Norway’s projectiondesign is shipping its F22 projector in both WUXGA (for computer graphics) and 1080p (for video) resolution versions. The new projectors incorporate Philips’ VIDI technology for improved color reproduction and management, along with enhanced image quality and performance predictability.
Read More »COLORADO SPRINGS, CO — Wybron, Inc. has hired Aaron Retka as PR and marketing coordinator. Retka, a writer and musician, has a background in arts journalism and alternative media.
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LONDON — SNP Productions, headed by Simon Pugsley, a lighting and digital media programmer/operator, has been named the U.K. distributor for Catalyst digital media products. SNP Productions now offers sales, rentals, training and technical support for the Catalyst.
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LIVERPOOL, U.K. — Lighting designer Jon Pollak had no hesitation in recommending that Adlib Lighting supplied the equipment and crew for the U.K. leg of Steely Dan’s current European tour.
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JACKSON, NJ — Plunging 132 feet at 60 m.p.h. with its passengers’ feet dangling in mid-air, the Bizarro roller coaster at Six Flags Great Adventure, formerly known as the Medusa, was already pretty good at giving its riders a thrill.
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OJAI, CA — The Thacher School has a performing arts program that reflects the creative culture of its surrounding area, including the annual Ojai Musical Festival and the presence of the entertainment industry in Los Angeles, just 75 miles to the southeast.
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For 10 long years, the Dallas Cowboys football organization worked to open their new stadium in Arlington, Texas. On June 6, the $1.15B stadium was launched in grand style with a George Strait concert before a crowd of over 60,000 people. Longtime Strait production manager Paul Rogers and lighting designer Stacey La Barbera of Onstage Systems were in command at the FOH overseeing the production of the Texas-sized event.
Read More »“There were no limits to the imagination and no limits to creativity.” —Peter Morse, LD for Michael Jackson’s later tours
By the time you read this, most of you will have had your fill of the media’s coverage of the untimely demise of a certain King of Pop. But the industry owes him a great debt of gratitude for setting the high mark in production standards.
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With all of the bombastic, turbocharged productions that have invaded Broadway recently, it’s nice to find a show that gets back to the basics: a compelling story, great acting and powerful lighting, sound, and direction. Mary Stuart delivers the goods.
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There was a time when the reputation of a production company was more important than its profits. Those were the days when a FedEx shipment could fix just about anything and damn the cost. If it meant that the show would go on then the company would survive another day, and the deposit in the karma bank just might yield enough dividends to pay back the loss of revenue. If not, then another hopefully more profitable project would be coming along soon.
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By the time the show floor for InfoComm ’09 opened at 9 a.m. on June 17, dozens of seminars and workshops had already taken place and over eight hundred exhibitors had spent countless hours setting up in the Orlando Convention Center, including roughly 50 lighting companies. The show, which started as an audiovisual show (why does the term “audiovisual” conjure images of overhead projectors and 16mm film in grade school?), has been growing the lighting side as evidenced by the increasing number of lighting exhibitors and lighting-related seminars.
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Bill Sapsis has been at the forefront of rigging for the past 28 years. His company, Sapsis Rigging, is one of the leading rigging companies in our industry, and he’s spent countless hours helping develop programs that make rigging safer and easier.
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