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    CHAUVET Professional Bold at Mediatech Show in South Africa

    CHAUVET Professional displayed a great selection of luminaires with distributor Audiosure at the Mediatech Advanced Technology Trade Show in Johannesburg, South Africa. Our stand was sharp and bold, housing fixtures like the Legend 230SR Beam bright moving yoke, Nexus 4×4 pixel-mapping wash light, Q-Wash 436Z-LED wash controllable in five sections, fixtures from the Ovation line of theatrical lights and more. The CHAUVET Professional and Audiosure stands were built of TRUSST, backed by Chauvet. Here are some beautiful shots:

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    CHAUVET Professional Colors Upscale Wedding

    About 35 CHAUVET Professional fixtures dressed up in beautiful colors a wedding at the Community Center in Ciudad de Mexico. Lighting Designer Yonathan Mendelsberg of Lomas Eventos used 24 Q-Wash 560Z-LED wash lights, four Q-Spot 560-LED moving yokes, four Legend 1200E Spot fixtures and two Legend 300E Beam lights. More CHAUVET DJ SlimPAR Tri 12 IRC lights washed the venue in vivid colors. The gear was supplied by Novelties Mexico.

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    CHAUVET Professional and Porter Robinson Explosive in Austin

    Fifty-seven CHAUVET Professional fixtures were part of an explosive design for a performance of EDM Producer and DJ Porter Robinson, promoted by Nightculture, DiscoDonnie, C3 and hosted by Emo’s venue in Austin, Texas. Justin Jenkins and Daniel Wyatt of Creative Production & Design of Texas specified 18 Legend 230SR Beam moving yokes, 36 MVP 18 modular video panels and three AmHaze professional haze machines. Jenkins built a 2-by-6 DJ façade of 12 MVP 18 video panels and used more as a backdrop behind Robinson. The Legend 230SR Beam fixtures shot bright beams from the floor and flown on truss. “Legend 230SR Beam is an awesome fixture,” Jenkins said. “It’s very bright compared to comparable units and I got a lot of positive feedback about them from artist management.”

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    Photo Credit: RohoFoto

     

    Tech Talk: “On Tour: Tait Stages” or Watchable Reality TV

    Mike Graham comfortable in the spotlight.

    Mike Graham comfortable in the spotlight.

    Written by Mike Graham, product manager for CHAUVET Professional

    I was flipping through the guide a few weeks ago and stumbled on a reality show that cannot possibly be staged. Reason being: it’s all about building stages. “On Tour: Tait Stages” gives a pretty realistic view of what goes on from planning a show all the way to the first few load ins. The AXS TV website describes it as “a documentary series following the employees of Tait Towers and its clients with a behind-the-scenes peek into the world of designing, building, and touring stage sets.”

    While I have never tried to pull off anything as complex as what Tait Towers does every day, I can find this show easy to relate to as the process, no matter the scale of a show, is still the same. As I consider myself an industry professional, my wow factor is set pretty high—I am not easily impressed. However, I can freely admit how extremely impressed I am with how this show is put together. The access that Tait Towers allows the camera crew is pretty stunning.
    Tait Towers Bon Jovi Hexs

    Without revealing any top trade secrets, I think it is cool that they show as much as they did during the planning stages of the Bon Jovi “Because We Can” tour. Specifically, the scenic design going through revision after revision while trying to get elements built so that the build process would not fall behind. Without ruining the ending for you, they did succeed. As for budget, well, they never brought that up.

    During the Madonna “MDNA” load in, they showed how they label their scenery carts. They not only have their logo on it (so you can see who it belongs to), but also its stage location, the items that are on the cart, as well as a 3D CAD rendering showing how the items on the cart go together and how they are used in the final assembly. For me, this one bit of insight was worth watching the whole show.

    It was really cool to see how the different teams of designers, fabricators, accountants, MP900402515and clients all work together. It is extremely apparent that there are major stressors at play during the filming.  Deadlines do not change, even when the plans do. Problems come up in the real world, and they have to be dealt with before they get out of hand. Watching someone else deal with these never-ending issues is a great learning experience for all of us.

    This show gives us an inside look at the touring industry from an insider’s point of view. While watching, I am taking away from it as much useful information that I can. For someone outside of our little world, it is good entertainment and should make people realize that the show does not appear from nowhere.  It takes time and effort to make it look awesome. It is also vindication to anyone whose parents told them there is no money in rock and roll.

    For anyone with an interest in this industry — and I would assume that you do, as you are reading this technical tip — I would strongly suggest checking this show out:

    ON TOUR: TAIT STAGES – Bon Jovi’s “The Hexes” – Part 2 from Dialogue Pictures on Vimeo.

    Victor Manuelle Shines in Puerto Rico under CHAUVET Professional Lights

    About 150 CHAUVET Professional fixtures were used on stage for a recent Victor Manuelle concert in San Juan, Puerto Rico. Lighting Designer Alex Soto specified 52 Q-Wash 260-LED moving yokes, 36 COLORado 1 IP wash lights, 26 Q-Wash 560Z-LED moving head fixtures, 20 Nexus 4×4 pixel-mapping wash lights and 14 COLORado 4 IP battens. The gear was supplied by Musique Xpress Lights of Puerto Rico.

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    CHAUVET Professional Fixtures Work for a Dream Wedding

    CHAUVET Professional fixtures recently colored a wedding at Lancashire County Cricket Club in Manchester. Mike Nunn with Luminate Event Production Specialists specified Legend 412 pixel-mapping fixtures for the front stage flown truss, next to Q-Wash 260-LED wash lights, which were placed on the floor. Nunn also used Q-Wash 560Z-LED moving yokes, COLORado Batten 144 Tour linear lights and WELL fixtures for uplighting.

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    LD Profile: Matias Cardillo

    matias-blogSix questions with Matias Cardillo, lighting designer of Panama who created the design for the Special Olympics in Panama, Daddy Yankee concert in Panama City, “Dancing with the Stars” show and more. 

    1. How did you get into this field?
    I started in Argentina 21 years ago, while I was working as a courier for a lighting company. I liked the industry so much, after one year I moved in the technical department. In Panama I have been practicing for about 10 years, working on concerts, festivals, corporate events and more.

    Show-12. What do you think is the next big thing in the lighting industry?
    I would like to see more LED fixtures that consume less electricity and require fewer cables to mount. Also I am interested in seeing more products that mix lighting with video.

    3. Do you have a favorite fixture (and why)?
    I love the COLORado line from CHAUVET Professional, especially the COLORado 2 Zoom IP and COLORado 2 Tour. These lights are very resistant, sturdy and reliable.

    Show-24. What has been your favorite design/project?
    One of my favorite projects has been the Special Olympics at the Rommel Fernández Stadium in Panama City. I did the design and programming, and used 60 COLORado 3p IP fixtures. I enjoyed working on this big project because the client was very cooperative and provided me with the tools I needed to use my imagination and bring to life my vision for this show. Another project I am fond of is a Daddy Yankee concert in Panama City where I specified CHAUVET Professional COLORado 3p IP and CHAUVET DJ LEDrain 64C fixtures. For the popular show “Mi Papa Es Mejor Que Tu Papa” that ran on TVN Panamá I used again COLORado 3p IP and LEDrain 64C fixtures, and CHAUVET DJ COLORstrip battens.

    Show-35. What has been the biggest unforeseen obstacle that you’ve faced in one of your designs, and how did you overcome it?
    Panama is a small country with fewer resources than a bigger country, like the U.S. This translates into smaller shows and not enough funds for a more elaborate show. The most difficult throughout the years has been delivering great designs with the existing resources.

    6. Complete this thought: A show without light is like … a day without the sun.

    CHAUVET Professional Launches New Fixtures at InfoComm

    Chauvet displayed a great selection of LED wash lights, video panels, pixel-mapping fixtures, and architectural lighting solutions at its two booths at InfoComm. Additionally, we launched new luminaires, including Ovation C-640FC cyc fixture, two new pixel-mapping wash lights Nexus 2×2 and Nexus 4×1, the redesigned and upgraded ÉPIX Bar 2.0 and ÉPIX Strip 2.0, compact and precise COLORado 1 Tri-7 Tour, WELL Quad-M small battery-powered wash uplighter, COLORado Batten Quad-9 IP bright linear wash, COLORdash Par Tri-18 VW durable PAR-style wash light and COLORdash Batten Quad-12 linear fixture. The booths were built with TRUSST, backed by Chauvet. ILUMINARC, Chauvet’s brand of architectural lighting, also featured a variety of interior and exterior lighting solutions.

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    Tech Talk: No Effect Before Its Time

    Mike Graham comfortable in the spotlight.

    Mike Graham comfortable in the spotlight.

    Written by Mike Graham, product manager for CHAUVET Professional.

    Building up anticipation is a powerful tool. You hear it in music with the lead up to a crescendo, you see it in a suspense movie, you read about it in great works of literature. But…you are supposed to also see it in lighting.

    I. Start small, go bigger:
    One of the things about a great light show is to create a sense of anticipation in the audience. The key to this is to not give away all of your tricks in the first 10 seconds of the show. Take your time. Bring in effects slowly over the course of a show. I’m not saying to make the beginning of your show boring. On the contrary, make it dynamic with moving heads with sharp focus and no gobos positioned at contrasting angles. Use your static fixtures in primary colors. If you are using video panels, keep the content basic. As the show goes on, start adding in effects slowly. Add in gobos to the movers, start using mixed colors in your pars. Always hold something back to be used at the right moment. Having spinning gobos and prism wheels for the entire show is going to get really old quickly for the audience; however, using it when it makes sense is really effective.

     VeeLounge-sp2II. Effective effects:
    Adding effects when the time is right is really important. If a song does not call for a strobe effect, don’t use it. You have to make sure that your design ideas make sense. For example, having massive color changes and your moving heads in an offset can-can for a dramatic slow song is a really bad idea. However, you can do a nice blue stage effect with some red or purple overtones — this will look really nice. Add in a few break-up gobos on the backdrop and now you have something really sweet. If you are covering “Pinball Wizard,” then having the movers going crazy with massive color changes makes perfect sense.

    VeeLounge-sp1III. Cue structure:
    Cueing is really important. Or at the very least, make sure that you know what material you are lighting, so that you know when to make a change. For the lights to match the subject you are lighting, you have to have motivation from the stage colors to change. I’m not saying that the cues have to be predictable, but if your talent is standing stage left, making the lights move to stage right is not a good idea. You have to wait for the time to be right. Hitting “go” at the wrong time can really mess up a show. This is particularly true for magic acts, acrobats, and jugglers. If you mess up one of their cues, it could mean a trip to the hospital. Again, anticipation of a lighting change is a powerful thing. You are creating an imaginary experience for the audience. It is up to you to accent what is happening on the stage. The light has to convey the right message to the audience and it has to match the action on the stage.

    VeeLounge-sp3All in all, the idea of good lighting is to make sure that something that is happening on stage motivates you to create a lighting look. Using that motivation will ensure that you have created a design that will make the audience appreciate the show that you have worked so hard to design. Let the show content guide you in your design and you will almost never be wrong.