Millimetre precision with ChainMaster
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(Lee Baldock)
(Lee Baldock)
The US exhibition currently underway, started on 16 October and runs until 2 January, incorporates objects addressing human fears and worries, from the most exceptional to the most mundane. Mojo Barriers was identified by the exhibition's organizers as an object of safety, through their use at events across the world, displaying the barrier with details of its creation and use.
Patrick Jordan of Mojo Barriers commented: "It was a surprise to be asked to provide a barrier for an exhibition, and for it to be featured in the display rather than as a guard for it! It is a compliment that other people have identified our barriers as
Andrew was the first name selected and upon being notified, he said that he is "very excited" to be given the opportunity to attend. He's a senior working to complete his BFA in Lighting at NCSA. The training he'll get at Tomcat's workshop will be a great compliment to the education he's receiving at the world renowned school.
Randall Flaws is the President of Windy City Sound and Lighting in Burr Ridge, Illinois. He and his brother John founded the company in 1980 which has producti
CyberHoist / InMotion 3D was awarded Rigging Product of the Year, while the live demonstration earned system developer XLNT the Best Creative Use of Light Award for its booth, the work of lighting designer Michel Suk and motion control programmer Eric Berends. Both accolades follow the system's PLASA Award for Innovation at its European launch in London last year.
"2006 will be a fantastic year for CyberHoist in North America," says XLNT Advanced Technologies' executive sales manager Marc van der Wel, after the Awards and savouring the enthusiastic attendees' response. "The market is ready for a new and truly accessibl
The announcement says that the trade agreement will maximize the skills and competencies of both companies: Martin Professional France will make the most of its wide experience in the distribution of frames in order to strongly develop the A.S.D. brand. A.S.D. will now concentrate its resources on manufacturing, as well as on research and development of new products.
Thierry Chenot, A.S.D's sales director, stated: "This agreement is a real opportunity for our companies. A.S.D. will now be able to devote itself fully to the developme
"Ches has a wide experience in the lighting industry, particularly within the lighting control and structured wiring system sectors," comments sales director, James Hughes. "His knowledge of these products, the market and the demands of installation projects places him in an excellent position to provide consultants and contractors with invaluable consultation and support."
Metway is a major supplier of structured wiring systems for commercial properties and has worked with many of the country's largest electrical contractors on a number of prestigious projects.
(Sarah Rushton-Read)
Stage One was responsible for building the Paul Bonomini designed set for the opening ceremony, which highlighted the history of the region, including shipping and pearl diving. Students of Aspire played a starring role in the performance.
The set included several stages, a huge desert backdrop, billowing wave effects and the movement of a dozen aerial performers swimming 'underwater' across the set, using Stage One's Q-Motion control system. To achieve this, Stage One mapped each individual performers
(Lee Baldock)
After a number of years at its Highbury base, the company recently completed the move to the Neasden site, which offers more flexibility in terms of equipment warehousing and office space. Director John Hastie described the company's current workload in the UK as "manic": engineers are involved in a variety of projects including the refurbishment of London's Royal Festival Hall, due for completion in 2007. The company can now be contacted at 9 Falcon Park, Neasden Lane, London NW10 1RZ.
Meanwhile, the company has also announced the opening of a permanent US office in Las Vegas, Nevada, to be headed up by company director Kevin Taylor, with support from two full-time staff. The move follows Stage Technologies
Framing the stage for the Gorillaz performance, Blackout supplied 4 track systems fitted with red velour to represent a secondary proscenium arch. Two 12m x 9m white filled cloth and red velour Kabukis drops added a projection surface. A "Peppers Ghost" effect was created using two translucent panels and a projector truss and projector beams bounced images back on screen where they were combined with life size silhouettes of band m
The trunks are a brand new design based on a familiar 5 Star hoist case shell, with further enhancements including a refined CNC machined cradle support. This cradle system comprises 24mm birch ply which
Between the audience and the production personnel, security and the artists were 240m of Mojo Aluminium Barrier incorporating 120m of back stands. Mojo Barriers director Jim Gaffney has supplied crowd barriers to Oasis for many years and while Oasis fans have always been exuberant audiences, there have never been any problems. So no-one expected the surge that swept through the crowd in Manchester Stadium in July 2nd during the band's summer tour, causing the front of stage barrier to move as the show was about to start.
There were no inj
The upgrade was essentially a second phase of initial refurbishment carried out by ELP in the summer of 2004, providing two further CM12 motor controllers, eight more Socapex/C-Form splitter boxes, remote control handsets and multi-point linked Emergency Stop system, in addition to automating the whole system.
ELP project manager Toby Dare's brief was to provide a series of rigging presets for the venue's various show modes, so an Ibex automation system was specified to drive the Out Board motor control distros. To ensure absolute repeatability, all 32 CM Lodestar hoists were fitted with O
Working closely with the BBC executive producer Paul Davies, Imagination created the awards environment, which was not only used for the live television programme but also played host to a pre and post transmission party for over 650 VIP guests.
This year's environmental set included a varied colour palette including vivid greens, blues and an eye-catching purple. The set was developed around several live filming requirements including multiple interview staging areas, graphic treatments for the stage and floor as well as lighting and projection design. The inte
PRG Scenic Technologies provided automation, control systems, scenery and lighting for the six automated display windows, each themed around 'It's Christmas in the City'. The holiday windows recently earned the platinum award (first place) in the 2005 DDI winning windows contest, given out by Design and Display Ideas magazine. "Winning the DDI Award is like winning the Oscar for best picture in our industry," remarks Paul Olszewski, Macy's director of windows, who hired PRG Scenic Technologies for the project. "It's the first time Macy's has won the award, and to
Stage One built several different sets for the show, which was specially written for the theatre. The complicated set designs had a massive visual impact and Stage One faced the challenge of capturing the designer's 'magic' whilst creating the sets: a recycling yard; the magic tree itself; a circus and a complete proscenium and floor. Simon Wood, added, "We enjoy getting involved in theatrical productions - especially a show like this as it really gets our team in the festive spirit."
The set for the recycling yard, where the shows central family live, has proved to be a feast for the eyes as it truly draws in the audie
Working with show technical director Adam Wildi, creative director Simon Garrett, and executive producer Moira Hunter-Ross, the Summit team of 12 riggers was led by Jon Bray and Chris Walker.
They arrived on site three weeks before the event, and began creating a rigging infrastructure in the enormous 290,000sq.m Aspire Dome. This houses a wide range of sports facilities including a 200m running track where the opening ceremony was staged.
The Aspire Dome was completely bare in terms of rigging facilities, apart from the structural roof trusses, which Summit took as their starting point. Over 1100m of trussing and 130 Lodestar hoists later, they had a flexible grid system to enable lighting, soun
Taking the form of a Day One Teaser followed by a Day Two Reveal, Stage One transformed a sea container for a series of events (detailed below) by painting it matt black, manufacturing four small stainless steel barred windows of varying size and providing a timed sound and light programme from within the container, triggered by sensors. The company also produced a number of graphics to be placed on the side of the container.
On the Day One 'teaser' the only graphic on display on the sides and doors said, 'www.95unleashed.co.uk' - and from a distance, passers-by could see flashing orange and red lights and strobe welding-effect lights. They could a
Broad was one of the founding partners of Star Rigging, which subsequently merged with Star Hire to form Star Events Group Ltd in 2003. Since then, he has been trying to balance the constant demand for his services at gigs with the increasing responsibility that came from running a division of the expanding Star Events Group. As there are not enough hours in the day to do both, he has opted to go back to working independently on his own projects, the company says.
Maddy Sheals, HR director for Star Events Group, told us: "It is clearly easier to find someone to manage a division of the company than to find another Phil Broad, and we'll be looking for a suitable manager in due
The show opened in the West End's Gielgud Theatre in October last year and runs into the middle of January. The tale of crime is told against changing scenes with lounge sofas, coffee tables, dining room and patio furniture moving on automated trucks, sliding quickly and smoothly into position to completely changing the setting for the drama.
Stage Technologies' Illusionist control desk has been installed in many fixed venues in the UK and America but this is the first
Stage One's work included; building the core set for the main presentation area, masking flatage for the dining area and stage backing for a smaller presentation area.
Nick Murtagh designed the main set with a core emphasis on smooth, flowing lines, and Stage One was thus firstly tasked with constructing four juxtapositioned oval stages of varying heights, each carpeted in a different colour and with a painted facia. The company then built a series of white filled cloth flats, providing a backing for two rear projection screens, and a central logo panel.
The seamless nature of the set was emphasised as the central logo panel curved down
In December, Arena Seating's well known red tip-up seats accommodated music audiences at the last of the shows at the temporary Wembley Arena Pavilion whilst fans also enjoyed Rod Stewart, The Foo Fighters, Coldplay and Duran Duran at the series of sold-out concerts at Earls Court.
Nearly 20,000 seats were supplied to a festival of Islam at and several school Christmas concerts and Christian celebrations of Christmas also employed Arena Seating. On the sporting front, boxing was the order of the day at ExCeL where 13,50
The SmarTmasts were used to hang seven V-DOSC and two dv-dosc cabinet line arrays supplied by Delta Sound. These were strategically placed along the Victoria Embankment in a sound scheme, designed for Jack Morton by Jim Lambert of Delta Sound, and used to amplify the chimes of Big Ben above the excited hubbub of the crowd as the 60 second pre-midnight countdown began. The PA was also used to amplify pre-show music and announcements before the spectacular fireworks, lighting, and projection kicked off on the stroke of midnight.
Summit's SmarTmasts are one of the most popularly used event PA mast structures in the UK. Delta specified SmarTmasts because they offer the most versatile solution to meet the log
The result was an orchestra pit that could be used to house extra seating tiers, or be filled out with decks and used as a stage extension. Early consultation between Maltbury, the school and the contractors, allowed vital decisions to be made and acted upon, say Maltbury, who advised that a series of bespoke Metrodeck units were the ideal solution to the theatre's needs. Sets of legs allowed the decks to be taken to different levels, giving the traditional theatre greater versatility. A be