New from Allen & Heath dLive C Class


Allen & Heath is excited to announce dLive C Class, a new compact range of Surfaces and MixRacks which opens up our dLive digital mixing platform to a wider spectrum of AV, installation and live event roles.

allen-and-heath-new-dlive

dLive C Class is founded on XCVI, the same 96kHz FPGA core which drives Allen & Heath’s flagship dLive S Class mixers, and also shares its DEEP processing architecture, allowing class-leading compressors and processing emulations to be embedded directly within the inputs and mix channels. The new range includes the first 19” rack mountable dLive surface, the ultra-compact C1500.

There are 3 MixRacks in the series – CDM32, CDM48 and CDM64, plus three new control Surfaces, the 19” rack mountable C1500, C2500 and twin screen C3500. The MixRacks house the 96kHz/96bit XCVI Core, providing capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, plus a fully configurable 64 mix bus architecture, with full processing on all mix channels. Each surface and rack has a 128 channel I/O port, supported by a wide array of networking cards, including Dante, Waves, MADI, fibreACE optical and more. dLive C Class is also compatible with S Class hardware, and the ME personal mixing system and supported by a full ecosystem of apps, Director software, and accessories.

More information here

News: Gio @5


Professional control…scaled just right

Gio @5™ brings the high-end control of the larger Eos® family consoles to venues with tighter spaces – or tighter budgets.

This portable console packs all the control necessities into a compact footprint, so external monitors and accessories are optional. With an articulating, 17-inch, multi-touch LCD display, five definable and page-able motorized faders and a master fader pair, Gio @5 is the perfect step up for Ion® users who want expanded hands-on access to playbacks, color control, touchscreen Magic Sheets and more.

The console features the same full-function, backlit keyboard as the Eos Programming Wing and Gio® console, providing an easy transition for experienced Eos users looking for a smaller desk – and a good platform for new programmers looking to gain professional skills that scale up.

gio5_angle_key_prod

Key features of the Gio @5 console include:
  • The Gio/Eos Ti® facepanel layout, including the backlit keys, master fader pair and fader controls keys
  • Four force-feedback encoders for non-intensity parameter control
  • Five 60mm motorized faders and associated controls/displays
  • One integral, 17-inch, articulating multi-touch monitor
  • Two sets of controls keys along the left side of the display
  • Two network ports (Non-PSE) and 4 Hardline DMX/RDM ports
  • One Littlite port
  • Keyboard tray
  • Contact closures for remote triggers
  • Output capacities from 2K to 32K, upgradable in 1K increments
  • Support for up to two external high-resolution multi-touch monitors
  • Compatibility with all Eos family accessoriesFor more info: http://www.jands.com.au

Elation Offers Zoomable 6-Color and White-Light Pars with IP Rating


dw-par-z19-ip Elation Professional’s range of flexible LED Par lights is expanding with the launch of the 6-color SixPar Z19 IP™ and the variable white DW Par Z19 IP™, both IP-rated and with motorized zoom. Useful for production applications or installations as a wash light, uplight, wall wash, truss warmer and more, both Par luminaires are easy-to-use, top-quality solutions for adding high-impact colored or white light to shows indoors or out.

Harnessing the power from 19 individual 15W LEDs and the versatility of coverage that comes from a wide 5° to 45° zoom, the SixPar Z19 IP™ and DW Par Z19 IP™ are ideal solutions anywhere a wash of high-quality colored or white light is required. Both Par lights are in stock and available now.

SixPar Z19 IP™
The SixPar Z19 IP™ is a bright and versatile full-color Par luminaire with nineteen 15W 6-in-1 RGBAW+UV LEDs. The 6-color LED multi-chip provides an expanded palette of colors, including stunning ambers, true whites and even ultraviolet (UV LED wavelength of 395nm). Electronic strobe and variable dimming curve effects are included and a variety of color and chase macros make for greater programming convenience. The SixPar Z19 IP is bright, projecting up to 13,240 LUX @ 9.8’ (3m) (5° full on). The fixture is controllable via 4 DMX channel modes (14 total channels) and is RDM protocol capable (Remote Device Management).

DW Par Z19 IP™
The DW Par Z19 IP™ is a bright and versatile white-light Par luminaire with nineteen 15W 2-in-1 cool white / warm white LEDs for variable shade projections of white light. It features dynamic white color temperature range control from 2,700K white tungsten to 6,000K cool white. Electronic strobe and variable dimming curve effects are included. The DW Par Z19 IP is exceptionally bright, projecting up to 32,064 LUX @ 9.8’ (3m) (5° full on, 4,600K). The fixture is controllable via 6 DMX channel modes (7 total channels) and is RDM protocol capable (Remote Device Management).

sixpar-z19-ip

Common features
Built with rugged die-cast aluminum exteriors and fully IP65 protected, both the SixPar Z19 IP and DW Par Z19 IP include IP-rated 5pin DMX and powerCON TRUE1 in/out connections for use in all types of weather. They come with a 180° reversible LCD menu display and a 4-button touch control panel makes for simple navigation through DMX and manual settings. Multiple unit power linking means that customizable setups are quick and both fixtures come with an adjustable yoke / floor stand for flexible positioning.

Both luminaires operate flicker free for use in TV and other broadcast applications and an auto-sensing power supply covers worldwide voltages and frequencies. Both the SixPar Z19 IP and DW Par Z19 IP are energy efficient, consuming 282W and 240W of max power respectively, and offer other benefits of LED like greater reliability and less maintenance for a lower cost of ownership.

For more information, please visit www.elationlighting.com

NEW: NEW Maverick MK2 Spot


A new fixture from Chauvet Professional. This is the Maverick MK2 Spot, another new light that will perform well and give many years of solid service.

The Maverick MK2 Spot is a stunningly bright moving yoke spot featuring a 440 W LED engine, precision engineered optics, CMY + CTO color mixing, two 6-position rotating slot and lock gobo wheels, a 7-position + white color wheel, variable frost, 3-facet prism and 13º – 37º zoom range. Control it as you see fit with DMX, sACN, Art-Net, or W-DMX.

maverick_mk2_spot_right

OPTICAL

  • Light Source: 1 LED (CW) 440 W, (5.6 A), 6808 K, 50,000 hours life expectancy
  • Color Temperature (at full): 6808 K
  • CRI: 73
  • Beam Angle: 12° to 35°
  • Field Angle: 13° to 37°
  • Zoom Angle: 13° to 37°
  • Illuminance (13°): 18,079 lux @ 5 m
  • Illuminance (37°): 2,518 lux @ 5 m
  • PWM Frequency: 1,100 Hz

DYNAMIC EFFECTS

  • Pan and Tilt: 540°/270°
  • Pan and Tilt Ranges: 540°, 360°, 180° pan/270°, 180°, 90° tilt
  • Colors: 7 + white, split colors, continuous scroll at variable speeds
  • Colors: CMY flags, CTO flag
  • Gobos (1): 6 + open (6 glass), rotating, interchangeable, indexing, slot-n-lock, continuous scroll at variable speeds
  • Gobos (2): 6 + open (6 glass), rotating, interchangeable, indexing, slot-n-lock, continuous scroll at variable speeds
  • Gobo Size (1) : Gobo Wheel 1 (rotating): 32 mm (outside), 28 mm (image), 3.3 mm (max. thickness)
  • Gobo Size (2) : Gobo Wheel 2 (rotating): 32 mm (outside), 28 mm (image), 3.3 mm (max. thickness)
  • Dimmer: Electronic
  • Shutter/Strobe: Electronic
  • Zoom: Motorized
  • Focus: Motorized
  • Frost: Motorized
  • Iris: Motorized
  • Prism: 3 Facets, motorized, rotating
  • Strobe Rate: 0 to 20 Hz
  • Move-in-Black: Yes
  • Dim Curves: 4For more information:
    Showtools International
    397 Newbridge Rd
    Moorebank NSW 2170

DW Chorus™ New Elation Series of High-Quality White-Light LED Battens


The DW Chorus™ from Elation Professional is a new series of white-light LED batten wash lights with variable white color temperature control. Useful for floodlighting surfaces and stages in even washes of dynamic light, a broad range of white color shades combines with the versatility of four different model choices to offer the ultimate in white light flexibility.

Available in 1’ (0.3m), 2’ (0.6m), 4’ (1.2m), and 6’ (1.8m) lengths, DW Chorus fixtures use long-life individual 3W cool white / warm white Lumi™ LEDs for variable white color temperature range control from 2,700K white tungsten to 6,700K cool white. Hue, saturation and intensity of each LED are individually controllable while LED group control allows for even further design possibilities.

Perfect for linear effects as well, a selection of variable dimming curves is provided for faster programming and a selection of strobe and chase effects add to their versatility. All fixtures in the DW Chorus series are built with rugged die-cast aluminum exteriors and operate flicker free for use in TV and other broadcast applications.

DW Chorus 12™: The DW Chorus 12 is a 12.4” (316mm) LED batten wash light housing 24 cold white and 24 warm white LEDs. The fixture emits 30,340 LUX @ 3.3’ (1m) (11° FULL ON) yet consumes a low 120W of max power. Capable of projecting bright washes of variable white light, the DW Chorus 12’s compact size means it can fit in virtually any stage setup.

DW Chorus 24™: The DW Chorus 24 is a 23.8” (604mm) LED batten wash light with 48 cold white and 48 warm white LEDs. The DW Chorus 24 emits 20,570 LUX @3.3’ (1m) (9° FULL ON) for bright washes of uniform white light and consumes a low 169W of max power.

DW Chorus 48™: The DW Chorus 48 is a 46.5” (1182mm) LED batten wash light with 96 cold white and 96 warm white LEDs. It emits a bright 32,644 LUX @3.3’ (1m) (14° FULL ON) for powerful washes of dynamic white light and consumes a low 347W of max power.

DW Chorus 72™: The DW Chorus 72 is a 69.3” (1760mm) LED batten wash light with 144 cold white and 144 warm white LEDs. It emits a bright 37,500 LUX @3.3’ (1m) (11° FULL ON) for broad and bright washes of white light from a single luminaire and consumes 510W of max power.

A host of other professional features come standard with each DW Chorus fixture like multi-channel DMX control and features like 3- and 5-pin DMX In/Out, PowerCON In/Out and RJ45 In/Out connections all come standard. All DW Chorus Series fixtures are ArtNet™, KlingNet™ and RDM (Remote Device Management) protocol capable and come with multiple-unit power linking to save on setup time and hassle. A 4-button control panel with LCD menu display provides for easy hands-on programming with easy-to-read fixture menus and messages.

An integrated rigging bracket allows for quick hanging and an auto-sensing power supply covers worldwide voltages and frequencies. The DW Chorus Series offers all the benefits of LED like greater reliability and less maintenance and consumes little power for a lower cost of ownership. With a long LED life rating, service intervals are few and far between.

For more information, please visit www.elationlighting.com

dw-chorus-series

The Silly Season


dancing-santaAs we near the end of the silly season. We have all done end of year dance concerts, music concerts, presentations. We have probably shown an image of Santa several times a day. We have sat through trophy ceremonies. Swept glitter and confetti from the stage into the pit. Have we grown tired of the same songs in rotation?

Have we learnt from this year what we can do to improve what we do next year? Often we have several similar types of events near each other in the diary. Is it possible to have these run concurrently, so that we can leave certain elements set up that they may all need. Take dance concerts, here we can leave the dance tarkett rolled out and taped just once. The sidelights can be rigged and left.  I know some dance schools don’t like them, so don’t use them for those. But you will be amazed at how much better the concert will look with lights from the side, it makes the dance routine pop. Your SM station is set up, playback systems and foldback ready and last but not least your caffeine dispenser is primed and ready. So make a note of what you have set up and which clients like what. You will often get clients coming back year after year, and if you roughly remember what they like they will appreciate it. Speech nights are another thing that you could have some similar set ups, often a lectern, mic and a special on them. Try and set them up the same.

Now it might sound like I am trying to make all clients fit the same mold, will it seems they do try and do similar things. They see each other at different events and they try to copy ideas. Often you get the same piece of music in every concert. You might get similar projection graphics.

So the trick is to be prepared for this time of the year. Make sure that your maintenance is up to date. You will not have much time except for simple repairs. If you have moving lights, make sure you have some cool palettes saved that you can quickly access. You need to be ready for the silly season and to be able to enjoy it as well. This is the colmination of these groups year of work, so we need to make it good and fun and friendly. It needs to run smooth, don’t be afraid to say no, but say it politely. They do understand that certain things, effects are not always possible. It is not worth anyone getting anxious and stressed – plan and you will be almost headache free.

 

Overloaded Mind


The audience watches in awe at the magic on stage, but behind the scenes there is a group of people trying to bring magic to the appreciative audience. But behind the magic making there is a dark secret. One that is now coming out into the open. This is thanks to a recent study. It all started with a survey. I took part in this survey. It was conducted by Victoria University and Entertainment Assist and called “Working in the Australian Entertainment Industry:Final Report”.  This survey is interesting as well as frightening. It highlights a lot of problems in the industry and a very high suicide rate. This study is incredibly intensive, and I recommend that anyone working in the industry sit down and read it. I am sure that we recognize someone with problems or we have the problems ourselves. To quote from the report “This report has uncovered serious health and well being concerns for those who work in the Australian entertainment and creative industries. Mental health problems, drug and alcohol use, and suicidality are prominent. Indicators of anxiety and depression symptomology are well over the general population norms; suicide ideation is 6 times greater, suicide planning is more than 4 times greater, and suicide attempts are more than double the general population.”

We all need to be aware of this, we need to ask ourselves and other how we are. I know for a fact that anxiety is a major problem. I suffer from this myself. The uncertainty of employment can give you many sleepless nights. Many waking hours are given over to thoughts of how to pay for bills, what will the future bring, will I be able to work until retirement age. The amount of mental health issues is higher than the general population. The most common diagnoses were depression followed by anxiety. 44% of workers in the entertainment industry have moderate to severe anxiety. This is ten times higher than the general populous. So I am not alone. Symptoms of depression are also five times higher than the general population.

Now we need to get the word out. The CX Network has recently thrown its support behind The Australian Road Crew Association (ARCA). These guys have added Julius Grafton to the board   “and resolved to fight harder to help current and former crew facing difficulties. ARCA has called on promoters and industry to donate 5c a ticket sold directly into the Roadie Fund administered by Support Act, matching donations by Michael Chugg, Air Supply, Crowded House and Paul Kelly.” (PROTech News, 2016)

ARCA had already been on the ball in regards to the toll the industry has on road crews. This recent report has just more impetus to do more for road crew around Australia. In 2012 they collated a departed list, this identified suicide as a major risk facing road crew.

ARCA urges promoters, industry and concerned individuals to donate directly and tax free into the Roadie Account. This is at http://supportact.org.au/donate/ and make sure the Roadies box is ticked. Under a year-old agreement with Support Act, every dollar in the roadie fund will go to those in need.

Need help? Call Piggy on 0415 667 221 or Julius on 0408 498 180 for a referral to Support Act.

So what should we do?

We need to be aware of our own mental health and also the health of our fellow co-workers. It is job not the concert industry where these problems exist. It is all areas of the industry. Do not be afraid to ask for help. One of the issues we need to deal with is unemployment. We may have short contracts, the tour comes to an end, or we are just laid off. A lot of folk in the industry are not employed full time, with the benefits that it entails. You could be a freelancer going from gig to gig. There are so many variables of employment that it is no wonder income is an issue, or the lack of.  If you look at the report in regards to income.

35% of all Australian entertainment industry workers earn an annual industry income below $20,000 
63% of Performers, 28% of Support Workers and 20% of Technicians/Crew earn less than the Australian National Minimum Wage of $34,112 
72.5% of entertainment industry workers earn less than $60K annually from the entertainment industry 
65% have a combined income below $60K from earning within and outside the entertainment industry 
54.6% have been generating their primary income from the Entertainment Industry for 2-15 years.

So as you can see income is also a major worry along with uncertainty of employment.  It is yet another worry for all members of the entertainment industry.
Unemployment is destabilising for anyone. The uncertainty and lack of control tend to lead to feelings of helplessness. Humans have a need to feel useful, to contribute, to connect and to grow. We function best if we work and rest in good measure. If we work too much or not enough, we start to spiral. (aussietheatre.com.au/blogs/stage-door-shrink/amanda-harrison-rachel-cole, May 2016)

We need to make sure that we have a decent life/work balance. Too many technicians seems to work excessive hours, working under the mindset that they need to make hay while the sun shines. That sounds like forward thinking but it is not. Your health, relationships etc will suffer under this sort of lifestyle. You need to have a well balanced life/work ratio. You need to work to live, not live to work. Yes we all love our jobs but we need to be able to step back and smell the roses. We need to, as one good colleague of mine said, take a mental health day. Turn off the phone and chill out.

Most entertainment industry workers do not know where to get support from in the entertainment industry and identify critical barriers to seeking support including:
1. lack of resources such as time, money and lack of good support resources;
2. problems inherent in the industry such as lack of trust, unsupportive environment, disjointed lifestyle, lack of respect for industry from outside;
3. a perception that seeking support may compromise future employment opportunities.(Working in the Australian Entertainment Industry_Summary of Key Findings,Oct 2016)

So we need to spread the word to our collegues, places that we work, organisations that we work for. Some workplaces at the moment don’t recognize mental health issues. So we need to make sure that the message gets out there. We need to help educate the workforce that it is okay to ask for help, that you are not alone.

Places for help and information

LifeLine 13 11 14.

Suicide Call Back Service  Ph: 1300 659 467

www.australianroadcrew.com.au

http://supportact.org.au/

http://entertainmentassist.org.au/

https://www.beyondblue.org.au/

For information about mental health crisis services specific to your region in Australia, see table below.

Victoria
Mental Health Advice Line
Ph: 1300 60 60 24
For immediate, expert health advice from a nurse
New South Wales
Mental Health Line
Ph: 1800 011 511
24-hour telephone service, operating 7 days a week
Australian Capital Territory
Mental Health Crisis Team
Ph: 1800 629 354 or
(02) 6205 1065
24-hour/7-days a week service, for assessment and treatment of mentally ill people in crisis situations
Queensland
Queensland Government
Ph: 13 HEALTH
24-hour/7-days a week service for health information, advice or referral
Northern Territory
Mental Health Support
Ph: 1800 NT CATT
Free and confidential 24-hour hotline for mental health inquiries
Western Australia
Mental Health Emergency Response Line
Ph: (08) 9224 888
1300 555 788 (Metro)
1800 676 822 (Peel)
Psychiatric emergency assessment and advice for mental health clients and their carers
Rural Link
Ph: 1800 552 022
Specialist after-hours mental health telephone service for rural communities
Mon-Fri: 4.30pm-8.30am
Saturday, Sunday, Public holidays: 24-hours
South Australia
Mental Health Services
Ph: 13 14 65
24-hours/7-days a week advice and information in a mental health emergency
Tasmania
Mental Health Helpline
Ph: 1800 332 388
Free statewide 24-hour/7-days a week service for mental health crisis reaching all regions