The new lighting, designed by the Schröder & Partner design studio under the guidance of project manager Jan Wöhning, introduced a versatile and innovative lighting system that enhances the architectural beauty and liturgical symbolism of the church. “The church mainly had obsolete lighting technology, which we replaced with more modern LED technology, promoting energy efficiency. The curia also asked us to emphasize the colours of the liturgical year (green, red, purple) through coloured lighting in the hall,” explained Jan.

For the choice of projectors, the studio relied on Lightpower, PROLIGHTS distributor in Germany, selecting the ArcShine M18FC and ArcShine M9FC, the ArcPod 15Q, and the Astra Wash7Pix.

A key element of the new system is the use of the ArcShine M18FC LED bars, which discreetly illuminate the central area of the church, creating an ethereal effect with almost invisible light sources. Inside the dome’s lantern, ArcShine M9FCs were placed, emitting coloured light that floods the dome’s interior and creates a suggestive effect through the windows, visible from outside the church after sunset. Additional ArcShine M18FCs were installed above the organ to illuminate the metal pipes, while an ArcPod 15Q was positioned to light the tabernacle niche behind the altar.

The renovation also included the replacement of an old profile projector with three Astra Wash7Pix, arranged on the ceiling to provide greater flexibility in lighting during religious services. “The priest wanted a solution that would allow more flexible lighting of significant places in the Mass,” added Jan. “We were fortunate because the church showed great interest in the success of the lighting and was open and favourable to creating a modern and innovative setup.”

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As a result, when it collaborated with fellow design company DoLaB to present its unique MACROdose dance music stage for the first time at this year’s Coachella Valley Music and Arts Festival in Indio, California, it were able to integrate large quantities of its recently acquired impression X5 IP Bar 1000s, X5 IP Maxx and much-coveted JDC2 IP to animate a series of ‘fabric mushroom’ sculptures which looked like they had just sprouted out of the desert grass.

DoLaB itself is a collective comprising brothers Dede, Jesse and Josh Flemming which builds bespoke architectural and art pieces. The installation itself consisted of nine oversized, satellite-shaped sculptures distributed across a field, under which festivalgoers could get some shade, rest and dance. Maktive delivered all the lighting and took care of the programming.

Maktive director Bryan McClanahan, who co-founded the partnership with Patrick Randall, explains that the two companies had collaborated on avantgarde art projects in the past: “For Coachella we were asked whether we could come up with a couple of different scenarios with different lighting configurations.

The goal was to keep as many lights hidden as possible, but obviously some fixtures needed to be unobstructed.” Those that they chose to reveal included FUSION by GLP Exo Beam 10 and JDC2 IPs. Meanwhile, up inside each of the mushroom type shapes were the X5 IP Bar and also the X5 IP Maxx – part of a burgeoning fleet of GLP new generation solutions in its rental inventory.

But it is the new JDC2 IP, offering more power and creativity than its predecessor, which has excited the company the most. Significantly, it offers the ability to create unique digital effects with an individually controllable pixel matrix. A powerful built-in dual-Cortex CPU with graphic processing offers over 100 GLP DigiFX, giving an eye-watering range of digital content.

“We first saw them at LDI,” says McClanahan. “For us it clicked right away the second we saw them in the booth.” He ordered 150 pieces in what the Maktive director describes as a blind purchase. “For us, this is our largest investment in a single type of fixture. We could see that the in-built 128-channel mode DigiFX were really a digital gobo that could be manipulated with X and Y coordinates like a moving head.”

“At Coachella they really got to shine.” As for the X5 IP Maxx and X5 IP Bars, they were placed inside each of the mushroom-type shapes. “The Bars themselves were mounted from the inside of a pole through the middle of the mushrooms, shooting outwards from the centre, and we mounted the X5 IP Maxx on the outer tips of the mushrooms shooting in. They did all the heavy lifting, illuminating the mushrooms with no uplighting – the mushrooms almost glowed from the inside out.”

It provided a perfect scenario for a star-studded line-up of artists, the DoLaB stage hosting performances from Chase & Status, Alesso, Anna Lunoe and DJ Tennis, plus back-to-back sets by Kaskade and Alison Wonderland and an impromptu party hosted by Billie Eilish.

“We were able to provide the lighting entirely from the GLP catalogue,” confirms the Maktive director in conclusion. “And the fact we were able to match the chipsets meant we got an even homogenous colour.”

Maktive’s Coachella production team comprised Bryan McClanahan (creative director); Jeury Duran (lighting director); Chris Hallet (project manager – day); Ernesto Melendrez (project manager – night); Kylie Woods (creative manager); Nicolai Anderson (lighting drafter); Shane Thompson (master electrician); and Nate Heiderer (video programmer).

Photo credit: Jamal Eid.

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An increasing shift towards LED lighting is helping to improve the UK’s position in its aim to meet its net zero carbon emissions by 2050 target. An effective lighting control system can add to a building’s environmental credentials by helping to ensure the lights are only on at times they are needed and only in the places they are needed. It is therefore becoming widely recognised that lighting controls will play a significant role in creating intelligent buildings fit for the 21^st century.

Visitors to the show will have the opportunity to discover more about the latest lighting control products, and they can learn more about their relevance to the smart buildings industry in the Controls and Networks Theatre, which is sponsored this year by the DALI Alliance – the internationally-standardised protocol for digital communication between lighting control devices.

Smart Buildings Show Sales Manager Claire Hatchett expressed her delight at having the support of the LIA, saying: “We are very proud to welcome the LIA on board as an association partner of Smart Buildings Show. The LIA is a hugely influential organisation in a sector that will play a vital role in helping to create intelligent and sustainable buildings for the future. We have a number of exhibitors involved in lighting controls and we are looking forward to helping spread the word about their increasing importance in smart building design.”

Taking place at ExCeL London on 9^th – 10^th October, Smart Buildings Show 2024 will connect visitors to the latest information and technology in the smart buildings industry. A full conference programme across four theatres will provide visitors with a wide range of relevant talks and discussions relating to the smart buildings industry.

To keep up to date with exhibitors, speakers and seminars visit: https://smartbuildingsshow.com

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Joe Murray is also a founding director, and they and the team are all big fans of Astera, having first started hearing about the brand a few years back when the neon lighting look was very popular in Australia.

The first Astera products to arrive at Sightline were AX1 PixelTubes that joined the inventory in 2019, a figure that’s now jumped to over 50 fixtures.

In addition to these, they also have AX2 LED battens, AX3 LiteDrops, AX5 TriplePARs, AX9 PowerPARs, as well as the 2 metre Hyperion Tubes and the half metre Helios Tubes, totalling over 200 Astera battery-powered LED products.

These have become invaluable for all types of event scenarios and the continuing commitment has recently seen 2 cases (16 total) of AX3 LightDrops added to stock – joining 80 domes for the AX5s which can be used as set enhancements. They are now looking at Astera’s Fresnel series.

Sightline’s biggest project to date using Astera involved over 200 AX1 tubes that lined an interactive entrance tunnel to an event for software and graphics brand Canva, at The Hordern Pavilion in Sydney, Technically Directed by Sightline’s Kim Louey-Gung.

AX1 tubes were also used for the Netflix season launch of the newest Stranger Things series where they – together with other Astera fixtures – help to create an actual “upside down world”.

It’s almost become an in-joke at Sightline in terms of how often AX1s are used, as Astera products are perfect for so many applications and as ultimately useful creative tools, frequently requested on different jobs.

The Sightline team feels the tubes in particular are a brilliant ‘gap filler’ for streamed shows or presentations with cameras and is impressed with the selection of rigging and mounting accessories that come with an Astera package making the lights “super quick and convenient” to deploy pretty much anywhere.

AX3s are super-handy and were recently used on a corporate event fitted to the top of a set piece due to their tiny size, and they are regularly dropped into stage as they are so easily concealed yet have great visual impact.

“Being able to use this many battery-powered fixtures on a show, event or stage set is amazing and so practical… allowing for quick and cable-free looks,” explained Joe.

Mostly the Sightline crew will use the Astera App on an iPad for controlling the fixtures.

The quality of the light output from all the different Astera luminaires “is excellent” notes Adriano, especially the AX5s and AX9s which are frequently used for set and key lighting on stage and in studios. They appreciate the colours, especially the pastels and the warm whites and AX9s can produce an excellent stage wash.

“The batteries will last all day, so combined with the very organic look that blends in so well, the accessibility and incredible versatility of the luminaires – they are good for anywhere and everywhere,” says Adriano.

When LDs, lighting directors, operators or clients know that a company has Astera onboard, “everyone takes you seriously – the name has proper kudos and industry standard status,” he enthused.

On average, Sightline will supply equipment to around 30 projects a month of different sizes, often including the lighting design, and Astera fixtures will invariably be somewhere on the event.

A vital element of investment in any kit is the service expected from the supplier, and Astera’s Australia and New Zealand distributor ULA Group is “second to none. For any busy rental/production company, knowing you have great service, support and backup when needed is all important,” Adriano concluded.

They look forward to continuing their symbiotic relationship with Astera.

Photos courtesy of Sightline. Canva Create. – Produced by The Event Room. Netflix Stranger Things Launch – Produced by INVNT.

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Cobra is Ayrton’s first IP65 laser-sourced fixture. Designed for rendering a D65 white point that allows perfect colour reproduction, Cobra has an incredible output of 386,000 lux at 20m, an unprecedented 38x zoom ratio and an incredible zoom range of 0.6° to 23°. It also sports a highly innovative colour section, unrivalled graphics capability and continuous pan and tilt.

The Cobra fixtures were specified by Stop Making Sense’s Timo Martens who created the lighting design for the tour with great support and cooperation from Bertil Mark (also from Stop Making Sense), and Raphael Demonthy. The Stop Making Sense design collective was responsible for the entire realization of the stage, the lighting, the content production, as well as the programming and supervision of the project.

Martens explains why the Cobras were chosen for this tour. “In order to create the greatest possible impact with the lamps, so that we could practically make backdrops out of light, we needed a moving light that would provide maximum output with a low weight and a great CMY colour mixing. We compared a lot of moving lights and finally decided on the Ayrton Cobra, which we have not regretted.”

48 Cobra units were rigged around a specially made 10m circular truss upstage and 16 Cobra fixtures lined the catwalk. “The Cobras in the circle were primarily there to draw shapes and lines in space,” explains Martens. “The basic idea was to create backdrops of light that extend across the entire width of the venue, or to be able to create a tunnel of light that extends through the whole venue, no matter how large it is. We placed the remaining Cobras on the stage to use as floor lamps to provide additional options that gave the show even more variety.”

The technical team and lighting designers were extremely pleased with the overall performance and versatility of their choice of light. “In the end, it was a very good decision to put our trust in the Cobras, because the concept worked out perfectly,” confirms Martens. “We didn’t have a single breakdown on the entire tour. The Cobra light beams looked sensational and we have never regretted our decision.”

There was praise too for the service and back-up from both supplier and manufacturer: “We have always received friendly, excellent support from Ayrton and are very happy with such good cooperation. However, because the Cobras were so reliable, we didn’t have to put too much strain on customer support! TDA Clair always had an open ear for us and left nothing to be desired. We felt well looked after and supported at all times.Special thanks also to Captured Live for their trust in us, as they were responsible for production management and implementation.”

Project credits

Lighting Design: Timo Martens/ Bertil Mark and Raphael Demonthy.

Design Collective: Stop Making Sense.

Production Management: Captured Live GmbH.

Technical service provider: TDA CLAIR GmbH.

Rigging: Big Rig GmbH.

LED walls: Faber Audiovisuals GmbH.

Special structures: Satis&Fy AG.

Pixera media servers: Rec Tec AG.

Pyro FX: FOG SFX GmbH.

Images: © Simon Kropp.

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With a commitment to pushing the boundaries of innovation and creativity, Ventola Projects has established a strong reputation for delivering cutting-edge solutions to clients worldwide. The launch of its new US entity marks a significant milestone in the company’s expansion strategy, further solidifying its presence in key markets and enabling it to better serve clients across the Americas.

“We are excited to unveil this exciting news about our new US entity”, said Mick Ventola, CEO of Ventola Projects. “This expansion represents a strategic move to enhance our capabilities and better meet the needs of our clients in North & Central America, as well as the Caribbean & South America. We look forward to leveraging our expertise and innovative technology solutions to deliver exceptional results for our clients in these regions”.

Ventola Projects’ new US entity will focus on providing a wide range of services, including dynamic lighting, interactive displays, immersive experiences, and more. 

The reasoning for the location of this entity stems from various factors, including the locality of recent customers, the logistics, and the locality of other states the company deals with nearby. 

By establishing a local presence, the company aims to streamline operations, improve accessibility, and strengthen relationships with clients and partners in the region.

“We believe that by expanding our presence in the Americas, we can better serve our clients and continue to drive innovation in the industry”, added Mick. “We are committed to delivering exceptional services and solutions that exceed our clients’ expectations and contribute to their success”.

The launch of Ventola Projects’ new US entity reaffirms the company’s dedication to growth and innovation, positioning it for continued success in the global market.

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Attracting over 2,000 visitors, the popular regional event is known for connecting professionals with lead names in the entertainment technology industry across two friendly days of networking and discovery.

Boasting a fully booked show floor, PLASA Focus Leeds will feature 150+ brands in pro audio, AV, lighting, rigging, and staging. Attendees will have the chance to closely examine new products and engage in face-to-face discussions with potential suppliers.

The entire span of live entertainment technology
Lighting professionals can look forward to meeting Ambersphere, Avolites, ChamSys, CHAUVET Professional, Entedi, ETC, GLP UK, Prolight, Robe UK, TMB, and Vari-Lite.
Top quality pro audio is also on offer from Audio-Technica, Bose Professional, d&b audiotechnik, EM Acoustics, Funktion One, JBL Professional, KV2 Audio, Martin Audio, NEXO, Shure UK and Wharfedale Pro.

Heavyweights in rigging will also be in attendance, such as Alustage, Area Four Industries, ChainMaster, Doughty Engineering, Rigging Services, Rope and Rigging, Triple E, and UK Rigging.

Not only that, cutting edge AV can be seen at the stands of Epson, LANG UK, PSCo Group, Riedel Communications, and ROE Visual. And innovative staging will be on show courtesy of Absolute Casing, APT-GB, Drapemakers, Harlequin Floors, J&C Joel, and NSP Cases.

A programme to inform and inspire
The highly-rated programme, sponsored by Vectorworks, will run throughout the show, packed with sessions to help visitors advance their careers and navigate the industry. With last year’s programme featuring sessions on sustainability, lighting and sound design, and careers in rigging, this year’s programme is set to be equally enlightening.

PLASA Focus Leeds also offers a variety of interactive experiences, including hands-on product training and powerful audio demonstrations. These opportunities are ideal for both seasoned professionals looking to enhance their skills and newcomers seeking an introduction to professional products. Further details about the 2024 program will be unveiled in the upcoming weeks.

PLASA’s Head of Events, Sophie Atkinson, comments, “The past year has been remarkable for the live sector, marked by events such as Eurovision and the Coronation. And where better to celebrate these achievements than at one of the industry’s favourite shows? Leeds is renowned for its friendly atmosphere, so whether you’re an old-hand or a new-starter, you’ll be warmly welcomed to the show.”

PLASA Focus Leeds will take place from 14^th – 15th May 2024 at Royal Armouries. Register for free at https://www.plasaleeds.com/

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The biological and emotional effects of light are frequently underestimated. For example, there is hardly any reliable data on the positive effects of human centric lighting (HCL) in an industrial environment. There is also a lack of information on the positive effects of light on the sleep and cognitive performance of industrial shift workers. When Volvo Group Trucks intended to refurbish the outdated T8 lighting system at their production facility in Ghent, they joined forces with Zumtobel and several prestigious research institutes including KU Leuven in Ghent and the Howest University of Applied Sciences in Bruges to research the effects of human-centric lighting on people working on industrial assembly lines.

Comparison of three different lighting scenarios

The aim of the field study was to compare the effects of three different lighting scenarios on the wellbeing of shift workers. To do this, Zumtobel equipped a 150-metre-long production line with its TECTON continuous-row lighting system. The first 50 metres were equipped with TECTON C standard LED luminaires, which were mounted on two light lines directly above the production line. The second 50-metre section was equipped with the same lighting, along with additional tunableWhite luminaires and the LITECOM lighting management system, which made it possible to program the lighting system and to vary the light colours and brightness levels. Changing colour temperatures were used to simulate the natural cycle of daylight, which had a sustained, positive effect on employee wellbeing.

The third section of the production line was illuminated with human centric lighting. To achieve a vertical illuminance of more than 1,000 lux and thus create the effect of melanopic light, Zumtobel installed an additional third light line. This consisted of a special version of TECTON basic with reflectors and produced the HCL effect through its high vertical illuminance, while thanks to their clever placement in the corridor, the HCL luminaires reflected the light back into the production facility. Zumtobel installed a total of around 600 metres of TECTON light line, with RESCLITE luminaires used for the emergency and safety lighting in all three lighting scenarios.

Field study confirms lighting’s central role

The field study itself was conducted in three groups (one for each lighting scenario), each with around 50 participants. Qualitative and quantitative methods were used to accurately measure the differences between the three groups. The study focused on factors such as visual comfort, cognitive function, sleep efficiency, circadian rhythms and physical activity. The results of the field study confirmed previous hypotheses about the relationship between lighting and the cognitive function of industrial shift workers. For example, employees working in HCL were more alert and more focused than the control group. In addition, the former group also demonstrated measurably better sleep efficiency and sleep latency.

Based on the conclusive results of the study and a comprehensive assessment of all three lighting scenarios (standard LED, tunableWhite and HCL), Volvo Group Trucks decided to completely retrofit their Ghent production facility using LED luminaires with tunableWhite. In addition to the positive effects on employee health, other factors such as cost and energy efficiency also played a role in the decision to invest. As part of the rollout, the company has so far equipped more than 100,000 square metres of its facility in Ghent with Zumtobel tunableWhite luminaires including warehouses, offices and shelving, with the retrofitting of further areas also planned.

The results of the study impressed not only Volvo Group Trucks. The analysis of the collected data and the resulting modernisation of the lighting at the Ghent plant also impressed the DALI Alliance: the project received the popular DALI Award in the ‘Industrial’ category at the DALI Lighting Awards 2023. The jury praised the use of DALI technologies to improve the wellbeing of employees, which was achieved through the implementation of TunableWhite in all production areas.

Employees benefit from support for their circadian rhythms

“Thanks to its use of changing light colours, tunableWhite technology provides optimal support for employees’ circadian rhythms. Employees are alert and active at the right time and able to get the rest they need at the end of their shift. Even if they come home in the daylight, they can still enjoy healthy and restful sleep,” explains Zumtobel project manager, Romanito Van Brabant.

Rudy Van Leeuwen, electrical installations project manager at Volvo Group Trucks Operations in Ghent, adds: “Our company philosophy is focused on people. The aim of the joint project was therefore to create the best light for every activity at every workplace. And our expectations were met: the environment for our shift personnel is significantly better and more pleasant than it was with the original lighting. This has a positive effect on the wellbeing and motivation of our employees and is why Zumtobel tunableWhite is now our go-to technology, which we are also using in our newly opened battery assembly plant for heavy-duty electric trucks in Ghent. In addition, we frequently receive enquiries about our lighting from the Volvo Truck sites in Singapore, Sweden, South Korea and Brazil, and even from our colleagues at Volvo Cars.”

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M-Cube, the instore digital entertainment provider, has been selected as the Technology Partner for Integrated Systems Europe (ISE) 2024 taking place from the 30th January – 2nd February.

Integrated Systems Europe, often referred to as ISE, is the largest audio visual and systems integration show in the world. Launched in 2004, the annual four-day event brings together decision makers from the AV channel, such as integrators, installers, distributors, resellers, manufacturers, and consultants, and many others.

As Technology Partner, M-Cube will create dedicated content to celebrate ISE’s 20-year anniversary. The content will be displayed in a dedicated LED installation – called Time Tunnel – that will connect the South Entrance to Hall 2. The installation will immerse attendees in an emotive journey through ISE’s growth over the past two decades.

David Berrios, Marketing Manager at ISE, commented: “We wanted to create an experience that truly captured the values of ISE. After looking through M-Cube’s previous work, we knew that it would be the right company to partner with us for the event. M-Cube is unique in its ability to create emotional content specifically for digital signage and, as a result, this is the perfect collaboration. We look forward to experiencing the installation at the event.”

Carlo Cecchetto, Marketing Manager at M-Cube, commented: “It’s a real privilege to be chosen as the Technology Partner for ISE. The ISE events bring together a community of likeminded individuals and companies who are taking significant steps to innovate the industry and provide excellent experiences for customers. We’re looking forward to our Time Tunnel display being shown to the masses, allowing people to connect with the values of ISE. It acts as a reminder of how effective well designed digital content can be in forging emotional connections. We would like to thank ISE for their continued support and collaboration.”

To learn more about M-Cube, visit the website here, or visit M-Cube’s ISE stand: 4G550.

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