The importance of Emergency Procedures by Roderick van Gelder


Thanks to Roderick for allowing to repost his newletter from the Australian Entertainment Safety Resource Guide

One of the most interesting pictures from the Tomorrowland fire in Spain was the one below, it shows the evacuation plan on the huge video screens on stage.
This is a concept I have been promoting for a long time and it is good to see it in use and working well.  All reports show that 22,000 people were evacuated from the site without injuries.  Whilst the cause of the fire may be a much longer investigation, this incident again shows the importance of having solid emergency plans in place for ALL events and productions.For an Emergency Plan to be effective, there are three stages:
1 – Prepare the plan.  This should involve as many stakeholders as possible to make sure that all instructions are practical, realistic and understood.  For larger events it may be advisable to include the Emergency Response Services.  And obviously if the venue has an implemented emergency plan then that will be the template for the event plan.  Clause 43 in the WHS Regulation outlines the details you need to address.
2 – Explain the plan to all staff and contractors to make sure that everyone on site is aware of their responsibilities within their work area.
Make sure everyone understands the Emergency Colour Codes as defined in Australian Standard 3745. Don’t be tempted to make up your own set of unique codes.  These colour codes are also used by the Emergency Response Services and using different codes could lead to confusion.
3 – Make sure you can show the Emergency Procedures to your audience if needed.
This is where the huge video screens can be of great help.  Whether permanently installed in large stadia, as part of the stage design for concerts or even the screen for your PowerPoint presentation, all can be used for getting the Emergency message across.But always make sure you have an Emergency Plan for your event.  Often that can be the venue plan, you still have to make sure all your staff and contractors understand it and know what to do.  It saves lives, it is worth looking into.Further reading: http://www.safework.nsw.gov.au/health-and-safety/manage-workplace-safety/emergency-plans
Reference: AS3745-2010 https://infostore.saiglobal.com/preview/as/as3000/3700/3745-2010(%2ba1).pdf?sku=1439257
Note that this is a preview only, unfortunately you have to purchase the Australian Standard to meet your legal obligations under the WHS legislation.

On the subject of emergencies, I recently came across this article by Steve Adelman.  Just posting the link here as ‘food for thought’.  I have just received the book and will comment further in a future newsletter.
http://www.adelmanlawgroup.com/2017/07/12/event-security-black-swans/

Other emergencies

Often people think that emergencies evacuations are the only thing to worry about but there are many other situations which are classified as emergencies that need planning and a thought out response.
Here are just a few pointers of things to look at.
A – Medical Emergencies.
When you have large crowds of people in your workplace it is only a matter of time that someone needs medical attention.
Clause 42 requires you to provide First Aid for your workplace and that can include calling an ambulance.
Do you and your staff have all the required information handy when you call ‘000’?
Information such as the full address INCLUDING the nearest cross street?
If in a large complex or a temporary site, do you have someone who will meet the Emergency Responders at the entrance to take them to where help is needed?  For you ‘Blue Stage’ may be very clear, for an Emergency Response Team not so much.  In an emergency every second counts so it is important to make sure they can find you.  For more remote locations, have map references or GPS coordinates ready.
B – Weather
When running outdoor events weather becomes a very important part of your emergency planning.  Not just wind gusts that can play havoc with your structures on site, rain, hail and thunderstorms will require well planned responses.  And again, communication is important to avoid panic and take people to safety in an orderly manner.  Use the video screens to post warnings whilst the music is still playing.  Make sure someone is in contact with the Bureau of Meteorology or a specialist weather service for updates on forecasts.  Again, time is the difference between success and failure.
C – Bomb threats
Maybe unlikely but you still have a duty to consider the response to a bomb threat at a mass gathering.
Do your research, make sure all listed contact phone number holders have received instructions on what to do if they receive a bomb threat phonecall.  Have clear systems in place to determine who responds to the threat, who takes command and decides what actions to take.

These are just some of the things we need to think about and plan for.  Talk to your team, discuss what is covered and what isn’t.  Check who knows the plans and actions and who may need a refresher.  Put is on the next meeting agenda and discuss.

Suggestions?

Any suggestions for topics in future newsletters or comments about this one will be much appreciated.
Please send me an email here: AESRG@stagessafety.com

 Copyright © 2017 Australian Entertainment Safety Resource Guide, All rights reserved.
At some point in time you expressed an interest in the Australian Entertainment Safety Resource Guide. This newsletter is to keep you up to date with development.

ARX’s new Network DI Dante Network audio interface: press release


The new Network DI from ARX is an analog breakout box using the popular Dante network protocol to extract audio from a network and convert it to Transformer isolated analog audio, suitable for connecting to mixing consoles and other devices requiring an analog source.

The new Network DI from ARX is an analog breakout box using the popular Dante network protocol to extract audio from a network and convert it to Transformer isolated analog audio, suitable for connecting to mixing consoles and other devices requiring an analog source

A Mono switch on the front panel provides Left and Right analog summation for applications requirig a mono signal

The Network DI is housed in a heavy duty all-steel chassis finished in attractive matt textured polyurethane, with hardwearing epoxy screen printing and slip resistant rubber base pad.

Security features include an optional bracket kit for under-table mounting.

Dante Overview: A look at how the Dante Network system and protocols are changing the world of Audio Networking is here

The Network DI is designed to receive audio channels from a Dante network and provide studio quality, low latency audio via balanced XLR output connectors to analog audio equipment.

Thus any audio available on the network can be converted to Analog and routed via the Network DI to, for example. an amplifier, or powered speaker(s), mixing console, digital signal processor and many other analog audio devices.

Dante Audio In

  • Input Connector 1 x RJ45 Ethernet
  • Sample Rate 44.1KHz, 48 KHz (default), 96KHz
  • Bit Depth 24 Bits
  • Network Speed 100 Mbps
  • Power Consumption 2 Watts max.
  • Power over Ethernet Class 1 802.3af POE PD compliant

Analog audio out

  • Output Connectors 2 x Male XLR connectors, Pin 1 Chassis ground, Pin 2+, Pin 3-
  • Output impedance 150 ohm balanced, 75 ohm unbalanced
  • Output Level +4dBu @ 0dBFS
  • Frequency Response 20Hz – 20 kHZ +- .5dB
  • Dynamic range < 100dB
  • Signal to noise < 100dB
  • THD <.01% at +4dBu
  • Features: Mono Switch L & R summation
  • Construction: All-steel chassis, fibreglass PCB, epoxy printing, slip-resistant rubber base pad
  • Precision engineered
    With a couple of exceptions, all products in the Audibox range share a common footprint and manufacturing platform. Offset lid screws enable close side-by-side mounting of multiple units.

Meanwhile, Back in the USA.

The Walt Disney Company recently took delivery of several ARX products including the BSX-16 Broadcast Splitter, Blue DI, USB-DI, USB-I/O and the USB-I/O VSR Direct Boxes.

ABC Television in New York just took delivery of ARX Iso Splitters to add to their production resources.

ARX products are distributed in Australia by:

The Resource Corporation P/L
www.trc.com.au
sales@trc.com.au
PH: 03 9874 5988

The Brolga Theatre goes multi-Platinum with Elation


The Brolga Theatre in Queensland’s Maryborough is a typical regional venue – its 900 seat proscenium arch theatre hosts an international ballet troupe one night, Jimmy Barnes the next, and a local dance school the day after. Though the venue is just 17 years old, changes in technology mean replacement lamps are no longer available for their wash lights, leading the staff to assess how to upgrade for the future. The future, as they see it, is Elation’s Platinum Seven RGBWAC-UV LED wash.

“We knew we have to move to LED and intelligent fixtures,” said Robert Haigh, Operations Technician at the Brolga. “We could afford to replace our wash, but not our profiles, so it was an easy decision to go to a moving fixture that could provide a wash, and in the case of Elation’s Platinum Seven, work as a profile in many senses.”

Twelve Elation Platinum Sevens have now replaced an amazing 48 fresnels in the Brolga’s rig, leading to big changes in the crew’s workflow. “Since we’ve installed the Platinum Sevens, we haven’t had to focus a profile,” reported Robert. “We can focus the Platinum Sevens down to an 800mm circle on the floor from our wash position, so we can quite happily use them as a drum or lead singer profile. For a rock band, for example, we get all of the benefits of movers from the bling point of view, but when we turn off the wash, we can refocus as a profile.”

The Elation Platinum Seven uses 19 25W LEDs in red, green, blue, white, amber, cyan, and UV to provide lighting techs with incredible flexibility. Its 5 to 50 degree zoom angle and ‘silent mode’ make it a workhorse built for theatres. “Having the amber LED is critical for a good white,” observed Robert. “The market talks about RGB or CYM, but the Platinum Seven is a mix of both; whichever you prefer, you’ve got. The UV is also one of the big selling points. We finally have a good UV wash on stage, and we’ve also been using it to make our colours ‘pop’ a bit more.”

Producing 38,500 Lux at one metre on five degrees minimum zoom, the Brolga’s Platinum Sevens have more than enough power to handle any production thrown at them. “They are, literally, brilliant,” commented Robert. “We now have more brightness on stage than we used to get from our 2K white wash, but we’re getting it across all colours. There’s good coverage with no holes as you walk across stage, and, while it’s not a shuttered fixture, there’s still no spill.”

The Brolga Theatre was introduced to the Elation Platinum Seven by Graeme Hicks of Entertainment Production Supplies, whose regular visits to The Brolga to demonstrate new equipment were often accompanied by staff from Australian Elation distributor Lexair. “Lexair and EPS have been great at keeping us up-to-date on what’s in the market” said Robert. “We have had great technical support from both of them, though we haven’t needed much because the products have been so intuitive and reliable.”

Lexair Entertainment Pty Ltd

ABN: 16 126 585 028

Phone: +61 418 691 509

I wonder about some


Facebook throws up some interesting feeds. The one I am following on a couple of techie pages is certain fun, but worrying. It is all about using microphone cable for DMX. A lot of people seem quite happy to use mic cable. They do not realise that if something goes wrong with the DMX system it is most likely that one audio or 2 audio cables. A lot of the admitted to using audio cables instead of DMX cable, and it giving problems until they switched out the cable. We are a professional industry, should we not act like it and use the correct tools to make sure that the event goes without a hitch and we are seemed to be professionals. It seems if they can get away with this cost cutting idea they will. I hope though if it fails they will man up to the error and at least compensate the client whose event they have stuffed up. I know I would not be happy as a client if something went wrong that the service provider had some control over, by using the correct materials.

These guys seem get the gigs constantly and they are bringing the industry down. So read some of the Facebook comments below and let me know what you do – I dare.

Below are the two questions asked on the two different Facebook pages, and some samples of the comments. Quite a lot were trying to do the right thing and adhere to the standard. Plenty were using mics cables and just getting away with it. You will also notice that some people referring to XLR as if that is a audio cable and not a connector.

Also there arose questions about terminating DMX, which also lead to a variety of unusual answers.

Below the quotes I have provided 2 links for those that want more info about DMX.

The First Question: 

Can someone help settle a debate… can you use sound XLR cables as DMX cables for your lighting in a theatre that has over 20 intelligent fixtures? Would anyone trust it?

The Second Question:

Ok guys. I’ve been told that XLR and DMX cables are interchangeable with zero negative results. I’ve read otherwise. I know for a fact they can be used interchangeably in a pinch. Thought it’s certainly not my choice to do so. Has anyone actually experienced a problem themselves by swapping them? Not looking for theory, but real world experience. (EDIT) I mistakenly used the terms XLR vs DMX referring to the cable itself when clearly XLR is a connector. The question is 3 wire mic cable vs 3 wire DMX cable.

 

Some of the comments:

  • Alot of entry level fixtures (fixtures at what I consider to be the community theater level) are getting better at including 5 pin ports. If you’re buying new cable: go for five pin. If you have existing, quality pro audio cable stockpiled use that.
  • The worst reason for doing something wrong is “we have always done it that way”.
  • Yess no problem if the are good quality…
  • I’ve done it for multiple tours in big theaters with no problem.
  • Can you? Yes. Should you? No.
  • in new zealand 3 pin xlr and dmx are the same
  • I patch DMX via my mic/tie lines in a 18K hockey arena all the time and never had an issue with runs upwards of 700+’.
    Can you have issues? Sure but in most situations, no. YMMV.
  • Ive been using mic cables for dmx a while now and hemave zero negatives
  • The fact that doing it wrong has not bit you in the ass yet does not make you correct.

Best Reply (Similar to my own) :

Way to many people using the “it’s never failed me yet so it must be correct”.

Even when corrected.

Weak argument and only serves your ego, rather than look at your practices and improve where lacking.

if I walk into your stage and see mic cable used as dmx, I WILL think less of you and the company you represent.

When I ask for proper cable, and am rebuffed with that weak sauce excuse, I will make a note to avoid you and your company.

It will also raise my awareness and I’m gonna start looking for other hack issues. I.E. removed ground pins on stingers, burnt gel, proper cross bracing on decks, correct gauge on cables for load and run.

Do it right.
Be a professional.
It’s not hard.

LINKS

https://en.wikipedia.org/wiki/DMX512

The second link talks about RS – 485 which is what DMX is based on.

https://www.maximintegrated.com/en/app-notes/index.mvp/id/763

Termination or not. A diagram.

Robe at Prolight+Sound 2017


Czech lighting manufacturer Robe presented another high-impact booth – D80 in Hall 3 of the Frankfurt
Messe for Prolight +Sound 2017 – allowing hundreds of guests to enjoy a crowd-stopping live
entertainment show in a lively, fun interactive environment.
Once again a totally unique stand design provided a fabulous backdrop and set to demonstrate the latest
products … an action-packed programme which included a lightshow every hour and a ‘Voice of God’ product
presentation at other times.
It was the first European trade show and official launch of Robe’s incredible Spiider LED wash beam
moving light, together with several other new and exciting products that will be seen for the first time.
Robe’s official press launch that took place on the stand at 15.00 on Wednesday 5th April.
… and the company will be making a BIG and very important announcement related to one of its key
European markets …
Several new products will be launched, highlighted and shown in action and the Robe international sales
and technical support teams will be on hand offering multi-lingual assistance in German and 15 other
languages – reflecting the diversity and global flavour of both the company and the Prolight event.
The Robe Bar will be a social hub for networking and doing business, and naturally there will be a Happy
Hour for the first three days of the show with famous Czech beers, mouth-watering freshly made pizza and
plenty of hospitality!
New Products

Spiider
Spiider is a brand new LED wash luminaire that builds on the success of Robe’s best-selling ‘industry
standard’ LEDWash series … with a completely new concept and incredible optics.
It has one super bright 60W RGBW LED multichip in the centre which is surrounded by 18 x 30W RGBW
LED multichips, and it is this optical design that resembles the spider’s web that gave rise to the name.
It is also so much more than ‘just’ a wash!
It can be used as a beam and – a first for LED wash light stage luminaires – it has an eye-popping flower
effect!
The impressive zoom goes from 4 – 48 degrees, while the light output is outstanding, offering more than 50,000 lumens at 5 metres.
Spiider has all the great features that made Robe’s LEDWash series such a well-respected industry-wide
product for all applications, including a virtual colour wheel, tungsten lamp emulation, individual pixel
control, in-built wireless DMX on request and loads more.

 

LEDBeam 150
Robe’s ROBIN® LEDBeam 150 – complete with spectacular zoom range of 4° to 62° – offers fast sweeping
beams and a wide excellent quality wash light in a compact housing.
Attractive colourful chases and smooth transitions are powered by a cluster of high power 30W RGBW
multichip LEDs. The zoom uses a custom-designed optical system and an optimized motorised control
produces speedy pan and tilt movement.
The fixture has intense strobing capabilities, smooth 18-bit dimming, including tungsten lamp effects,
straightforward control via pre-programmed colours on a virtual colour wheel and the various strobing and
pulsing effects enable quick and easy programming.

ParFect 150
This highly affordable LED ACL-style beam unit now also has a zoom feature included.
ParFect 150 is a static, zoom-able version of the LEDBeam 150 and retains all the key features including
both CMY & RGBW colour control, 18-bit dimming, tungsten emulation, selectable and variable colour
temperatures and a punchy beam ranging from 4° to 62°.
Accessories like barn-doors and the gel frames give ParFect 150 a range of features required for TV and
theatre environments.

PATT 2017
Extending ROBE’s highly successful series of retro styled luminaires is the PATT 2017 … an LED driven
version that extends Robe’s PATT range with an environmentally conscious option which is driven by 7 x
30W RGBW LEDs.
A mix of colours can be replicated or the fixture can be run in tungsten variants, making excellent eyecandy
effect for stages and sets and perfect for bands, television, film and general prop lighting.
The distinctive design of the PATT series makes the fixtures like a piece of art in their own right and useful
as props as well as enhancing general ambience.
The PATT 2017 concept is based on an idea by leading international lighting designer Tim Routledge.
The 7 x 30W RGBW LEDs illuminate the sleek, spun aluminium body of the fixture which maximises the
elegant curves of the physical design. The LED cluster can be controlled as one unit or independently as 7
sources creating smooth animations, transitions and rainbow effects across the aluminium reflector,
featuring the signature “PATT“ gold-brown coating.

pixelPATT
Continuing in the retro style aesthetic, the pixelPATT is another new addition to Robe’s PATT family which
is based on modern LED pixel controlled technology.
The pixelPATT is composed of 7 x 30W RGBW LED multichips, one in the centre surrounded by a ring of
six, all housed in a super-slim and lightweight brushed metal frame.
Aesthetically it keeps the dimensions and attractive curvature of the ‘classic’ PATT 2013 and the
picklePATT which make its physical appearance desirable as well as the light source. To ensure an elegant
and a lightweight design, a remote Power and Data box – the PATT Driver – is connected to the pixelPATT
using an industry-standard 4-pin XLR.
The pixelPATT is an ideal fixture for lighting television broadcasts, concerts, fashion shows or any type of
event from awards shows and gala dinners to brand activations.

BMFL FollowSpot
Created specifically for follow-spot operation, this custom modified version of Robe’s massively successful
high-powered BMFL WashBeam luminaire comes with specific features to provide both motorised
movement and manual operation with follow-spot handles.
The BMFL FollowSpot takes advantage of the wide 160 mm front lens and high CRI 1700W lamp.
The custom BMFL light source designed for Robe produces an astounding 250, 000 lux at 5 metres and has
a wide zoom range of 5° to 55° with precise focusing.
Manually or remotely controllable features include smooth colour mixing and CTO flags, two colour wheels,
multiple variable frost filters, focus, zoom and quick pulsing iris.
Follow-spot operation can be enhanced by using the optional LightMaster handles (see below).
The BMFL FollowSpot is pre-wired for the installation of a digital camera on the head that can be
connected via the new RoboSpot base station (see below) for off-stage remote follow-spot operation.

BMFL LightMaster
BMFL LightMaster is an accessory comprising externally mounted, fully programmable follow-spot handles
with a control panel and two individual faders that enable any of Robe‘s BMFL range of fixtures to be run
as a follow spot.
Available as either side or back mounting, the two programmable faders can be assigned, for example, as
dimmer and iris. The control panel has a touch screen display, four custom programmable jog-wheels plus
ten ‘soft’ buttons so the unit can be fully-customized to suit the operator / user.
The programmable buttons, jog-wheels and faders allow the operator to comfortably trigger and control
dimmer, iris, focus, zoom, frost, colours and other parameters.
The BMFL fixture’s internal settings enable pan/tilt movement behaviour to be individually tailored by
adjusting tension, smoothness and resistance, and while it is running in follow-spot mode, the remote
console can still be used to access and take control of all these internal features, like dimmer, colours etc.
The LightMaster handles can be quick-mounted in either the back or side positions using quarter turn
locking screws, and the control panel connects to the BMFL luminaire via USB.

RoboSpot
RoboSpot is a remote follow-spot system compatible with any of Robe’s BMFL range of fixtures already in
rental stock, which has been devised as a solution for situations where it is impractical to install an
operated follow spot position.
A ground operated base station communicates with a camera mounted on the BMFL fixture which follows
the performer or object to be tracked.
The RoboSpot Camera functions (focus, zoom, precise pan / tilt movement) are DMX remote-controlled, and
it provides a ‘first-person’ view for the ground-based follow spot operator. Video data is transferred in realtime
from the Camera to the RoboSpot base station via Ethernet.
The RoboSpot base station has a video screen giving the operator a live view of the performer or object
being followed from the fixture-mounted camera. Using a set of special handles with two programmable
faders mapped, for example, to the dimmer and iris functions on the luminaire, the operator’s movement of
the handles is calibrated and fed via DMX as positional data for the pan and tilt movement of the BMFL
units being controlled as ‘RoboSpots’.
One RoboSpot base station can control up to twelve BMFL fixtures rigged in different locations around the
stage, performance space or venue.
A panel on the base station features a touch screen display and four custom programmable jog-wheels plus
ten assignable buttons is fully customization to suit the operator. The programmable buttons, faders and
jog-wheels allow the operator to comfortably trigger and control parameters like dimmer, focus, iris,
colours and the many other features of the units being controlled.
While being operated as a follow-spot, the remote console can still take control of all the
internal features of the unit like dimmer, colours, etc.

 

UV Strobe
The Strobe from Robe is THE brightest, best value, most sophisticated strobe-blinder effects unit on the
market!
Ultimately controllable, configurable and arrayable, super-fast bursts of high-powered pulses can be
adjusted in frequency, duration and intensity and optically harnessed from the 60 x high power white LED
chips and 60 x high power UV LED chips.
The UV Strobe is easy to rig individually or in multiples and easy to programme using direct segment
control or predefined macros. It is fitted with the standard Robe RNS touch screen system with DMX, RDM,
Art-Net, MA Net and sACN protocols and there is an optional wireless DMX module.

 

Strobe IP
This is a potent and mega-bright strobe wash for outdoor applications.
A high IP rating of 67 provides the reliability and robustness required for the most demanding projects,
including permanent installations or temporary events. Ultimately controllable, super-fast bursts of highpowered
pulses can be adjusted in frequency, duration and intensity and optically harnessed from the 60 x
high powered LED chips.
Strobe IP is easy to rig and programme using direct segment control or the predefined macros. Its compact
size and weight combined with adaptability make installation a smooth and streamlined process.

ColorStrobe IP
This is a colour version of the Strobe IP for exterior scenarios.
It features all the advantages of the white Strobe IP including ultimately controllable, super-fast bursts and
pulses that can be adjusted in frequency, duration and intensity, optically harnessed from the unit’s 60 x
High Power RGBW LED chips.
ColorStrobe IP is easy to rig and programme using the direct segment control or a series of predefined
macros. The IP67 rating provides reliability required for the most demanding projects and environments.

VIVA CMY
Robe’s VIVA CMY combines brightness and an exceptionally clean and clear (zero-fringing) white beam,
together with the smooth continuous colour transitions of CMY mixing. Its LED lightsource is extremely
energy-efficient.
Elegant and lightweight, this fixture is packed with smart and easy-to-use effects.
The 350W white LED light engine gives the extra punchy beam with an even flat-field and 20,000 hours of
operation! In fact, no re-lamping should be needed for the entire life of the fixture!
Smooth colour transition and vivid fixed colours can be applied from the refined CMY mixing system and
the colour wheel, and rotating or static gobos added for projections or mid-air effects. The zoom can go out
to 40 degrees at its widest and be softened up with variable frost to create a gentle wash-like output or
dynamic background projections.
The minimum 9° zoom produces a super-tight, piercingly bright beam that can be trimmed with an ultrafast
stepless iris to optimise the output further. VIVA has extremely fast pan/tilt movement utilising Robe’s
proprietary EMS™ (Electronic Motion Stabiliser) technology.

Philips Lighting set to rock Frankfurt for Prolight & Sound 2017


Philips Lighting set to rock Frankfurt at Europe’s biggest entertainment technology expo
Philips Entertainment Lighting to launch new products and turn trade show stand into exclusive rock gig at Prolight + Sound 2017

Frankfurt, Germany – Philips Lighting (Euronext Amsterdam ticker: LIGHT), a global leader in lighting, today announced, it is gearing up for Europe’s biggest entertainment technology expo, Prolight + Sound, where it will launch new stage and studio lighting products as well as showcase recent releases.

The new trailblazing products will be incorporated into the lighting design for the stand, which will transform into a stage for a performance from Dutch rock band TOM on Tuesday April 4 between 6pm and 10pm. The group sees a lineup of the original members of popular Dutch group The Marshalls, formed in 1995 (TOM stands for The Original Marshalls), who are well known on the European festival scene, in particular the infamous Zwartecross motorcross festival.

New products launching on the Philips Entertainment Lighting stand:

• Philips Vari-Lite VLZ. The first in a new range of spot, profile and wash luminaires from the iconic product line, the Philips VLZ Spot utilizes the latest high output white LED sources to produce a staggering 25,000 lumens projected from a 180mm (7”) front lens. The familiar CMY-CTO color system creates stunning, seamless mixed colors. Color shake and color wheel spin control have also been added to the mix, offering lighting designers a plethora of vibrant effects. Hard to soft edge focusing can be controlled through the 16-bit focus control channel as well as the 3-way frost control. The combination of the color and beam control makes the VLZ Spot the go-to professional moving spot luminaire.
• Philips Showline SL BEAM 500fx. The larger version of the incredibly popular Philips Showline SL BEAM 300fx, the new Philips Showline SL BEAM 500fx offers designers exceptional output from its 37 RGBW LEDs whilst being fast, quiet and extremely versatile. The effective precision optical design allows the Philips Showline SL BEAM 500fx to function as both a beam and wash luminaire. Not only that, it achieves a myriad of beautiful, intricate multi-beam effects through the individual pixel mapping of its LEDs and rotating front lens, offering designers infinite possibilities from a single fixture.
• Philips Showline SL BAR 720ZT. The new, high performance linear wash and effect luminaire offers designers smooth and seamless washes of color from studio to stage. Truly versatile, it also delivers distinctive, dynamic beam effects from its DMX motorized zoom and tilt and powerful output.
• Philips Showline SL SUNLED 10. Ideal for studio environments, the fixture’s ten cells of fixed white LEDs deliver a blended wash of warm white light emulating the conventional halogen studio strip light whilst offering reduced power consumption, low heat output and minimum maintenance. A tungsten mimic option shifts the color temperature as the luminaire dims, providing the distinctive warm tungsten look at lower light levels.

Also showcased on stand will be the new Philips Vari-Lite VL6000 Beam and Philips Showline SL LEDSPOT 300. Since its release in January, the Philips Vari-Lite VL6000 Beam has illuminated such high profile events as Lady Gaga’s critically-acclaimed SuperBowl HalfTime Show performance and her collaboration with Metallica at The GRAMMY Awards. The Philips Showline SL LEDSPOT 300 has proved ideal for studio as well as stage lighting, providing dynamic effects on the current series of Channel 4’s The Last Leg.

The latest additions to the Philips Strand Lighting range of television broadcast lighting, the Philips Strand Lighting 200F and 400F Fresnels and Philips Strand Lighting 150S and 300S Softlights will be available for demo in a specially built mock studio on the stand’s second level. The Softlights have already proved popular, being used on the Great South African Bake Off 2016 and I’m A Celebrity Get Me Out Of Here Australia 2017.

Connected remote control
Alongside the ‘television studio’ there will be a ‘control tower’ area, displaying Philips Lighting’s connected control systems and the latest version of its Vision.net lighting management platform. Offering unparalleled flexibility, Vision.net 4.5 is scalable from a single room to a large multi-building campus and is designed to integrate with all Philips Entertainment Lighting dimming systems, automated luminaires and LED fixtures across the product ranges.

Colin Kavanagh, General Manager of Philips Entertainment Lighting said: “With our product innovation we aim to inspire our end users and customers to create great experiences for audiences around the globe, whether they are watching live or at home. In today’s world almost every event is broadcast, whether it be televised, live streamed or recorded and shared via smartphone. As a result there’s an increasing need for entertainment technology which creates impact both live and through a lens – a demand we have responded to with our latest, broadcast-ready lighting products.”

Prolight + Sound will take place April 4-7, 2017 at the Messe, Frankfurt with Philips Entertainment Lighting on stand F25 in Hall 3.

For further information, please contact:
Philips Lighting, Global Media Relations
Bengi Silan Genc
Tel: +31 6 2544 1798
E-mail: bengi.genc@philips.com

Philips Lighting, Entertainment Marketing
Teresa Vallis

Avolites showcase lighting and video integration at Prolight + Sound 2017


Frankfurt, Germany: Avolites will launch two software updates and showcase its trailblazing new developments in lighting and video integration at this year’ s Prolight + Sound 2017 in Frankfurt. The British manufacturer will launch the full capabilities of its much-anticipated Ai version 10 media server software, developed through real-world testing and the latest Titan update, V10.1, which boasts a plethora of end user-centric new features that will ensure Avolites stays resolutely ahead of the lighting control curve. Avolites will be in Hall 3 Level 0 Stand E80 throughout the four-day event.

Ai version 10 – developed with creatives, for creatives.

Ai V10 has been developed alongside some of the top names in the live event and installation sectors including the Director of Video Production at Hakkasan, Ed Shaw, Vice President of Entertainment at Hakkasan, James Algate, and Knight of Illumination award-winning video designer for Coldplay, Ben Miles.

The update includes the integration of real time effects generator Notch and video sharing feature Spout, both of which were developed alongside Miles and video programmer Leo Flint for Coldplay’s ‘Head Full of Dreams’ tour.

 

‘BPM Sync’ is a new Ai V10 feature born from developing the custom integrated control system for the lighting and visuals at Hakkasan Group’s JEWEL Nightclub in Las Vegas.

 

A new projection mapping tool, MeshWarp – features in the update. Born from the combination of Projective Keystone and Grid Warp – the feature enables users to quickly warp their content to match projection surfaces. This feature, in addition to auto map and auto blend, puts a powerful array of mapping tools in the hands of every user.

 

Lastly, Timeline is a major addition for Ai V10, providing precise control of video in a timecode environment, whilst still allowing live control simultaneously.

 

Head Ai Software Developer Ciaran Abrams commented: “Ai V10 represents a change in the media server in the way that our users will interact with the software. The extensive UI overhaul is just the start along with a list of easy, quick and intuitive controls, that make operating the software simple and fun.”

 

Titan v10.1 – total creative control

Far more than ‘just a point-release’, Titan V10.1 offers significant new functionality as well as many fixes and improvements. Scene Master mode introduces a new and more refined way to use the console live.  Avolites’ live palette time feature has been a favourite among users since the Pearl days, with Scene Master expanding its capability. The mode allows multiple palettes, playbacks and time information to be executed together, with either a fader or a chosen fade time.

Another key feature of the update is BPM Master, which now ensures all chases and effects attached to them remain not only at the same tempo, but also in synchronisation with the beat and each other.  Effects, including key frame shapes, can now be assigned a number of beats per cycle, allowing for more creative control when performing.

Not only that, effects can now also be linked to the group used to make them.  In this way, when the number of fixtures in a rig changes – as with festivals – the original group can be updated, and the effect will then run with all the fixtures in that group, greatly increasing flexibility and efficiency.

Avolites Sales Director Koy Neminathan comments: “Avolites has recently gone through some exciting changes which have allowed the company to adapt and change the way we create, produce and deliver world class products. The releases of Ai V10 and Titan are just the beginning with more focus on reliability. Users and non-users have told us that they have seen and heard that Titan and Ai have taken huge strides forward in delivering what they require. So, it is clear that our training programme is working efficiently and deploying that through our vast distribution network is paying dividends. With a sustained increase in demand and currently having the largest order book in the company’s history, it is clear to say that our new strategy is clearly going to create some positive shock waves. Prolight + Sound in Frankfurt is the best place to demonstrate this to everyone.