WAGO Corporation's 750-882 "ETHERNET 2.0" Media Redundancy Controller provides two redundant networks via independent ETHERNET interfaces. This enables communication with a redundant network – ideal for applications requiring high network and system availability or two independent networks.
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LAS VEGAS, NV – Qube Cinema is demonstrating Qube Keysmith, its new digital key management and reporting application, at NAB 2011. Built on technologies proven in years of use by parent company Real Image, Qube Keysmith allows filmmakers, production companies and post houses to encrypt Digital Cinema content with Key Delivery Messages (KDMs) for exhibitors. As a result, a new generation of companies and facilities can now offer full Digital Cinema distribution services for anything from film festivals to full theatrical releases.
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UK – GDS announces that Nick Read has joined the company as Head of its newly created special projects division – ‘GDS Specials'. Nick has over 22 years experience in the entertainments industry and brings with him wide range of skills, working recently as the head of hire and events for Northern Light and previously running his own successful hire company. With an electrical engineering background he also boasts experience as a project manager, overseeing the €1m technical-build of Wexford opera house. He has worked around the UK and Europe as a freelance engineer and lighting designer, toured with and brought numerous shows into the West End and worked as a production electrician for major theatre companies, on many of the largest show in London.
Read More »SINGAPORE and HONG KONG – Showtec Group PTE Ltd and JM Rental, which worked together to provide LED video support for IDEX 2011 in Abu Dhabi, have announced a partnership to pool their resources for a variety of events with large-scale LED video needs in Southeast Asia.
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AARHUS, DENMARK – On James Blunt's current "Some Kind of Trouble" world tour lighting designer Paul Normandale is using 50 Martin MAC 101 wash lights along with 12 of Martin Professional's new MAC 101 CT units, a versatile white light variant of the compact fixture.
Read More »Thank you to everyone for the warm welcome to PLSN. It is an honor to take the helm of one of the industry's most respected magazines and news sites. As the new editor, I want to introduce myself and tell you a little about what we have in store for you.
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David Flad of Q1 Designs recently teamed with 4Wall Los Angeles to light the interior of downtown LA's Belasco Theatre. The lighting design and implementation was one of the final stages of the three-year renovation of the 80-year-old venue. Set in a central location not far from Staples Center, the Belasco was renovated so that it could host variety of entertainment events. The challenge for Flad and his team was in making sure the lighting was versatile enough to support a variety of needs.
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On one night in February, at the L.A. Staples Center, what happened on the court was more than mere basketball. And here's a clue: If the word "Star" is in the event title – as in NBA All-Star 2011 – the stakes are going to be high. For the 60th time the celebration has been staged, the producers turned to All Access Staging and Productions for an assist.
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"IATSE Local One is the oldest entertainment union in the U.S.," declares Robert Score, the organization's recording-corresponding secretary. Founded in 1886, members that year held a torchlight procession down Broadway to Union Square with 25,000 others demanding an eight-hour day and the end of the child labor. Meanwhile, the best-paid stage employees of that era worked for 50 cents a day, and men employed typically put in up to 100 hours per week.
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Shea Stadium is so deeply woven into the fabric of New York City's social history that even tearing it down didn't make it go away. New York's equal part loving/maddening relationship with the Mets baseball team is augmented by its profound rock ‘n' roll history. It is, after all, where the Beatles played in 1965.
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While most Broadway musicals seek to razzle-dazzle us with big numbers, flashy lights and glitzy sets, many dramas seek to bring us down to reality and delve into the lives of ordinary people with less fanfare. The funny thing is that often in order to immerse us more in the real, the craftsmen at work on straight plays need to incorporate much of the technology that is used on more over-the-top shows. In the case of Good People, technology and realism struck a solid balance.
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Clifton Taylor Provides a Multi-Purpose Lighting Rig for LDs at New York's Fall for Dance Festival
PLSN: In your opinion, what is the basic difference between a lighting designer and a lighting director? You have both of these titles.
Clifton Taylor: The lighting designer is the person who conceives of the lighting, works with the choreographer and comes up with the conceptual basis for the lighting choices. The lighting director is the person who works for the company, and it is her job to recreate the lighting wherever the company performs.
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