The show will draw on MCL Manchester’s considerable experience in staging large-scale events, with previous projects including Creamfields, Party in the Park, Manchester Millennium Celebrations and many more. MCL will be providing audio, video, lighting and staging requirements for the organizers and will be preferred suppliers
The high-technology show featured an all-digital fibre optic linked audio set-up using a Stagetec Cantus/Nexus control system and a JBL Vertec PA. For the first time, the show’s set was designed around an LED screen, with no less than three Lighthouse LVP1010 screens. Stefano Montesi, RAI’s technical head at Sanremo, says the idea for the LED screens was set designer Gaetano Castelli’s. They were supplied by Eurovideo, a Lighthouse rental partner based in Casarsa Della Delizia, who also handled inst
Creative Technology was responsible for an impressive quantity of display devices including large scale projection equipment, screens, LED panels and plasma displays. Using a total of 14 Digital Projection and 11 Christie Digital projectors, CT displayed the evening’s images onto a variety of screen sizes and shapes. For the extremely bright ‘Best Picture’ screen, CT utilised Digital Projection technology, including two 15 SX and one 25 SX projected onto a 16ft x 29ft Stewart screen. The ‘Cinerama’ screen consisted of a massive 18ft x 72ft Stewart Aeroview 100 screen that was masked
Few UK companies have the resources to be able to service such a wide range of venues and sporting activities simultaneously, and Dave Crump confirmed that the implementation should require participation from almost every company within the Group - notably Screenco, MCL Manchester and Dimension Audio. Crump himself will be co-ordinating the overall project as well as the Screenco activity, while Jamie McAffer will be project managing for MCL Manchester and Mark Boden for
In addition to lighting the exterior of the Royal Opera House, two Audi cars, one a vintage 1930s model and the second, the latest A4 convertible, were also on display. In support, Fourth Phase London and DHA Lighting joined forces with Pandemonium Events to make sure the evening was a success. To light the two cars Fourth Phase London used Source Four Pars and a Source Four profile. The cars were lit in open white, whilst the profile was equipped with a DHA monochrome gobo and projected the famous Audi rings onto the pavement between the cars. Two Mac 500s, also f
(Ruth Rossington)
"Originally, the store was going to use a combination of conventional projectors and projector cubes," says Lighthouse’s Dave Gunn. "But once they saw the brightness of LED screen, they were bowled over by its dramatic effect, which also meant that they would not have to reduce the levels of ambient light in that part of the store, which would have been the case with projection."
Lighthouse has developed a number of strategic alliances w
According to industry market research data, BarcoEvents counted over 60% market share (by value) of the total global LED rental market during 2001. The recently-released growth figures indicat
Onyx Projects were asked by architects Smith Caradoc-Hodgkins (SCH) to design an integrated AV solution after the two companies had worked together on developing the Rainforest Café concept. There are three individually styled restaurants contained within the vast 22,000sq.ft footprint on the site for the former Thomas Cook head office - occupying the ground floor and two basement levels. The feature area - La Rascasse Restaurant - is a large, 170-cover banqueting room, which is also available for corporate functions
Microsoft corporate social responsibility manager Sarah Foxall commented: "SPS was able to proactively think through the difficult issues presented by the event, and come up with solutions that allowed us to put on a great evening for our guests. With the generous support of our suppliers like SPS the Microsoft Charity Ball has been able to raise over £360,000 for the NSPCC over the last eight years." Ray Lowton, SPS's head of sound, said: "We try to make these events as painless for charities as possible. Working with charities is always rewarding and we like to feel that we can find time
The lighting design was a collaboration between the show's technical director Phay MacMahon and LD Barry Halpin. MacMahon also designed the stunning in-the-round stage and set (both on the ground and in the air). With in-the-round being the most challenging of live performance perspectives, MacMahon and Halpin have created a breathtaking show full of drama and surprise. Bandit Lites - who also supplied Westlife's first tour last year - mustered over 120 moving lights - including 45 Martin MAC 2000s, 40 MAC 600s, 20 MAC 50
Both projection systems are engineered and manufactured at Christie’s IS09001 registered facility and are designed for applications where high reliability, long-term performance and stability are critical. The CS70-500Xe stackable cube displays native SXGA (1280x1024) resolution across a 70in diagonal high-contrast, high-gain screen, manufactured also by Christie. The depth of the CS70-500Xe is only 34". Using a 500W CERMAX Xenon user-replaceable lamp, the CS70-500Xe projects over 700 cd/m2 (nits) ANSI brightness. The double speed, six-segment colour wheel ensures long life and high reliability.
The RPMS-500Xe is the rear
Muse’s creative designer Oli Metcalfe was so impressed with the demonstration organised by XL Video’s Des Fallon that he immediately recommended Catalyst to the Band. They then visited High End’s Ealing office, and were blown away with the system’s capabilities. XL’s Mark Hughes is rigging the system, and Metcalf is controlling the Catalyst via DMX from his Wholehog II (with extender wing) console. Metcalf is running a wide assortment of video clips and media via the Catalyst including stunning abstract patterns, water effects,
First demonstrated at PLASA 2001, where visitors to Wybron's stand could see themselves captured on a camera controlled by the Autopilot II, the system should prove invaluable to smaller television or film production companies, where staff are at a minimum. Easily operated, a transmitter carried by a presenter or actor sends out signals to receivers, which are connected to the Autopilot II controller. Mounted onto a moveable platform controlled by the Autopilot II software, a camera will then follow the person carrying the transmitter, ensuring they're kept in the frame. The Autopilot II was used with High End Technobeam
Projections have already proven to add individuality and effectiveness to an exhibition stand, theatrical production, conference, product launch or film/television production. Anywhere that a temporary projection may be needed is where the flexibility of ImagePro will be indispensable. The image is created on a plastic iPro slide with full colour high quality images printed on high temperature plastic. Rosco has hundreds of images available for immediate use, catalogued on
The launch, to ERF’s dealer network and key customers, was particularly important because it is the first time ERF trucks have incorporated cabs developed by their parent company MAN. For One Box managing director David Langdon and his team, the challenge was to develop a show concept that would communicate the company’s heritage, the driver benefits of the new range and allow a large-scale product reveal. The solution was a dramatic AV presentation projected onto a 40ft high, 130-degree arc of drapes. This was delivered using Blitz Vision’s Suite P system and an array
Lamb, himself a contemporary of Dauksts, is rumoured to stick at the job for the love of rock ‘n’ roll and the huge variety of golf courses this career affords him. Which just leaves Adams himself - why does he keep doing it? "This tour has been running pretty much continuously since ‘98, two weeks on, two weeks off," said LD Mac Mosier. "He just loves touring. He said it to the crowd at the last show - I don’t have an album out, I’m not promoting anything, I just enjoy being here."
Beyond my own personal like for the artists’ song writing and his live performance, this proved heartening news. As with Travis, which I’d seen the week before, I polled the audience; for a middle a
In 1999, Christie signed a three-year agreement to supply Lucasfilm with the latest projection equipment to meet its production needs. Christie projectors were first used by Lucasfilm in the post-production of Star Wars Episode I: The Phantom Menace, and were used even more extensively for Attack of the Clones. With the decision to shoot Episode II digitally, Christie projectors played an important role in the production of the movie as Lucasfilm took a Christie projector on location to Australia to review daily footage. In the final post-production phase conducted at Industrial Light & Magic, a division of Lucas Digital Ltd, the filmmakers used a Christie Digital Cinema
By adding several new features to its rental management software system RentalDesk, Navigator Systems have now made it possible to search quickly and easily for the ‘First Available Date’ for the ‘demo’ item required. Thus, if a company requests a mixing desk for a five-day period in June, the sales rep can check whether it’s available for that period and if it isn't, give the
In view of the humidity in the pool, one of the recommendations made by Screenco was the need for displays to be rated to IP65 for dust and water protection, as confirmed by Graham Andrews, Avesco plc Audio Visual Services Division managing director. "We chose the D10 on its price versus performance ratio and its IP65 front and rear characteristics, which make it ideal for the high degree of outdoor arena and stadium work in which we specialize."
(Ruth Ross
PGI - who have offices in 30 cities across the world - offer business-to-business communication, exhibition and trade show services and destination management, and have been working with Creative Technology for over three years. A purpose-built theatre, which ran demonstration shows eight times each day, required three remote control cameras and four lipstick cameras which were placed on the new Xerox DocuColor iGen3 in the theatre and at various other places around the Xerox stand. Throughout each show, presenters were abl
Almost a year to the day after completing his contract at Greenwich, Gerry Logue has joined technical director Roland Hemming to become Live Business International’s technical project manager. Hemming comments: "I’ve been trying to get Gerry on board for ages, but distractions such as his consultancy for the Commonwealth Games and work managing a large video conferencing project have prevented us from working together until now. I'm glad he has finally seen the light and come home."
During his 20-year career, Gerry has established himself as one of the best audio-visual project managers in the industry. He coordinated the sound at Madame Tussauds and Rock
When the idea of projection was thrown into the production mix, E//T//C’s Ross Ashton was approached by Chris Slingsby and Dave Hurd from Imagination. The platform was already decided upon, and then they needed over 100 different cross-fading images projected, large and clear, onto the wall at the end of the platform. The images were to be projected onto an arched projection surface, custom designed by Harkness Hall, attached to the wall at the station end of the platform. Since the r
David joins Lighthouse from Pilkington Micronics Ltd, where he spent three years as regional sales manager and brings with him a wealth of knowledge of the region and its markets. His past projects include Hong Kong Airport, Kuala Lumpur Airport, the LG Kangnam Tower in Seoul SK, the Peak Tram Redevelopment in Hong Kong, Café Deco in Hong Kong, Hong Kong Jockey Club and the South China Morning Post building in Tai Po (Hong Kong), and while in the LCD field he also worked with the likes of Philips, Variatronix, Ye
