Page 243 - Protec PR Book Volume 2

TECH PROFILE 31
OPEN YOUR EYES
For lighting, Protec used a mixture of Robe, Martin by Harman and Claypaky fixtures. Travis said: “We had 45 of our Robe Pointe fixtures mounted on all 3 sections of the triangular backdrop set. Inside the scaffold structure was a combination of 37 Claypaky A.leda B-EYE
K10’s and 7 K20’s, which were positioned evenly for uplighting effects. We used 28 Martin by Harman Atomic 3000 Strobes on the floor, in the walkways where the dancers were performing and rigged within the set itself. We also used 50 PAR 36’s, which we mounted onto the structure and the bars above some Robe Pointe fixtures. This gave a terrific blinding effect.”
The crew arranged 28 Claypaky Show-Batten 100’s along the front edges of the stage to further light the dancers and a number of SGM fixtures in additional areas; namely P5’s for the VIP decks and Q7’s to light the bars.
Travis continued: “For the front of the DJ riser, we used 16 Jarag lights, which are completely DMX controllable, so you can actually programme them to have words flash through. This had a great effect on the front of what was already a really well-lit set. At FOH we also had Claypaky Scenius Unico fixtures, which lit various positions for the dancers and served as little spots. For the entrance we used 12 Claypaky Super Sharpys to create a nice effect, which were controlled by our ChamSys MagicQ MQ60 desk.”
Protec also provided a considerable amount of Le Maitre and MDG hazers to create the necessary atmosphere and 3 MA Lighting grandMA2 full size consoles at FOH, one of which was a spare, as well as 2 grandMA NPUs.
RAVE ‘N’ ROLL
The backdrop for the main stage – which was made up of a large central triangle flanked by 2 smaller ones – was covered in LED panels. The
2 small screens were made from 49 of Protec’s 6mm Mambo LED panels (13 panels wide x 7 panels high), and the main screen required 121 of the company’s 9mm product (21 panels wide x 11 panels high). Protec also supplied NovaStar VX4S processors to control these screens, while the main signal came from the media servers run by Sensation’s production team.
The team used 3 Panasonic remote cameras on the DJ, which could be controlled from FOH, and were vision mixed through a Roland V1200HD.
Travis commented: “We ran signal from FOH to the LED control backstage using our Lightware 220pro fibre transmitters and receivers and 3 150m Neutrik fibre cables. We used Lightware MX DVI PRO matrices at FOH and backstage to handle the signal routing and switch between main and backup signals. The live footage was mixed to the screens and overlaid with content provided by Sensation, operated by the touring Lighting Designer.
“The triangular shape of the set meant that we couldn’t hang the screens from truss, so we had to stack it from the ground. The sheer size of the screen presented us with some rigging challenges but they were all overcome easily enough – all of the panels had to be secured to the scaffolding structure at the rear of the screens.”
LEAVE THE WORLD BEHIND
Travis concluded: “The event itself was fantastic. The combination of Envie Events, Backbone International, the Sensation crew from Holland and Protec all worked together as a great team to ensure we could get everything built and the show delivered as per the plan that had been designed.
“It was quite an unusual show for Sensation because it differed in design both technically and aesthetically to cater to the Dubai market for this year, which is incidentally the same show that will also be used for Australia in the next few weeks.
“Envie and Backbone are great to work with. They present us with new creative challenges each time. We thrive on these challenges and it’s always good to be able to come up with innovative and creative solutions. What resulted was a fantastic show for an audience with great energy.”
Photos: Protec and Envie Events www.sensation.com
www.envie-events.com
www.productiontec.com
ME