVIEW

RATIONAL ACOUSTICS’ SMAART ANALYTIC SOFTWARE CAN DEEPEN YOUR ENGINEERING SKILLS WHAT IS SMAART SOFTWARE? Although it has subsequently undergone all manner of tweaks and improvements – including a complete reboot of its codebase – even when it was first developed in 1996, Smaart was greeted by audio engineers as a revolutionary tool. It was the first piece of affordable measurement software that allowed engineers to view and optimise their sound during a live performance, without having to send a test signal through the system. Not only did this make crucial tasks – such as analysing room acoustics and the output of loudspeakers, amplifiers and other audio gear – easier and safer to execute, but provided engineers with greater dynamic control over their systems. As Kyle Freemantle – senior audio technician at MGG Productions – explains, “My primary use for Smaart is in the live sound realm, wherever there are two or more sources of audio covering the same audience area. Whether it’s a small intimate gig or a large-format international concert, Smaart is always the tool I refer to for time and phase alignment, as well as for measuring the frequency response of a sound system.” Konstant de Vos, the head of audio at MGG, adds that “in the warehouse, we use it to keep track of each cabinet by testing with phase traces and responses, to see which cabs have worked harder or are not performing as well anymore”; while Ruan Joubert, the technical director of Surgesound, says that he uses Smaart “on everything that can be measured. Loudspeakers, processors, mixing desks, amplifiers – anything that has an output.”

HOW DOES IT WORK? The software features a dual-channel FFT platform that allows engineers to view the frequency content of signals and measure the response of electrical and electro-acoustic systems. The Real-Time Mode allows engineers to configure as many singlechannel engines as they require, each with the ability to produce its own Real-Time Analyser (RTA) and Spectrograph. The RTA mode features fractional-octave banding (up to 1/48th octave resolution), as well as the ability view peak-holds, target curves, THD, calibrated plots and“live averages” from one or many inputs. The Spectrograph boasts a scrollable 1000plus line history and real-time adjustable dynamic range.

The Transfer Function (TF) provides phase, magnitude and coherence plots, and allows for simultaneous live TF engines, even from multiple interfaces. This mode also features up to 1/48th octave smoothing for both phase and magnitude plot displays and FIFO and Integrating Averaging, while Delay Tracking automatically measures and adjusts TF delay for every measurement cycle. With the Impulse Response (IR) Mode, Smaart provides a powerful set of tools for measuring and analysing impulseresponse data, both in terms of time and frequency. Timedomain analysis tools include logarithmic, linear and Energy Time Curve (ETC) views of the impulse, octave and 1/3 octave band-pass filters and reverse-time integration curves, as well as automated calculation of common parameters such as EDT, RT60 and clarity factors. Frequency -domain analysis tools, on other hand, include spectrum analysis of arbitrary time ranges and a Spectrographic view of the impulse. Since 2009, Smaart has been owned, operated and developed by Rational Acoustics. This company, formed in 2008 by Jamie and Karen Anderson, Calvert Dayton and Adam Black – a team involved, at different times, in the product’s development since 1999 – has recently released Smaart v8, the current technology standard. “One of the primary goals of Version 8 was to give people a tool that they can adapt for any situation they’re involved in: something that can be as simple as they need it to be, or as advanced as they expect it to be,” says Chris Tsanjoures, Product Manager and Smaart Instructor at Rational Acoustics.

SMAART TRAINING However, as impressive as the underlying technology contained in Smart v8 may be, Jamie Anderson is keen to stress the importance of the training aspect to Smaart’s success. “To put it frankly,” he says, “this tool is just a useless squiggly line generator without the theoretical and practical knowledge to use it. “One of the most significant aspects of the Smaart platform is the training and support program that Rational Acoustics has developed along with its worldwide distributor network. Today, there are over 25 certified Smaart instructors worldwide that conduct on average over 70 seminars and multi-day training classes per year, in over 10 different languages on six continents across the globe.” These thoughts are echoed by Joubert, who says: “As the guys at Rational Acoustics put it: Smaart is just a tool. How you use it and interpret the measurement data given by Smaart will give you insight into how your sound system is performing and what you can do to make it better.” Joubert’s desire to make sense of the data led him to becoming a certified Smaart instructor at the end of 2013. As he explains: “We at Surgesound, as the distributors of Smaart software in South Africa, hosted a bunch of training seminars, and I made sure I was at every single one of them. I formed a relationship with Jamie and the guys at Rational Acoustics. I was eager to learn and experimented with and used the software a lot.

PRODUCT REVIEW

“In 2013, Jamie came out to do two training courses, and at the end of the two courses he expressed that he would like to hand over the baton for the African continent to me. I was, and am still, very honoured and excited to be a Smaart instructor. At the time, Surgesound was already looking after Africa in terms of distribution and support – so it was a natural fit for us to take over training. It is an amazing thing to be part of. There is such a great international community surrounding the brand and the Rational Team are cool people with a very cool product.”

reliability of any sound rig or set up. As De Vos puts it, “I struggle to comprehend how I ran events before Smaart. Setting up PAs now makes me realise how much headroom a system can have when setup and aligned correctly.” Freemantle develops this point, saying, “When talking about microphones and instruments, there’s an age-old notion of ‘fix the source’. The same can be said about sound systems, assuming all the mechanical aspects, such as splay angles and the rigging of a line array or sound system, are correct. Smaart can assist you in studying the effects of the room, correcting the phase and timing differences between multiple sources, all of which are important to ensuring that the engineer who is operating the mixing console has the best possible platform to work with.” Van der Walt, meanwhile, picks up on the idea of enhanced consistency and reliability: “Smaart has made things more predictable in the sense that I can achieve a very similar sonic footprint irrespective of the brand of sound system. It also takes away any guess work because you get very accurate readings, which assists in make better decisions.” Finally, Joubert lays bare what is, arguably, the greatest benefit of learning and using the Smaart platform. “I know the golden rule of audio engineering is to trust and train your ears, but I find it very helpful to use Smaart to help me to do this: to give me more information regarding timing, polarity and usable frequencies. The software gives you a visual display of what you are hearing, and two senses are better than one. “Getting to know about sound system measurements has deepened my perspective on how sound works,” he concludes. “Once you start down this rabbit-hole, there is a new world that opens up: you get to know the nature of sound. Sound is physics – but unless you know how it works, sound can seem like magic.

“THE VISUAL REPRESENTATION OF A SOUND SYSTEM’S PERFORMANCE ALLOWS USERS TO SEE AND UNDERSTAND THE SCIENCE BEHIND WHAT THEY’RE HEARING.” – Ruan Joubert Accredited Smaart Trainer

According to Joubert, one of the key benefits of Smaart training is “the peace of mind of knowing that what you are doing is right,” and Adriaan van der Walt – the project manager of MultiMedia Event Trading – agrees, encouraging other users to “Go for the training! It is a fantastic tool in the field and in the warehouse, too, and knowing the software well gives one the confidence to achieve great results.”

SMAARTER ENGINEERS Although, in Van der Walt’s words, Smaart can be “quite intimidating at first”, our respondents indicated that using the software can lead to significant gains in both the quality and

“TAKING THE TIME TO LEARN HOW TO USE SMAART SOFTWARE AND INTERPRET THE MEASUREMENTS IT PROVIDES TAKES THE MYSTICAL ELEMENT OUT OF THE EQUATION: IT GIVES YOU THE POWER OF UNDERSTANDING EXACTLY WHY THE SYSTEM IS SOUNDING GOOD OR BAD, AND THAT CAN ONLY IMPROVE THE DECISIONS YOU MAKE AS AN AUDIO ENGINEER.” – Ruan Joubert Accredited Smaart Trainer

LIVE EVENT FESTIVAL

AARDKLOP CREATES A PLATFORM FOR NEW TALENT By Nicole Barnes

Aardklop national arts festival, held annually in Potchefstroom, North-West Province, has over the past 20 years established a reputation for providing festival-goers with a varied and rich celebration of South African arts and culture. The festival offers a five-day programme packed with drama, music, poetry, literature and art exhibitions â&#x20AC;&#x201C; as well as great food, locally made beverages, craft markets and a general celebration of all that is lekker. Blond Productions, one of South Africaâ&#x20AC;&#x2122;s leading technical solution providers for both the live entertainment and broadcast markets, has provided Aardklop with comprehensive technical support for the past three years. Managing director of Blond Productions, Christiaan Ballot, took ETECH on a comprehensive tour of the Aardklop festival, sharing some of the challenges involved in providing technical services at an event of this nature. Harry and Jackie, a new production by Christo Davids at Aardklop National Arts Festival

LIVE EVENT FESTIVAL

“We were very excited to see our new L-Acoustics Kiva II, in conjunction with DiGiCo’s SD 11 digital mixing system, in action at the festival’s flagship venue.” Christiaan Ballot – MD Blond Productions

A CULTURAL CELEBRATION In recent years, Aardklop has grown to become one of the highlights of South Africa’s cultural calendar. This year, the festival brought no less than 85 original South African productions to the stage, along with a plethora of musical performances, poetry and book readings, as well as visual art exhibitions. Aardklop not only supports the development of a thriving creative community in South Africa but also plays a critical role in bringing muchneeded revenue to Potchefstroom. According to the local executive mayor, Kgotso Khumalo, the 2017 iteration of Aardklop created an estimated 350 temporary jobs and brought a welcome stream of tourists to the area, with more than 70,000 visitors flooding the small town during the festival.

A TECHNICAL TAPESTRY Technical manager for Aardklop, Pieter-Jan “Kappie” Kapp, has more than 25 years’ experience in the festival environment and works closely with Blond Productions, equipment suppliers, artists and the community to cater for the technical needs of the festival. Kapp is tasked with ensuring that the 13 indoor venues used as performance spaces during Aardklop are equipped to enable the staging of professional productions. “We use school halls, municipality banquet halls, and church halls – whatever we can get – and the community uses many of these venues for activities on a regular basis. Working out a schedule that accommodates everybody’s needs is a huge challenge,” Kapp says. “As many of the venues are not designed for professional theatre, equipping the venues demands an advanced level of technical expertise and creativity to ensure that professional production standards are maintained for every show that the festival stages.” Blond Productions has earned a reputation as a provider of choice and has given comprehensive technical support to a number of national art festivals, held at various locations across the country – and often in trying conditions. Ballot, however, relishes these challenges and remains deeply committed to supporting the country’s art festivals. “I have been working at festivals since my earliest days as a technician, and there is something very special about what a festival has to offer,” he shares. Ballot goes on to explain that while Blond Productions is better known for its work in the film and television markets, supporting national art festivals is a labour of love for his team. “Everybody brings a unique passion, dedication and willingness to collaborate, which one rarely sees outside of an event of this nature – and, as a result, technicians want to come back year after year,” he states.

Blond Productions is the main technical supplier to Aardklop and Ballot and his team not only supply all of the sound, lighting and staging equipment, but also extend comprehensive technical support to all of the festival’s indoor performance venues. “This approach takes a lot of pressure off artists and performers but puts a lot more pressure on technical crews. However, Blond Productions has never failed to rise to the challenge,” Kapp says. Making sure that all venues are adequately staffed and equipped to achieve the standards demanded by a national arts festival is not without its challenges. Ballot explains that the Blond Production team work closely with Kapp in the months leading up to Aardklop to develop a technical rider that ensures all venues are provided with sound, lighting and staging equipment to suit the programme assigned to each venue. Wolf Britz plays a lighting designer in Toutjies en Ferreira

“The distributors that support the brands specified for the festival not only ensure that we have access to rock-solid support if a unit goes down, but they often provide their time and expertise without asking much in return.”

BLOND RAISES THE SOUND BAR Blond Productions recently added a brand-new L-Acoustics Kiva II to their inventory, which they debuted during Aardklop at the North-West University Auditorium, which hosts the festival’s premium music and drama productions. L-Acoustics’ Kiva II is a new ultra-compact modular line source, adding 6dB of max SPL versus its predecessor, maximised amplifier density with 16-ohm impedance and a new sturdy cabinet. Despite its ultra-compact form, the Kiva II features L-Acoustics’ Wavefront Sculpture Technology (WST), giving it a long-throw capability and delivering even SPL from the front row to the back of the auditorium. Its coplanar transducer arrangement and new K-front grill generate a symmetric horizontal coverage of 100 degrees without secondary lobes over the entire frequency range. Weighing only 14 kg, the Kiva II’s elegant lines and flush-fitted rigging

– Christiaan Ballot; MD, Blond Productions

Fotostaatmasjien written by Bibi Slippers

LIVE EVENT FESTIVAL

My Mense is die Kluts Kwyt directed by Wessel Pretorius debuted at Aardklop 2018

allow it to melt into any architecture, making it a natural fit for installations in performing arts centres and special events demanding minimal visual obtrusion. Product experts from DWR assisted the Blond Productions team by delivering product-specific training ahead of the festival. To ensure optimal performance at Aardklop, Blond Productions and DWR worked in close collaboration to ensure that the Kiva II modular line source was correctly rigged and aligned before the opening performance at the NWU Auditorium. “The NWU Auditorium hosts the premium productions at Aardklop, and we are very pleased with the sound quality that we achieved at this year’s event,” states Ballot. In addition to their impressive investment in L-Acoustics, Blond Productions also added the DiGiCo SD 11 digital mixing system to its inventory, which they also used for the first time at Aardklop in the NWU Auditorium. According to Ballot, DWR Distribution’s DiGiCo product specialist, Kyle Robson, made sure that the Blond Productions team were fully equipped to operate the DiGiCo SD 11 digital mixing system ahead of the event, and continued to provide on-site support throughout the festival. “We were very excited to see our new L-Acoustics Kiva II, in conjunction with DiGiCo’s SD 11 digital mixing system, in action at the festival’s flagship venue. Our impressive new inventory, backed by the DWR team, guaranteed that the NWU Auditorium was equipped to meet – and exceed – the demands set by the high-calibre productions staged at the venue throughout the festival,” says Ballot.

A JOINT VENTURE Kapp points out that national arts festivals such as Aardklop are critical in ensuring that South Africa retains its artistic and socially diverse identity. However, he identifies the lack of funding as a constant struggle. “In South Africa, the lack of funding for national arts festivals makes it very challenging to secure products and services that fit our limited budgets. We are very lucky that service providers, equipment suppliers and distributors understand this and continue to tailor their pricing and service offerings to get the job done despite limitations,” Kapp says. Ballot adds to this idea, stating that partners such as DWR Distribution, Wild&Marr and Stage Audio Works – to name a few – play a critical role in keeping the country’s festivals alive. “These companies not only ensure that we have access to leading brands and rock-solid support if a unit goes down, but they often provide their time and expertise without asking much in return. Without this support, we would not be able to deliver a professional-level festival,” Ballot asserts. Ballot goes on to state that DWR Distribution’s involvement ahead of Aardklop proved to be a game-changer at this year’s event. “In the months leading up to Aardklop, we contacted festival technicians to find out if they were familiar with grandMA and dot2. All technicians were afforded the opportunity to attend training on these platforms ahead of the event at DWR’s offices, which ensured that operators and programmers were confident and equipped when they arrived at front of house.”

The Parlotones performing with the North West Youth Choir

A DEVELOPMENT PLATFORM One of the most important objectives of Aardklop is to create a platform for young South African artists to hone their skills and gain much-needed experience. Ballot points out that the same is true for the country’s technical talent. “When I was a student at the Tshwane University of Technology, I cut my teeth as a technician at festivals such as Aardklop, as did the majority of my colleagues,” he says. In addition to giving students an opportunity to perform at a national festival of a very high calibre, Aardklop provides a platform for students studying stage management and technical theatre to work on professional productions, often for the first time. “We draw our pool of junior technicians from universities across the country, and I speak from first-hand experience when I say that this is how young technicians develop the skills and relationships necessary to be successful in their professional careers. “On the one hand, the festival provides junior technicians and students with the opportunity to work on professional

productions, using the technology that they are most likely to encounter in the professional market. At the same time, it is a safe and nurturing environment. Making a mistake is an opportunity to learn, rather than a career limiting experience,” Ballot explains. In addition to providing technical suppliers with the product support that DWR is renowned for, Ballot points out that the company goes above and beyond to ensure the fostering of new talent and the sharing of knowledge at Aardklop. DWR’s technical specialist, Jannie de Jager, teamed up with Ballot to offer a short introductory class on technical theatre and lighting design ahead of the festival. De Jager remained onsite throughout Aardklop to offer students, junior and senior technicians much-needed support and guidance. “One cannot underestimate how important it is for young technicians to be afforded the opportunity to interact with experts such as Jannie and Kyle. Aardklop often provides junior crew members with their first taste of professional-level technical theatre experience. Having technicians and product experts of Jannie’s calibre available onsite to guide and encourage them is valuable beyond measure,” Ballot says.

LIVE EVENT FESTIVAL

“Offering our support to festivals such as Aardklop is essential to ensure that the country’s up-andcoming technicians are afforded the opportunity to grow into the professionals that will carry the industry to a prosperous future.” – Duncan Riley; MD, DWR Distribution

Managing director of DWR Distribution, Duncan Riley, concurs with Ballot, concluding that: “The majority of today’s leading technicians started their careers at art festivals. Offering our support to festivals such as Aardklop is essential to ensure that the country’s up-and-coming technicians are afforded the opportunity to grow into the professionals that will carry the industry to a prosperous future. As a result, DWR Distribution will continue to provide support, technical expertise and training opportunities to ensure that arts festivals continue to thrive in South Africa.”

Deon van der Merwe and Ruhan du Toit bring a Touch of Class to Aardklop

THEATRE INSTALLATION

The University of Pretoriaâ&#x20AC;&#x2122;s PHOTOS BY MR PHUTI MATUBA

flagship performance venue, the Aula Theatre, recently underwent an extensive upgrade of its sound system. ETECH met the team in charge of technical operations at the theatre to find out more about the installation of their new L-Acoustics ARCS WiFo system, including the technical support and training they received and some early success stories regarding its performance.

Medumo Creative Artists from Soweto performing as a part of Culture Connected, in celebration of 25 years of diplomatic relations between South Africa and South Korea.

THEATRE INSTALLATION

RE-SOUNDING SUCCESS FOR THE UNIVERSITY OF PRETORIA By David Cornwell

THE NEED FOR IMPROVEMENT Lebo Makwane, the Aula Theatre’s sound technician, explains that “the sound in [the Aula Theatre] was quite old. The previous system was installed in the in the early 2000s, and we, therefore, decided that upgrading the sound was a priority.” He goes on to say that the University of Pretoria decided to opt for a new L-Acoustics system because of the brand’s worldwide reputation. Phuti Matuba - the theatre’s head of lighting - expands on this point, adding that it is a central feature of the University’s mission to underpin its world-class research practices with leading technologies on all of its campuses. “Technology is progressing every day,” he says. “And we need to stay at the front of the curve.” The L-Acoustics ARCS Wide and Focus (WiFo) system packs the famous L-Acoustics Wavefront Sculpture Technology (WST) line sources into a compact, constant curvature enclosure ideal for medium-throw applications. The company describes the ARCS WiFo as “the workhorse of sound providers, going from single enclosure fill all the way up to 360° in-the-round coverage.” ARCS WiFo line sources provide high SPL with perfect acoustic coupling, a solid LF performance and constant tonal balance over medium-throw ranges. In the coupling plane, the ARCS WiFo yields a razor-sharp directivity pattern, while in the other plane, the wide and focus systems provide a 90° smooth symmetric directivity pattern. The theatre required the installation of four SB18 subwoofers, six 5XT front fills and four X8s as delays - and the sleek speaker design is unobtrusive, the units blending naturally with the highly impressive interior of the Aula Theatre. The system is currently being operated via an Allen & Heath dLive C1500, which Makwane says “gives us the functionality of a digital desk but at an affordable price-tag.”

Performers from South Korea demonstrate their martial arts skills at "Culture Connected", hosted at the Aula Theatre earlier this year.

THE PROCESS The installation was undertaken by Eddie de Jager and Dirk Knoetze from MVC5 Production Equipment, with the support of Richard Smith and the team at DWR Distribution. As Waldo Viljoen, one of the founders of MVC5, explains: “The University of Pretoria, particularly the Facilities Management Department, were looking for a company that would deliver the design for the Aula, as well as being able to provide the professional engineering services required - as the University wanted to ensure that the design was well-backed by a professional company. This was a great match for MCV5, as this was exactly what we have to offer.” He continues, “MVC5 started the relationship by providing an overview of the sound and acoustics, how the system will work and what should be expected from the quality of the upgraded sound.” Although any upgrade of this magnitude is significant, De Jager explains that this job was especially challenging because apart from its architectural significance the Aula theatre is 60 years old and therefore protected by the National Heritage Act. We had to work closely with the university’s architects to make sure the installation did not impose on the aesthetics of the interior," he says. "The curved array of the L-Acoustics speaker clusters complements the interior, rather than seeming out of place.”

THEATRE INSTALLATION

The Aula theatre now boasts a world-class L-Acoustics sound system

PRODUCTIVE COLLABORATIONS Speaking to the parties involved, it is clear that strong working relationships were key to the success of the upgrade. Regarding MVC5’s relationship with DWR Distribution, Viljoen says: “DWR were very supportive with the configuration and design of the correct system for the Aula. Richard and his team are always available to give advice and direction. Duncan Riley took the project to heart and really supported us from procurement to delivery to installation. We can always partner with DWR and know we are in good hands.” Meanwhile, Makwane and Matuba only have positive reports about the working relationship that they were able to establish with both DWR and MCV5. According to them, it was vital that the programming of the Aula - as one of the premier university theatres in the country - was interrupted to as little as possible. Not only this, but they were seeking an intuitive rig that could adapt to a variety of needs, and thus allow the University of Pretoria to deliver an international-standard experience in a wide range of contexts: from performances to conferences, symposia and other ceremonial events. Makwane says: “The guys were really great to work with. Before we even took out the old equipment, Richard was here to give us advice. Then, as soon as they installed the new system, they invited us for training. They always wanted to make sure everyone was on the same page.” Moses Rakau, who has managed the Aula Theatre for 37 years, says that the process of upgrading the sound system was both efficient and effective: “When the installers said they were going to do something on the day - they did it. My team got good training on the new digital system, and everything has been running smoothly since then.”

IMMEDIATE IMPACT Makwane says that although the new system required “a bit of a shift from analogue to digital” in terms of its operability, he has experienced “no issues at all” since

debuting the new ARCS WiFo system at the recent World Choir Games - an exacting test of the new system, which it passed with flying colours. “We also had great feedback on a play [Mother Goose’s Children] we hosted here about a month ago. It was the second time we did the play: the first time was on the old system, and the audience members who saw both performances were blown away by the new system.” Matuba adds that “the play was a piece of industrial theatre based on the theme of Ubuntu. It had some sonic elements and effects, and playing those sonics from the L-Acoustics system came out brilliantly. In fact, after the play, the director invited the audience to give feedback on the performance - and many of the positive responses given were about the amazing sound quality.”

FUTURE GAINS The University of Pretoria prides itself on being a world-class learning institution - and, for its students, exposure and access to leading technology such as the Aula Theatre’s new L-Acoustics system is an invaluable part of the educational experience. Makwana shares that “a few students have already put in requests to shadow us on the L-Acoustics system.” Makwane and Matuba are also clearly excited about the kinds of shows and events the Aula Theatre will be able to book in the future, thanks to their new sound set up. Makwane explains that the theatre recently hosted an event for the Embassy of South Korea. The embassy’s representatives specifically requested an L-Acoustics system in their technical rider - and Matuba expresses satisfaction about the fact that, going forward, “[the Aula’s] international guests and artists don’t have to worry about bringing anything in, we can immediately roll out an international-level event for them.” He concludes that “having a venue like this shows everyone our standards of excellence, and reflects what the university is all about.”

Always on.

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Joburg Ballet

waltzes to Montecasino Joburg Ballet has announced its first major season at The Teatro at Montecasino, which will see the company’s production of Cinderella waltzing across the stage from 14 – 23 December. ETECH spoke to Joburg Ballet’s artistic director Iain MacDonald and Vanessa of Vanessa Nicolau Theatre and Events, the contractor that provides Joburg Ballet with all of its technical services, about this ambitious undertaking.

Nicole Ferreira Dill as the Fairy Godmother in Cinderella

PHOTO BY SUSANNE HOLBAEK

LIVE EVENT THEATRE

Cinderella Brings the Magic

Overcoming the Obstacles

Choreographed by Joburg Ballet’s artistic director Iain MacDonald in 2013, Cinderella will grace the Teatro stage with Johann Strauss providing the perfect musical accompaniment to this rags-to-riches tale. Andrew Botha’s glittering designs frame the action, and Simon King will light up the theatre for a family-friendly production brimming with charm and magic. “Cinderella is one of the company’s most popular and highly acclaimed productions,” MacDonald says. “Strauss composed some of the most enchanting, best-loved and memorable classical music ever written and Cinderella, his only ballet score, is no exception. In December, Christmas will be just around the corner, making Cinderella the perfect ballet for the holiday season and the ideal way to introduce Joburg Ballet to a wider Johannesburg audience.” MacDonald goes on to explain that Joburg Ballet is privileged to be resident at the Joburg Theatre Complex and that the company debuts all of its productions using the full-sized operatic stage at the Nelson Mandela Theatre. However, the Nelson Mandela Theatre traditionally hosts the annual Joburg Theatre Pantomime over the end-of-year holidays, and therefore the Ballet needs to seek out other opportunities to bring ballet to Joburg audiences over the festive season. “While we have a very committed audience at Joburg Theatre, we have wanted to bring the Ballet to The Teatro at Montecasino for some time, which we hope will provide an opportunity to develop new audiences.” He adds that Montecasino is a multi-function venue, making it a perfect family outing for the holidays.

The decision to take Cinderella to The Teatro at Montecasino may offer Joburg Ballet myriad opportunities but does also come with challenges. One of the hurdles that needed to be considered well in advance was the implications of taking the production to a novel venue, which is not equipped with the technical infrastructure that the company is accustomed to. According to Nicolau, Andre Botha did the stage design for Joburg Ballet’s Cinderella in the early 1990s, when the city’s ballet company – then called PACT – was resident at the Pretoria State Theatre. When Joburg Ballet was founded in 2012, the company purchased a number of productions from The State Theatre, many of which have been revised over the years. “When we made the decision to take Cinderella to The Teatro Montecasino, my team and I immediately started to calculate the adjustments that would have to be made to get Botha’s original stage design to translate for audiences at the Teatro,” she says. “The original set makes use of all of the tricks of the stage – including the full height and width of the opera stage and stage lifts. We, therefore, have made considerable adjustments to the set, while trying to remain true to Botha’s original vision. “Based on the feedback that we have received over the years, audiences enjoy a multi-media approach when it comes to classical ballet,” Nicolau continues. “While projection can create depth and complexity on stage, people still want to see Cinderella in her actual coach or descending the magnificent staircase as she enters the ball. As a result, we work closely with our designers to ensure that we give audiences the opulence and richness that is so integral to people’s expectations of the ballet.”

“Montecasino offers audience members an opportunity to go for a meal, entertain the children and catch the show, all in one space. It’s an ideal outing for the whole family, especially over the holidays” – Iain MacDonald; Artistic Director, Joburg Ballet

LIVE EVENT THEATRE

A Joint Venture PHOTO BY BILL ZURICH

Ballet companies the world over are notoriously hard-pressed when it comes to funding. Joburg Ballet is no different and, coupled with general rising costs; Nicolau says she regularly needs to draw on all her creativity and resources to fit within her allocated budget. “Without the support that we receive from the technical theatre industry, fund-raising initiatives and the majority of our contractors, we simply would not be able to operate. Everybody that we work with has a deep understanding of our financial plight, and are willing to negotiate on price and services to ensure that the Ballet continues to get what we need,” she says. One of the most important partners that Nicolau has identified to support Joburg Ballet’s ambitious debut at The Teatro at Montecasino is Alistair Kilbee, managing director of Splitbeam, part of the Gearhouse Group of companies. As the rental supplier of choice for theatres around the country, Kilbee’s dedication to the performing arts remains a driving force in the fight to keep our theatres running: a commitment that has directly benefited Joburg Ballet over the years. “We have been working with Joburg Ballet since 2012, supplying the company with lighting over the years. More recently, we have supplied the Ballet with more AV equipment, in response to the increasing demand for video as a backdrop on many of their productions,” Kilbee explains.

According to Nicolau, Splitbeam has ensured that Joburg Ballet has access to cutting-edge technology while accommodating budgetary constraints. Recently, the company acquired state-of-the-art Panasonic laser projectors (which will be used at The Teatro at Montecasino for Cinderella), and Nicolau points out that Joburg Ballet was able to negotiate a payment plan with Splitbeam that takes into account the cyclical nature of budget allocations. Not only this, but Splitbeam will be supplying the ballet company with a comprehensive lighting rig for Cinderella, which will feature a full range of intelligent LED fixtures at what Nicolau describes as a very affordable rate. “I have always been a supporter of the ballet, as I feel that is a very important art form in South Africa. It is a goal of Splitbeam’s to be involved in all aspects of theatre, so when the opportunity arose to assist Joburg Ballet to debut at Montecasino, we jumped at it,” says Kilbee. Noted South African designer Simon King will be lighting Cinderella, in collaboration with Mitch Shuttleworth of Avcorp Holdings, who will be managing projection for the production. “Simon has more than 25 years’ experience as a lighting designer for the ballet and opera, and we are very confident that his design will contribute enormously to the staging of this production,” Nicolau says. “We also owe an enormous debt of thanks to Mitch, who has extended both his time and considerable talent over the years to provide AV and projection mapping for our ballets.”

“It is a goal of Splitbeam’s to be involved in all aspects of theatre, so when the opportunity arose to assist Joburg Ballet to debut at Montecasino, we jumped at it,” – Alistair Kilbee – Managing Director Splitbeam.

An enchanting coach takes Cinderella (Nicole Ferreira-Dill) to the ball

Excitement Mounts at Monte Joburg Ballet’s Cinderella promises to deliver a family-filled outing for all, complete with a memorable score, breathtaking staging and – with the ugly step-sisters making their traditional appearance – a lot of fun. “Christmas is about the magic of childhood, and while the artistry and breathtaking score will continue to appeal to our more mature audiences, I always keep in mind what it is like to see the ballet through the eyes of a child,” says MacDonald. Bryan Hill, Teatro’s general manager, says: “We are thrilled to be hosting this exceptional production, and we know that Joburg Ballet’s many fans, both existing and new, will enjoy an incomparable performance when visiting The Teatro at Montecasino this festive season.” The general manager of Montecasino, Mike Page, concludes: “Montecasino is all about making memorable moments for all our visitors – and Cinderella will add a special touch of magic to our exciting festive offering. We look forward to welcoming the superlative Joburg Ballet and their enthusiastic and delighted audiences in December.” Booking is open via Computicket: 0861 915 8000 / www.computicket.com.

INSTALLATION DINNER THEATRE

Cape Town Barnyard Theatre

D R A Y N R BA EATRES TH

ING N I A T ENTER

ES D A C O DE W T HAN T E R MO R O F SA

The Barnyard Theatre Group has been providing South Africans with a unique entertainment experience for the past 22 years. From humble beginnings on a farm in Plettenberg Bay to seven venues across South Africa, the Group presents a remarkable success story for the countryâ&#x20AC;&#x2122;s live entertainment industry.

INSTALLATION DINNER THEATRE

Barnyard Theatre Production's Strictly No. 1’s

“We strive for a world-class experience, and we find that Martin lighting helps us to achieve that. Martin lighting is also of very high build quality, and some of our lights have been going for over 15 years,” – Seona Cochran, Managing partner at the Barnyard Theatre

Barnyard Theatre Production's The Hollywood Walk of Fame

INSTALLATION DINNER THEATRE

Electrosonic SA, a leading distributor of professional theatre lighting solutions, has been a part of the Barnyard Theatres’ journey to success since the early 2000s, and continues to support the Group’s vision to provide audiences with an interactive, affordable and uniquely South African live entertainment experience for many years to come.

A STAR IS BORN The first Barnyard Theatre was opened in 1996 by Louis and Sybel Möller, on a dairy farm just outside of Plettenberg Bay in the Western Cape. The Möllers built a beautiful, rustic American-style wooden barn on their farm, which they converted into a theatre with an old-world atmosphere, including heavy wooden beams, a horseshoe gallery and big tables with welcoming lanterns and wood chips on the floor. In 2003, Möller joined forces with well-known South African musician Duck Chowles, and together they formed The Barnyard Theatre Production Company. Remaining loyal to the original vision of a rustic, highly accessible and entertaining dinner theatre experience, the Barnyard Theatre Group soon established similar venues throughout the country.

WE WILL ROCK YOU

Live events manager and theatre installation expert at Electrosonic, Robbi Nassi, states that his team specified Martin Professional Lighting by HARMAN for the first Barnyard Theatre, as these fixtures would support the Barnyard’s vision for outstanding production quality while also ensuring that the company’s investment would stand the test of time. “Once we had deployed the lighting rig at the first Barnyard theatre in 2003, the Barnyard management team have never looked back, and have standardised on Martin by HARMAN.” “It is extremely important for us that our clients feel that they can come to watch shows at any of our theatres and get the same experience and vibe. This goes for everything from the shows and performers, the service from our staff, the quality of our food and – of course – our sound and lighting,” says Cochran. “We strive for a world-class experience, and we find that Martin lighting helps us to achieve that. Martin lighting is also of very high build quality, and some of our lights have been going for over 15 years,” she says. In addition to ensuring that all Barnyard Theatres deliver the same high-standard production quality across all of their venues, working on a standardised rig ensures that the group is able to move both assets and technical staff across venues. Nassi states: “Electrosonic prides itself on supporting our clients over the long haul, which has been of huge benefit to the Barnyard Theatre during its expansion. We regularly offer Martin training, both on-site and at our offices for Barnyard Theatre technical crews, and always keep a ready inventory of spares and loan units to ensure that Barnyard Theatres are always ready for the next show.” Cochran echoes these sentiments, saying: “One of the biggest reasons for our longstanding relationship with Electrosonic is their outstanding after-sales service and support. We have become very dependent on Robbi Nassi and his team, as they always go out of their way to assist us.”

The Barnyard Theatre specialises in staging variety shows featuring a collage of local talent, often with a sing-along vibe, coupled with warm hospitality, a laid-back atmosphere and an emphasis on fun for all. A first of its kind Nineties vs Noughties at the Gold-Reef City in South Africa, the original Barnyard Theatre Establishing a successful business in the highly Barnyard Theatre soon set the tone for a whole new take on competitive and notoriously fickle dinner theatre in South Africa. entertainment industry is no small feat, and the Managing partner at the Barnyard Theatre, Seona Cochran, explains: Barnyard Theatre Group sets an outstanding example to others in the “Musical mastermind, Duck Chowles, has directed and produced all industry. For the past 22 years, the Barnyard Theatre Group has been Barnyard Theatre Productions since he and Louis joined forces in 2003. providing highly entertaining original productions that continue to Together with a dynamic and passionate team working behind the attract new audiences and provide opportunities for performers to scenes on stage productions, musical direction, choreography and showcase the incredible talent that this country has to offer. costumes, as well as our highly talented local musicians and performers, Central to the Group’s recipe for success is investing in world-class the Barnyard experience is one of a kind.” lighting and sound technology that is backed by distributors and The Barnyard Theatre Group currently operates across six venues, installers that share in their commitment to delivering world-class including Gold Reef City Barnyard, Emperors Palace Barnyard, Rivonia entertainment to South African audiences. Barnyard, Cresta Barnyard, Silverstar Barnyard and Cape Town Barnyard. “The Barnyard Theatres have an incredible show line-up, from The Group is launching another venue in KwaZulu-Natal, with the Durban Barnyard Productions featuring the greatest hits of our time to wellBarnyard set to open its doors at the Suncoast Casino this festive season. known local bands and performers. Barnyard’s in-house catering division prepares pizzas, snack baskets, platters, buffet options and more for sale to patrons attending shows. This unique theatre experience provides the perfect night out, with live entertainment for couples, families and friends. Also, the venues are well-known for birthday parties, fundraising When the Barnyard Theatre Group opened its first city-based venue in events, corporate functions, client entertainment, day conferencing, 2003, they turned to one of South Africa’s most established distributors of year-end parties and more,” Cochran concludes. professional entertainment lighting equipment, Electrosonic SA, for For more information on Barnyard Theatres offerings over this festive advice. “We have been working with Electrosonic since we opened our season, visit www.barnyardtheatre.co.za. first big-city venue, and we have continued to work with the team ever since,” Cochran explains.

ROCKING INTO THE FUTURE

SUCCESSFUL PARTNERSHIPS

EXPERT EXPERT OPINION OPINION

Expert Opinion – Rinus "Rhino" Bakker

I regularly receive pictures with the following question: Is it okay – or is it not? In some cases there is no doubt at all: the person that rigged that particular thing could make more money at the casino. The best one could say: “it did not come down, but it was absolutely NOT OKAY!”

LET’S USE AN ANALOGY Once you are involved in a traffic accident, you know something is NOT OKAY. At the same time, when you are speeding, you should already know it is NOT OKAY. If, however, you were not caught red-handed and got away without an accident, that does not make it OKAY. In rigging, we might not have the same number of rules as in traffic, but all kinds of legal boundaries that determine the safety of the environment for lifting activities. In traffic, there is not a lot of time to do a risk assessment. Most handling must be done instantly based upon the situation, driver skills and experience. In the rigging industry, there is (some) time to prepare the work. Depending on the situation, equipment and material – and of course based on the rigger skills and experience.

LOOK AT THIS RIGGING:

“IS IT OKAY OR IS IT NOT?” THE LOAD

We have to know the load before we start lifting it. Trying to find out what the load is using load cells is already too late. Saying that: “We install 38 movers, 20 line-array cabinets, or 32m² of LED-screen panels” is simply not enough. All of this equipment has data on the self-weight and must be positioned correctly above the stage. It is not necessarily the most important issue for the lighting, sound or LED technician – but for a lifting technician, it is. We want to avoid a situation where Newton’s grip on the show equipment turns out to be bigger than what we are providing in lifting capacity. We want to be able to say that it is OKAY with at least the margin that is set by the rules for our job. Therefore, we must gather all the data about the position and amounts of loads; we must do an (initial) rigging plan, do a risk assessment, do (preliminary) calculations and count in some ‘overcapacity’ to not have to disappoint people with small last minute changes. Afterwards, make the rigging plot and reserve and order the equipment accordingly. Once all the equipment is fixed to our hoists and trusses, we can check our calculations with load cells and see if it is within the capacity. If the readouts are significantly off, we should reevaluate and check where the problem occurs. But at least, we know what was planned for in the first place, and moreover, we know what we are doing.

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PRESENTS

RIGGING COURSE - The rigging course will cover important topics including: Safety, maintenance, lifting materials, force calculations, load tables and more - The internationally recognised five-day course will, once again, be presented by Rinus Bakker of Rhino Rigs - On the sixth day, delegates will enjoy a practical hands-on session - Interested delegates must be competent in mathematics - Delegates who pass the course will receive certification and 48 SACIA CPD points - Delegates are to provide the following: A red pen, a blue pen, a calculator and a rope measuring 4 - 6mm x 2m - Lunch will be served daily, please confirm any dietary requirements when you book

GUEST TRAINER RINUS BAKKER

DATE:

28 JAN - 2 FEB

TIME:

9AM - 5PM

COST:

R9750 INC. VAT

VENUE:

DWR DISTRIBUTION, BLOCK C, UNIT 1, KIMBULT INDUSTRIAL OFFICE PARK, 9 ZEISS ROAD, LASERPARK, HONEYDEW

FULL PAYMENT REQUIRED TO SECURE BOOKING

RSVP: rsvp@dwrdistribution.co.za

ITâ&#x20AC;&#x2122;S ALL ABOUT THE People

PROFESSIONAL DEVELOPMENT

WE HAVE A TECHNICAL PROBLEM

HOW TO SURVIVE THE STRESS OF TECH I am sure that I am not alone in noticing that 2018 has been marked by an unusual number of high-profile substanceabuse related illnesses and deaths. Those that we have lost include Dolores O’Riordan of the Cranberries, Verne Troyer of Austin Powers fame, American rapper, singer, and record producer Mac Miller and our own Jabulani Tsambo, aka HHP. It is deeply concerning that the entertainment industry continues to be plagued by substance abuse – a phenomenon that has not left our small corner of the industry unaffected. In response, I have decided to take off my editor’s hat and dig out my degree and extensive experience in Health Psychology to develop this article. Regards Nicole Barnes

Pursuing a career as a technician in the entertainment and events industry requires a very special set of personal and professional attributes. A high degree of technical acumen, a willingness to get your hands dirty, great problem-solving skills, and a passion for the industry are often the highest on the list. However, the ability to work under pressure and effectively manage stress is a critical and sometimes neglected capability that has the potential to make or break a

I am sure that everybody in the industry has either experienced the negative effects of work stress personally, or has a friend or colleague who has succumbed to the demands of the job and derailed to some degree. In my experience, the large majority of technical professionals in the entertainment industry are deeply passionate about what they do and, therefore, simply walking away from the job is not a solution. The answer lies in developing the skills and resources needed to manage work stress more effectively.

WHAT ARE YOU STRESSING ABOUT?

According to a study conducted by Forbes, it is widely agreed that piloting is the most stressful occupation in the world. Pilots have earned this dubious honour because they work long hours, spend extended periods of time away from home and family, take personal risks and techie’s career cannot afford to mess up. While I do not dispute that pilots have a really tough job, one cannot ignore that these working conditions sound an awful lot like those found in the entertainment technology industry. Add to the list stringent deadlines, high demands, tight budgets and all the factors that are completely beyond your control on site, and it becomes clear that being a techie in the events industry is a pretty stressful job.

PROFESSIONAL DEVELOPMENT

JUST SUCK IT UP

Whether we like it or not, we live in a highly competitive society that equates success with unfaltering performance at all times. Admitting that you are struggling is sometimes perceived as a sign of weakness and so the tendency is for people not to seek help until the situation has reached crisis proportions. According to the World Health Organisation (WHO), the effects of unhealthy stress can be debilitating and, if not managed effectively, can impact every aspect of your life, including your emotional wellbeing, your ability to think clearly and make decisions, your personal and professional relationships and your physical health. The WHO indicates that the physical disorders associated with unhealthy stress include heart disease, high blood pressure, stroke, digestive disorders, fluctuations in weight, sleep disorders and chronic pain (sound familiar?). Chronic stress can also have a very negative effect on your relationships. Withdrawing into a depression or lashing out in anger at colleagues, friends and family has the potential to alienate you, cutting you off from an important source of support when you need it the most. On the emotional front, anxiety and depression are very common symptoms of long-term stress. Mounting anxiety and deepening depression can affect your ability to think clearly, recall important information and make decisions. These symptoms are likely to compromise your ability to function at work, which in turn increases your stress levels. People who are faced with constant pressure and lack the physical, emotional and social resources to respond to mounting demands are also prone to turning to unhealthy coping mechanisms to alleviate the symptoms associated with stress. Substance abuse, risk-taking behaviour, and self-harm are just some of the destructive ways that people try to deal with stress – none of which is likely to end well, for anybody concerned. All this paints a rather bleak picture. However, there are effective ways to break the stress cycle that will allow you to continue doing what you love without allowing it to destroy your physical, emotional and social wellbeing.

THE ANSWER LIES IN DEVELOPING THE SKILLS AND RESOURCES NEEDED TO MANAGE WORK STRESS MORE EFFECTIVELY

ONCE YOU PLACE AS MUCH IMPORTANCE ON GIVING YOURSELF WHAT YOU NEED TO PERFORM AS ON YOUR PERFORMANCE YOU WILL BE ABLE TO RESPOND MORE EFFECTIVELY MEET ME AT THE WATERCOOLER There are millions of self-help books, websites and cure-all remedies that offer quick-fix solutions to the effects of stress and promise to leave you feeling fabulous, all of the time. I don’t know about you, but I have a tendency to dismiss these products with thoughts like “That’s all good for you, but have you seen my schedule?” I have, however, encountered one fairly effective analogy that I would like to share. Imagine your life is a water cooler – one of those bottle-filler types that makes a satisfying gloob sound when you open the tap. Basically, there are times when you need to draw water out and times that you have to fill the bottle up, to ensure that supply is sufficient to meet demand. All of the demands that you face on a daily basis require you to draw on your resources: be it loading in a show, meeting a deadline or honouring a family commitment. On the other side of the scale, there are things that fill up your allegorical water bottle, which can be as basic as eating when you are hungry and sleeping when you are tired, or more complex, like taking up a new hobby or adopting a pet. Being proficient at managing stress means consciously and consistently auditing your input and output so that what you put in and what you take out is aligned – most of the time. Once you place as much importance on giving yourself what you need to perform as on your performance, you will be able to respond more effectively to the demands of your work and your life as a whole.

PROFESSIONAL DEVELOPMENT

A GUIDE TO MANAGING STRESS FIVE FOOL-PROOF TROUBLE-SHOOTS

TREAT YOURSELF AS A WHOLE PERSON Be aware of and respect all of your needs – including your physical health, emotional well-being and social life.

TAKE CHARGE Most situations can be altered by how you respond to them. Identify the things that are causing you the most stress, and do something about it.

BE SELFISH You are responsible for your own happiness. Go and ride your bike, go fishing, climb a mountain, take a holiday. Do whatever it is that feeds your body, mind and soul – and don’t feel guilty about it.

ATTENTION If you or any of your colleagues, friends or family are exhibiting signs

MANAGE YOUR TIME Trying to take on everything at the same time is a recipe for disaster. Break down your day into manageable tasks, and do the most important things first.

SAY “NO” AND MEAN IT Saying “NO” does not make you lazy, bad at your job, or a bad person. It means saying “YES” to getting a manageable amount of work done well.

of mental illness, including anxiety, depression or substance abuse, please consult a registered health care professional for advice or visit the South African Depression and Anxiety Group at www.sadag.org.

SOCIAL

IMPACT TOUR hosted by Wild & Marr Johannesburg

Andrea Granata & Sujit Nagesh (Shure MEA)

Gabriel le Roux (Soundcraft)

Petru Palmer, Gabriel le Roux, Gert Watson, Juan Soothill, Thabang Sebothoma, Brandon Oliphant

Juan Soothill (JBL Professional)

Lyle Tarby (Harman Professional) and Gary Furman (Wild & Marr)

SOCIAL

ETC RIGGING LAUNCH hosted by ETC

University of Johannesburg

Jeremy Roberts (ETC) and Matthew Lewis (ApexPro)

Vicky Whitehouse (MGG), Juliette Biljon (Prosound), Thato Tshabangu (Prosound), Chris Hlanganyana (Bosch)

Mark Malherbe (Prosound)

Andre Buys (Prosound) and Jeremy Roberts (ETC)

Bruce Schwartz and Motlotlo Makhobotloane (Electrosonic)

Omar Sharfooner and Reiner Smit (Electrosonic)

Reiner Smit and Omar Sharfooner (Electrosonic) with Dawid Van Eeeden (Springs Theatre)

Oliver Hauser (HLDesigns), with Fried Wilsenach and Roberto Grove (Splitbeam)

Robbie Nassie (Electrosonic and Enrico Nobile (ETC)

Robert Izzett, Jay van Boordt, Christiaan Ballot, and Simon Robinson

Duncan Riley and Kyle Nel

ROBE ROADSHOW hosted by DWR Distridution Johannesburg

Josef Valchar, CEO of Robe Lighting

Josef Valchar, Duncan Riley, Harry von den Stemmen, Bruce Riley and Robert Izzett

Robert Izzett and Andre Human

An attendee tries out Robe RoboSpot

Justin and Jonathan Le Roux

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Official DistributOr Name of company fOr sOuth africa: DWr DistributiON unit 1, Kimbult industrial Park, 9 Zeiss road, laserpark, honeydew, 2170, Johannesburg NO. Street/P.O. box - Cityblock andc, zip code and Country - Telephone/E-mail - Website It’s all about the people tel: +27 11 794 5023 | fax: + 27 11 794 5702 | sales@dwrdistribution.co.za | www.dwrdistribution.co.za