Robe Pointe and DL4S Spot moving lights have been installed as part of the spectacular City of David Lightshow – “Hallelujah” – in Jerusalem, a gripping and intense multimedia experience relating the history of the city which is projected onto the walls of the ancient citadel of King David
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LOS ANGELES – For a 2017 holiday season TV commercial, LD Matthew Ardine transformed a Kia Motors America dealership into a large-scale lighting display to promote the company’s year-end sales event. Featuring nearly 500 various lights communicating over two V-LAN groups, with a total of 75 Ethernet devices, the network relied heavily on its nerve center, four ProPlex EZ-LANs, for a light show that made car headlights, building and landscape lighting flash in sync to TSO’s “Christmas Eve in Sarajevo.”
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Moving Light AssistantTM is an application designed to document both the physical setup and programming information for moving light rigs commonly used in the entertainment industry. The Student License price was recently reduced to make this industry- leading software available to more upcoming lighting professionals.
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SYRACUSE, NY – LD Herrick Goldman used Elation Professional’s Artiste DaVinci LED moving head spot for color and visual effects on a Syracuse Stage production of “The Wizard of Oz.” Goldman credited the fixture as a flexible workhorse that performed a number of duties throughout the show. “The DaVinci took so much of the workload, I could have saved the time and energy of hanging 25 percent of the light plot,” he said.
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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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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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LOS ANGELES – Elation Professional named Matthias Hinrichs product manager. Hinrichs has extensive experience as a lighting director and programmer, and has worked as a product manager for Martin Professional since 2003. “Having worked with Matthias before, I am really happy to be working with him again,” said Elation’s Eric Loader.
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SAN JOSE, CA – Oculus Connect (OC4) brings together VR creators, developers, and pioneers under one roof for a 2-day conference where attendees explore new VR applications and technology. Event Producer FNTECH chose Seeing Eye Lighting Design and Principal Lighting Designer Paul Efron to light the 4th annual event utilizing gear from 4Wall Entertainment.
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LAS VEGAS – AV Vegas provided sound, lighting & backline for the “Next From Nashville” stage at the Route 91 festival. Our stage finished an hour before the festival ended on Oct 1 and our crew was busy striking our gear when the shooting began. Two trucks had already been loaded and the lighting was mostly packed and riggers were taking motors down when concert goers began running towards our stage to get away from the shooting. Everyone has seen the story on TV. It was awful and I won’t recap it here.
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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