MELBOURNE – Clay Paky Sharpy Wash fixtures debuted at the 55th Annual TV Week Logie Awards. The event was held April 7 at the Crown Palladium in Melbourne and broadcast live on the Nine Network. LD Rohan Thornton positioned the Sharpy Washes above the host set from where they could wash the stage. During the musical acts they, along with Clay Paky Alpha Beam 700s, were the essence of the moving light rig.
More details from Show Technology (http://www.showtech.com.au)
MELBOURNE – The 55th Annual TV Week Logie Awards was held April 7 at the Crown Palladium in Melbourne, Australia and broadcast live on the Nine Network.
For several years the lighting has been designed and operated by Rohan Thornton in his role of lighting director at the Nine Network; however, he left the network last year to freelance. Fortunately Nine realized they needed his talent and expertise and employed him on a contract basis.
On request from Thornton, Show Technology, Clay Paky’s Australian distributor, rushed in the new Clay Paky Sharpy Wash 330 fixtures. The Sharpy Wash lacks nothing the best washlights have: a zoom that ranges from 6° to 50°, CMY color mixing, a wheel with special colors, a rotating beam shaper, a frost filter, a motorized top hat and so on. Despite all of these features, the Sharpy Wash weighs just 19 kilos and is as small as its brother, the Sharpy “beam.” Thornton first saw the Sharpy Wash at the LDI show last October and he rated it the standout product of the show.
“I thought they were brilliant!” he said. “The speed, quality of beam, quality of color and all the features were amazing. They have great intensity, power efficiency, and of course Clay Paky colors are always fantastic. The Sharpy Wash is simply a really good, small light with a lot of tricks. It’s really versatile due to its beam range and beam shaping – a true multifunctional light.”
Thornton positioned the Sharpy Washes above the host set from where they could wash the stage. During the musical acts they, along with Clay Paky Alpha Beam 700s were the essence of the moving light rig. “The Sharpy Washes performed great, we had no failures and the spares are still covered in dust,” he said. “We found some really cool tricks to do with them such as beam chases and the consistency across the rig was phenomenal. The CTO was really nice on them too.”
As well as the 36 Sharpy Washes the rig featured 80 Sharpy Beams, 60 Alpha Beam 700s, Martin TW1s, Martin MAC Auras, MAC301s and MAC101s as well as 220 Pro Shop LED MulitPARs, GLP Impression X4s and Martin Fusion Bars.
Unusually, Thornton decided to use Clay Paky 1500 and 700 Alpha Profiles as key lights.
“Traditionally I would key light using a tungsten-based profile or something like that but the problem is that graphics are fundamentally created at daylight level so we never got really good clarity on shows at this venue,” he explained. “I decided to use the 1500 and 700 Alpha Spots but most arc lights are very difficult to color correct. I discovered that Rosco could supply Permacolor filters and thought I could replace some of the color corrections, but of course modern moving lights have fixed wheels for their fixed colors.
“However, we worked out that we could get some cut and made to go in the gobo slots. We ended up using the variable CTO and Permacolor filters to come up with a color temperature of about 5000 degrees Kelvin. So basically all my lectern lights, back lights were either 700s or 1500s and that allowed us to do things like have a tight lectern or if there were a lot of people at the lectern we could expand the shutters out without changing the intensity. It worked really well and we certainly got some clarity out of the graphics that we’ve never had before.”
The main lighting suppliers were Resolution X and PRG with Resolution X sub-hiring the Sharpy Washes from Chameleon Touring Systems. Lighting Lab and Clearlight also supplied a small amount of gear.
Photo: Ben Claydon
