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New Year, New Site: Enhancements to PLSN.com Continue

LAS VEGAS – Even before the Times Square ball dropped, the millions who tuned into Dick Clark’s New Year’s Rockin’ Eve and watched Mariah Carey perform could see that 2018 is going to be a significant improvement on 2017. Readers of PLSN can find further evidence of good things to come with one glance at the new home page at PLSN.com, with its splashy new graphic design suited to a wide array of mobile devices along with desktop computers.

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Avolites Ai goes Hyper with GaiaNova

UK – Thousands of festival-goers experienced the uniquely interactive audio-visual environment of the Samsung Hypercube as part of Samsung’s S8 phone UK launch this summer. The Samsung Hypercube toured its mind-boggling ‘360 Infinity Selfie’ Experience to Boardmasters, Bestival and Reading festivals, with Avolites’ Ai media control at the heart of its complex technical infrastructure.

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Odesza Tours with 185 Robe Fixtures

BROOKLYN, NY – For their coast-to-coast tour in support of their third studio album, A Moment Apart, Odesza’s Harrison Mills and Clayton Knight toured with a six-person synchronized drumline, starting in southern California and wrapping things up at Brooklyn, NY’s Barclays Center in mid-December. Kyle Kegan of Voyage Productions designed a light show that included 185 Robe fixtures.

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3 Doors Down Lit with Chauvet Professional Fixtures at Bob’s Biker Bash Fundraising Concert

PHOENIX – For 3 Doors Down, the headlining act for the sixth annual Bob’s Biker Bash fundraising concert held at Phoenix Children’s Hospital on Nov. 4, LD John Garberson and Creative BackStage put together a lighting rig that included 15 Maverick MK2 Spots, 25 Rogue R2 Washes and four Strike 4 fixtures from Chauvet Professional.

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For Andrew Peterson’s Christmas Show at the Ryman Auditorium, LD Winn Elliott Turns to Bandit Lites

NASHVILLE – Andrew Peterson’s 18th annual “Behold The Lamb Of God” tour included a performance at Nashville’s Ryman Auditorium on Dec. 11 that was also seen via live stream at Lipscomb University’s Shamblin Theatre. LD Winn Elliott, who has been supporting Andrew Peterson’s shows for more than a decade, relied on a Bandit Lites-supplied rig that included Vari-Lite VL500 Washes, Martin MAC Viper Spots, Martin MAC Aura Washes and in-line 4-lights.

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PRG’s Zach Alexander, the Media Operator on Oblivion, is shown controlling the Mbox media server using the V676 Control Console. Photo by David James/Universal 2013

Lighting ‘Oblivion’ with a Projected Sky

Universal Studio’s sci-fi feature film, Oblivion, starring Tom Cruise, presents a post-apocalyptic earth, which would seem to demand heavy visual effects (VFX), and while there are many in the film, there are some surprising sequences that are, in fact, not CG. For two of the primary, futuristic sets — the Sky Tower and the Cloud Tower — cinematographer Claudio Miranda, ASC, and director Joseph Kosinski filmed most of the visual effects live in-camera rather than using green screens. It’s an old-school style that immerses the actors in the actual environment, but not the first instinct of filmmakers when the environment is supposed to be a cloud-surrounded glass-walled apartment 3,000 feet in the air.

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