Christie's LWU505 (WUXGA 1920 x 1200 native resolution) digital projector targets educational facilities, corporations, government agencies and houses of worship applications requiring a high brightness and cost-effective widescreen LCD projector at 5000 ANSI lumens.
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FORT LEE, NJ – FOR-A Corporation of America named Pedro Silvestre sales director. Silvestre, who had been FOR-A's regional sales manager, Caribbean and Latin America, for the past four years, will now manage sales for all of the U.S. and Latin America.
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MIAMI – Koen De Puysseleir of Belgian company Light in Motion is creative director for the international DJ, Tiësto, and for some of the artist's 2011 appearances, Martin EC-20 LED displays provided by Zenith Lighting will serve as a visual focal point. The DJ's tour, which will continue through May, is produced by Insomniac Productions in the U.S.
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NASHVILLE – The Grand Ole Opry House celebrated its 85th year with something better than just candles. The venerable venue was equipped with 57 brand new Vari*Lite fixtures – 16 VLX Wash fixtures, 17 VL3000 Spots and 22 VL2500 Spot luminaires.
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HITCHIN, U.K. – Brilliant Stages noted that it had been actively involved in the production of three of the top five tours tallied by Pollstar for 2010: AC/DC (#2), U2 (#3) and Lady Gaga (#4). The company provided a summary of its activities in support of each tour.
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When Prince comes 2 town, it's always a big production. Lighting designer Demfis Fyssicopulos was tasked with keeping it that way for Prince's current Welcome 2 America tour. The show is presented in the round on a stage in the shape of Prince's unpronounceable symbol – the same shape used for Prince's 2007 Super Bowl halftime show performance. High above the stage is a lighting rig in the shape of a hexagon with six spokes radiating from the center. At the end of each spoke is a pod that is hidden by six large video displays. Four of the six pods also house followspots.
Read More »What can one say about a man like David Taylor, who was so gifted and talented, so full of humor and kindness, and so giving of himself to the industry and to his loving family, when his life is taken in a tragic accident? David was a lighting consultant, most recently with Arup as the leader of their Theatre Consulting division and with Theatre Projects before that. He died on January 16 at the young age of 48 when he accidentally fell from the roof of a 14-story building in Taipei.
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The Judds have had a 26-year career, recording and touring both as an ensemble and individually. However, they last toured together for their Power To Change tour in 2000, and in the intervening decade, touring technology has changed significantly. For instance, witnessing the introduction of DMX-controlled media servers that turned LED from panel indicator lights into a display format and light source, and the evolution of video from simple image magnification to a creative graphics display platform.
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The recent revival of David Mamet's A Life In The Theatre stands out for many reasons. It was one of the edgy playwright's earliest works, one that is more sentimental and relatively epithet-free. It is an intimate show that would work well in a small repertory house, yet stars Patrick Stewart and T.R. Knight, who imbued it with a larger-than-life quality that allowed it to thrive in a larger Broadway house. And its hilarious exposé of backstage life – specifically an older actor mentoring and berating a younger compatriot in a low-budget regional theatre – gave Tony Award-winning scenic designer Santo Loquasto the opportunity to apply his magic and make things look far simpler than they were.
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Edmond Deraedt has been a fan of Richard Thompson since he first heard his band, Fairport Convention, in 1991. "I have always considered him a musical genius," Deraedt says. He had the opportunity to light some of Thompson's solo acoustic concerts around the New York area and in California. In 2006, Thompson came to the Inter-Media Art Center in Long Island where Deraedt worked as the lighting director.
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Jerry Krulewicz has wired the last four decades of the live event industry. From his days as a teen working with big bands to Broadway, through Saturday Night Live to a political summit at the threshold of Soviet Union's fall to the Olympics and houses of worship, he's stared down every technical challenge with one simple approach: There must be a better way.
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Back in those halcyon days of childhood, mom n' dad packed us all in the station wagon and took us to the drive-in every few months. I'm sure many of you have similar memories of those long aisles of cars, the squawk box on the window, pajamas and blankets and a wonderful family film on a summer night. Over the years (and ever so slowly), the drive-ins disappeared – typically replaced by shopping centers and housing developments. Yet here and there, a few steadfast hold-outs remained.
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