LONDON – GLP's Impression 120 RZ Zoom made its touring debut recently with the Yeah Yeah Yeahs' U.K. theatre tour, in a lighting design by LD Matt Arthur that lit the distinctive "eyeball" features used on the band's set. GLP dealer AC Entertainment Technology supplied the first 10 fixtures, each combining 120 RGB LEDs, to Lite Alternative. LD Matt Arthur found the fixtures' 10° to 26° light distribution angle helpful when illuminating the set's "eyeballs" with a minimum spillage of light.
Each show featured six Impression Zooms, suspended from the mid truss for stage versatility, with another two used for ground effects.
Jon Greaves, hire director of the Lancashire-based rental company, said that GLP's Mark Ravenhill had been instrumental in them making the investment decision. "We respect Mark a lot and his arrival at GLP helped raise our awareness of the product."
Ravenhill offered Jon's partner, lighting designer Paul Normandale, the opportunity to evaluate the popular range at an arts event with Antony & The Johnsons at the Manchester Opera House.
"This gave us a chance to get hands-on with the products for a week," said Greaves. "We liked the Impressions but we liked the Impression Zooms more. And since there were standard Impressions already on the Yeah Yeah Yeah's technical rider we saw the opportunity to supersize it."
He said the fixtures take the use and application of LED to another level. "We were delighted to have the first batch of 10 into the U.K. and to find that we can fit five units into each of our Lite Alt custom flight cases."
Matt Arthur, who also works with Mark Ronson, Supergrass and most recently Alesha Dixon – taking over the LD role from show designer Steve Abbiss – credited the fixtures for accuracy, speed of response, color and the ability to use the Impression Zoom as a profile or wash light.
"The Zoom is especially great for the Yeah Yeah Yeahs because the set has five inflatable eyeballs – all in varying sizes. So the motorized zoom is working to fill the surface and shape of each eyeball independently. We can zoom in and line them up accurately without spilling light onto the backdrop, which is what you would have been faced with using the non-zoom."
He also noted the brightness and speed of the fixture. "In fact you have to watch your time on the cues because it's just so responsive. They are also very precise in the pan and tilt mode – extremely accurate, even with a 50 percent zoom. It delivers a consistent backlight and the brightness is never compromised."
He also remarked on the Impression Zoom's beam shape and color. "Suspending them from a mid truss position is perfect as the Zooms become multifunctional – there's a line on the mid truss for the backdrop and the eyeballs, and a backlight position for the downstage area. If you make the beam wide you will get a lot of wash out of it."
"With a line of six Impression Zooms we achieved really good directional beaming, with brightness and zoomability throughout the tour," Arthur said. "LED will steadily become more apparent for stage shows, with its low power draw and the ability to run a show essentially from a 16-amp power source. I will definitely be looking at using them again in the future."
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