Pro-Systems News May/June 2018 by Sun Circle Publishers

May/ June 2018

R38.00

AV System Integration | Installations | LIVE EVENTS | Studio Pro Audio

Cover EDUCATION GETS SMARTER Feature WITH AV TECH PROLIGH T + SOUN D WR AP- UP

S P LA S HY F E N

LED vision sets re cords FO R T HE DOM E

S TE VE PATTI S O N I N TE R VI E W

MEDIA PARTNER

I n T his I ssue

E D I TO R Greetings, and welcome to the mid-year edition of Pro-Systems Africa News. We have recently returned from a wonderful trip to Frankfurt, Germany, where we attended Prolight+Sound together with a number of distributors and suppliers from across South Africa. We had the opportunity to see some truly amazing products at the show while taking advantage of the opportunity to develop our international network, build relationships and enjoy the beautiful German spring. We have presented a brief overview of some of the products launched and have spoken with fellow South Africans about their favourite products on show this year. Our feature for this issue focuses on AV integration solutions for teaching and learning – with an emphasis on the higher education sector. The world of work has undergone a radical transformation over the past few years as a result of the introduction of collaboration solutions that make the sharing of digital content, collaborative work processes and video conferencing an integral part of the modern professional’s working life. It stands to reason that the education system needs to adopt similar approaches to teaching and learning, to fulfil its mandate of preparing young people for the world of work. We hope that you find the case studies, expert opinions and product round-up of interest. Finally, we have attended some fantastic shows over the past few weeks. Front of house engineer for the Irish band The Script, Stephen Pattison, chatted with us ahead of the show at the Sun Arena in Pretoria. We also had the opportunity to spend a few days at Splashy Fen, South Africa’s longest-running outdoor music festival. The Castle Lite Unlocks Experience, held at the TicketPro Dome in Johannesburg, also proved a highlight of the live events calendar. We are off once again ahead of the July/ August edition – but this time we will be visiting Cape Town to tour some of the country’s most celebrated theatres, many of which have recently undergone some very impressive upgrades. I would love to hear from you should you have a project or opinion focused on theatres that you would like to share with our readers. As always, I hope that you find this edition informative, engaging and entertaining. – Nicole Barnes

CONT E NT S for the learning environment.........................32

NEWS PanSolutions introduces Casio projectors

Crestron transforms University classrooms....36

to the South African market............................3

The Durban University of Technology

ATEN 4K video over IP extender awarded.....4

delivers cutting-edge learning......................38

Barco develops a future-focused factory.....6

Derek Marsden unpacks the potential

The Gearhouse Group is equipped

of AV technology in learning spaces...........40

for on-going success........................................7

EDUCATION TECHNOLOGY PRODUCTS

FBT selects TV Audio as its South African distributor...................................8

Casio Core projectors....................................42

Viva Africa brings Audiocentre’s latest

Crestron AirBoard............................................42

offerings to the South African Market..........10

Vivitek NovoTouch..........................................43

L-Acoustics announces DWR as certified

i3-Technologies i3BOARD...............................43

provider distributor for South Africa..............11

Panasonic PT-VW530 Portable Projector......44

Solid Rock Projects and Events

Sonic Foundry Mediasite Video Platform.....44

invest In Meyer Sound....................................12

Sharp PN-65SC1 interactive touchscreen....44

PROLIGHT + SOUND SHOW REPORT

ADVERTORIAL

Prolight + Sound and Musikmesse 2018 –

Rigging and such: What is the best

bringing people together .............................14

slinging method for truss?..............................46

South Africans hit the show floor at Prolight+Sound 2018.......................................15

ENTERTAINMENT TECHNOLOGY

South Africans hit the show floor at

South Africa’s longest-running music

Prolight+Sound 2018.......................................24

festival keeps on rocking...............................48 South Africa welcomes The Script With Open Arms............................54

AV Local installer shares his experience

The Script is in good hands with

with the Kramer VIA range ...........................28

FOH engineer, Stephen Pattison...................55 Castle Lite takes LED to new heights at the TicketPro Dome......................59

EDUCATION TECHNOLOGY Chalk versus pixels – how do we

Entertainment technology specialist

transform our classrooms?.............................30

Robert Grobler throws some light

Christie illuminates projection possibilities

on his professional journey.............................62

C ontri b u tors

Derek Marsden | A qualified AVIXA Certified AV professional, with extensive experience in control systems, video distribution, audio conferencing, professional audio, and customer service. Marsden currently serves in a management position at Electrosonic SA.

Chaz Nielsen | An AVIXA Certified AV Technologist at Audio Visual Centre, a leading provider of AV solutions based in Johannesburg. Nielsen specialises in high-tech wireless collaboration systems and innovative future-proof AV solutions for the corporate, commercial and domestic markets.

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.

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news

PanSolutions introduces Casio projectors to the South African market

PanSolutions has announced that it has concluded a partnership with Casio to distribute its extensive range of Casio Projectors in South Africa. PanSolutions is a part of the Reunert Group of companies, which manages a portfolio of businesses in the fields of electrical engineering, information and communication technologies as well as defence and allied technologies. The company opened operations in the mid-80s and has established a credible record as a leading supplier of business solutions to the South African market with products in the document management, professional video and display segment. PanSolutions has a long history of distributing a range of high quality professional display products locally and, by concluding this new distribution partnership with Casio, is able to provide a more comprehensive range of state-of-the-art projectors to a wider range of customers.

Casio Projectors Casio is a leading manufacturer of projectors and holds a global market share of 60%1 for SSI light source projectors with 2,500 lumens or more. The company’s portfolio of LampFree® projectors combines a laser, a fluorescent element and an LED light to deliver a mercury-free hybrid light

source that lasts up to 20,000 hours while sustaining a high brightness and keeping maintenance costs to a minimum. Casio has four series of LampFree® projectors that are available in South Africa through PanSolutions, including Slim, Core, Advanced, and Ultra Short Throw. In line with developments in international health and environmental safety regulations2, Casio’s projectors are mercury-free. Casio aims to help to reduce the burden on the environment by promoting the shift to a lamp-free standard in the projector market. The company’s patented LampFree® technology removes the need to replace hazardous and expensive bulbs. This not only keeps hardware costs down but also reduces overall maintenance costs. Most importantly, the technology eliminates any possible health and environmental risks associated with exposure to and elimination of mercury, a highly toxic element used in the manufacture of compact and linear fluorescent lamps. Johan Oosthuizen, projector sales manager, PanSolutions explains “The innovative lamp free laser and LED hybrid light source of the Casio Projectors makes the user’s budget go a

lot further and also provides the opportunity to improve their environmental credentials.”

Well suited to the needs of the local market Casio LampFree projectors are available at a highly competitive price point for the level of performance achieved. According to Casio, its LampFree projectors can operate for up to 20,000 hours, eliminating expensive maintenance costs associated with lamp-dependant projectors. The range also offers outstanding energy efficiency and high levels of health and environmental safety, making Casio’s range of projectors ideal for home, business, educational and commercial applications. “The extensive range of Casio projectors enables us to meet the needs of a range of businesses and users, from office boardrooms to large-scale entertainment venues,” Oosthuizen concludes. For more information, visit http://www.pansolutions.co.za

1 Based on global sales volume by the manufacturer from January to December 2016 according to Futuresource Consulting Ltd. 2 UN Treaty Collection (2013) Minamata Convention on Mercury. Retrieved 2018-04-26.

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ATEN 4K video over IP extender awarded

ATEN International recently announced that its VE8950 4K Video over IP Extender has been awarded the Red Dot Design Award 2018, one of the most prestigious design awards in the world. VE8950 received the honour for its human-centric design, which provides system integrators with the best user experience to solve problems while creating solutions for large-scale digital signage and video wall deployments covering hundreds of meters, such as campuses, stations, malls, and exhibition centres. “ATEN has been focused on improving the user experience for our products for many years, and the honour of receiving the Red Dot Award serves as proof that we stand at the forefront of innovative product design,” said Kevin Chen, President of ATEN International. “As a leader in the AV meets IT trend, we are committing to providing human-centric design solutions to ease the complexities of connectivity and to reach our goal of Simply Better Connections.” Established in 1955, the Red Dot Award is one of the biggest design awards in the world and is decided by

the Design Zentrum Nordrhein Westfalen in Essen, Germany. The award features products that are recognised for functionality, innovativeness and quality. The jury only awards a Red Dot to products with the highest design quality. ATEN VE8950 delivers visually lossless 1080p / 4K video over long distances via a standard Gigabit network, offering the flexibility, scalability and multifunctionality required for large-scale digital signage and video wall deployments covering hundreds of meters, such as campuses, stations, malls, and exhibition centres.

The VE8950 is designed to solve the problems that systems integrators face when implementing AV over IP systems by providing an economical and easy-to-use digital signage solution with user-focused hardware design. With large, clear ID displays and simple pushbuttons for ID setting and switching, the VE8950 offers a simple configuration that does not require extensive IT experience. The units feature I/O printing on the housing for easy port recognition, built-in brackets for convenient mounting, and LED lights for quick diagnosis. There is even a dedicated space on the units for writing labels and a signature ribbed edge design to enhance the structure and provide ease of handling. A further user benefit is the ability to daisy-chain units for easy expansion of AV network coverage without cable clutter or extra network switches while also lowering per-port costs.

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news

Barco develops a future-focused factory Since 2016, the majority Barco’s various departments in Belgium have been gradually united on the new campus in the Beneluxpark in Kortrijk. According to the company, the ‘One Campus’ symbolises ‘One Barco’, signifying not only a change in physical location but also a shift towards a unified organisational culture. “The move represents a whole new way of working, where transparency, flexibility and interaction are key. As a final step, the manufacturing sites of Kortrijk and Kuurne are now heading to the new campus too,” the company states. The new manufacturing site, called ‘The Engine’, is connected to the main campus building, called ‘The Circle’, in the same way as ‘The Pulse’, which houses central services is connected to ‘The Lab’, the home of the research and development team. The move to the new site is part of the ‘Focus To Perform Programme’, a larger strategic initiative that focuses on operational excellence. Automation and the implementation of new, innovative technologies as well as the involvement of employees were key

pillars, and will remain instrumental in the further development of the new factory. “The new site, and accompanying infrastructure, offers a strong base for gradually improving our efficiency and will help us to respond quickly to new market trends,” says Filip Deruijck, Barco’s vice president of operations in Belgium. “The design of the manufacturing floor, for example, is flexible and multifunctional. Through automation and innovation, we can shorten lead times and increase production. It’s how we can keep delivery times short and produce cost-effectively.” This new approach translates into economies of scale. In the course of 2018, Barco will incorporate the production activities of its Norwegian site in Kortrijk too. The core of the factory for the future is a clever way of working that encompasses different pillars. This

includes digitally connecting employees and systems worldwide as well as automating the warehouse (planned for 2019) and certain assembly activities. At the same time, existing processes are being reviewed and optimised by involving employees, building on their know-how and implementing bottomup improvement projects. Filip Deruijck adds: “People remain one of our key assets. As a result of the move, employees get a much better view of each other’s activities. This not only leads to better mutual understanding, but it also stimulates cross-fertilisation of knowledge and ideas, resulting in a more efficient way of working.” Barco manufactures projectors, engines, subassemblies, lamps, cooling, medical displays, LED and networking products in The Engine. The move of the manufacturing sites brings an additional 250 people to the new campus. Kuurne remains the logistics hub in Belgium, from where all products will be shipped.

news

The Gearhouse Group is equipped for on-going success

The Gearhouse Group is one of the largest technical suppliers for the event industry in South Africa and boasts the widest range of equipment and services in the country. In recent months, the Gearhouse Group has made a significant investment in new equipment for use across various disciplines, including professional lighting and projection. As one of the largest users of MA lighting technology in the country, Gearhouse has established a reputation for providing world-class events using technology that fulfils the majority of international riders for professional lighting. In 2015, Gearhouse purchased four lightweight and compact dot2 XL-F consoles, and recently invested in several new grandMA2 consoles in response to increasing demand. According to the company, three dot2 XL-Fs have been distributed to the Gearhouse branches in Durban, Cape Town and Johannesburg. INHOUSE Venue Technical Management (IVTM) have purchased four dot2 Cores, a console designed for small to medium sized productions with up to 4 096 control channels. Johannesburg Lighting Operations manager, Adrian Skinner, states “MA ticks all the boxes, and most importantly, does what it says it does on the box. It boots up, functions every time, and has proven to be a workhorse.”

In addition to the impressive investment in lighting control, Gearhouse has also increased its inventory of high-quality, intelligent moving head lighting fixtures. The company’s new consignment of Robe fixtures includes 48 Robe BMFL Blades, 46 Spiiders and 48 LEDBeam 150s. The purchase forms part of a lighting investment for its branches in Johannesburg, Cape Town and Durban as well as for the IVTM team. “The multi-functional, diminutive Spiiders are a notch brighter than the Robe 600 which they will replace in the Durban branch and offer superior control on channel programming” adds Goodman Nyoka, who heads up the lighting division at the Durban branch. Andrew Gleave, Cape Town lighting operations manager, is also pleased to add these fixtures to his arsenal. In addition, Gearhouse Splitbeam has recently taken delivery of two Panasonic PT-RZ12K 3-Chip DLP 12000 Lumens Laser Projectors, purchased through PanSolutions Holdings (PTY) Ltd.

According to the company, the new units will be used by Joburg Ballet at the Johannesburg Theatre in the near future. According to Gearhouse, laser projectors are at the forefront of technology. Compared to regular lamp projectors they tend to give clearer and brighter images and are more energyefficient and environmentally friendly. Fan units in traditional projectors can be noisy, which is a major issue in theatres, and so this efficiency makes the new laser models far quieter to operate. The 12000 lumens brightness combined with the known reliability of these units, makes the Panasonic PT-RZ12K a winner for most theatre applications and offer around 20,000-hour maintenance-free operation. “Splitbeam is proud to be one of the first companies in the Gearhouse Group to stock laser projectors,” states managing director, Alistair Kilbee. “Increasingly, projection technology is being used as a replacement for the costly static painted backdrops traditionally used for scene changes in theatrical productions. Using projection allows the designers to create dynamic scenes that can move and change effortlessly,” he concludes.

Peter Abrahamse, Stuart Andrews, Adrian Skinner and Bill Lawford of the Gearhouse Group

news

FBT selects TV Audio as its South African distributor TV Audio, a leading broad-line electronic goods distributor based in Johannesburg, has recently announced that they have secured the agency to distribute the entire range of FBT audio products for the South African market. In a deal that was finalised at Prolight+Sound 2018, in Frankfurt, TV Audio will now be supplying FBT’s full range of professional audio products.

For more than half a century, FBT has been designing and manufacturing professional audio products that have earned the company a reputation as a leading original equipment manufacturer for the global market. FBT is manufactured in Italy, and the company prides itself on continuing the legacy of artisanship that defines the brand. According to TV Audio managing director, Peter Berry, FBT has been available in South Africa for a number of years and is trusted by many in the local industry to provide high-quality audio

Luigi Paoloni of FBT Italy with TV Audio's Peter Berry and Aidan Wolhuter

products for the professional market. “TV Audio has established a reputation for outstanding customer service, and we pride ourselves on supporting products that are of the highest quality while responding to the needs of our unique market. We have the capacity, infrastructure and technical expertise in place to ensure that servicing and maintenance of all FBT products will be carried out locally.” FBT export manager Luigi Paoloni adds, “The FBT brand has been present in South Africa for many years, and is therefore quite well known. In recent

years, we have had to make some changes in distribution agreements for the South African market for a number of reasons. However, I am confident that Peter and his team at TV Audio have the integrity and capability needed to service the brand moving forward.” Berry has confirmed that TV Audio is in a position to start the distribution of FBT products to the local market with immediate effect. For more information, kindly visit www.tvaudio.co.za.

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news

Viva Africa brings Audiocentre’s latest offerings to the South African Market

Viva Afrika has established themselves as a leading distributor of professional entertainment technology to a wide range of customers across sub-Saharan Africa. The company is the sole distributor of Audiocenter in South Africa, a high-end professional audio brand, which is increasingly establishing itself as a leading manufacturer of high-quality professional sound equipment at a competitive price-point. Viva Africa has recently announced the local launch of Audiocentre’s new EA5 series of active DSP-controlled loudspeakers. According to Larin Bates, Audiocentre brand ambassador at Viva Afrika, the EA5 series offers customers a more robust, visually pleasing speaker that is highly versatile and comes at an attractive price point, ideal for developing markets. “The EA5 has replaced the older TS series and offers our clients a professional-level speaker at an affordable price while being better looking, more robust and offers a higher sound pressure level than the previous models. Most importantly the EA5

incorporates Audiocenter’s custom designed BrainCore technology,” Bates explains. BrainCoreTM is an innovative core application technology that continuously analyses and processes the input signal, DSP module, Class D amplifier and loudspeaker optimally, achieving excellent frequency response and audio reproduction even at high sound pressure levels. “The inclusion of BrainCore means that end-users will now have an 'intelligent thinking speaker,'” Bates points out. Also, all of the finishes on Audiocenter’s units have been upgraded to offer a high-gloss finish that

is resistant to weathering. The EA5 has a 100 user adjustable tilt function which ensures that the aiming angle can be adjusted at the push of a button when mounted on a pole as well as integtated rigging points perfect for fixed installations. “The EA5 is ideal for small to medium venues, including function venues, conference facilities, schools and houses of worship. At the same time, it is ideal for touring bands, outdoor events and conferencing. The units can be configured to play a multitude of roles including DJ monitoring, side fill, front fill, 450 wedge monotoring with rubber feet, mobile DJ, among others,” Bates points out. Viva Afrika will be distributing the EA508”, EA512”, EA515” and single EA518”bass. For more information or a product demonstration, contact Larin Bates at larinb@vivaafrika.co.za.

news

L-Acoustics announces DWR as certified provider distributor for South Africa

Duncan Riley, Robert Izzet, Bruce Riley, and Richard Smith

L-Acoustics has announced that Johannesburg-based DWR Distribution has been officially appointed as L-Acoustics Certified Provider Distributor for South Africa and that local audio specialist and L-Acoustics expert, Richard Smith, has joined the DWR team. DWR’s local market expertise, coupled with Richard Smith’s knowledge and experience with L-Acoustics products will provide quality representation and support for the brand in a dynamic and growing market. “L-Acoustics is happy to welcome DWR to the ‘Brown Box Family’,” says Tim McCall, L Acoustics sales manager for the region. “There has been a long gestation period to this plan, but now, with the introduction DWR’s customeroriented dynamism combined with the experience and knowledge of Richard Smith, the Southern African market gets the best of both worlds. The new and the old, the fresh approach and the real-world experience. Looking forward, I expect great things for L-Acoustics in

the region with this team.” “The process took time,” said Robert Izzett, sales director at DWR. “We had to ensure that we had the right infrastructure to best represent this leading brand. With Richard on board, we look forward to a great relationship with both the team at L-Acoustics and the end-users. We hope that he will be very happy with us.” Smith, whose background includes music studies and musical theatre performance, is a respected professional in the South African audio industry. Regularly working on theatre design, television and selective rock concerts, Smith has enjoyed a good collaborative work ethic, doing what he describes as ‘lovely things with diverse companies’ both as a designer, operator, consultant and project manager for shows and many prestigious installations. “Theatre is my first love, that’s where I started out, performing and being the musical director,” he says. “Sound was a natural follow-on. It’s almost like being the conductor of the show. I’m controlling what the people are hearing. I’ve built up good relationships with a lot of the directors and producers over the years. Very subtly, you are the ultimate

translator between artistic and technical.” Smith is excited to continue in this slightly different role and will use his design and show expertise to help others realise their dreams, whether they are a rental company, a church or a theatre. “I have a vast amount of experience to be able to guide people, and that’s what I enjoy doing. I love working with young rental companies who come to me for advice. I’m passionate about teaching, and part of my work ethos is to impart knowledge through both writing and hands-on experience. Duncan Riley and the team at DWR have the same ethic as I do, putting customers first. DWR is passionate about its brands, whole company gets behind something and give it their all. I believe that L Acoustics deserves that.” “We have collaborated with Richard on numerous projects in the past where DWR did the lighting and audio,” continues Riley. “We believe the combination of DWR’s local market knowledge, the quality of the L Acoustics brand, Richard’s vast knowledge and reputation in the industry will make a powerful combination.”

news

Solid Rock Projects and Events invest In Meyer Sound

The Solid Rock crew

Solid Rock Projects and Events recently announced that it has invested heavily in state-of-the-art Meyer Sound Leopard and Lina compact linear line arrays for their local inventory. Nicoleen Strydom, general manager at Solid Rock Projects and Events, states: “At Solid Rock, we pride ourselves in being able to offer the finest technical solutions for our events. In order to continue to offer our clients the latest and best in audio technology, we were very keen to add the Leopards and the Linas to our inventory.” “Our decision to purchase a wider variety of the Meyer range was an easy

one, having used our M’elodie system for over twelve years. We have firsthand experience of the longevity, ease of use and quality that the brand has to offer. Given our scope of work, and the type of events we work on, we believe that Meyer is the best fit for Solid Rock,” adds Keith MacIntyre, owner of Solid Rock Projects and Events Prosound, the South African distributors of Meyer Sound were happy

to facilitate the purchase of the system, after enjoying a longstanding relationship with Solid Rock. Prosound technical director Mark Malherbe has used Meyer Sound throughout his career in the theatre and events industry. “Meyer Sound is the go to brand for theatre, large scale rock concerts and Houses of Worship. Production managers for the more corporate boutique side of the industry will be very happy to hear that they now have access to the latest gear from Meyer Sound, via Solid Rock. The bar has certainly been raised,” Malherbe comments.

PROLIGHT + SOUND Show REPORT

Prolight + Sound and Musikmesse 2018 – bringing people together Over the past 25 years, the entertainment technology industry has been gathering at the annual Prolight+Sound tradeshow and conference in Germany to share new technologies, do business, and most importantly, develop the close relationships that define the industry. This year was no different, with 90,000 visitors from 152 countries making their way to the Frankfurt Fair and Exhibition Centre to attend both Musikmesse and Prolight+Sound 2018. Pro-Systems Africa News had the privilege of attending the show, held in Frankfurt, Germany between 11 and 14 April.

Photo © Jochen Günther

The halls at the Frankfurt Fair and Exhibition Centre offered exhibitors a platform to launch products and introduce new technologies to a global audience. Many of the world’s leading entertainment technology manufacturers launched new products as well as improvements and expansions to their existing ranges at the show, across all disciplines. While almost every product launched offered something unique, introducing digital, sustainable technology to the entertainment industry remains a driving force behind many of the new products on the market. The complimentary programme of events, which aims to create a platform for business, education and engagement across disciplines and between leading innovators in the industry, has been expanded. This year, the programme offered more than 1,000 events at the Exhibition Centre. According to group show director, Michael Biwer, who spoke with Pro-Systems in an interview, the newly launched Immersive Technology Forum was a

highlight for many in the industry and represents the future of entertainment technology. “Immersive technology has been identified as a driving trend in the industry, which motivated us to create a platform for those involved with the development of the technology to come together to discuss their ideas. The immersive forum is all about 360o filming, holographics, 3D audio and how to create virtual reality, and many of our exhibitors featured these technologies on their stands in various forms.” Helge Leinemann, Chairman of the Board of the Professional Lighting and Sound Association of Germany (VPLT), echoed the sentiments of many visitors to the show. “Together with the broad spectrum of exhibitors, workshops, lectures and professional development facilities, the international character of the fair makes Prolight+Sound an unrivalled networking platform.” While out on the showroom floor, the Pro-Systems News editorial team met up with an impressive number of South Africans. When asked about the highlight of the show, everybody responded that the opportunity to meet up with clients, colleagues and friends remains the most important and priceless aspect of the show experience. The sheer size and scale of Prolight+Sound makes it impossible to include all of the manufacturers, both big and small, that have launched potentially game-changing technology for the entertainment industry. In the following pages, we have tried to provide a very brief overview of some of the products launched at the show. If you or any of your colleagues encountered a product that you feel would be well suited to the South African market but has been omitted, please contact the editor, at editor@pro-systems.co.za so that we can use the opportunity to cover your product of choice in future editions.

Show REPORT PROLIGHT + SOUND

ADB makes its début at Prolight+Sound 2018 ADB Stagelight, a world-renowned manufacturer of professional lighting solutions for the stage and studio environments, made its first appearance at Prolight+Sound and used the opportunity to premier a number of new products. ABD Stagelight was acquired by Claypaky in 2016, and the companies shared a booth at Prolight+Sound, where they presented their combined products in an innovative demonstration space. Included in the company’s latest releases is the LEXPERT range, which is specifically designed to deliver an excellent quality light using a white source. The LEXPERT Profile Spot and Fresnel lights feature white-LED solutions for replacing 1 KW halogen lamps. Also, ADB launched the OKSALIS, a static LED washlight that uses High Colour Rendering (HCR) technology. The fixture features six colour chips, with the classic red, green and blue, as well as amber, cyan and lime. Finally, the company’s KLEMANTIS range has been widened, with the introduction of the more compact KLEMANTIS AS500 as well as the new symmetrical optical units available as accessories. In addition to the range of fixtures available at the show, ADB announced a new version of their lighting software, HATHOR 2.0. For more info: www.adbstagelight.com

Allen & Heath unleashes prime performance at Prolight+Sound Allen & Heath unveiled a range of new technologies at their stand at Prolight+Sound, including the new PRIME I/O modules for its flagship dLive mixing system. Using the very latest converter and component technology, PRIME Input and Output modules are designed to harness the full potential of the dLive’s 96kHz XCVI FPGA core, delivering next-level audio quality for critical live, broadcast and studio applications. Allen & Heath’s Managing Director, Rob Clark explained, “For the PRIME project, we asked ourselves a simple question: ‘How do we take a class-leading digital mixer to the next level?’” According to the company, the decision to develop new I/O modules was inspired by dLive users who work with internationally renowned classical musicians, vocalists and virtuoso instrumentalists and who are passionate about capturing every nuance of a performance in incredible detail. Two modules will be available, an Input Mic Pre module and a Line Output module. As the modules are designed to be fitted in the dLive DX32 expander rack, PRIME can be used easily in conjunction with existing I/O, with users able to tailor or scale the system to their unique requirements, from select channels up to multiple fully-loaded racks. For more info: www.allen-heath.com

Avolites launch a range of new products at Prolight+Sound Avolites launched the new Synergy platform at a well-attended press event held at the company’s Prolight+Sound booth on the opening day of the show. Key features of the Synergy platform include the ability to connect and configure the Ai media server from the Titan interface. Synergy’s Lightmap feature means that users can stream Ai video colour data through any fixture group, including both RGB and CMY fixtures, to instantly integrate them into a larger video canvas – meaning that everything from high-res LED screens to LED fixture groups can be controlled from one intuitive user interface. Also launched at Prolight+Sound on the Avolites stand was the Q3 media server, a compact server designed for use in shows, installations and corporate events. Though small, the Q3 packs a punch, unlocking 4k playback through a single DisplayPort 1.2 connection with 2 x DVI outputs for HD displays. The server supports EDID for all three outputs, configurable via a dedicated front-end UI. The server allows for visually lossless playback with Avolites’ unique AiM codec. The Q3 has native Notch support as well as a powerful inbuilt effects engine. Two Avolites software updates also went live at Prolight+Sound this year. Titan v11 updates Avolites’ industry standard lighting control software, Titan, and Ai v10.2 brings new features to Avolites’ media control software. For more info: www.avolites.com

PROLIGHT + SOUND Show REPORT

BlackTrax Version 2.3 beta demo at Prolight + Sound BlackTrax launched the beta demo of Version 2.3 of its unique BlackTrax real-time tracking system at Prolight+Sound 2018. BlackTrax is a vision-based system that is rapidly becoming an industry standard. It tracks performers, objects, moving scenery, passing precise positional data in real time to media servers, robotic cameras, automated lights, spatial audio and other equipment and applications that support the RTTrPM open source protocol, enabling astonishing effects that are repeatable with a level of precision not achievable by any other method. New features include an all-new active reconstruction point cloud, designed to eliminate the splitting effect seen in previous versions and create more stable, smoother tracking of data. In addition, continuous calibration takes place in the background, refining tracking in response to the slightest movements, removing the need to recalibrate the show space manually. The upgrade also includes dynamic zones which users can define and assign a behaviour trigger. “The new features bring even greater accuracy, flexibility, and reliability to a system that has been at the heart of over 8,000 shows around the world,” said Marty Cochrane, BlackTrax product manager. “We’re in constant dialogue with our many users, and they provide vital feedback about how they would like us to enhance BlackTrax’ capabilities. Those inputs are what has driven this new version.” Distributed by: www.electrosonic.co.za | For more info: http://blacktrax.cast-soft.com

Chauvet Professional takes fixtures to the next level at Prolight+Sound The Chauvet Professional Maverick, STRIKE and COLORado series of fixtures have earned widespread praise as well as a large following in recent years, thanks to their high output, brightness and reliable performance. The company has taken these popular series to the next level with the introduction of new fixtures, launched at Prolight+Sound. Visitors to the Chauvet Professional Prolight+Sound stand were among the first to see the new Maverick Storm 1 Wash, an IP65-rated LED moving fixture, the STRIKE P38, an IP65-rated compact warm white LED blinder/strobe; and the COLORado Solo Batten, an IP65 RGBAW LED batten that produces a seamless and unique edge-to-edge homogenised appearance without visible round “eyes” or pixels. “The new fixtures allow us to offer more versatility in three very important series of products that designers have come to depend on,” said Albert Chauvet, CEO of Chauvet. “With its IP65 rating, the Maverick Storm 1 Wash is ideal for lighting festivals, amphitheatres, and other outdoor venues. The compact housing of the new STRIKE P38 gives it even more versatility than its predecessor the STRIKE 1, while the COLORado Solo Batten creates more options in eye-candy batten wash lighting.” For more info: www.chauvetlighting.com

Claypaky world premieres light Prolight+Sound Claypaky made a statement at Prolight+Sound with a new concept in theme booths, offering visitors three themed showrooms demonstrating the company’s latest products. The Zac-Eye, which made its international début at the show is billed as the first stand-alone follow-spot to use artificial intelligence. The movements of Claypaky lights are controlled automatically by a highly innovative device worn on the body of a performer that connects to the fixture via Ethernet. A 3D optical sensor detects all the objects on stage, and a sophisticated algorithm distinguishes human shapes from the rest of the surroundings. In this way, it is possible to follow up to four actors on stage independently and automatically. Claypaky also launched the HEPIKOS, an innovative beam-wash light, which houses advanced optical, mechanical and electronic technology in a compact body. It is built around a 440W Osram discharge lamp and is the perfect complement to Mythos / Mythos 2 units on stage. Also featured was the Axcor 300 family of ultra-compact LED moving heads, including the Axcor Spot, Axcor Wash and Axcor Beam. The Axcor 300 models have been designed for applications in theatres, tours, events, TV studios, and fixed installations. The quality effects, practical built-in features, high light output and attractive price point, impressed a number of attendees at the show. Distributed by: www.dwrdistribution.co.za | For more info: www.claypaky.it

It’s never been so easy to think big

The new Axcor 300 family of moving LED fixtures brings Claypaky’s no-compromise quality and performance to the broad mid-market. Now, more designers than ever before can achieve their biggest ideas. With a physical size, power consumption, price-point that disguise their strength and creative potential, the Axcor 300 range enables a new world of expression in touring, events, TV, theatre and installed lighting markets. The Axcor Spot 300, Axcor Wash 300 & Axcor Beam 300 are available now! AXCOR 300: small body, big personality, mass appeal.

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PROLIGHT + SOUND Show REPORT

d&b audiotechnik SL-Series introduces the GSL System d&b audiotechnik launched the SL-Series, GSL System on their booth at this years’ Prolight+Sound. The SL-Series, GSL System is a new loudspeaker system that is now at the top of the company’s product portfolio. Following four years of extensive research and development, the GSL system offers advanced new drivers, clever cabinet geometry and flexible mechanics, resulting in an advanced, and fully functioning audio solution. The GSL8 and GSL12 loudspeakers, with 80˚ and 120˚ horizontal dispersion respectively, are unique among large-scale line array modules in providing consistent pattern control all the way down to 45 Hz. The geometry of two front facing 14” drivers and two side firing 10” drivers couple and apply cardioid techniques, creating precise directivity behaviour with significantly extended low-frequency headroom towards the audience. This low-frequency extension and headroom are so effective that it negates the need for subwoofers flown behind or alongside the main hangs in many applications. Mid-range is delivered by a high sensitivity horn loaded with a 10” driver, while three innovative, custom designed 3.4” diaphragm HF drivers mounted on a wave shaping device provide the high-frequency resolution and output. The GSL System combines exceptional audio performance with maximum efficiency into a package elegantly aligned with the system design, deployment and control capabilities of the tried and tested d&b Workflow. The GSL System is a complete solution created specifically for the largest sound reinforcement applications in significantly sized arenas, stadiums and festivals, to accurately deliver any performance style or musical genre. For more info: www.dbaudio.com

DiGiCo showcases exciting new products One of the undisputed highlights of this year’s show was DiGiCo’s working debut of their ground-breaking Quantum 7 processing. Quantum 7 has been developed with seventh generation FPGA devices that further expand audio processing power, and ultimately allows DiGiCo to provide its users with an unrivalled amount of flexibility. It expands an SD7 to over 600 channels of processing in 96kHz operation that can be connected in the outside world to approaching 3000 potential I/Os. The engine is also equipped with eight newly assignable MADI connections and two DMI slots (DiGiCo Multi-Channel Interface) for AoIP and other connectivity options from the complete family of DMI card options. There are other powerful enhancements, too, including Nodal Processing and True Solo. In addition to a range of new solutions on show, including the 4ERA4, first revealed at ISE in February, DiGiCo has launched a software upgrade, which adds new features to DiGiCo’s range of SD consoles including Snapshot Groups, Recall Scope and Auto-Update Scope, Outputs AFL option and new Panning Type. “We never stand still at DiGiCo as these exciting latest releases at PL&S 2018 testify, and our development team is always working hard to ensure we deliver the right solutions for our clients,” comments DiGiCo MD, James Gordon. Distributed by: www.dwrdistribution.co.za | For more info: www.digico.biz

Colour Unlimited with Elation Elation Professional made their presence felt at Prolight+Sound with a number of exciting, cutting-edge products on show at the company’s stand. Elation continues to expand its award-winning Artiste series of creative, fullfeatured moving heads. The Artiste Picasso™ received a lot of attention and has been billed as one of the brightest and most feature-rich profile LED lighting fixtures currently on the market. The fixture features a high-output, together with features that include zoom, framing, CMY, CTO, gobo wheels, animation, prisms, frost and more. The Smarty Hybrid™, a full-featured spot, beam and wash fixture also featured on the Elation stand and is billed as the most compact CMY colour-mixing hybrid Elation has released to date. At the heart of the fixture is the new Platinum lamp using “FLEX” technology which offers a “smartly” designed discharge lamp/ballast package for high output/compact performance at an affordable price point. Also on display was the Dartz 360™, a full colour-mixing LED beam/spot fixture with narrow-beam, gobos and effects. A single-source 50W RGB LED engine produces a powerful and tight 3-degree beam for smooth, colour-mixed beam effects similar to a discharge lamp. The Dartz 360 is compact and fast, with continuous 360° pan and tilt movement. Finally, the company showcased the Proteus Beam™ and the 3-in-1 Proteus Hybrid™. Compact, robust and budget-friendly, Proteus has established itself as a market-leading line of weatherproof moving heads for outdoor events. For more info: www.elationlighting.com

Show REPORT PROLIGHT + SOUND

ETC unveils new products at Prolight + Sound ETC presented a cross-section of its extensive collection of lighting and rigging products across three stands at Prolight+Sound. The company took advantage of the opportunity to debut a number of products from the company’s portfolio of lighting control consoles, LED luminaires and architectural control solutions. Visitors were among the first to see ETC’s new Element 2 console, which offers the award-winning Eos software with an interface and price point that is accessible to a broad range of users and venues. Also making its regional premiere was the ETCpad, a tablet accessory providing dedicated, touchscreen-based wireless or wired remote control for all Eos family consoles and controllers. Several new additions to the successful ColorSource family were previewed at the show, including the ColorSource Pearl fixtures which feature cold and warm white LEDs for a seamless colour temperature range. The ETC Rigging area featured QuickTouch and QuickTouch+ Controllers and a Prodigy P2 hoist with a new cable management solution. ETC company High End Systems showcased several consoles from the Hog 4 family and an array of LED automated lighting fixtures. Highlighting the company’s success, ETC CEO Fred Foster was presented with a Lifetime Achievement Award at the 2018 Prolight+Sound International Press Award (PIPA) ceremony. Distributed by: www.apexpro.co.za | For more info: www.etcconnect.com

FBT launches new and improved lines Leading Italian audio manufacturer, FBT presented a number of innovative audio solutions at its stand at Prolight+Sound this year. The new HORIZON Vertical Horizontal Array (VHA) series, launched at this years’ show, has been developed to meet the increasingly diverse needs of rental companies and systems integrators. The HORIZON VHA series comprises the full range VHA406A, plus two options for low-end extension in the shape of the 12” VHA112SA and 18” VHA118SA. Each VHA406A comprises four 6.5-inch woofers plus a 1.4” large-format neodymium compression driver with a 2.5” voice coil. The purposedesigned central waveguide, optimised with BEM finite element simulations, offers dispersion of 90° horizontal and 20° vertical, with precise and focused vertical control across the enclosure’s entire operating range. Increased demand for an easy to set-up, sonically superior portable sound reinforcement system has prompted FBT to introduce a new version of the renowned VERTUS CLA60A active column array, boasting the same audio performance as the original, but with new features designed to aid mobile users. Also, FBT’s renowned all-weather SHADOW series of enclosures has benefitted from significant upgrades that make the range suitable for use in emergency and evacuation applications. The newly upgraded range now offers full EN54-24 certification as well as a new roto-moulded enclosure in polypropylene with 5VB flame resistance classification. Distributed by: www.tvaudio.co.za | For more info: www.fbt.it

Kinesys launches the LibraNODE at Prolight+Sound Automation specialist and manufacturer, Kinesys, announced that it enjoyed one of its busiest and most successful Prolight+Sound exhibitions this year. The company highlighted its new Apex chain hoist system, first launched at Prolight 2017. The capability of the new Apex system was demonstrated by three screens at the centre of the Kinesys booth, which were moved in a smooth and seamless choreographed sequence by Apex to demonstrate the precision and control of this innovative new hoist system. Kinesys also launched the LibraNODE – which can enable the EXE RISE loadcell hook as well as other third-party loadcells to be integrated directly into a Libra monitoring network or a DigiHoist. The brand new LibraNODE, seen for the first time at the show, is a small but powerful device that significantly expands the reach of the Libra system. LibraNODE can be attached to any hoist with a load-cell hook or with other load sensors that use common industry methods of outputting data. It can be linked into a Libra network and provide accurate real-time load information just like any LibraCELL. The technology offers those running hoist systems additional flexibility and all the advantages of running Kinesys’ highly respected Libra monitoring system. Distributed by: www.electrosonic.co.za | For more info: www.kinesys.co.uk

PROLIGHT + SOUND Show REPORT

L-Acoustics is shaping the future of the audio industry Leading French manufacturer, L-Acoustics has added to its reputation for building the audio technology that shapes the future of the audio industry with the launch of the new L-ISA – Immersive Sound Art technology. Established in London in 2014 by L-Acoustics founder Dr Christian Heil, L-ISA is L-Acoustics’ immersive sound brand. The L-IAS introduces new hardware and software tools – including the P1 networked digital audio processor, that will make it easy for L-Acoustics partners to realise optimised performance for their L-Acoustics systems. L-Acoustics also announced the launch of new features for its 3D real-time acoustical simulation programme, Soundvision. The Autosplay feature allows sound designers to define their target SPL along the audience and Autosplay will rapidly calculate the optimal speaker angles. Once speaker hangs are defined, Autofilter applies DSP settings to ensure the system is further optimised for even, clear coverage through any venue. The company also launched real-time systems control and monitoring software, LA Network Manager, which sees the addition of Autoalign to automatically calculate proposed relative delay and polarity for complementary systems like subwoofers and fills. Once in live mode, the new Autoclimate tool integrates temperature and humidity information from sensors on the P1 AVB processor and allows the user to adapt the system response to changing atmospheric conditions, without revisiting prior workflow steps. Distributed by: www.dwrdistribution.co.za | For more info: www.l-acoustics.com

MagicFX launches AR app for staging effects MagicFX released a new augmented reality app at Prolight+Sound, which allows users to virtually place any MagicFX product in a venue and create staging effects without having to discharge flames, confetti, or CO2. The app is freely available for download on Android or iOS and can be used on any smartphone or tablet device. To create a simulation of stage effects in a space using the application, one scans the staging area using the inbuilt camera on any smart device. One is then able to select any of the MagicFX products and place the unit on the stage in virtual reality. The user is then able to fire or activate the effect that they have chosen, such as stage flames or confetti cannons, to get an impression of what the effects would look like in reality. There are many advantages to the MagicFX app both for customers and the clients that they serve. Firstly, one can scan a venue and show an event planner exactly what the staging effects will look like in their space. The application eliminates the need to demonstrate actual equipment in a venue prior to the equipment being rented, which reduces both cost and time during the planning phase. Finally, one is able to virtually discharge potentially hazardous effects, such as stage flames, in a venue without the associated risk. Distributed by: www.tvaudio.co.za | For more info: www.magicfx.eu

HARMAN Professional Solutions announces Martin JEM Glaciator HARMAN Professional Solutions showcased the new Martin by HARMAN JEM Glaciator Dynamic low-fog system at their Prolight+Sound stand. According to the company, the JEM Glaciator Dynamic represents the most significant upgrade to the JEM Glaciator series in more than a decade. Thanks to a completely reimagined design, JEM Glaciator Dynamic is smaller, quieter, and capable of operating in more locations than before. The product represents the ultimate all-in-one solution for generating low-lying fog in any venue—without the need for external fans, industrial gas tanks, or ice. The JEM Glaciator Dynamic was built with ultra-quiet operation in mind, delivering lower ambient noise for intimate theatrical productions. An updated universal power supply and rugged steel chassis ensure reliable performance on demanding world tours, while streamlined user controls enable fast and easy control of fog effects and output. “For more than 25 years, the JEM Glaciator series has set the standard of excellence in low-fog effects, and now we’re raising the bar again with the JEM Glaciator Dynamic. No other low-fog system delivers such a robust combination of effect quality, simplicity and return on investment,” said Justin Cicerone, product line manager, HARMAN Professional Solutions. Distributed by: www.electrosonic.co.za | For more info: www.martin.com/en

MA Lighting shows the grandMA3 for the first time The MA Lighting stand at Prolight+Sound was an undisputed highlight at this years’ event, as the much anticipated grandMA3 lighting console series was shown to the public for the first time. Founded on the legacy of the previous grandMA consoles, the grandMA3 represents a radical re-think of what is possible from a lighting control platform. The new system-architecture incorporates new fixture, feature and effects-handling. The system features ground-breaking concepts from top industry visionaries, presented within a refined user interface, and is designed to make practical tasks more intuitive. The physical design detail of the grandMA3 range is focused on delivering the best possible user experience, now and into the future. MA Lighting anticipated the high level of interest that the preview of the grandMA3 would generate, and the company provided a dedicated grandMA3 auditorium for dedicated demonstrations which were conducted throughout the show were visitors enjoyed a live presentation of the new grandMA3 console series from MA’s product specialists. Distributed by: www.dwrdistribution.co.za | For more info: www.malighting.com

Philips Vari-Lite introduces new unique fixtures at Prolight+Sound Philips Entertainment Lighting launched the new VL800 BeamLine at Prolight+Sound. The VL800 BeamLine is an LED effects luminaire offering unique, dynamic looks which will appeal to lighting designers working in show environments of all kinds. The first LED effects unit from the Philips Vari-Lite brand, it produces a distinctive, collimated, flat sheet of light in a 3.5° beam with advanced movement, colour control and pixel-mapping capabilities. In addition, Philips Entertainment Lighting introduced the new Philips VL2600 range of LED moving head luminaires at the show. The VL2600 range has been designed as a smaller, brighter and lighter LED alternative to the popular VL2500 Spot and Wash moving heads, the long-time industry favourites in mid-sized professional show lighting applications. The VL2600 range combines world-leading LED light source engineering with the renowned quality, colour palette and performance of the Philips Vari-Lite brand. In terms of light quality, output power, reliability and cost, the three fixtures in the VL2600 range are among the highest performing luminaires and the among most attractive investment proposition in their class. Distributed by: www.dwrdistribution.co.za For more info: www.lighting.philips.co.za/home

PROLIGHT + SOUND Show REPORT

Powersoft unveils the new M-Force at Prolight+Sound Powersoft unveiled the new M-Force, announced as M-force 301P01 at Prolight+Sound. The unique and innovative transducer has been updated with a series of additional features to simplify the workload of OEM partners. M-force is now available as the M-force 01 long throw linear motor for infra subapplications and the M-force 02 short throw linear motor for high acceleration applications. With longer linear displacement, M-Force 01 is the perfect tool for direct radiation and bandpass applications, enabling manufacturers to keep cabinet sizes to a minimum while allowing for flawless infra-bass reproduction. M-Force 02 is designed to grant reliability under extreme loads, such as bandpass applications and loaded horn configurations. With over 20 years of experience in sound amplification and pro-audio developments, Powersoft understands the importance of making technology available to its OEM partners, while providing strong support right from the design phase, to help maximise performance and reliability. Electronics being the heart of any active system, good integration makes the difference between a good and a great end product. Distributed by: www.surgesound.co.za | For more info: www.powersoft-audio.com

Prolyte presents new products at Prolight+Sound Prolyte has established itself as a world-leading manufacturer of hardware products and structural solutions for the entertainment industry. The company introduced a number of new products at Prolight+Sound, including the Mammoth Ground Support System, the Universal LED Stack System (LSU), the EasyFrame and the Box CornerV HD. The highlight of the company’s stand was the introduction of the massive Mammoth M145RV truss, which can now be combined with a complete ground support system consisting of a specially designed base section, top section, D75T tower and sleeve block to accommodate heavy loading and large spans. In response to increasing demand for a solution for LED panels, Prolyte has launched a new system specifically designed to facilitate the safe erection or suspension of LED systems. “The proper and safe support of LED systems is an issue that many production or rental company seem to struggle with. Due to the dimensions of the LED systems, this often results in either unbalanced loading or unstable LED walls,” Prolyte explains. The new LSU series offers solutions for either suspending LED systems or building LED systems from ground level. Distributed by: www.dwrdistribution.co.za | For more info: www.prolyte.com

Robe treats Prolight+Sound to an exceptional show Robe Lighting treated Prolight+Sound visitors to an exceptional demonstration of their lighting technology with a concept show built around a steam-punk inspired circus act. Cirque Robe, a colourful, hi-energy six-minute long presentation, featured a cast of highly skilled performers. The show was staged every hour on the hour at the Robe stand and was designed to highlight the Czech manufacturer’s latest lighting technologies. Robe featured a number of fixtures at the show, including the new MegaPointe and the upcoming Tarrantula wash beam, a LED wash powered by 36x30W and one 60W high powered LED chips, providing an impressive 20,000 lumens of output. The MegaPointe, launched in September 2017, has been one of Robe’s most successful lighting fixtures, and is gaining a reputation as an equally high quality spot, beam or wash light with a versatile array of effects. Robe CEO Josef Valchar commented, “Our goal was to showcase the products in an entertaining, fun and highly visual environment, and in ‘Cirque Robe’ we have realised a very ambitious show that has created a real buzz. This has helped attract people to the stand constantly throughout the four days of the expo, and we are delighted with the results and feedback.” Distributed by: www.dwrdistribution.co.za | For more info: www.robe.cz

Show REPORT PROLIGHT + SOUND

ROE Visual brings two new products to the market at Prolight+Sound ROE Visual introduced two new products to the LED market at Prolight+Sound, including the Diamond 2.6 series and the Vanish 18 panel. The Diamond 2.6 is the new lightweight, small pitch solution from ROE Visual, suitable for various indoor applications. A carbon and magnesium frame design guarantees lightweight panels, and the black LEDs bring an incomparable viewing experience through high contrast and brightness. The panels are designed with magnetic assembly and curving capabilities, making them highly flexible and easy to set-up. The new Vanish 18 transparent LED display panel is part of the ROE Visual Vanish series. The Vanish 18 LED panel features a smaller pixel pitch solution, semi-transparent panels and a lightweight design and is suitable for both indoor and outdoor use, making it the perfect solution for a wide range of projects or installations. Roelof Bouwman, managing director of ROE Visual Europe, comments: “Prolight+Sound is an important exhibition for our industry, as all the major players come together to share experiences and look for new products and innovations. We were happy to illustrate our innovative drive, by showcasing both the new Diamond 2.6 series and the Vanish 18 panels. These new products have received very positive feedback from our customers and users.” For more info: www.roevisual.com

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PROLIGHT + SOUND OPINIONS

South Africans hit the show floor at Prolight+Sound 2018

Some of South Africa’s leading entertainment technology distributors, suppliers and technical professionals took advantage of the opportunity presented at Prolight+Sound 2018 to experience the best that the leading manufacturers in the industry have to offer in new entertainment technology. Pro-Systems Africa News asked industry representatives that attended to highlight some of their favourite products on show and share their views with our readers.

Electrosonic SA Bruce Schwartz Which product/s caught your eye at Prolight+Sound 2018? The Martin Mac Encore Series of LED Framing Profiles and LED Wash lights is just amazing, especially its ability to perfectly match a tungsten source with a LED source of 3000k. In a theatre environment, this fixture is the best of the best in my opinion. Martin Professional claim it is the best fixture they have ever made. It is quite a statement, considering the Martin Professional pedigree of the last 25 years.

Do you feel that these products are well suited to the local market? The global demand for the Martin Mac Encore Series has been great. In fact, it is Martin Professional’s largest ever pre-order list ever. As a result, the lead times on this range is rather lengthy. Our first deliveries are due shortly, and I believe that it is a winner for the South African market.

What was the overall highlight of Prolight+Sound 2018? I feel that the level of competition in the industry has escalated on a global scale. The smaller manufacturers have upped their game and are giving the bigger manufacturers some stiff competition. This raises the standard of our whole industry and forces innovation and the development of new technology.

MJ Event gear Mike Jones Which product/s caught your eye at Prolight+Sound 2018? On the lighting side of things, I am keen on the new Tarrantula as well as the Mega Pointe from Robe, as well as what MA Lighting has to offer with the pre-launch of the grandMA3. The LED hall was very impressive; especially the LED floors and the large-format LED screen in the outside demonstration space. I am equally impressed with the new tracking software on offer from BlackTrax. On the audio side, it was great to see the new big-scale line array PA system that d&b highlighted on their stand as well as the new sounds desks on offer from DiGiCo. In addition, there were some great new trussing ideas on show, and the drone demonstration was great.

Do you feel that these products are well suited to the local market? I do believe there is space for new technology in South Africa – however, it concerns me that many of the products on offer are just too expensive for South Africa’s economic market.

What was the overall highlight of Prolight+Sound 2018 I really enjoy catching up with old friends from the industry, networking and having some fun. The PRG stand was also very cool but seeing Ofer Lapid from Gearhouse South Africa in the foyer and having a chat with him, really made my day.

OPINIONS PROLIGHT + SOUND

AVS Hire Kyle Nel Which product/s caught your eye at Prolight+Sound 2018? On the lighting side of the show, the DL Range from Robe and the Axcor range and Zac-Eye from Claypaky were very impressive. The Prolyte ground screw system was very impressive in terms of innovation in the staging structures market. On the audio side, I was impressed with the dB Technologies Vio system, which offers a scalable and flexible PA solution at a seriously competitive price point.

Do you feel that these products are well suited to the local market? Robe and Claypaky have both identified a gap in the market for specific lighting applications. I am however concerned about the cost of these fixtures for customers in South Africa. The Prolyte ground screw is a ground breaking step in the right direction in terms of reducing total mass of ballast needed for certain structures. With the ground screws, working with even the lowest rated specifications on the medium-length screws on offer will help reduce the quantity of external physical ballasts needed and therefore reduce costs. The dB Technologies Vio system offers great value for money. The sound quality and coverage offered is brilliant and the units are compact and flexible – perfect for the South African market.

What was the overall highlight of Prolight+Sound 2018 I spent my time at Prolight+Sound with an interesting group of South Africans. The conversations between the group and interactions with international manufacturers and suppliers were priceless.

Keystone Productions Christopher Bolton Which product/s caught your eye at Prolight+Sound 2018? The new MA3 stuck out for me because programming consoles are what I spend most of my time doing. The grandMA3 console has a way to go, but the prospect of what is to come is exhilarating. At the risk of sounding cliché – it certainly will be a game changer. Robe’s new Tarrantula is beautiful. The bigger face makes the pixel mapping more apparent and appeals to me in so many ways: bigger, bolder, and punchier. Ayrton’s updated magic panel and, in particular, the magic blade was very interesting. I hope to see more of those in South Africa soon.

Do you feel that these products are well suited to the local market? That is a tough question because, as we all know, the current Euro-Rand exchange doesn’t help our market at all. However, the days of fixtures having one purpose, for example, a wash, a beam, or a profile are gone. Instead, we now have multipurpose fixtures like the new Mega Pointe, Tarrantula or Spiider. As fixtures become more versatile, one is able to do more with a single investment making this very appropriate for our market. These are exciting times to be a designer if you consider that when I was a student, there were no moving lights that could be taken seriously.

What was the overall highlight of Prolight+Sound 2018? Prolight+Sound is a highlight on my calendar as it is a truly gloves-off environment for all professionals across multiple platforms to hang out and share our passion for this industry. Rubbing shoulders with some of my heroes in the lighting design world is always such a privilege – and the beer is not too bad either.

PROLIGHT + SOUND OPINIONS

The Production Warehouse Marnus Nieuwoudt Which product/s caught your eye at Prolight+Sound 2018? The launch of the Protron Eclipse Strobe from Elation Professional as well as the new QuickQ series from ChamSys really impressed me.

Do you feel that these products are well suited to the local market? The QuickQ from ChamSys is especially suited for markets like South Africa as it offers vast functionality and ease of use at an unbelievable price range. Elation’s product range is also perfect for our market because they are able to offer some of the best products in the industry at a price point that makes sense for the developing market.

What was the overall highlight of Prolight+Sound 2018 While it’s always fun to see the latest and greatest in entertainment technology at Prolight+Sound, I think the social aspect is the best part of these expos. It is great to meet up with both clients and suppliers that you haven’t seen for some time. Seeing the scale of international productions and intricate lighting shows also reminds me why I do what I do.

MGG Herman Wessels Which product/s caught your eye at Prolight+Sound 2018? There were so many new and innovative products to see at Prolight+Sound that you almost did not know where to look. One of the things that caught my eye was the new grandMA3. Some elements and functionalities will be included in the console that I have been hoping for since the release of the grandMA1. The new BlackTrax tracking software system is impressive. With the integration of zones, media, lighting and sound, this innovation is a product that will take the industry by storm in my opinion. Other products that stood out for me were the new Claypaky Axcor 300 and the ROBE MegaPointe fixtures. These units are not just well priced, but I see them becoming workhorse fixtures in the years to come. I love the fact that many manufacturers are developing smaller and lighter lighting units with a brighter output.

Do you feel that these products are well suited to the local market? The BlackTrax system is very well suited for the local market, especially as it has scalable applications. The product is very versatile and suits anything from a small show where you can’t hire a followspot but have six movers in the rig to major live events that need to track audio, media and lighting. The Claypaky and ROBE units are very well priced. Their versatility will broaden the scope of any lighting designer. To be completely honest, I think that units like the grandMA3 are a little bit out of reach for those of us in the developing markets. However, as we will only start seeing MA3’s on riders from about mid-2019, there is still space for South Africa to catch up.

What was the overall highlight of Prolight+Sound 2018 There are so many new and exciting products and developments in the entertainment technology industry that those products that stood above the rest were exceptional.

OPINIONS PROLIGHT + SOUND

Gearhouse Compiled by Robyn D’Alessandro Which product/s caught your eye at Prolight+Sound 2018? Kinesys Elevation, AV Stumpfl’s new media server platform, ROE Diamond 2.6mm panels, Elation’ Chorus Line. We were also impressed with Elation’s Dartz 360, d&b audiotechnik GSL speakers, the L-Ether by L-Acoustics, and the Cargo S Track Systems from Gerriets.

Do you feel that these products are well suited to the local market? The Gearhouse team feel that all of the above products are well suited to the South African market. With regards to AV Stumpfl’s new media server platform, they feel that it is a natural progression in media servers, as it starts with existing technology but responds to many emerging demands.

What was the overall highlight of Prolight+Sound 2018 The Gearhouse team were impressed with the wide variety of LED displays on offer at Prolight+Sound 2018. On the audio side, they state that the launch of the new d&b audiotechnik GSL speakers was very impressive and listening to the system in the concert hall was quite an experience, even for the ‘non-audio’ team members. The team enjoyed meeting up with friends, colleagues and suppliers from around the world – stating that the sheer number of suppliers on the floor was an experience in itself.

DNG Presentation Staging Neale Harvey Which product/s caught your eye at Prolight+Sound 2018? There were several products, particularly in the LED hall, that I found impressive. In no specific order Hypervsn – LED Display, which is aimed at the install market, but may have application in the live corporate events market for a more interesting set look. I was also impressed with AVDrop’s modular backdrop system, a modular and configurable solution that allows you to create stage backdrops, divider walls, projection screens, and self-standing screens, among others. Yes Tech, one of the newer manufacturers on the market, had an impressive range of LED screens on show.

Do you feel that these products are well suited to the local market? I do feel that there is a place for a number of these products in the South African market. However, price point remains a challenge, especially in the LED market.

What was the overall highlight of Prolight+Sound 2018? The opportunity to network with industry colleagues.

DWR Distribution Robert Izzett Which product/s caught your eye at Prolight+Sound 2018? I think the grandMA3 was a serious highlight at this year’s show. I believe that once launched; the MA3 will become the next standard in the industry. The new Axcor 300 range from Claypaky is a great addition – and I think will be a winner in South Africa. I was also impressed with Robert Juliet’s new LED Followspot (FS) as it replaces a 1200W Discharge FS.

Do you feel that these products are well suited to the local market? A significant proportion of the products at the show were not particularly well suited to the South African market due to cost and scale. However, some products are very well suited to our customer’s needs, such as the Claypaky Axcor 300 among others.

What was the overall highlight of Prolight+Sound 2018 The people – in particular, the ‘Safas’. I think we can hold our heads up high on the international stage and compete with the best the world has to offer – even though it may be on a smaller scale. We have the passion, the dedication and by far the most enthusiasm.

AV REVIEW

Local installer shares his experience with the Kramer VIA range

Chaz Nielsen is an AVIXA Certified AV Technologist at Audio Visual Centre, a leading provider of AV solutions based in Johannesburg. Nielsen specialises in high-tech wireless collaboration systems and innovative future-proof AV solutions for the corporate, commercial and domestic markets. Having worked in both the corporate AV integration and entertainment technology verticals, Nielsen brings a wealth of experience and a deep passion for technology that is designed to bring joy – be it in a boardroom or at a live music event. “AV is my passion, and I love witnessing the evolution of empty rooms into fully-fledged state-of-the-art boardrooms – complete with control systems, 4K displays and wireless presentation and collaboration systems. The greatest fulfilment of my job is seeing customer’s joy when we hand over the installed solution, and they get to enjoy their new gadgets.” When asked to pick a current favourite for boardroom applications – Chaz points to Kramer’s VIA range of wireless collaboration solutions in the following product review. 28

REVIEW AV

It also creates its own wireless network within the room for guest users that may not be connected to the company WiFi. When set to Client Mode, the VIA GO can run up to 30Mbps wirelessly.

Video Streaming Quality

Why do we need wireless solutions? Ever since Alexander Graham Bell and Thomas Edison first started experimenting with wireless signals back in the 1880’s, the technology has evolved and expanded at a breath-taking pace. Enter the 21st century, we find ourselves in a world that would quite simply cease to exist without wireless connectivity. We control our entire lives through wireless signals on a daily basis, whether it be connecting our smartphones to the Bluetooth of our cars, changing the channel on the TV, controlling our characters on gaming consoles or calling up our loved ones to chat – everything has become wireless. The proliferation of wireless technology is so dramatic that some people find it offensive if they discover that a venue has no Wi-Fi service. Similarly, if your average corporate hotshot walks into a boardroom for an important meeting, and has to scramble to find the right cable to connect their laptop to a projector or display screen, you are likely to receive a scalding reception and poor meeting outcomes. One can argue that a solid cabled option with a fly-lead remains highly recommended for any AV installation. However, these days the leading AV and IT manufacturers spend billions of dollars each year in research and development of wireless stability, connectivity and interactivity. The development and deployment of these technologies has a direct and positive effect on productivity in the workplace, not to mention less grumpy CEOs in sales meetings due to plug-in issues. In my opinion, Kramer has hit the nail solidly on the head with their range of VIA Wireless presentation and collaboration devices. The range features the “big brothers” of the family, namely the VIA Campus and the VIA Connect Pro but also offers the more entry-level VIA GO, which is capable of performing everything that you need in a wireless boardroom without breaking the bank. While the higher-end units provide exceptional wireless functionality in any boardroom, Kramer’s VIA GO, the “little boetie” in the range, not only stands up to but in some cases exceeds more expensive devices on certain features. Most importantly, the Kramer VIA GO blows its big brothers out of the water on price-point, with the VIA GO retailing at between 45%-80% less than the higher-end options. What sets the Kramer VIA GO apart?

Integration with Existing Networks The VIA GO has a Gigabit LAN port, which allows the unit to be flexible and can be installed with both built-in WiFi and LAN connectivity and includes industry-leading 1024-bit encryption for secure use on the internal network. When plugged into the company LAN, the unit can be set to Access Point Mode, which allows Internet Connectivity while presenting on mobile devices through the VIA app, so you can annotate over web pages and stream YouTube videos.

When doing screen mirroring, the VIA GO streams full-HD 1080p videos at 30fps. However, when you import video files into the Multimedia list on the app interface, it will stream any video up to 10GB – highest we have tested at least – at 60fps using the internal 2GB memory of the device. No buffering, lag or latency – just smooth quality video all the way.

User-Friendly The mobile and desktop app is quick and easy to download from any App Store, no matter which device or OS you are using. The interface is user-friendly and can be operated by anyone in a meeting who wants to share content. A user can simply type in the IP address displayed on the landing screen and download the software directly from the VIA GO’s onboard memory. Once installed, one simply types in the 4-digit code, and your device will mirror on the main display. However, if you want some form of control over which of the participants are allowed to display content, the VIA range has a mediator mode, which effectively manages levels of access.

Kramer VIA TouchPad While not essential to the effective utilisation of the VIA range, the VIA Pad is an attractive addition to any boardroom setup and compliments the VIA GO eloquently. The VIA Pad is manufactured to the same exacting standards as all Kramer products and feels solid in hand. It is constructed from a thin layer of elastomer and has excellent response capabilities – similar to a laptop track-pad. With the VIA TouchPad, you can run the software directly via the pad, eliminating the need to install any additional software. If multiple users are connected, you can tap-andhold to take over the full-screen mid-presentation, or freeze the main display by double tapping, so that you can search for a particular saved document, without displaying your folders on the main display. The VIA GO can accommodate up to six Pads simultaneously and comes complete with a stylish-looking pocket for storage on the boardroom table.

Simultaneous Display Kramer VIA GO allows up to two users to share their screen to one display at the same time, regardless of which mobile device they are using. It allows you to connect either using the built-in WiFi network or through the unit’s LAN port on the company network. As a result, one-time guests and permanent employees who have access to the company’s network can collaborate on the same display despite using separate networks. The entire Kramer VIA range is available locally through Electrosonic SA the sole distributor of Kramer products in South Africa. Kindly visit: http://electrosonic.co.za for more information.

EDUCATION TECHNOLOGY

Chalk versus pixels â&#x20AC;&#x201C; how do we transform our classrooms?

The advent of the digital revolution has rapidly transformed every aspect of our lives over the course of a single generation. As little as two decades ago, research for a school assignment involved wading through alphabetised volumes in dusty libraries that more often than not contained information that was outdated before it was printed and bound. The very idea of looking for information in a printed book is something that is completely foreign to the vast majority of the millennial generation. 30

EDUCATION TECHNOLOGY

Today’s young people have grown up in a world where indexed, current and varied information is available on any topic imaginable, all of the time. Young people look to a multitude of mediums to learn new skills and augment the more ‘traditional’ instruction provided by the formal schooling system with YouTube tutorials, social media feeds, apps and web-based sources to name a few. We, therefore, cannot expect our children to learn in the same way that we did – and yet many classrooms across South Africa look the same as they did 20 and sometimes even 50 years ago. The primary mandate of the education sector is to equip young people with the skills needed to survive and thrive in the world of work. It is my assertion that paper and blackboardbased education fails to prepare young people for the workplace, where smarter working processes, integrated systems and, more recently, artificial intelligence is the order of the day. Bridging the gap between how we were taught at school and university in the past and how we are expected to function in the modern working environment poses a challenge for a multitude of professionals. This shift is perhaps even more daunting for a sector that remains notoriously invested in tradition over progress.

In the business world, the rapid development of the Internet of Things has given rise to the Smart Office – where collaborative technology and innovative AV solutions are used to make the physical work environment responsive and adaptive to workflows. The introduction of the Smart Office concept has consistently proven to not only improve productivity but also improve workplace satisfaction. Why would we not extend this philosophy to our classrooms, so that our children are able to learn more effectively while enjoying school? The importance of bringing our formal education sector in line with the digital age is beyond dispute. How to effectively deploy these solutions in all schools, be they privately or state-funded, remains a challenge. In my opinion, professionals in the AV industry are uniquely positioned to assist in this regard. One of the greatest stumbling blocks in the effective adoption of new technology for teaching and learning remains a lack of understanding among those in decision making positions. The work being done by professionals in the ProAV industry remains key in educating the educators about a whole new world of possibilities that could prove the make or break of education in South Africa in the years to come. Unfortunately, the adoption of technology for the learning environment has been slow at best in South Africa. However, there are a number of schools and institutions of higher learning that are starting to invest in modern AV technology for their classrooms and lecture halls. In the pages that follow, we will look at a few examples of how AV solutions have been implemented to improve the learning environment at some of the leading international and local universities. I hope that you find this feature informative and, as always, we invite you to contact us about interesting projects that you or your clients may be working on in the education sector. – Nicole Barnes

EDUCATION TECHNOLOGY

Christie illuminates projection possibilities for the learning environment When choosing projection technology for the school environment, the wide range of options available can make it difficult to know which one is the best fit for your classroom, lecture hall or auditorium. Christie, a leading visual, audio and collaboration solutions company, believes that the answer lies in understanding the specific needs of each learning institution, and then identifying the projection solution that best answers those needs. In an effort to empower end users to make informed decisions when it comes to investing in projectors for the learning environment, Christie has developed a white paper that attempts to demystify the wide range of projection technologies that are currently available on the market.

Understanding the options Over the past decade, rapid advances in illumination technology have brought a wider range of options to the market. While choice is always a good thing, it can also introduce a level uncertainty. In a sea of claims around brightness, colour, performance and cost, how does one know which illumination technology is right for your institution? When it comes to choosing an illumination technology, there is no definitive “best choice” for every application. In fact, deciding based on performance alone can lead to overspending on features that are not necessary for your specific application. Choosing between lamp or laser projectors involves interrogating factors such as the environment where the projector will be used, the type of

content one will be projecting, the brightness that you need based on ambient light and the size of your venue, illumination lifetime, installation form factor and cost, among others. Currently, there is a lot of hype around laser illumination technology, which might lead one to assume that lamp-based illumination is no longer relevant. However, lamp-based projection technology remains important, accounting for substantial number of products sold. When one takes into account that lamp-based projection was first to market and continues to deliver reliable brightness and colour performance across many applications, it is unsurprising that a significant number of schools and institutions of higher learning continue to rely on this technology for teaching and learning. According to Curtis Lingard, senior product manager at Christie, “The increasing popularity of laser-based illumination does not automatically imply that lamp-based solutions won’t continue to meet your projection needs. There is no one-sizefits-all solution.” Choosing the right illumination technology comes down to understanding where the projector will be installed, the experience that you are trying to create for students, and what you are willing to spend.

EDUCATION TECHNOLOGY

Understanding your needs In an effort to understand emerging trends in illumination technology, a number of surveys have been conducted with respondents drawn from a pool of technicians, consultants, dealers and end users of projection technology. Based on the results of this research, 73% of respondents agree that laser illumination is the future of projection technology, and 62% indicated that they would be prepared to pay more for a laser projector to avoid lamp changes. According to the majority of respondents, the most important purchase factors are illumination type, colour fidelity as well as total cost of ownership over the lifespan of a projector.

Making sense of the options Christie points out five distinct illumination technologies commonly used in modern projectors, namely mercury lamps, laser phosphor, laser phosphor hybrid technology, Xenon lamp and RGB pure laser. There are a number of factors that one needs to consider when deciding whether to choose lamp or laser illumination. Some of these factors include the surface that you intend to project onto, the minimum brightness requirement needed to achieve the desired result, the number of hours that the projector

will be in use and the frequency with which the projector will be turned on and off. Only once you have fully defined your application, are you in a position to decide upon the best projection solution for your school, training room or lecture hall. When deciding on a projector for your institution, brightness and colour are important variables to understand, as 78% of industry respondents highlight this as one of the most important factors to consider when deciding on the right projector to purchase. All of the available illumination technologies differ on the number of lumens produced and the quality of output achieved. However, confusing technical terminology can make comparisons of brightness levels challenging, especially if you are not an expert in the field. For example, the industry reports brightness in three different ways â&#x20AC;&#x201C; ANSI, ISO and Centre â&#x20AC;&#x201C; each based on different criteria with different tolerances. Christie advises that customers make sure that they are familiar with the various brightness measures, consult with suitably qualified and accredited suppliers and make product choices accordingly.

EDUCATION TECHNOLOGY

How bright is bright?

Here’s how the different technology options within the categories of lamp and laser stack up on brightness. Lumens specifications

RGB pure laser 20-60K Xenon lamp 10-45K Laser phosphor 1-30K Mercury lamp 1-30K Laser phosphor hybrid (Laser and LED) 15K 10 20 30 40 50 60 Lumens (K)

Market specification

Minimum allowed performance

According to Christie, achieving proper colour balance for accurate reproduction, without sacrificing brightness, is the holy grail of colour fidelity. However, not every situation demands the same level of colour fidelity. Once again, it comes down to the subtle nuances and requirements of the application. For example, if you are displaying a presentation, spreadsheet or video, a mercury lamp or laser phosphor projector will likely meet your needs. Alternatively, if you are projection mapping or

35K 30K 25K 20K 15K 10K 5K 0 ANSI

ISO

CENTER

creating a hyper-realistic experience, then you should be looking at RGB pure laser. Unlike more traditional lamp-based and laser phosphor technologies, RGB pure laser introduces an entirely new dimension of the colour palette. Due to the complexities involved, it is highly advisable for any school or institution of higher education to consult with a reputable projection product specialist prior to making a final decision about which projectors to invest in.

A whole new way of looking at colour RGB pure laser introduces an entirely new dimension of colour palette that lamps and laser phosphor simply can’t reproduce. When you look at the CIE 1931 xy Standard Observer graphs, the results appear modest and don't reflect the difference that your eyes see. In order to appreciate the results, we need to compare brightness and colour in 3D. Colour is a three dimensional phenomenon The area of the gamut times the peak brightness gives us the volume of colours the display can provide. While the CIE 1931 xy notation is very useful for understanding many aspects of colour science, it does not do a good job representing the concept of Colour Volume. In particular, it is not Perceptually Uniform. To address this, many alternatives have been proposed, including Lu’v’ and the newest representation, known as “IPT”, which takes advantage of the latest advances in colour science. These more accurately graph the differences between Rec. 709 and Rec. 2020.

RGB pure laser vs laser phosphor colour volume (Lu'v')

Colour saturation The most obvious benefit of an expanded colour volume is saturation. The first image simulates how the car would look on a traditional Rec. 709 display. The second image simulates how the same car would look if rendered with Rec. 2020.

RGB pure laser vs laser phosphor colour volume (IPT)

Rec. 2020

Rec. 709

Rec. 2020

Rec. 709

EDUCATION TECHNOLOGY

Three critical questions to determine total cost of ownership

Lamp

Laser phosphor

RGB pure laser

30K

Initial brightness What is the initial brightness you need? This is your starting point.

Brightness – lumens

25K

w Brightness floor

20K

What is the brightness floor you’re willing to go down to? In other words, what level of drop-off are you willing to accept before you replace the illumination system?

15K

10K

e Expected lifetime 0 5K 10K 15k Hours

What is the expected lifetime of this projector? Calculating how many hours per day, days per week, weeks per year and years you will be running the projector gives you the total consumption of hours on your projector. Once you know this, you can start to plot things out and

Calculating the costs

Projected learning

According to Christie, there is a common misconception that laser projectors offer a lower total cost of ownership than lamp-based options. This belief is rooted in that fact that, although the upfront cost is higher, laser frees you from incurring ongoing costs associated with lamp replacement. Many people believe that if they buy laser phosphor, they will never need to replace their light source. However, depending on the usage, this may not necessarily be the case. The true cost of a projector is driven by many factors, including how often you are using your projector, your brightness goals and – for lamp-based projection – the schedule and labour costs associated with replacing lamps and filters. Only once you have considered all of these factors can you accurately calculate the total cost of ownership associated with your choice of projector.

Creating an effective learning environment is a complex and nuanced task for anybody involved in teaching and learning. While technology has transformed our lives in a multitude of ways, the effective sharing of information between a teacher and a class continues to rely on the effective transmission of information from a presenter to an audience. The effective use of projection technology remains critical in this process – especially as content becomes more diversified and, in many cases, highly interactive. Choosing the right projector to best suit your specific needs may seem overwhelming at first – however with the right information and guidance from experts in the field, making the right choice has the potential to transform the learning experience. For more information about choosing the correct projection technology for your institution, Christie’s comprehensive eBook Illuminating ProAV: A How-to Guide for choosing the right light for the right projection application is available for download at https://info.christiedigital.com.

EDUCATION TECHNOLOGY

Crestron transforms University classrooms In today’s rapidly evolving world of technology, schools and universities need to meet the demand for high-performance technology both in and out of the classroom. With Crestron technologies, easy-to-use tools for teachers and professors are literally at one’s fingertips. One tap on a touchscreen and one can stream a video, display a document, broadcast a lecture, or start recording a lesson that can later be distributed to distance learners. Crestron systems support hundreds of rooms within a building or across a campus while leveraging existing infrastructure. Remote management capabilities cut down on time spent troubleshooting technology, optimising class time for educators and learners. Crestron enables educators and support staff to focus on providing a high-quality learning experience with technology that is guaranteed to work. Three world-class institutions of higher learning have deployed Crestron AV solutions to radically transform the learning environment on their campuses with outstanding outcomes for both staff and students.

The University of Surrey, a top university in the UK, recently opened its new School of Veterinary Medicine Buildings. Local integrator proAV was commissioned to equip the new facilities with AV technologies that would create a world-class centre of educational excellence at the Veterinary School. Utilising Crestron’s Digital Media™ and CP3 processing technology as the backbone, the installation covers 30 small group teaching rooms, a clinical skills laboratory, a biochemical lab, a simulated veterinary surgery, various meeting rooms and communal areas, as well as lecture theatres and teaching areas. The clinical skills laboratory has both 3D and 2D displays, which are used to present streamed content from connected devices, 3D cameras to stream content out to the network/IPTV distribution, flexible 2D cameras, microphones and controls. The biochemical lab features interactive displays with cameras and mics to capture and stream content. In the lab for anatomy teaching, 3D displays are controlled by a central control panel interface to display streamed content and a portable camera and overhead 3D camera both feeding the IPTV encoder via video matrix for viewing in other rooms. In addition, the project included a mock surgery area, 30 small group teaching pods, and large meeting rooms with projection and video conferencing facilities. “We are delighted that the university is now able to use powerful displays with state-of-the-art 3D streaming, viewing and content distribution to create a collaborative and interactive learning environment across the new facility,” comments Mike Phillpot, marketing director at proAV.

The University of Surrey

EDUCATION TECHNOLOGY

The University of Copenhagen’s iconic Mærsk Tower is part of the Panum Institute and home to the Faculty of Health Sciences. The Mærsk Tower is one of the largest AV installations in Copenhagen, with over 5,000 components. The AV project was donated by the A.P. Moeller Maersk foundation, who selected Stouenborg as AV advisor and integrator for the project. The Mærsk Tower houses four auditoriums, lecture rooms, laboratories, classrooms, research facilities, as well as meeting and social areas. Stouenborg set the foundations for the AV solution by installing an extensive network infrastructure, before installing Crestron’s Digital Media™ 3-Series to manage signal distribution throughout the 40,000m2 tower. The four auditoriums, each with their own control room, can be used as individual areas or linked to accommodate an audience of up to 1000. The area is controlled via the Digital Media™ system, which facilitates video conferencing and streaming between auditoriums. Presentation and AV systems are operated with Crestron touch screens, which have been customised for the University and can be operated using any smartphone or tablet. Five Crestron CP3 processor networks manage and control the IP-based technology throughout the building, linking it back to the central network and control system. This unique programming architecture provides superfast processing and ensures a scalable networking solution. Anders Jørgensen, project manager at Stouenborg, comments, “Crestron products are designed for enhanced scalability, high-speed delivery and real-time multitasking, which is essential in a high-level educational environment with hundreds of students. Crestron technology allows for the seamless integration between the different aspects of the project, creating the perfect environment for lecturers and their students.”

University of Copenhagen – Mærsk Tower

The University of Technology Sydney (UTS) recently launched a ‘SuperLab’, as the centrepiece of its new Science and Graduate School of Health Building. The concept of a SuperLab is a relatively new model that allows instructors to run different classes of variable sizes simultaneously in a single venue. UTS proposed a state-of-the-art SuperLab, with space for 220 students modelled on the first SuperLab, installed at the London Metropolitan University. The lab includes 26 workbenches configured in groups of eight, each fitted with touchscreen PCs and microphones that allows up to 12 classes to work concurrently in a single computer lab. Every alternate bench features a demonstration station for teachers, while multiple break-out areas accommodate group work and informal meetings. The all-in-one Crestron DMPS300-C presentation switcher proved to be the ideal core for each of the 12 teaching stations. The system provides local control, as well as video source switching and audio de-embedding and mixing. Output signals are routed to the central equipment rack via Digital MediaTM across a single Cat 6A cable. At the rack, a Crestron Digital Media Switcher provides outputs to the monitors as well as feeding signals back to the benches. Knowing that a clear graphical interface would be crucial, the designers chose to use the Crestron X-Panel and placed a virtual touch panel directly on instructors’ PC screens. This configuration allows up to 24 inches of space for the interface when needed, and frees up bench space by using one screen instead of two. UTS AV project manager, Rob Hardy states, “The result is so elegant that it looks simple, but there is a lot of work and more than a little Crestron magic that went into the design, testing, installation, interfacing, programming and commissioning to achieve that simplicity,”.

University of Technology Sydney, Australia

For more information on Crestron’s education solutions, kindly visit http://www.crestroneurope.com

EDUCATION TECHNOLOGY

The Durban University of Technology delivers cutting-edge learning Photo courtesy: Durban University of Technology (DUT)

The Durban University of Technology (DUT) is a multicampus university situated in KwaZulu-Natal, South Africa. As an internationally recognised university of technology, the institution prides itself on being at the cutting edge of higher education, technological training and research. The institution is committed to providing its more than 23,000 students with the highest quality academic staff and learning environments to further its goal of becoming a preferred university for developing leadership in technology and productive citizenship.

EDUCATION TECHNOLOGY

DUT has contracted Videquip (Pty) Ltd., one of the leading AV integrators in the province, to install AV systems to optimise teaching and learning across the institution’s five campuses.

Smart Classrooms AV solutions for the learning environment need to be designed with the specific needs of the sector in mind. Learning spaces should be equipped with the AV systems needed to integrate technology into the learning process while remaining user-friendly, affordable and easy to maintain. Managing director of Videquip, Ian Thornhill and his team have put together a solution that ticks all of the boxes. “We have configured a system that allows lecturers to choose whether to deliver a traditional ‘chalk and talk’ lecture, or present content using a laptop or smart device while making notes on an interactive whiteboard that allows class notes to be saved, printed or emailed to students,” Thornhill explains. Each venue is fitted with a BenQ ultra short throw projector and an 89” StarBoard Interactive Whiteboard that one can use to make notes during class using a stylus or finger. For audio, Thornhill provided a Shure wireless

headset microphone, as well as a Shure desktop microphone together with two speakers situated in the drop-in ceiling. Each room is fitted with a room controller that allows the user to switch the system on and off and control the volume. Audio mixing, amplification and room control is all enabled with Kramer technology. In addition, the team installed WePresent wireless presentation units in all of the venues, so that lecturers can connect to the system wirelessly from any smart device, including their laptop, smartphone or tablet without having to use any cables.

Smart Education The inclusion of AV technology in the learning spaces at DUT has the potential to radically improve teaching and learning, as students can focus on engaging in discussions and interacting with content, rather than on transcribing notes. In addition, many of the technologies that have been implemented are becoming a standard in modern boardrooms and smart office spaces. As a result, DUT is actively preparing their student body for the modern world of work. Investing in AV technology can be a costly exercise. However, Videquip has designed a solution that fits within the austerity measures that all South African state-run Universities face, while delivering a highly flexible AV solution that perfectly meets the requirements of the higher education environment.

EDUCATION TECHNOLOGY OPINION

Derek Marsden unpacks the potential of AV technology in learning spaces

Caption

Derek Marsden is a highly qualified AVIXA Certified AV professional, with extensive experience in control systems, video distribution, audio conferencing, professional audio, and customer service. Marsden has invested his entire professional career in the audiovisual industry and has established himself as a leading authority in AV technology across multiple sectors and applications in South Africa. He has recently rejoined Electrosonic SA in a management role within the company’s AV Division. Marsden brings a wealth of experience and an intricate understanding of the AV industry in South Africa and shares his insights into the role of AV technology in the education sector in the following article. 40

With the exception of a few shabby overhead projectors, a cacophonous Roneo machine and the poor 16mm projector that was used to bore students with grainy, poor-quality instructional programmes – AV technology was non-existent in the classroom during my school career. Regrettably, the situation has not changed in many South African public schools – especially if one compares our classrooms with those in more developed countries. According to a study done by the University of South Florida, micro computers were being deployed in certain schools in the USA as early as the late 1970’s. By 2002, 87% of America’s public classrooms were connected to the internet. With the integration of instructional technology in the classroom, as well as the rise of technological innovation in society as a whole, skills such as information processing, problem solving and communicating via technology have become essential for the modern student.

OPINION EDUCATION TECHNOLOGY

According to a white paper released by AVIXA, well designed AV/IT technologies in the learning environment motivate and stimulate students, engage them in topical discussion and promote intellectual curiosity.

Understanding learning spaces The ‘learning space’ refers to the physical environment where teaching and learning is carried out. Petite spaces, accommodating between 1 to 12 learners, are best for small courses, seminars and post graduate courses and study groups. Small spaces, accommodating between 15 to 40 learners, are commonly referred to as seminar rooms or lab classrooms, and are designed to promote better communication between students and the educator, and have been shown to positively impact on learner results. Larger rooms, which accommodate groups of between 40 and 150 participants, constitute the majority of spaces on most university campuses. These spaces are often associated with the lowest levels of interaction between educators and participants. However, strong AV/IT design can facilitate a vastly improved learning experience for students in these environments. When designing AV/IT solutions for the various types of learning spaces, it is imperative that you take into consideration the strengths and weaknesses of the learning space and deliver systems that are best suited to the environment that they serve.

Matching technology and methodology Another consideration that determines the technology requirements is the style of instruction that will be carried out within a learning space. The didactic or lecture mode of instruction involves minimal interaction and collaboration, requiring a simple lecture station and a multimedia solution which allows for unilateral communication, with one speaker addressing many listeners with little or no interaction between participants. Whole group, collaborative or case study style teaching, on the other hand, encourages conversation and group discussion. The concept of the ‘flipped classroom’ comes into play, whereby students are required to review prescribed content beforehand and use class time to debate and demonstrate the results of their investigations into the topic under discussion. Implementing AV/IT systems that facilitate collaboration and information sharing are very appropriate for these spaces. The concept of BYOD (Bring Your Own Device), utilising tablets and smartphones, or user-supplied laptops via a wireless collaboration gateway and shared group or interactive displays may appear in an AV design to support this style of learning. Where a collaborative philosophy is employed, small groups of between 4 and 9 students are encouraged to engage in active problem-solving around a specific topic and present feedback to the group. A flipped classroom may also apply, where a unilateral style involving a lecturer and listeners is replaced by a multilateral, class led discussion with a facilitator that enables collaborative problem solving between students. A collaborative multimedia solution can be deployed for these spaces, so that students can actively manipulate and share

content between themselves and other groups. Kinesthetic or physical learning is often used in the sciences, such as when learners observe a scientific experiment or process demonstrated in a laboratory setting by an instructor. In these instances, devices such as document and pan tilt zoom (PTZ) cameras focused on physical subject materials have the potential to vastly improve the quality of visibility and therefore the level of participant involvement. Synchronous distance learning, as well as the capture of multimedia content for asynchronous learning, requires a completely different approach to AV/IT infrastructure. E-learning requires spaces for the capture and development of massive online open online courses (MOOC’s). This style of education allows for more flexibility and supports a global learning community.

Making the right choice AV/IT design philosophy for the educational environment is certainly not straight forward. Most educational institutions require a mix of the above-mentioned classroom environments and need to accommodate teaching styles that do the subject material justice. Within these parameters, the best AV/IT solutions need to be designed and implemented to create the best possible learning environment to educate our students. AV solutions have the capacity to develop students to the best of their abilities, to ensure a robust and enlightened society that is equipped to function in the digital age. With the rapid evolution of different learning spaces and teaching methodologies, educators should be taking greater advantage of the broad range of classroom technology and educational tools available to inspire both students and educators, ensure adequate absorption of content and provide a learning experience that responds to the expectations of an AV-oriented generation of learners.

Future-proofing education By integrating large screen displays, interactive flat panels, document cameras, audio systems, playback and recording technology, BYOD (Bring Your Own Device) wireless collaborative solutions into the classroom, education has the potential to empower the next generation of professionals to thrive in the digital age. All of these tools lead to interactive and collaborative experiences which produce good results and improve student-teacher relationships. More recently, thanks to the Internet of Things (IoT), distance learning and transmission of multimedia learning content over the IP network brings even wider possibilities for learning – where time and location will no longer present a barrier to access for learners in resource restricted environments. While many in the education sector withdraw from the adoption of AV technology in schools due to cost – the reverse is perhaps true. We cannot afford to be left behind in the rapid digitisation of education, because it is not we – but the next generation that will ultimately pay a far higher price.

EDUCATION TECHNOLOGY

Education technology products Casio Core projectors Developed in response to the environmental, economic and utilitarian needs of the era, CASIO became the first company in the world to develop a laser and LED light source for projectors in 2010.

This Solid State Illumination (SSI) Light Source technology is gaining traction throughout the projector industry, as the new light source standard. Casio’s laser and LED technology produce a light source that lasts approximately 20,000 hours. Start-up takes as little as five seconds, dramatically reducing waiting time before image projection. Power-down is achieved with one push of a button, and no cooldown is required before restarting. The dust resistant design helps to reduce deterioration of the projector luminance, reducing maintenance needs. When compared to more conventional mercury lamp projectors, Casio requires little to no maintenance which has a dramatic effect on the cost of ownership over the lifecycle of the projector. Also, an entry-level model, such as the Core Projector XJ-V100W, provides outstanding value for money.

Although the use of mercury is widely prohibited worldwide today, this hazardous substance continues to be employed as a light source for conventional projector lamps. Casio has eliminated the use of mercury from its products, making them far safer to operate in classrooms, especially around children. The adoption of an SSI light source, combined with Casio’s original energy-saving design, makes Casio projectors far safer and more environmentally friendly than many competing products. Distributed by: www.pansolutions.co.za For more info: www.casio.com/products/projectors

Crestron AirBoard Crestron’s AirBoard™ PoE electronic whiteboard technology, recently launched at ISE 2018, enables viewing of electronic whiteboard content on any display device. The technology solves the problem of students not being able to see the whiteboard unless they are seated at the front of the classroom.

Crestron AirBoard is essentially a camera on an arm that attaches to any electronic whiteboard via the included mounting kit. With PoE, only a single Ethernet cable to the LAN is required for video, communication, and power. With Crestron AirBoard, annotations can be saved and then posted to a university or school web page, or shared electronically with participating students. “The whiteboard is the last analogy device in the room, and with so much competition for ‘front of the room’ space, they are typically installed on the extreme sides of rooms, where visibility is limited,” explains Dan Jackson, director of enterprise technology at Crestron. “Now, with Crestron AirBoard, the centre room display or projector screen can show the whiteboard so that everyone can easily see it. Plus, remote participants can actually see when someone writes on the whiteboard without holding up a phone or laptop camera.” Speaking to Pro-Systems at ISE in February of this year, Rupert Denoon, Crestron regional director for South Africa, opined that the Crestron AirBoard makes an important contribution to developing smarter learning spaces and is particularly well suited to both the school and university environment in South Africa. Distributed by:www.crestron.eu For more info: www.crestron.eu

EDUCATION TECHNOLOGY

Vivitek NovoTouch Viviteks’s NovoTouch offers an interactive screen coupled with interactive collaboration and advanced wireless capabilities, powered by the company’s unique NovoConnect Solution, which can transform any learning space into a collaborative shared environment.

The NovoTouch does much more than your average interactive screen. Thanks to Ultra HD 4K transmission, the screens provide outstanding detail and stunning visuals. An anti-glare surface further improves visibility in ambient light environments. With 20-point touch capabilities, the range is easy to use with common gesture interactivity – simply use a finger, stylus, glove or other opaque edged item for interactivity and touch control. Central to the functionality of the NovoTouch screens, is the integration with the NovoConnect Solution which allows for up

to 64 participants to connect in a digital workspace and wirelessly display their content to the main screen from a tablet, smartphone or laptop. Collaboration tools such as the on-screen mark up and wireless file sharing turn NovoTouch into a truly collaborative solution to engage all participants in the classroom. Distributed by: www.questek.co.za For more info: www.vivitek.eu

i3-Technologies i3BOARD i3-Technologies is part of the i3-Group of companies — and is one of the world’s leading manufacturers of interactive technologies for group collaboration.

The company’s i3BOARD has multi-touch technology that recognises 20 touch points, allowing multiple users to collaborate on the same surface. One can split the screen into multiple screens and allow multiple student activities to be done simultaneously. The i3BOARD has a surface made of

durable ceramic steel that allows users to write with both wet and dry erase markers. The surface can also be used as a projection screen, as it reduces reflection from natural light and leaves no marks from erasing. The multi-touch technology tracks touches intuitively and accurately. It recognises touch size and the shape of pens, fingers, augmented reality tools and other solid objects. Teachers can combine traditional measurement tools with digital technology and use the compass, protractor and ruler on the i3BOARD to make geometry exercises easier to understand for students. In support of their collaborative classroom solutions, i3-Technologies has launched the i3LEARNHUB, a cloud-based learning platform that can be accessed using any smart device. The i3LEARNHUB has a simple interface that requires no training and enables teachers to manage all classroom activities and homework from a single interface. Distributed by: www.skygroupcom.co.za For more info: www.i3-technologies.com

EDUCATION TECHNOLOGY

Panasonic PT-VW530 Portable Projector The Panasonic PT-VW530 Portable Projector provides the perfect combination for the education sector, including superb performance, high picture quality, ease of use and affordability. With high brightness ranging from 5000 – 5500 lumens, the PT-VW530 series of portable projectors delivers deep blacks, pure highlights, crisp graphics and easy-toread text. Panasonic’s Daylight View Basic technology makes it possible to see images clearly, even in brightly-lit rooms. A built-in sensor measures the light level in the room and the technology optimises the halftone colour and brightness levels accordingly. With the colour adjustment and correction function, you can easily correct for slight variations in the colour reproduction range when using multiple projection, particularly in a side-by-side configuration.

Sonic Foundry Mediasite Video Platform Mediasite Video Platform by Sonic Foundry, is one of the most automated and scalable systems for creating, publishing, searching and managing video content. According to Nicole Wise, director of communications for Sonic Foundry, research shows that todays’ students are consuming video content on a never before seen scale. Leading universities are increasingly taking advantage of the development in video technology by streaming lectures, creating online learning spaces and creating their own

Sharp PN-65SC1 interactive touchscreen

campus content for their student body. In addition, the majority of students and instructors have access to smart devises that enable them to consume, create and upload content all of the time. Managing video content effectively can be challenging, however, it can be effectively managed using a centralised solution. “Regardless of the size of your school, the workflow requirements are identical. With our campus and department license bundles, campuses of any size can benefit from sharing the same technology and price points that are appropriate to the size of the school and budget, while ensuring unlimited capture and unlimited viewing,” states Rob Lipps, executive vice president of Sonic Foundry. Distributed by: www.questek.co.za For more info: www.sonicfoundry.com

The Sharp PN-65SC1 interactive touchscreen LCD monitor delivers innovation to the classroom. This affordable 65-inch model is enabled with the basic functionality of the Sharp Interactive Touch Board series and is perfectly suited to learning spaces.

The full-HD resolution of the 65-inch LCD monitor ensures that detailed text and images are reproduced vividly and accurately, even in high levels of ambient light. Dynamic videos, charts, paintings, photos, and more, are all brought to

Panasonic has increased the air filter replacement cycle to a maximum of 7,000 hours, reducing the total cost of ownership of their projectors. The high-efficiency lamp also has a replacement cycle of 7,000 hours in ECO2 mode, reducing the need for maintenance and lowering cost of ownership and environmental impact. Distributed by: www.pansolutions.co.za For more info: www.panasonic.net/cns/projector

life on the big screen in a way that cannot be achieved with conventional textbooks and printed materials. Using a touch pen, one can easily launch and display the Pen Software user interface—a menu comprising smartly arranged icons that provide easy access to pen settings and functions. Each touch pen has its own dedicated menu, which can be displayed even when up to four people are writing on the screen at the same time so that you can keep everyone actively involved in the classroom by letting them write on the screen simultaneously. The PN-65SC1 enhances visual communications by transforming presentations, training sessions, or classroom lectures into creative and interactive environments for optimal teaching and learning. Distributed by: www.peripheralvision.co.za For more info: www.sharp-world.com

ENTERTAINMENT TECH EXPERT OPINION

Rigging and such: What is the best slinging By Rinus “Rhino” Bakker method for truss? That question is equivalent to: What is the cutest stuffed animal? What is the Best Beach? Or the Best Beer? Just as the last couple of questions can not be answered in any objective way, so will the first one remain without a clear answer.

Let us get one thing straight: any slinging method to any truss shall be applied in the node points, or panel points. A node point or panel point is the position where two diagonals meet with the chord, or where a vertical and diagonal brace are meeting in the chord, to form the (repeated) shape of a triangle.

Whose truss? What type? What cross section? What bracing set-up? Bracing in Vertical and in Horizontal plane(s)? And in what combination(s) of that V & H bracing set-up? They all have different requirements and restrictions on the method(s) of slinging. Subsequently the forces resulting from the slinging method, are to be absorbed in the cross section of the aluminum frame work.

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What types of truss do we know? Truss types, based upon Truss Cross Sections : • Ladder • Triangle (Apex Up; Apex Down; Apex Sideways) • Square (in Horizontal; in Diamond; Square Folding Flat) • Rectangle High (Closed; SwingWing; Catwalk = Open in Upper side) • Rectangle Flat (Closed; Open in Under side = ‘ballroom truss’) • Trapezoidal (Stacking; 4-chord Folding truss) That is 14 different trusses to sling, just by the shape of the cross sections. Apart from that another variation might occur where the bracing of two sides could be symmetrical (‘classic’ bracing) or asymmetrical (‘odd’ bracing). In the last case the \/ (‘V’) in one side is next to an /\ (‘A’) in the other side. This causes the node points to be in a shifted position, and not side-by-side.

Many slinging methods Basically all these variations can easily bring us 30 different “nodes-in-truss” variations, that could lead to just as much ‘best slinging method options’. There is no such thing as he Best Beach, but “Soft Cool & Sandy in the Subtropics, with Mild Waves, without any Jelly Fish or Sharks, but with lots of cocktails available” could score quite high. Similarly a Best Slinging Method might be close to a “Classic Basket on a square truss with classic bracing, supported at the Lower Nodes, and with an additional wrap at each top chord, where these top chords have a straight compression bracer in between”. But just as some prefer a Beach with lots of Sun shade roofs and Surfing Waves, in slinging some people say they prefer two lower chord chokes + two wraps on the upper chords. Any preference shall always meet the actual type of truss being used. As a rule of thumb just a few warnings shall be issued: • Do not lift / support / sling a truss on the braces. • Do not lift / support / sling a truss between the nodes. • Do not lift / support / sling a truss on one chord only (except two chord truss).

ENTERTAINMENT TECH REPORT

South Africa’s longest-running music festival keeps on rocking By Nicole Barnes

Billed as South Africa’s friendliest and longest-running outdoor music festival, Splashy Fen holds a special place in the hearts of thousands of South Africans, many of whom have been making the annual pilgrimage to the KwaZulu-Natal Midlands for almost three decades for the event. The three-day long festival is held over the Easter long-weekend on a working farm of the same name in KwaZulu-Natal’s breathtakingly beautiful Underberg.

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Pro-Systems Africa News had the pleasure of joining more than 8,000 festival goers at Splashy Fen 2018, where we chatted to various members of the incomparable team who have come together to make Splashy Fen a truly unique experience.

From Humble Beginnings There are few stories as charming as the one behind the first Splashy Fen festival, held in 1990. According to local sources, Bart Fokkens and the now late Peter Ferraz, got together over a bottle of wine one night and knocked around the idea of getting a few people together to enjoy a weekend of live music on their farm. Initially, the pair envisioned two hundred or so people gathering at the magnificent natural amphitheatre formed by a river bend on the farm to enjoy a weekend of camping and live music. Much to everyone’s surprise – most of all the unsuspecting organisers – about 1,200 enthusiastic Natalians showed up – all of whom camped under the stars and listened to artists like Tony Cox, the Silver Creek Mountain Band, Plagal Cadence and Syd Kitchen. The festival has come a long way since those formative years, where a makeshift stage, a tractor-powered generator and a few portable toilets

made up the bulk of the infrastructure. According to Ferraz, power was provided by an ancient little tractor driving an erratic farm generator. “Every so often the music would stop for 20 minutes while the tractor was refuelled, but nobody complained. The foundations for today’s mellow Splashy vibe were laid right then and there.” Over the past 28 years, Splashy Fen has grown far beyond what its originators could have thought possible, but remains true to Fokkens and Ferraz’s vision “to have a really good time with a few musicians playing around campfires, joined by some truly passionate music-lovers.” Splashy Fen has played host to an impressive list of South African and international artists over the years, including Ladysmith Black Mambazo, Vusi Mahlasela, Hinds Brothers, Madala Kunene, Watershed, Springbok Nude Girls, The Parlotones, Prime Circle and Chris Chameleon to name a few. It remains the largest music festival of its kind to be held in KwaZulu-Natal.

Impi takes over the reigns Transforming a working farm into a festival ground that can accommodate a multiple-stage music festival and camping facilities for thousands of fans is no small feat. However, local events company Impi Concept Events has managed to achieve this for the past three years, with support from locally sourced suppliers and sub-contractors.

ENTERTAINMENT TECH REPORT

Managing director and co-owner of Impi Concept Events, Stuart Berry spoke with Pro-Systems in an interview during the show and explained that he and his partner in the business, Andrew van Rensburg, decided to take over the management of Splashy Fen in 2015. “Having grown up in KwaZulu-Natal, Splashy Fen has been a part of my life for as long as I can remember,” explains Berry. “When we started investigating taking on the festival, the event was under tremendous financial pressure. However, Andrew and I recognised the enormous potential that the event still offered for local businesses, artists and fans alike,” he states. Berry and van Rensburg have put together a dedicated and driven team that delivers on every aspect of the festival – from organising artists to ensuring that the festival does not impact the fragile ecology of the site. Berry states that the support that they have received from local business has been pivotal to their success. “Pietermaritzburg-based entertainment technology company, Sounds Ideal supported our vision and ethos from inception. Company owner Nadeem Moosa and his team have successfully provided full technical for the event over the past three years – and we could not have succeeded in turning the festival around without their continued support and dedication.”

As a locally based company, with roots in the community, Impi Concept Events remains focused on empowering the local community – from working with local suppliers and sub-contractors to prioritising local talent when booking artists. “According to a study done by Tourism KZN, Splashy Fen has a direct and significant effect on the local economy, bringing more than 45 million rands to the Underberg and surrounds in 2017,” Berry states. Impi Concept Events managed their first Splashy Fen in 2016, which saw 3,200 people in attendance. In a remarkably short space of time, the team have more than doubled these numbers, with 8,500 people entering the festival grounds this year. However, both Berry and van Rensburg agree that they do not see attendance numbers as the most important measure of the event’s success. Rather, the team are committed to retaining the family-friendly and deeply personal vibe of the festival. “We want to see Splashy Fen becoming a more immersive and enriching experience for our fans, both young and old. The future of Splashy lies in it being more than a music festival, but a multifaceted immersive experience, where every person feels intimately involved in all levels of activity on offer,” van Rensburg explains.

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Making it happen The backbone of any live event is making certain that all of the technical aspects of the show are managed effectively from conceptualisation to load out, along with managing all of the artists on and offsite from contract to payments to ensure that they arrive onsite and perform at the right times. To achieve this, Berry and van Rensburg have recruited industry veteran Andrew “Lappies” Loubser of Slingshot Productions to serve as production manager. “My role at Splashy is an absolute honour, as this festival is the reason I am in the industry doing what I do,” states Loubser. “This is my third year working at Splashy, but it is the fifteenth time I have attended the festival from being a patron, to a bandmember and now finally as crew,” states Loubser. According to Loubser, the greatest technical challenge posed by the event is the climate. “The climate in this part of the country is notoriously unpredictable. Last year we had to contend with overnight temperatures that were well below

freezing which resulted in some lights failing during the warm-up process. This year has been about keeping the rig dry through the intermittent downpours,” he explains. Despite the trying conditions, the music continued to play throughout the four-day event, with the technical team working tirelessly behind the scenes to insulate equipment and patch leaks in the tent over the main stage. “Stuart and Andrew have put together an awesome crew,” Loubser states. “In this industry, there is no space to compartmentalise responsibility. There is nothing that the guys from Sounds Ideal are not prepared to do. If one team has a problem we all work together to make it happen, making it a pleasure to work on this event.” It is clear that Berry and van Rensburg have put together a winning team that functions more like a family than a collection of contractors. Despite the relatively short load in time, long hours and trying environment, festival goers are barely aware of the enormous effort that is required to make the festival happen. “The Sounds Ideal and Slingshot crew have worked together for three years running. We have developed a solid working relationship and a deep understanding and respect for Stuart and Andrew’s vision. We have reached a point where we understand each other and can, therefore, deliver a seamless production – despite all of the technical challenges involved,” Loubser concludes.

ENTERTAINMENT TECH REPORT

Setting the perfect stage Splashy Fen 2018 offered festival goers five stages, with an impressive line-up of both international and local artists performing over the four-day long programme. The main stage, which offers an outdoor rig covered by a tent structure, offers professional-level sound and lighting that complies with the majority of international riders. “We have used d&b for sound on the main stage as it is listed on most international riders. We try to keep the bands that are booked for the main stage as happy as possible,” states Nadeem Moosa, managing director of Sounds Ideal. For the smaller stages, Sounds Ideal has ensured to cater to the specific needs of the artists and audience involved. “We decided to go with a NEXO Alpha system for the electric dance stage because the brand has been specifically manufactured around the EDM market,” Moosa explains. The River Stage, situated in the heart of the natural amphitheatre on the river bend, and the site of the first festival, makes for a spectacular day-time setting, with thousands of young people taking advantage of the swiftly flowing river on water tubes to the beat of both local and international artists. This year, the River Stage was sponsored by Corona, who used the event to publicise their environmentally friendly bottling methods. “Corona has launched a campaign around cleaning up our oceans, which emphasises the importance of keeping our rivers clean as the first step in preventing pollution on the coast. There is no better place to get the message across than on the unspoiled banks of the Mzimkhulu River,” Berry explains. The natural acoustics of the space ensures wonderful distribution of sound, using another NEXO Alpha system, without being overpowering – making for a perfect familyfriendly day in the great outdoors. My personal favourite and the best representation of the spirit of the festival is captured by the simple but breathtakingly beautiful Tree House Stage. Custom designed by local artist Kim Goodwin using an intricate nest of woven wattle, and beautifully lit using Chauvet Professional Professional fixtures; the Tree House Stage provides a space for new and emerging

talent to perform in a more intimate setting. “In my experience, young artists need the opportunity to cut their teeth by playing for smaller crowds in more intimate environments. The Tree House Stage is all about providing a platform for emerging talent to gain the experience they need,” states Berry. Professional entertainment lighting for Splashy Fen comes with an interesting set of challenges for Moosa and his team. Extreme weather condition – with warm days, cold nights and intermittent downpours – making a reliable lightshow a tough ask. In response, Moosa has invested in an impressive array of Chauvet Professional lighting fixtures from local distributor Audiosure to provide a high-quality, flexible and robust lighting solution for the festival. “In the past, I have not been overly enthusiastic about investing in professional lighting fixtures. Lighting requires enormous capital investment and LED technology is developing at such a rapid pace that there is a risk that stock will become redundant before you get a return on your investment,” states Moosa. “However, the Chauvet Professional range of professional lighting has answered many of these challenges. “With Chauvet Professional, we are able to deliver a professional lightshow that is ideally suited to the festival environment, but remains affordable and easy to maintain,” he states. “Audiosure provide onsite support and local servicing of Chauvet Professional fixtures, providing us with complete peace of mind. If a fixture fails or we have a challenge onsite, the team from Audiosure will come to us, even when we are in the middle of a farm in the Underberg, to make sure that everything runs perfectly come show time,” Moosa says of the local supplier. Lighting design and operation for Splashy Fen were provided by emerging talent Shaniel Laloo, who has developed a close working relationship with Sounds Ideal over the years. The main stage lighting rig featured Maverick MK2 spots, a bright moving yoke spot featuring a 440 W LED engine and precision engineered optics with exceptional colour mixing capabilities. For washes, Laloo used the Maverick MK2 Wash and Rogue R2

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Wash. Taking advantage of both the even output and virtual gobo wheels available on these fixtures, Laloo showed off the versatility of Chauvet Professional’s fixtures, adding atmosphere and mood on stage. The Legend SR 230 beams demonstrated their worth by providing sharp beams and stunning aerial effects throughout the show. Laloo added an array of Strike 4 Blinders to the rig, which he used to great effect over the crowd. According to Laloo, a major highlight of this years’ festival was the opportunity to use a Chamsys MQ 500 lighting console, provided by The Production Warehouse, to programme the show. “This was my first opportunity to work on the Chamsys MQ 500 for a live event. The console not only met but exceeded my expectations. The Chamsys MQ 500 is amazing for on-the-fly editing and is therefore ideal for the festival environment – where you need to be highly flexible,” Laloo explains. According to Chamsys international business development manager Aziz Adikhodjaev, the Chamsys range is designed by lighting designers, for lighting designers – making the console responsive to the needs of the market. “All of our developers either were or are still involved in lighting design for shows. This allows us to test the console in real life scenarios and get feedback from those who use the technology on a daily basis.” Adikhodjaev points out that the Chamsys range is particularly well suited to developing economies because the cost of ownership is something that the company keeps in mind when developing its products. “The MagicQ software that drives all Chamsys consoles delivers up to 200 universes

directly from a single console, making the desk extremely flexible. In addition, MagicQ software comes with a free 3D visualiser, MagicVisTM and a free Media HD player, MagicHDTM. All applications run natively on PC, Mac and Linux. MagicQ offers 64 universes via ArtNet free of charge, which allows small to medium size companies the opportunity to familiarise themselves with the software before buying a physical console. Also, MagicQ software doesn’t require any external processing units to run a lot of universes, which reduces costs,” Adikhodjaev explains.

Splashing into the future The music festival market in South Africa continues to grow, with both established and new events being attended by larger numbers of festival-goers every year. Splashy Fen has laid the foundation for the music festival culture in South Africa, and continues to foster new talent while creating a space for veterans of the local music industry to perform and offering fans world-class performances in one of the most beautiful locations in the country. We look forward to seeing Impi Concept Events realise their vision of delivering a family-oriented music festival that provides South Africans with a much-needed respite from the stressors of urban living, built on a legacy of love for music, nature and good vibes.

ENTERTAINMENT TECH REPORT

South Africa welcomes The Script With Open Arms By Nicole Barnes

Audiences in both Johannesburg and Pretoria turned out in droves to welcome Irish rock band The Script back to South Africa in early May, after a seven-year-long absence. Following the enormous success of the band’s 2011 South African tour, Big Concerts brought the Freedom Child Tour to the Grand Arena in Cape Town and Pretoria’s Sun Arena, much to the delight of local fans. In 2007, lead vocalist and keyboardist Danny O’Donoghue, lead guitarist Mark Sheehan, and drummer Glen Power from Dublin, Ireland, rose to international stardom with the successful release of their signature singles The Man Who Can’t Be Moved and Breakeven, followed by the release of their eponymous debut album in 2008. The band has released a further four chart-topping albums, with the latest being Freedom Child, released in September 2017. Early this year The Script embarked upon a world tour titled Freedom Child to promote their new album, which has received positive reviews from audiences across the European Union, Asia and Australia among others. It is little wonder that the band’s new show has been met with such enthusiasm. In addition to the unquestionable musical talent that The Script

brings to the stage, the band’s world-class creative team have developed a truly memorable production for fans across the globe. Prominent UK-based art director and show designer, Jamie Thompson worked closely with media server expert Annalisa Terranova and video director Ben Farrey to develop a multi-faceted and visually engaging production. The show incorporates a montage of live footage and video content displayed on an impressive multiscreen LED wall, supplied by LEDVision for both the Cape Town and Pretoria shows. In addition, Thompson’s breath-taking lighting design added an impressive mix of atmosphere and mood to the band’s iconic ballads, while lifting the higher-energy moments with the help of perfectly timed MagicFX confetti cannons. Mushroom Productions once again teamed up with The Gearhouse Group for The Script, who provided full technical for both shows, lead by Gearhouse project manager Jaco Saaiman. The Gearhouse crew once again achieved the seemingly impossible, with only one day between the Cape Town and Pretoria shows, allowing very little breathing space for the crew. According to The Script’s front of house engineer, Stephen Pattison, the Gearhouse crew did a fantastic job and compared favourably with many of the international technical teams that the band has worked with throughout the tour.

PROFILE ENTERTAINMENT TECH

The Script is in good hands with FOH engineer, Stephen Pattison Despite a frantic schedule and the notorious Johannesburg traffic which delayed the arrival of supporting artists, front of house engineer for The Script, Stephen Pattison kindly took the time to talk to Pro-Systems Africa News ahead of the show at The Sun Arena in Pretoria on 4 May. Pattison’s years of experience, passion for music and deep understanding of his craft, together with his charming wit and easy-going demeanour made for a truly memorable interview.

How did you first get involved in the events industry? I started my career as a session musician, playing the guitar for various bands. Following that, I got into a bit of studio engineering as I was fortunate enough to have a friend who was a producer. I asked him to call on me when he didn’t need a guitar player so that I could sit in the studio and learn. That is basically how I came to be a studio engineer. I then decided that I didn’t necessarily want to sit in a room for the rest of my life, and wanted to get involved in live events. I got in touch with a company called Adlib Audio, based in Liverpool, where I started my career mixing live sound.

Is there a specific gig that stands out as your favourite? I attended what I consider to be one of my favourite concerts as a punter some years ago while in America, where I got to see AC/DC performing live at the Long Beach Arena in California. I was on holiday in the USA at the time and happened to hear that AC/DC was playing. I knew the front of house engineer at Long Beach Arena, so I phoned him up and asked him to give me a pass. It was a great show, and I had a really fantastic time.

Who have you most enjoyed working with during your career? I have been quite lucky, as most of the artists that I have worked with have been fantastic. I used to work with Amy Winehouse – and she was just amazing. She is one of those vocalists who opens her mouth to sing, and everybody is instantly blown away. Sharleen Spiteri from Texas is another amazing singer with whom I have really enjoyed working. These are acts where you can just push the faders, sit back and enjoy – because they sound great without much help. I have also enjoyed working with The Script. The boys have written some amazing songs, and they perform some great tunes with fantastic melodies. They are all genuinely nice guys and are very professional. If, for example, I need them to perform a specific song or a couple of songs for a sound check, they are always willing to work with me and remain professional in everything that they do.

ENTERTAINMENT TECH PROFILE

What would you say is the worst experience you have had at front of house? It is very rare to have a serious technical problem on a professional production. However, when we were in Belgium for the tour, the power failed – which was interesting when performing live for a crowd of 16 000 people. Two independent power sources service the venue, so power supply didn’t seem likely to pose any problems. During the supporting act, the first power source failed and all the lights, including the lighting desk, went down. We continued with the show, relying on the second power supply, but when boys from The Script came on, the second power supply also failed. All of the instruments on stage and all of the technical equipment started freaking out – so we decided to stop the show until we were able to find out what was going on. The funniest moment was when our monitor technician, Mark, was trying to tell the band to go off stage, but everything kept switching on and off, and he kept breaking up – so the guys had no idea what was going on. Eventually, we resorted to hand signals get them off the stage.

Which sound desk are you working on for your current tour with The Script? The Allen&Heath DLive console is my personal choice of sound desk for this show, and for many other shows. The Allen&Heath DLive S7000 has everything that I need in a desk, especially when on tour. The console is easy to use, does not cost the earth and you can get it in most countries and venues. Most importantly, it is super reliable and always sounds great.

With the broad range of sound desks available on the market, why is the Allen&Heath DLive your desk of choice? I can always rely on the Allen&Heath DLive S7000 to sound good and, most importantly, to be reliable – which many desks nowadays aren’t. There have been some very high profile events where, despite the fact that the latest and greatest equipment is being used, you can hear pops and bangs going on – which is a bit cringe-worthy. I’ve never had that happen on an Allen&Heath desk yet. Another great feature of the desk is that it is highly flexible. I use Waves and Dante cards for recording and virtual sound check, and together this allows me to get a backup recording on certain shows. The comprehensive monitoring and set-up page makes everything very easy to set up, which is great in festival situations when you can simply point a recording truck in the direction of the superMADI card, and they can get whatever format they need. I don’t know what else you need from a desk.

Do you have a personal preference when it comes to PA systems? There is not really a bad speaker box out there anymore – it’s all about the guys setting it up. If there is enough of it, it covers well and is set up correctly; any system can do a perfectly good job, no matter what brand you use. That being said, some speaker boxes do deliver better than others in certain areas. Some are more full, some fire really far – there is a wide variety of factors to consider. Over the years, and based on some of my recent tours, the L-Acoustic K1 is always up high on my list, and we have used both the K1 and K2s for our shows in Asia.

Another product worth mentioning is the relatively new Coda AiRAY – which I think is amazing. When you see the box, it’s difficult to take it seriously – but once you push the fader up – it just blows your mind. We toured with a Coda AiRAY system on the European leg of The Script tour. Some of the venues booked included 25 000-seater arenas, while for other shows we played to no more than 4000 people. The Coda AiRAY was fantastic for the job because the box is small and light, weighing only 35Kg, making it very flexible. If I had a K1, it might have been an issue hanging arrays – because you are limited by the weight-bearing capacity of some of the smaller venues.

What, in your opinion, is the highlight of the current tour with The Script? For me, the highlight of this tour is that every show is different. The guys make sure to do something novel for each venue booked. During the European leg of the tour, we had the luxury of taking all of our kit with us – including our own stages. We used two stages for the European shows, and the boys would make their way around the venue – making sure to connect with everyone. The band has included an acoustic slot in the show where they go out into the audience. So, someone who is seated in a block somewhere at the back will suddenly look up and see the guys performing right up close. The idea is that everybody gets to be a part of the show, even if they have not managed to get the best seats in the house. I think this is something that sets The Script apart – they are really amenable to their fans. The guys are very active on social media, and if kids hang around after the show hoping to meet them, they are always willing to take the time to sign autographs and chat with their fans. Mark is particularly good at letting fans know when they have left the venue on social media so as not to keep fans waiting in vain. Also, the guys invite different guests to perform with them which keeps things fresh and interesting. We found out the day before the show that we would have a guest choir performing at The Sun Arena.

Have you enjoyed working on the South African leg of the tour? Working with Gearhouse and all of the local guys involved has been great. The venues and equipment are all well looked after and maintained, which means that everything works well. Set up was quite impressive, and the guys did a great job getting the PA set up this morning so that everything is tuned and ready to go in good time.

Do you have any advice for sound engineers that are starting in the field? Yes, I would encourage the younger guys to go out and try different types of equipment and play with the gear that is available. Don’t assume that because something is the latest or most expensive technology that it is automatically the best there is. As a sound engineer, your most important tool is your ears – use them. If it sounds great – then it is great, no matter what badge is on the desk. Also, don’t rely on everybody else to do things for you. Go to the stage and check that everything is in the right place. If something is making a noise, ask yourself if it is making the right noise. Check that you have the right microphone. Check if the microphone is in the right place. Make sure that your cable is run nice and neat, so that you can trace it if there is a fault. Work neat – which makes your life easy.

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ENTERTAINMENT TECH REPORT

Castle Lite takes LED to new By ???

Ever since the first Castle Lite Unlocks Music Experience in 2011, music fans have come to rely on the brand for its winning recipe of great South African acts performing alongside international heavy-weights, supported by outstanding production. This year’s event was no exception, with Castle Lite Unlocks Chance the Rapper exceeding all expectations with a record-breaking rig at the TicketPro Dome in Northgate, Johannesburg.

Photo by Duncan Riley

Caption

Glen21 Entertainment, a leading Johannesburg-based entertainment solutions agency, won the contract to serve as the event promoter for Castle Lite Experience. In the lead up to this years’ event, the brand and Glen 21 Entertainment, promised fans a production that would be an unforgettable montage of multimedia technology delivering a concert experience like no other. “Castle Lite Unlocks is not just a concert, it’s an experience, and we always try to create a production that is innovative and exciting for the audience. We will be breaking boundaries so that consumers can have a one-of-a-kind experience at our concert,” executive producer Kgothatso Kutu said in a radio interview leading up to the show. To deliver on this promise, Glen21 Entertainment contracted the services of 4Plus3 Productions, a dynamic events

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heights at the TicketPro Dome By Nicole Barnes

management company that is making a name for itself as a reputable and innovative service provider not only in South Africa but across the African continent. 4Plus3 Productions director, Sven Hansen chatted with Pro-Systems Africa News ahead of the opening of the show on 30 April, where we had the privilege of taking a tour of the impressive rig supplied by Gearhouse.

Unlocking the possibilities As with many international artists, Chance the Rapper has a creative team behind him that is very protective of the artist’s brand. Glen21 Entertainment was provided with a detailed and thorough rider in the lead up to the show, which stipulated that everything, including staging, audio, and lights for the tour had to be sourced locally. In response, Hansen and his team from 4Plus3 Productions turned to the Gearhouse Group to supply full technical for the show.

The vision behind the Castle Lite Unlocks Experience demands a level of staging and production that far exceeds that of a standard international tour, even when dealing with a high-level artist such as Chance. In response, Hansen worked closely with legendary lighting and production designer, Tim Dunn of Gearhouse and Warren le Grange of Khoi Kreative to design a show that would deliver the one-of-a-kind experience demanded by the Castle Lite Unlocks Experience brand. “International design teams can sometimes be dead-set on a production company delivering a complete duplication of the technical requirements prescribed by the tour rider. However, Lee Moro who serves as production manager for Chance the Rapper, was more than open to the design proposed by our creative team,” Hansen explains. The result was one of the largest stages ever to be built inside the TicketPro Dome, complete with an astonishing LED display that included more than 900 individual panels.

Photo by Duncan Riley

ENTERTAINMENT TECH REPORT

Unlocking the solutions LEDVision, one of the Gearhouse Group of companies that specialises in supplying LED panels for the entertainment industry, took on the enormous challenge of constructing the LED wall that would be the centrepiece of the Castle Lite Unlocks Experience. Speaking to Pro-Systems on the afternoon before the show, project manager for the event, Jaco Saaiman of Gearhouse, explained that the LED display for the show comprised of several sections, some of which were rigged to move during the show. Central to the design for the South African acts that preceded Chance the Rapper, who performed with a full band, was a window that housed the DJ booth on a raised platform in the middle of the LED wall. Also, sections of the LED wall were lifted on hoists during key moments in the show, providing dancer reveals and other special effects. While everybody involved understood that the design team had set them an ambitious project, the highly experienced and efficient Gearhouse crew were pushed to their limit on both load-in and load-out, due to the tight schedules involved. To make matters even more interesting during the build-up, while finalising the plot and weights; head rigger, Adrian Manley – Jaco Saaiman, PM Gearhouse pointed out that the significant weight of the screens, together with the lighting rig, would necessitate consultation with the engineering team to evaluate Gearhouse’s proposed loadings and confirm that the spread would be acceptable for the roof. “To adhere to the venue’s stringent safe loading limits and safe working load stipulations, our rigging and staging specialists developed a solution, in consultation with the engineers, which involved splitting the screens, to half the weight of the rig,” explains Saaiman. “This ensured that safety standards were more than

“To adhere to the venue’s stringent safe loading limits and safe working load stipulations, our rigging and staging specialists developed a solution, in consultation with the engineers, which involved splitting the screens, to half the weight of the rig.”

adequately met, taking into consideration the dynamic loads that the screen movements would generate. The solution did not compromise the team’s ambitious production design.” Gearhouse technicians and engineers quickly installed a full 18m x 5m x 13m TFL ground support system that was used to mount the centre screens. This allowed the crew to fly the panels that would be moving on hoists during the show. “We have used ground support to solve challenges like this in the past,” explains Saaiman. “However, the sheer scale of the rig for this production made designing and implementing a solution an interesting challenge. We used 136 motors overall.” Due to the ingenuity and perseverance of the crew, engineers, and rigging specialists involved, the show has set a new record for LED displays. “The LED display for Castle Lite Unlocks is the largest indoor LED wall to have been erected by LEDVision within the TicketPro Dome venue and includes three different LED product types perfectly colour-matched for overall consistency,” states Hansen.

Unlocking the right sound At the heart of the Castle Lite Unlocks Experience is a celebration of music, and therefore sound quality is of paramount importance in delivering an exceptional experience for fans. The Gearhouse sound team once again managed the sometimes challenging acoustic properties of the TicketPro Dome with skill. The combination of L-Acoustic’s K1 PA system, together with DiGiCo SD10 consoles provided the backbone of the sound system used for the event. Kholofelo “Rasta” Sewela served as sound engineer for South African artists, along with Sandile Zikalala as system technician and Simon Panos on monitors, with Kyle Bulmann taking over front of house for Chance the Rapper. “Our engineers have worked in the TicketPro Dome over some years and have an excellent understanding of how to make the sound work. We have reached a point where we understand the configurations needed and can apply it to whatever the artist’s requirements are,” explains Saaiman.

Unlocking visual brilliance In addition to the spectacular LED display, the lighting rig for the Castle Lite Unlocks Experience brought an element to the show that the audience is unlikely to forget. Lighting designer, Robert Grobler, designed and operated a rig that comprised more than 460 lighting fixtures using GrandMA2 as the control platform.

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While the LED display dominated the set, the accompanying light show made use of dramatic aerial effects over the arena and provided the perfect light levels over the stage to complement the brightness of the video wall. Grobler made use of a range of fixtures, including an impressive 62 Mac Viper profiles, together with 72 Martin Rush Par 2 RGBW Zoom LED PAR cans from Martin Professional. The inclusion of the ever-popular Robe Robin BMFL blades proved their worth, providing stunning movement sequences. The inclusion of 48 Robe Pointes provided sharp parallel beams that also worked extremely well with the LED display. The design team took a truly innovative approach with the

B G or SM

Castle Lite branding, which they built out of trussing above the stage to create the iconic Castle Lite snowflake, which they lit with LED strips in various patterns throughout the opening acts. Adding to the visual extravaganza, Fireworks for Africa provided a range of pyrotechnic effects, with Travis Yeatman using an Avolites Tiger Touch II with stage effects by MagicFX. The inclusion of perfectly timed stage flames and confetti cannons added another element of drama throughout the show. The highlight, however, was watching multi-coloured confetti rain down over the exuberant crowd while Chance the Rapper closed the show with his gospel song Blessings.

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Entertainment technology specialist Robert Grobler throws some light on his professional journey Over the past few years, Robert Grobler has established himself as one of the key entertainment technology specialists and senior lighting designers at the Gearhouse Group, South Africa’s largest technical supplier for the events industry. Grobler has actively worked in the entertainment technology field since the age of 18 and has developed a reputation as an exceptional operations professional, with skills that include technical drawing, concept art, lighting design, project management, as well as live concert and television lighting. Grobler has served as a lighting designer for some of Gearhouse’s highest profile clients – including Ultra South Africa, among others. He has earned the reputation of being among the most knowledgeable and experienced practitioners in the field of lighting and networking for the live events sector in South Africa and is actively involved in various training programmes aimed at educating others in this relatively new and ever-evolving discipline. Grobler kindly consented to share some of his insights and experiences with Pro-Systems News in a recent interview.

How did you first get involved in the entertainment technology industry? As a youngster, I worked backstage on a few small shows as a hobby while at high school in Kempton Park, where I discovered that I had an eye for this industry. Originally, the

plan was for me to go into accounting – needless to say, that didn’t work out. Halfway through grade 11, at age 17, I realised that I was working extremely hard to achieve the results required to get into a university to study accounting – but it was not something that I was going to enjoy doing. I started looking at what I was doing for shows from a different perspective and considered the possibility of developing it into a career. Shortly after that, I was afforded the opportunity to work for a video production house (Plum Productions) that had built a little OB van for a new television show on Kyknet. During my matric finals, I started work on the first ever episode of ‘Dis hoe dit is met Steve’ – a show that I ended up working on for ten years, starting out as the OB assistant/coffee runner and ended up the lighting designer. After school, I studied at the Tshwane University of Technology – then known as Pretoria Technikon – for three years while freelancing in between. I originally went into audio, and halfway through my first year, I started looking at lighting and rigging. I graduated with a National Diploma in Entertainment Technology and have worked in the industry for the past 18 years.

What aspect of your training has been most beneficial? Throughout my career, I have tried to develop my knowledge across disciplines – because my theory is that come crunch time, I need to be able to jump in and help when another team is struggling or behind schedule. At the end of the day, we all have to pull together to deliver a show, and if you can help others, you do. It is also really helpful to be well-rounded as a lighting designer because you can keep all of the different aspects of a production in mind when putting a show together.

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ENTERTAINMENT TECH PROFILE

Who have been your mentors over the years?

What is the biggest challenge that you have faced?

I have been privileged to work with a number of excellent and inspiring people over the years. Over the past five years, Tim Dunn has played a big role in shaping my career while working with Gearhouse from a creative design perspective. Tim has taught me to look at the finer details of the production design and how to ensure no elements get overlooked when taking it from concept to reality. Over the years I have come to rely on Tim for his wealth of knowledge and experience. If I come across a challenge or need some guidance, I know that I can always give him a call. Another mentor worth mentioning is Ed Worster, head of television at Rapid Blue. Ed has got one of the best eyes for television lighting. He has a way of pushing your boundaries to the next level – and will keep pushing until you exceed his expectations and the results speak for themselves.

The worst feeling in the world is when you hit a snag, and you can’t fix it. I don’t know how – maybe we are all undercover rocket scientists – but somehow we always find a way to fix the problem, or mask it, or come up with a workaround before showtime. The most important skill that one needs to develop when it comes to dealing with technical problems is not to panic. It is easy to give into one’s emotions in these situations, especially because we are all so passionate about what we do. One has to learn to keep your head, take a step away from the situation and come back with a different approach, and then try to get everybody on board to action a solution.

Is there a specific production that stands out as your favourite? One of the highlights of my career was having the privilege of working on the production side of Nelson Mandela’s funeral. Tim Dunn was the set and lighting designer on the event, and I went along to assist. Like so many South Africans, I always hoped that I would have the opportunity to meet Nelson Mandela in person. I, unfortunately, never had the opportunity and the closest I could come to paying tribute to him was doing the very best job I could on his funeral ceremony. The most difficult part of the job was keeping in mind that this was not just another show – but rather a deeply meaningful and poignant occasion that was being observed by a global audience. We all worked crazy hours to ensure the best production possible – but I kept having to take a step back and reflect on the enormity and gravity of the occasion.

How have you become involved in training? Christopher Bolton and Joshua Cutts of Collective Works got hold of me a few months back to help them out with a lighting design training course that they were developing. They got me in to talk about the practical side of networking and network protocols for the entertainment industry. Over the years, I have worked on a number of shows where networking has been a large and challenging part of the job. I have learned a great deal about various aspects of networking – including a lot of the theory behind it, how to make it simpler and how to troubleshoot problems. I really enjoy sharing my knowledge and experience with young aspiring lighting designers. In the long run, people are not going to remember me for a cool gig that I have done – once the doors are closed, and the show is over, it is quickly forgotten. I find much greater satisfaction in training people and seeing them use the skills that I have developed through trial and error as this contributes towards improving standards across of the whole industry. By sharing knowledge to develop the next generation of lighting designers, we can ensure that the industry will continue to grow.

Do you have any advice for young technicians entering the industry? The best piece of career advice that I have ever received was from my mom, who said to me that it doesn’t help if you make a lot of money – but you are miserable while doing it. When choosing a career, make sure that you do something that makes you want to get up in the morning. Working in the events industry is not the easiest career path. The hours are long, clients can be difficult, and you have to be able to work under pressure. While it is challenging at times – I can’t imagine doing anything else. The most important thing that young people coming into the industry need to realise is that nothing comes easy. The biggest mistake that a lot of youngsters make is arriving with very unrealistic expectations. They walk in, right out of college, and think that they are going to make it big on their first show. To make it in this industry, you have to start right at the bottom and earn your stripes. Rather get to know the tools of the trade, learn the equipment and how it all gets pieced together. That way when you eventually get to design a show and need something changed, you understand the potential impact it might have on delivery time and the crew working on the job. Never ask the crew to do something you won’t do yourself! Roll a cable or load a truck. Make your fellow crew members a cup of coffee. Some of the best business deals and friendships start with a cup of coffee. If you make sure that people can rely on you to do the jobs that are not glamorous, eventually more responsibilities will come your way – which will create the opportunities to work alongside the guys that will teach you what you need to know to make it to the next level.

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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