The fluorescent luminaires in the hospital’s emergency ward will be replaced with 1,200 new connected LED luminaires that are controllable remotely and can dim down when people are not about, saving even more energy. Expanding on the environmentally friendly theme, the life of 67 bespoke luminaires in the unit’s central corridor will be extended by innovative LED Kit technology that replaces the original light source and electronics while retaining the body of each fixture.

The refurbishment is part of a major expansion of the Rikshospitalet. The hospital corridors have a distinctive curved ceiling, and the aim was to preserve this architectural feature while modernising the lighting. Glamox, in collaboration with Tom Rune Antonsen, Head of Property Operations at Rikshospitalet, developed a LED kit that reuses the existing material of the fixtures supplied by Glamox 25 years ago. This approach reduces waste and lowers the environmental impact when converting the building’s lighting to LED. Additionally, the LED kit solution is quick and easy to install.

“It’s only fitting that one of the world’s leading hospitals has 21^st Century lighting to match – lighting that reduces its carbon footprint and supports a circular economy,” said Toril Bache Jenssen, Director of Sales for Glamox in Norway. “Compared with the older fixtures, the new smart lighting will enable the hospital to cut its electricity use for lighting by 60-80 percent, which is significant given that most of the lighting is on 24×7. It is also long-lasting, so it will free up the time of maintenance staff as the previous T8 fluorescent tubes had to be replaced frequently. They had an 8,000-hour life compared to 100,000 hours for the new LED lighting.”

Also, the new lighting ensures that the Rikshospitalet complies with the Restriction of Hazardous Substances directive that phases out fluorescent lighting across Europe.

Oslo-based Datek Installasjon will install the lighting led by its project manager, Marius Bakke Gjørven. The lighting project is expected to be completed later this year.

The post Oslo University Hospital Rikshospitalet gets 21st-century smart lighting makeover appeared first on A1 Lighting Magazine.

Also known for its world-class performances and high production values, the venue has recently invested in 43 Robe FORTE moving lights, which are rigged in its 1,070-capacity main stage venue. These were supplied by Robe’s Polish distributor, Prolight, who won a competitive tender to supply the new tech.

Bartosz Wolak has worked at the Theatre for the last 11 years as chief LX and head of lighting, a multiplexing role that also encompasses designing and operating the lights for their own productions. He and his lighting team of eight were instrumental in choosing Robe for this major technical upgrade that ensures Theatre Muzyczny will continue presenting the very best-looking shows, including frequent licenced productions coming hot from London’s West End.

The FORTES replace the previous moving lights – from another brand – which were installed in another major modernisation in 2013 which included the addition of the new Nova Theatre space plus some structural changes to the main auditorium.

The previous fixtures were becoming costly and time-consuming to maintain, and “apart from that, we needed more up-to-date technology and more flexible lighting to keep pace with increasingly demanding productions,” Bartosz explained.

Some of their shows are ‘full length theatrical dramas with music’ and can last up to three and a half hours, while others are a more traditional musical format which go in and out or run in repertoire with 2-day changeovers in between, a programme also benefitting from more adaptable lighting.

Bartosz and his team wanted FORTES for several reasons, including “the power, the beautiful colours and the stunning effects,” and with 43 in the rig, they can be used for both beams and spot lights, so with all that power and versatility on hand, they physically need less fixtures to light a show well.

They all love the frost filter and have a 30 percent frost implemented here, which effectively allows the FORTES to also become an excellent wash light.

“This is a really magical transformation,” notes Bartosz. Critically, it allows them to light a wider range of shows – from complex musicals to typical dramas – with ease.

The animation wheel and the fantastic dynamic effects that can be produced using it also made an impression with everyone, and silent mode was important, as low noise is essential for musical theatre environments, especially for the orchestras. The original moving lights had too often made their presence felt in the auditorium!

High CRI was also a factor, an aspect making the transition from tungsten to LED easier for the actors, who also must get used to working with new LED light sources and their different texture and feel. And of course, that is related to attaining those gorgeous rich flesh tones that allow the makeup to glow and enhance faces with depth and texture. “The actors have noticed that it’s different and are now enjoying working with the FORTES,” he confirmed.

Robe’s TRANSFERABLE ENGINE (TE) technology was something the team also considered could be useful to Theatre Muzyczny as its production schedule is intense and involves a lot of lamp-hours. “The option to replace the lightsource of an LED fixture was definitely interesting to us,” Bartosz said.

The stage is 16 metres wide and 20 metres deep – also the largest musical stage in Poland – complete with high side wings and a double revolve. It is both a producing and a receiving house and their own shows are specifically tailored and designed to fit their space. Theatre Muzyczny is frequently licenced to replicate West End shows, underlining the standards of the productions.

For Calendar Girls The Musical by Gary Barlow and Tim Firth, the show was scaled up from its Leeds Grand Theatre premiere in the UK and subsequent London Phoenix Theatre run, and most of the musicals contain plenty of WOW factors.

There is some history of Robe fixtures in the house – eight ColorSpot 700E ATs were acquired for Shrek The Musical in 2012 – which have been well looked after and are still in use on the small stage!

This lighting upgrade and the FORTE investment is also part of the ongoing switch to LED lighting.

The choice of FORTES was partly driven by visiting production riders, including those of Polish TV who cover a large annual film festival hosted by the theatre and some other events, and the house receives several international ballet and dance shows and music concerts.

The FORTES were integrated into all the main stage lighting productions – new and revivals – over a 3-month period as soon as they arrived.

The original part of the Main stage – remaining from before the 2013 refit – has only 3 lighting bridges, so some of the lighting positions are limited, but as the FORTES are so useful and multifunctional, Bartosz reckons that 43 fixtures can easily do the job of many more profiles, spots, beams and washes – with just one unit instead of 4 of different types of light!

Photos: Show shots from the 2024 production of “Quo Vardis” by Rzemieslnik Swiatla and  courtesy of Teatr Muzyczny.

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The theater’s new home, a transformation of a former blacksmith shop and Old Manor House, includes two modern stages: a large stage seating 150 guests and a smaller stage for more intimate performances that seats up to 80. The new space also includes a spacious foyer, dressing rooms, and office space, as well as warehouses and workshops.

Designed for greater creative flexibility and an enhanced experience for both the performers and the audience, the new facility blends the theater’s rich tradition of storytelling with a future-forward technological foundation. Presenting pieces of dramatic theater as well as puppetry, which applies the same lighting techniques as regular theater, the Kubuś Puppet and Actor Theater is an immersive and magical experience.

In August, a new season of artistic performances launched, and this time with completely new cutting-edge entertainment technology solutions supplied and installed by PS TEATR. As experts in a wide range of entertainment technology systems, PS TEATR integrated lighting, multimedia, electro-acoustics, and stage machinery, significantly enhancing the performance capabilities of the theater.

The new system is anchored by Elation’s FUZE PROFILE, an advanced moving head luminaire equipped with a powerful 305W RGBMA LED engine and a full blackout framing system. Compact, quiet, and lightweight, 12 FUZE PROFILE units deliver a high color rendering index (CRI) of 92, ensuring vibrant, accurate color and sharp effects that bring each scene to life.

The FUZE PROFILE’s diverse feature set gives designers at the theater a new toolbox of dynamic options to create richer visual experiences: 7° to 42° zoom and framing to highlight specific lighting positions or illuminate larger areas on stage; variable frost for soft, diffused lighting effects, ideal for mood-setting scenes or gentle transitions; variable CCT to simulate warm candlelight to cool daylight; gobos to create textured patterns and immersive backgrounds; animation wheel to simulate rippling water, moving clouds, or other effects; smooth dimming for dramatic effect during emotional scenes; and more.

In addition, the facility has been equipped with two FUZE PROFILE CW cool-white LED variants, offering designers a clean, flat-field keylight with precise color shade adjustment for even greater versatility. The lighting system is further enhanced by moving wash lights, static ellipsoidals, and Fresnel spotlights.

Adding to the aesthetic possibilities, six PALADIN BRICK RGBW floodlights with adjustable beam angles fill the upstage with vibrant color, while two PROTRON 3K COLOR LED strobe lights inject dramatic intensity into key moments of the performance. Paired with smoke machines, fog generators, and UV spotlights, the new lighting system significantly extends the range of possible creative effects.

The multimedia system also comprises a 7-meter-wide projection screen, four 7000 lm projectors, a high-performance media server, and PTZ cameras. In the elegant foyer, a digital signage system serves the display of prepared information and marketing content. The new facility also features exterior image projectors that cast gobo projections onto the theater’s façade, turning the building itself into part of the theatrical experience.

Lighting control is equally advanced, with modern lighting consoles managing the systems on both stages. Here, signal distribution from nine NETRON RDM 10 DMX/Ethernet converters, two NETRON EP4 DMX/Ethernet gateways, and five NETRON DMX 10-5 splitters from Obsidian Control Systems ensures seamless communication and synchronisation across the lighting setup.

The installation also includes multiverse transmitters and receivers, further enhancing control capabilities. In addition to the stunning new lighting, the theater boasts an immersive sound system, creating a complete sensory experience that transports audiences into the heart of the performance.

“We are happy to be part of the transformation of this unique and historic theater,” said a spokesperson at PS TEATR. “Integrating Elation’s lighting solutions has allowed them to enrich their storytelling while making it easier for them to customize the lighting to create a magical atmosphere for each performance and scene. The system has benefitted those who work with lighting at the theater but has also elevated the entire audience experience.”

Thanks to the new stage technology and the transformative role that Elation lighting plays in enhancing the artistic potential of the Kubuś Puppet and Actor Theater, children and adults alike can immerse themselves in a whole new world of fascinating experiences for years to come.

The post Kubuś Puppet and Actor Theater debuts new season with state-of-the-art lighting from Elation appeared first on A1 Lighting Magazine.

Global technology leader ABB and Austrian-based Zumtobel Group, a global leader in professional lighting solutions announce their strategic partnership aimed at advancing smart building solutions and direct current (DC) industrial product applications. The collaboration is set to create significant added value for customers in commercial, industrial, and institutional sectors by offering integrated, smart solutions for sustainable buildings.

The collaboration will leverage both companies’ expertise in lighting, building automation, and electrification. It will focus on integrating Zumtobel Group’s advanced lighting management systems with ABB’s comprehensive building automation solutions. The combined expertise is expected to create more efficient, sustainable, and user-friendly smart building environments. The two companies will help to accelerate the adoption of sensor-based lighting solutions that enable businesses to optimize energy efficiency, increase occupant comfort and maximize the effectiveness of heating, ventilation and air conditioning (HVAC) control.

Both companies aim to drive innovations based on the latest developments in using DC technology in full-scale industrial applications. The use of DC technology is intended to support a resource-saving society by delivering several benefits for a modern industrial power grid: efficient integration of renewable energy, lower resource consumption, reduced feed-in power, stable grids and an open system for users. Both companies are active members of the Open Direct Current Alliance (ODCA), a Working Party of ZVEI e.V.

“Our partnership approach enables us to better address innovation, standardization, and sustainability and continue to pioneer new technologies,” said Lucy Han, Executive Vice President for Building and Home Automation Solutions at ABB. “Standardization, through KNX, Matter and Thread is particularly important in assuring ease of use for customers, because alongside the rapid growth of the sector, we must drive simplicity. Technologies in commercial buildings need to talk to each other and by combining our strengths with partners like the Zumtobel Group, we can offer customers more comprehensive and innovative solutions for smart buildings and industrial applications.”

Key aspects of the partnership include the joint development of integrated smart building solutions, especially around Zumtobel’s LITECOM lighting system and continuous-row TECTON DC luminaire and ABB’s DC protection devices as well as its ABB i-bus® KNX and ABB i-bus® DALI systems.

Oliver Vogler, SVP Corporate Strategy and M&A of the Zumtobel Group, underlines, “Collaborating with ABB allows us to expand our building management offering around sensor-based lighting, especially in DALI and KNX applications. Together, we can drive innovation in the rapidly evolving fields of smart buildings and smart energy solutions.”

The companies will also explore additional cooperation opportunities in prefabricated building solutions and emerging technology standards such as the cross-manufacturer connection standard Matter and the network protocol Thread.

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In the heart of Poland, in Wiskitki, a state-of-the-art logistics platform is ready to meet the most demanding business challenges. Its strategic location at the intersection of the A2 motorway and National Road No. 50, which forms a key transport hub for the region, is just one of its advantages. Here, FM Logistic is establishing a cutting-edge logistics hub as the central point of the supply chain in the area. With its flexible approach, optimum process automation and sustainable operation, the FM Logistic platform in Wiskitki provides customers with a real competitive advantage in e-commerce.

FM Logistic prioritised energy efficiency in its expansion plans for the Polish market. TRILUX addressed this challenge by incorporating Mirona luminaires equipped with motion and daylight sensors into the facility’s design. This intelligent system optimises lighting based on real-time conditions, reducing energy consumption while adhering to stringent lighting standards.

“The Mirona luminaires, combined with the sophisticated sensor technology, form a system that precisely adjusts lighting levels according to the specific requirements of each area,” explained Marcin Szymański, Project Manager at TRILUX. “This not only reduces the number of luminaires needed but also ensures that energy is used as efficiently as possible.”

Despite the disruptions caused by the COVID-19 pandemic, TRILUX maintained its commitment to delivering the project on schedule. The team’s dedication ensured the timely supply and installation of luminaires, showcasing the robustness of the supply chain and the effectiveness of the logistics and production teams.

“This project, implemented right after the pandemic, was a test of our flexibility and resilience. The entire team demonstrated exceptional commitment to ensure that the lighting solutions were delivered and installed as planned,” Szymański added.

With the implementation of DALI-based lighting control systems and the switch to LED technology, the new facility in Wiskitki is not only more energy-efficient but also complies with the EU RoHS directive, which bans the production and import of mercury-containing lamps. This sustainable approach is crucial for reducing both energy costs and CO2 emissions.

“Each LED luminaire and the accompanying technology minimise energy consumption, embodying the principle that energy savings lead to reduced demand,” stated Lukasz Orlowski, Electrical Engineer at FM Logistic.

The successful delivery of this project underscores the strength of the ongoing partnership between TRILUX and FM Logistic. It is a testament to effective communication, shared goals, and a mutual commitment to innovation and sustainability.

For more insights into the project, please watch the video here.

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Routhier’s original tour design launched in 2022 in support of the “Music of the Spheres” album, and the band is continuing the current stadium tour with the same design. For this summer’s European leg, which launched on June 8 at the Olympic Stadium in Athens, she was looking for the most effective way to add a searchlight-type effect to the show without using a heavy, power-consuming fixture. “We wanted to add lighting to the seats to expand the overall image of the rig without adding a ton of structure,” she said.

Consequently, Elation’s John Dunn and Chuck Dillingham from Freed Sales brought Elation’s new PROTEUS ATLAS to Clear All Visuals in Nashville for Routhier to look at. “It was actually an amazing and fun experience,” she said. “We had the fixture on the rooftop deck of the office and pointed it in the direction of a rooftop bar down the street. We were able to see the beam shooting across the night sky from over two blocks away!”

The designer found what she sought in the powerful IP66-rated PROTEUS ATLAS beam FX moving head, which debuted on the “Music of the Spheres” tour. “We placed them in the seats behind the stage to add some extra firepower to the rig,” she stated. “Music of the Spheres is a hazeless show, yet even without haze, the fixtures are able to provide amazing beam effects without the use of unnatural atmospherics!”

The PROTEUS ATLAS projects a powerful and razor-thin 0.6° beam comparable to 7K Xenon searchlights yet offers various design features and operates at a fraction of the power. Compact enough to be incorporated into virtually any lighting setup, the beam projects from a mammoth 320mm (12.5″) front lens, a great look for a large-scale show like “Music of the Spheres.” Routhier’s design includes 48 units lined above and behind the stage in groups of four, all exposed to the elements.

Tour lighting director and programmer Shaheem Litchmore has been with Coldplay for 3 ½ years and manages the day-to-day handling of the fixtures on the road. “They allow the show to feel massive at moments,” he says, “and because they sit around the stage, they create an intimate, immersive experience. It’s like they give the room a hug that brings it all together!” Referencing the unit’s massive column of light, he says they “feel big but not disconnected. It’s massive but you also feel like you can reach out and touch it.”

The ATLAS creates dynamic beam looks at times, and gobo/prism looks at others to add texture to specific songs. “We love the look of the beams punching through the stadium and touching the clouds; however, it’s also cool to have a softer look from such a powerful fixture,” Shaheem remarked. “They expand the depth of our show and push our creativity.” He adds that they look forward to exploring more of the effects package as the tour continues, especially the continuous pan movement.

A Coldplay show naturally includes a lot of wow moments, one of which occurs right at the top of the show when the lights go down. “One of the first lighting cues involves the ATLAS beams hitting on vertically, touching the sky then falling to the floor of the stadium,” Shaheem describes. “It’s an unexpected and impactful way to introduce the new PROTEUS ATLAS to our show.”

Sooner adds that the fixtures look “incredible” doing a rainbow chase for “Adventure of a Lifetime.” In the song “A Sky Full of Stars,” one of her favorites, massive white beams explode from behind the stage, creating a “lighting firework.” In the hit “Paradise,” the softer side of the fixture is displayed with bold gobo/prism looks.

One of the highlight moments in the show, according to Shaheem, is in a song called “Clocks” with no front light and the band silhouetted. “There is a big laser moment in that number, and the ATLAS add a lot of beams on top of it all. It’s an impactful moment in the show and they punch right through,” he said, adding that “the reaction from the crowd during those moments is why we do this.”

One of the highest-attended and biggest-grossing tours of all time, Coldplay’s environmental efforts on “Music of the Spheres” are highly commendable. Stages were developed with a team of sustainability experts and built from reusable materials, displays, lasers, lighting, and PA are all low energy, and many more ecological initiatives. With its efficient 500W Solid State Phosphor-Converted (SSPC) light engine, the PROTEUS ATLAS aligns with the green ethos of the tour as it operates at a fraction of the power of 7000W Xenon fixtures for a much smaller footprint.

The European leg of Coldplay’s “Music of the Spheres” world tour is scheduled to wrap on 2^ndSeptember in Dublin, the final show in a successful debut outing for the PROTEUS ATLAS.

“Every time I visit the show, I’m in awe at the dynamics they add to it!” Sooner concludes. “They were definitely the perfect addition to the lighting rig.”

Photos: Kai Kuczera.

The post Sooner Routhier debuts PROTEUS ATLAS on Coldplay’s “Music of the Spheres” Tour appeared first on A1 Lighting Magazine.

“It needed to be bright, versatile, bold and strong,” says the designer, one of three partners at Woodroffe Bassett Design (WBD). And so Ridgway recommended GLP’s impression X5 IP Maxx, promptly arranging a shoot-out. Terry Cook’s conclusion: “It brought meanness, real character and was unapologetically angry. It was definitely an AC/DC light,” he exclaims unequivocally. “We have history of embracing new technology on AC/DC tours and the Power Up tour was no different.”

At the same time he noted a further advantage: the fixture’s IP rating. In fact, its waterproof qualities would prove vital during the tour, even though every fixture would be located under the roof.

Neg Earth had been contracted as tour vendors by the band’s production director, Dale ‘Opie’ Skjerseth. As soon as the designer had greenlighted GLP’s powerful washlight, it wasted no time in ordering 172 of the fixtures – the first rental company in the world to do so. “Dave [Ridgway] knows I take nothing as guaranteed and so we looked at each fixture twice, using light meters to measure it, and to understand what each light could do and how they balanced together,” reports Cook.

Lighting designer Patrick Woodroffe, who originally set up WBD, has an association with both AC/DC and Neg Earth stretching back decades. “The band hadn’t toured for a while for various reasons,” notes Terry Cook. “We were contacted about them returning for a one-off show at Power Trip Festival in California – and they would then try something in Europe.”

WBD immediately witnessed the signature rawness and WBD were soon back at the drawing board once the European tour was confirmed. “There were to be no gimmicks, it was very much about connecting the band, the music and the fanbase,” continues Cook.

The lighting designers worked closely with Stufish, which was responsible for the stage design and size of video screens: “I realised I could replicate the shapes of the video with five large lighting pods, filled with one type of light. Stufish suggested putting a video frame around the pods so we could drag the video off the screens and immerse it into the roof and sides of the stage. Suddenly the idea was born and we knew we had a winning combination.”

Three identical overhead pods – four units wide, eight units high – were offset by two further pods, stage left and right, aligned on the vertical plane. Each contained a matrix of impression X5 IP Maxx – which made up the bulk of the 168 units that toured. The remainder were set on the upstage side of the front truss to illuminate the band’s iconic 8ft high signature wall of Marshall amps, stacked three high.

The challenges in bringing this to fruition were many, not least ensuring the vast inventory of X5 IP Maxx could be shipped in time. “We also had to work out how we were going to build these lights within the trusses, even-spaced in a matrix and at the same time get the correct beam angles. The rig was something of a throwback to a parcan rig of yesteryear, when we were specifying the Molefay,” suggests Cook. As for the trusses, individual custom bracketing had to be produced for each piece, with a custom [load] spreader built into each hang.

The next decision was the DMX programming mode for the X5 IP Maxx. Cook recalls: “When I first turned one cell on, at just 3 percent, I knew immediately it was going to work. We wanted to have cell control so that we could change the shape of these lights and so choosing the correct mode was vital.”

Explaining further, he says:, “There’s one moment in ‘Thunderstruck’, an iconic song, when we wanted 168 linear stripes of light, rather than circles, to loosely represent a lightning bolt delivering real sparkle and flare across that big iconic intro.” After consideration, they opted for the fixture’s Mode 4 Multipix Advanced mode. “This gave us an incredible 141 DMX channels, with two lights per universe. It may have given Neg Earth a heart attack, but we wanted the flexibility to create the pixel effects.”

Terry Cook also knew “from the get-go” that he wanted to integrate the GLP washlight into the Follow-Me follow spot system “and so at a moment we could sweep all 168 lights onto [frontman Angus Young] if we wanted a big guitar moment and pull a vast section of lights down to him.”

And when he needed to perform a fast zoom there is none finer than the impression X5 IP Maxx, with an enormous range from an extremely narrow 3.3° beam out to a wide homogeneous 66° wash.

Terry Cook paid tribute to a number of people for bringing the show to fruition, led by the head of GLP UK, Simon Barrett. “We must have used every fixture in GLP’s catalogue over the years. I can’t tell you how good Simon and GLP’s customer service are. To have direct access to the manufacturer was really useful.

“We worked very closely with the set designer Ray Winkler [of Stufish] and Jeremy Lloyd at Wonderworks, who did the technical design, working out how to rig it safely, putting the engineering side of the pods together. Finally, there was Sam Patterson’s team at Treatment, who do video creation.”

To the many superlatives already levelled at the X5 IP Maxx, Terry Cook adds “reliability”, explaining: “By the halfway stage of the tour the team hadn’t swapped out a single light – despite them getting extremely wet in atrocious weather, particularly at load-in and load-out.

“But they are a great fit for an AC/DC show and the biggest compliment that I can give is I’d spec them on a show in a heartbeat!”

The show itself was naturally piloted by the band’s veteran and ever-present touring lighting director, Cosmo Wilson, while Joe Bay and Michael Hankowsky were brought on through Early Bird to handle the lighting and video programming. The last, and newest, member of the FOH team is WBD’s own Fraser Walker who, like Cosmo, runs the video screens live each show, with no timecode used, “it’s lovely to see Cosmo and Fraser operate this show,” remarks Cook.

One final footnote: Opie and WBD made the decision that, having been so impressed with the young crew appointed by Upstaging on a recent American show, to request similar from Neg Earth. The rental company delivered, providing another young, fastidiously professional team with an average age of just 28. Other crew members included Jim Mills, Lewis Willding, Niccolò Grigolato, Ben Tinniswood, Zac Saleh, Euan Odd, Charlie Strangeways and Holly Brightman working under crew chief Alan Fotheringham. Neg Earth’s team who assisted with all the prep, comprised Joao Magalhaes, Jack Prior, Fiore Fillarini and Greg Gadomsk.

Terry Cook credits the impact that the crew’s energy and teamwork made to the overall result of the show.

Photo credit: Ralph Larmann.

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Metaroom by Amrax, a spatial 3D data capture company, has announced a partnership with lighting design software provider DIALux.

The tie-up will enable users to send 3D scan data from Amrax’s Metaroom solution directly to DIALux’s planning software. This new feature will be available from mid-September with the release of DIALux evo 13. This allows the fast creation of precise and detailed light plans for each room.

Scans* can be made in a matter of minutes on any Apple Pro device with a LiDAR sensor and then instantly imported into DIALux. At this point, users can experiment with scores of different factors to find the most cost-effective, aesthetically pleasing, functional and sustainable lighting solution for their space. The partnership between Metaroom and DIALux aims to streamline the spatial design process for professional designers and consequently help to power innovation, sustainable design, and lower costs.

The Metaroom app is an advanced 3D scanning app, driven by the power of AI, LiDAR (Light Detection and Ranging), and SLAM (Simultaneous Localisation and Mapping) technologies. The tool enables professionals in spatial planning industries to envision and redefine spaces. The Metaroom solution is a workflow consisting of Metaroom app for capture and Metaroom Studio for optimisation before export. Through the Metaroom app users can scan rooms using an iPhone Pro or iPad Pro*. These scans are then uploaded to the cloud, generating true-to-scale 3D models within seconds. Users can then use the web application, Metaroom Studio, to enrich these 3D models with additional information before exporting, ensuring project-specific customisation and precision.

DIALux is a global standard in lighting design software, utilised by over 750,000 active users to design, calculate, and visualise lighting for both indoor and outdoor areas. Featuring real luminaires from over 412 DIALux members, users can create unique atmospheres and generate comprehensive project documentation. Available in 26 languages, DIALux supports a worldwide network of lighting professionals and adheres to the open BIM approach. The integration with Metaroom is also based on open BIM and IFC standards.

DIALux always prioritises the needs of lighting designers in its feature development, aiming to streamline their workflows and simplify their tasks. By using Metaroom, lighting designers can save significant time when designing and placing luminaires. Projects can be conveniently downloaded from Metaroom Studio and imported into DIALux. The planning results can then be exported as an IFC model for the Open BIM process or other programs, significantly reducing the workload.

Martin Huber, CEO of Amrax, said: “Advances in 3D modelling, software and AI are combining to democratise design. Lighting designers and electrical planners now have access to powerful tools that significantly enhance efficiency, enabling them to serve more customers in less time. This is going to lead to a revolution in how buildings are designed and how we all interact with our built environment.

Partnerships between cutting edge solutions like Metaroom and DIALux are key to powering this change. By creating an extensive ecosystem of lighting design solutions, we will significantly improve accessibility, reduce costs and bring spatial design to the mainstream.”

Dieter Polle, CEO at DIALux, said: “Simply scan the room with your smartphone and start planning right away. Wouldn’t that be fantastic? By integrating Metaroom into DIALux, this is now possible. The time-consuming task of constructing the geometry before starting the actual lighting design is eliminated. Martin’s team and their solution have convinced us. The integration follows our Open BIM strategy technologically. With this integration, we’ve made life a bit easier for lighting designers.”

Over 11.000 Metaroom users, including key players in the lighting, wireless planning and AEC industries, have registered through the Metaroom app and joined the Amrax B2B ecosystem dedicated to spatial design and 3D modelling.

*Metaroom app’s scanning functionality is currently compatible with all LIDAR-enabled Apple devices (starting from iPhone 12 Pro and iPad Pro 2020 generation devices). However, you can view or download shared 3D models directly in any web browser through Metaroom Studio.

The digital twin is created with the Metaroom app within minutes by using RGB and depth sensors from an iPhone or iPad Pro together with deep-learning neural networks. The accuracy of LiDAR sensors of the iPhone 14 Pro model is at 0.5-1 percent. The recognition range is approximately 5 meters.

The post Metaroom and DIALux tie up to enhance efficiency in 3D modelling for lighting design appeared first on A1 Lighting Magazine.

Boris Jacob, from Elation’s French distributor Best Audio & Lighting, handled lighting design on the project. He stated, “This show really gives pride of place to the Elation brand with the FUZE PROFILE and the KL PROFILE FC. The luminous flux and high CRI, the identical colorimetry between the FUZE and KL series, as well as the silence, make these fixtures the perfect choice!”

A flexible framing fixture for theatre and television, the FUZE PROFILE houses a 305W RGBMA LED engine with high CRI. Its 5-color homogenized LED array not only ensures accurate color reproduction with a beautiful mixed white, it also provides color manipulation features like virtual color temperature and Magenta/Green adjustment plus CMY emulation. Jacob used some of the FUZE PROFILES as keylighting to illuminate the artists’ faces using the built in framing blades and color temperature control with the remaining FUZE PROFILES set on stage to project gobos and cut out scenery elements.

Because the KL PROFILE FC ellipsoidal also houses an RGBMA LED engine, the designer was able to perfectly match color across the rig. Housing an integrated zoom that adjusts from 6 to 50 degrees, the KL PROFILE FC requires no additional lens tubes for fast beam angle changes. Its 93.5 CRI engine ensures accurate color reproduction, and full blackout manual framing eliminates any light spill. Both fixtures proved the ideal complements for “The Twist Years” production.

Atmospheric haze and mid-air projection canopy came courtesy of a THERMA TOUR 600 from Magmatic atmospheric effects. Producing an exceptionally fine, long-lasting haze, a water-based fluid was used to allow for total protection of the eight artists’ vocal chords, as well those of the accompanying musicians and technical crew. The 350W THERMA TOUR 600 creates a safe, clean and odorless haze effect that leaves no residue.

Stemming from the early 1900s, the Eiffel Tower Theatre was renovated in 2016 and reopened in 2017. Due to its exceptional historical heritage and a varied program of musical shows, comedy, and plays, it has managed to find a place among the pantheon of Parisian theaters. “The Twist Years” will be back at the Eiffel Tower Theatre in October and will be touring in 2025.

Production: Cabucho Production – Remy Caccia & Christelle Chollet.

Director: Lucy Harrison.

Choreography: Olivier Benard.

Musical Director: Gabriel Sarrou Vergnac.

Costumes: Claire Djemah.

Cast: Lou Nagy, Martin Heuzard, Marine Rouvrais, Quentin Aubert, Théophile Baquet, Victor Villafranca, Alexia Piovano, Pierre-Arthur.

Lemoine, Olivier Benard, Armonie Coiffard, Magali Bonfils, Thomas Boissy, Pierre-Alain Leleu.

Musicians: Gabriel Sarrou Vergnac, Frank Bessard, Maxence Naudet, Matthieu Durand Valerio, Edouard Dornier, Rodrigo Viana.

Photos:  Justine Lephay.

The post Elation FUZE and KL highlight “The Twist Years” at Paris’ Eiffel Tower Theatre appeared first on A1 Lighting Magazine.

Next to the vehicle itself, the highlight of the Team X-produced reveal, was a performance by Travis Scott. The Grammy-winning, platinum artist didn’t appear on any ordinary stage, either. Instead, he was driven out in the new Mercedes on a platform that appeared to be floating in the lake! For good measure, he performed some songs while standing atop the shimmering blue vehicle.

Seeing a world-class artist and a stunning car on a stage surrounded by water in a canyon that oozed natural beauty was a breathtaking experience. But, as always, this magical moment, was backed by a lot of hard work and brilliant technology.

Seth Bernstein, who led the lighting team, used 68 CHAUVET Professional Color STRIKE M motorized strobe-washes supplied by Volt Lites. He described what went into making this memorable experience a reality:

“This was an impressive accomplishment. Scuba divers built an elevated stage in the park’s decommissioned reservoir. This presented immense challenges, as we didn’t want to distract from the beauty of the environment with excessively visible fixtures or positions.  Also, the audience walked in during the last hour of daylight, so we wanted to keep the rig discrete so people would be highly surprised by all the show elements. Since this was the world premiere of the all-Electric G Wagon, lighting the vehicle reveal was a huge focal point for the show planning. Niklas Bildstein Zaar and his team at Sub Global in Berlin, our talented creative directors, chose a piece by lighting artist Boris Acket called “Sunrise For Sleepers” which consists of a simulated sunrise in an indoor environment.

“Boris and I collaborated on adapting this idea in the canyon setting, using a 24,000-Watt Tungsten Fresnel fixture on a 55’ techno-crane,” continued Bernstein. “As the car drove out, the ‘sun’ appeared to rise over the lake. The amount of technical planning and blind luck that went into making this happen was staggering. Boris was a pleasure to work with. Killswitch Rigging and Volt Lites put their heads together to mount and power the huge fixture on the crane and StrictlyFX provided all the atmosphere to render the sunrise and hide the techno arm and base.”

With the exception of a few selectively employed keys lights, Bernstein relied exclusively on color washes and strobes from his Color STRIKE M fixtures, along with laser effects. “The creative direction called for a huge amount of atmosphere, which needed to be colour toned for each song,” he explained.  “Because we were using these very pure and bold Laser effects, I wanted to be careful about using any fixtures that would create visible beams that would clash. The Color STRIKE Ms had that perfect brightness and colour range, but also didn’t distract the Lasers.”

Technical directors ST. ROBO, Nik Evers and Markus Eibl recounted how the fixtures helped make the even run smoothly, even with uncertain weather conditions. “Given that the Mercedes-Benz electric G-Class Premier took place at an outdoor venue by a reservoir, the weather was unpredictable — and indeed it went from intense sunlight to sudden rain showers. Thanks for the all-weather IP65 capabilities of the Color STRIKE M, we didn’t have to worry about covering or protecting them constantly. Their reliability and durability made the event seamless and visually stunning despite the challenging conditions. We frequently deploy and specify these fixtures, appreciating the consistent performance and robust design.”

The Color STRIKE M fixtures were positioned “everywhere they could possibly go given the complexity of the lake bed” noted Bernstein. There were only two spots where the soil could support towers being build. So, Killswitch constructed 24-foot towers in a space nestled between the trees on the shore. There were also some boom lifts on the access road where fixtures were lifted above the tree line. Aside from that, the production team installed a row of  “Color STRIKE M footlights” for Travis Scott on the base of the guest deck (which was also build in the lake), while other fixtures were scattered in clearings on the perimeter walking path.

Speaking of the Color STRIKE M units in his rig, Bernstein said, “How strong is this fixture? It took only 68 Color STRIKES to light an entire canyon. At one point someone standing on the access road told me that we changed the colour of the sky!”

The high output Color STRIKE M fixtures were used to create a variety of colour washes that played off brilliantly against the shadows and dark spaces. “Red was a huge element of the show, due to the artist material and the way that red makes water look other-worldly,” said Bernstein. “Cyan, amber and the white center cell of this fixture also played very prominently in the colour choices.”

With limited dark time available in the canyon, the entire production team had to bring its A-game to achieve these results. “We had no timecode and no artist rehearsal,” said Bernstein. “So, a huge credit goes to the programmers Joe Watrach on lights and Nick Meyer on Lasers, as well as our pre vis model builders at Earlybird. We also couldn’t have done this without Blue Revolver, our lead fabricator, and the Mercedes team, including Clair Global, ST. ROBO, and Bullitt Productions.”

Bernstein described the entire project as “a huge team effort.” That ingredient — along with some powerful technology, will make magic happen every time.

Photo credit: Jamal Eid/Getty Images.

The post Seth Bernstein lights Mercedes-Benz Electric Vehicle World Premiere with Chauvet Professional appeared first on A1 Lighting Magazine.