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.

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“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.

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Signify, a world leader in lighting, today announces a new partnership with the Mercedes-AMG PETRONAS F1 Team. Connected by their shared passion for technological innovation and sustainability the partnership will drive forward the team’s vision of becoming one of the world’s most sustainable professional sports teams. 

Eric Rondolat, CEO, Signify said: “We are proud to partner with Mercedes-AMG PETRONAS F1, a team that is determined to lead both on and off the track. We share a passion for responsible innovation to drive progress in our industries and beyond. Our joint commitment to act responsibly will lead us to develop transformative and disruptive new technologies that elevate performance to the benefit of people and the planet.

We are excited to have the opportunity to support the winning objective of Mercedes-AMG PETRONAS F1, providing human-centric lighting innovations that can enhance the team’s performance. We are honored to associate our brands with one of the strongest in the world and to deliver unforgettable racing experiences for fans at the track, as well as watching and gaming at home. With many collaborations already begun, I am eager to see this partnership grow.”

Toto Wolff, Team Principal and CEO, Mercedes-AMG PETRONAS F1 Team, commented:

“Innovation and performance are at the heart of everything we do. We are also conscious of our wider social responsibilities and therefore embed sustainability in every action. Partnering with Signify is an exciting step that will help us make further progress in both of these areas. Their world-leading lighting technology already powers several night races and their pioneering commitment to climate action is inspiring. We look forward to working together to establish synergies in this area and their support in our ambition to become one of the world’s most sustainable sports teams. We also believe that wellbeing is linked closely with performance. Signify’s lighting technology and innovation will ensure optimal conditions for our team members, and we are excited to explore how we can optimise these opportunities further.”

Richard Sanders, Chief Commercial Officer, Mercedes-AMG PETRONAS F1 Team added: “We are thrilled to welcome Signify into our partner family. We are already privileged to collaborate with some of the most innovative companies in the world. Adding another world-leading business to our partner ecosystem in Signify is therefore fantastic. We are excited to collaborate with them through their innovative technology and commitment to sustainability. Together, we are confident that we will create a partnership with a profound impact and lasting legacy.”

Signify and Mercedes-AMG PETRONAS F1 are committed to responsible innovation, founded on a shared belief that performance should not come at any cost and that sustainability does not compromise on performance. As both teams continue to drive the transformation of their industries, responsible innovation elevates performance and leads to sustainable outcomes.

Environmental responsibility

Signify recently announced its 2040 Climate Transition Plan, setting out its vision to reach net zero by 2040. The company has reduced GHG emissions across the full value chain by 50 percent since 2019 and continues to advocate for energy efficiency and an accelerated energy transition. With the new partnership, comes a commitment from Signify to share knowledge and expertise to support Mercedes-AMG PETRONAS F1 Team in developing its Climate Transition Plan.

Wellbeing and performance 

To win in Formula One, every member of the team must perform to their full potential at every moment. Signify’s lighting innovations will augment the team’s efforts to create optimal conditions for drivers, engineers and team members, helping them see, feel, and perform at their best. NatureConnect, EyeComfort and other technologies will bring the power of daylight indoors to aid concentration with light that is comfortable for the eyes and, support the body’s natural rhythm and ability to adjust to a challenging global schedule.

Unforgettable experiences

Signify’s lighting shines on night-circuits in Singapore and Las Vegas, ensuring the fastest show on earth is perfectly lit. And for those not at the track, Signify delivers immersive TV and gaming surround lighting to transport fans at home to the heart of the action.

The post Signify and Mercedes-AMG PETRONAS Formula 1 Team launch new partnership to drive responsible innovation on and off the track appeared first on A1 Lighting Magazine.

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.

The post Sightline Productions keeps Astera in sight appeared first on A1 Lighting Magazine.

Once a quaint medieval fishing harbour, Poole has evolved into a bustling commercial port boasting major maritime industries. Its High Street, nestled against the picturesque backdrop of Poole Harbour, serves as the vital link between the historic Quayside and the town centre. Characterised by a blend of Georgian houses, elegant Victorian buildings, and charming 1930s art deco shopfronts, Poole exudes a vibrant sense of place, attracting visitors and locals alike.

However, the town centre faces its fair share of challenges. Recognising the need for revitalisation, Historic England identified the High Street as a Heritage Action Zone. It secured funding to restore historic buildings, repurpose vacant spaces, and enhance public areas to invigorate the town centre.

Daniel Moorley, Street Lighting Team Leader Infrastructure at Bournemouth, Poole, and Christchurch Council, describes, “Our Conservation team engaged us to upgrade the lighting along the High Street. We had received a grant for a Heritage Action Zone and wanted to make the wall lighting and column lighting match and fit in with the area.”

Acrospire upgraded the High Street’s lighting infrastructure to align with the Heritage Action Zone’s objectives.

The solution comprised 72 wall and column-mounted Muirfield luminaires. Muirfield, renowned for its traditional gas lantern aesthetics infused with modern LED technology, perfectly complemented the historic architecture of Poole’s High Street. Crafted using premium materials sourced locally in the UK, these luminaires ensured superior quality and durability.

To address the project’s unique requirements, Acrospire provided a mixture of wattages (from 31W to 45W) tailored to meet current lighting standards. With a colour temperature of 3000K, the lighting solution offered a warm and inviting ambience, enhancing the town centre’s allure.

The project had its challenges. Daniel explains, “We were in a position whereby the original cast iron columns did not have access at the base, so a solution was required where we could install a local isolator at each column. We worked with Acrospire on a “clock box” solution that was big enough to house an isolator and mimicked a gas clock box that would have been used when the lights were powered by gas.”

As well as ticking all the aesthetic boxes, the transition to LED lighting resulted in significant energy savings, with a remarkable 74 percent reduction in energy consumption compared to the previous SON installations.

Daniel commented, “I have worked with Acrospire on several projects and am pleased with their service. From start to finish, they were really engaged and very knowledgeable. Locals have praised the uniformity and improved spread of light, notably the elimination of bright spots which has created a more visually pleasing environment.”

The successful collaboration between Acrospire and the council breathed new life into Poole’s historic High Street, contributing to its ongoing revitalisation efforts.

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The Sandbanks seawall lighting columns, erected in 1895, stand as silent witnesses to the passage of time. Originally designed to use methane from a nearby sewer for illumination, they have weathered the years with grace. Although decorative rather than essential for road lighting, these lamps hold immense historical significance.

The Society for Poole, dedicated to preserving local history and culture, secured £42,000 from the BCP Council to kickstart the first phase of the lamps’ restoration. The collaborative effort involved removing, repairing, and repainting the cast iron bases, with a meticulous focus on maintaining authenticity.

Acrospire collaborated with Volker Highways, the project contractor, and Bournemouth, Christchurch and Poole (BCP) Council to integrate modern LED technology while respecting the lamps’ historical charm. The goal was to refurbish the lighting elements efficiently and ensure maximum energy efficiency.

The restoration project involved converting the existing 70W SON lanterns to 40W LED, employing the Acrospire Comfort COB 3000K light engine. This choice not only achieved energy savings of over 50 percent but also provided a low-glare, pedestrian-friendly illumination that complemented the luminaires’ original era. The 3000K colour temperature added a warm glow, maintaining the heritage aesthetic.

Daniel Moorley, Street Lighting Team Leader Infrastructure, Bournemouth Christchurch and Poole Council, states, “The new lanterns went up recently and they look really good on the refurbed columns. The Society for Poole are really pleased with the results.”

With BCP Lighting coordinating efforts, the luminaires received a comprehensive overhaul. The meticulous refurbishment involved stripping away old paint, recasting elements, and testing to recapture the lanterns’ original splendour.

As Sandbanks’ historic luminaires shine proudly once again, they not only reclaim their position as iconic landmarks but also contribute to the area’s overall aesthetic appeal.

Daniel comments, “The project was a long-term programme to cover all 20 of the columns and lights.” Acrospire’s work ensures that these timeless luminaires continue to frame the approach to Sandbanks, seamlessly blending history with modernity and efficiency.”

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Since Thomas Edison patented the first incandescent light bulb in 1879, the lighting industry has continuously evolved. From traditional lighting to LED replacement, to the integration of smart technology, low-carbon and human-centric lighting, resulting in the “Light +” era of today, where the applications of light appear to have no limits. 

Ms Lucia Wong, General Manager of Messe Frankfurt (HK) Ltd commented on the state of the industry in the “Light +” era: “Driven by the Artificial Intelligence of Things (AIoT), smart lighting is experiencing a surge in popularity, with added convenience, sustainability and customisation options open to consumers. The rapid development of full spectrum lighting and the growing consciousness around health, have created the need for well-being lighting that includes features like adjustability, synchronisation of our circadian rhythms with the natural light cycle and low blue light technology. In addition, lighting design that incorporates biophilic design with the use of eco-friendly materials, recyclable components as well as low carbon technology contributes overall to the enhancement of both residential and commercial spaces. The industry is committed to minimising its environmental impact and nurturing a more sustainable future.”

Eight themed halls to showcase the infinite possibilities of light

GILE 2024 will build upon the theme of “Light +”, extending the applications of light to more industries and sectors, representing a wider range of products and technologies. The show will introduce more precise matching services to help bring the industry together to work towards achieving infinite applications of light. As such, eight themed halls will feature at this year’s edition showcasing different applications of light, namely, Light + Lifestyle, Light + Aesthetics, Light + Art, Light + IoT, Light + Biology, Light + Agriculture, Light + Display, and Light + Energy.

Light + Lifestyle and Light + Aesthetics (Hall 10.1): Design Aesthetics
GILE will collaborate with Luce e Design to host a zone focusing on design aesthetics in Hall 10.1 of Zone B. Top lighting brands and designers from around the world will be invited to participate, creating a space that integrates art, design, and creativity that bridges the gap between Eastern and Western design philosophies.

Light + Art (Hall 3.1): The 4th Light Art Exhibition – “Metamorphosis”
The “Light Art Exhibition” is jointly organised by the Guangzhou International Lighting Exhibition and Guangzhou Alighting IoT & Technology Co Ltd, with three successful editions held thus far. The Light Art Exhibition aims to invite renowned designers and lighting brands to collaborate on creating light art pieces that are visually appealing, culturally relevant and provide socio-economic value. In doing so it aims to promote innovation, international cooperation and creativity in the Chinese lighting industry.

Under the theme of “Metamorphosis”, the 4th Light Art Exhibition will be held in Hall 3.1 and will explore the integration of lighting technology and art as well as the mutual benefits this cooperation provides. To do this, it will forego the traditional exhibition format to create a more interactive and engaging experience for the audience. A “closed-loop” visiting route will break down barriers between exhibitors and visitors, who will be guided through a well-designed path that connects different exhibition areas, ensuring a seamless and immersive experience. To boost participation and engagement, elements of gamification will be incorporated, including challenges, where visitors can participate in specific activities or tasks and check-ins to mark progress or completion of certain stages, interactions with exhibits or fellow visitors, and gain rewards for achievements or milestones. 

Light + IoT (Hall 9.2): Smart and Healthy Lighting Ecosystem
The integration of cloud computing, AI and luminaires has expanded the boundaries of lighting technology. With smart lighting systems playing a more significant role in homes, personalisation is becoming a key trend, where industry players will need to increase the functions of lighting to suit the individual needs of the user. Hall 9.2 will feature over 100 brands showcasing intelligent controls and dimming, smart chips, modules, IoT, cloud platforms, sensors, communication modules, communication protocols, smart devices, smart homes and smart lighting solutions. 

Light + Energy (Hall 5.1): Gaoyou Street Lighting Pavilion
With the rise of smart cities, urban public infrastructure is becoming progressively integrated with digital technologies with urban facilities increasingly interconnected through the use of sensors, communication devices and data analytics. Smart street lighting poles have become an important carrier and one of the most effective starting points for smart city construction. At this edition of GILE, a pavilion covering street lighting will be set up in Hall 5.1 to showcase cutting-edge technology and designs in collaboration with the Gaoyou Lighting Association. Additionally, in response to the trend towards reducing carbon emissions, there will be exhibits related to solar street lighting, smart street lighting control systems, as well as supporting products for smart street lighting poles, smart landscape lighting poles, smart traffic signal poles, smart poles, power supplies, intelligent control systems, gateways and more.

Light + Display and Light + Energy (Hall 5.2): New Display Application Pavilion and New Energy Storage Pavilion
GILE will collaborate with Hangjia Display to introduce two new themed pavilions: the New Display Application Pavilion and the New Energy Storage Pavilion.

The New Display Application Pavilion will cover LED displays, Mini/Micro LED displays, and extend to applications in film, home, education, conferences, and commercial markets. The pavilion will gather leading brands in the LED and display industry, integrating end users such as homeowners, contractors, overseas buyers, the education market, and government to promote new business opportunities.

To promote the development of the new energy storage industry and contribute to achieving goals of carbon peak and carbon neutrality, the newly established New Energy Storage Pavilion will showcase a variety of commercial and household energy storage products. The area will target professional visitors from ESG-compliant factories, zero-carbon industrial parks, commercial buildings, microgrids, charging stations, data centres, and innovative energy storage application professionals. 

Light + Biology and Light + Agriculture (Hall 5.2): Bio-optics and Smart Agriculture Pavilion
Thanks to supportive policies and strong market demand, smart agriculture is undergoing an explosive period of growth in China. With the close integration of bio-optical lighting, advanced sensors, communication and network technology, artificial intelligence and other digital technologies, the field of bio-optics has shown unprecedented potential. This deep integration will not only promote the continuous upgrade of intelligent breeding solutions but also greatly improve the production efficiency of agricultural facilities and enhance the quality of agricultural products. In 2024, GILE will once again collaborate with the China Association of Agricultural Mechanisation to organise the Bio-optics and Smart Agriculture Pavilion, exploring the cross-disciplinary integration of smart agriculture and bio-optics.

Guangzhou International Lighting Exhibition and Guangzhou Electrical Building Technology are part of Messe Frankfurt’s Light + Building Technology fairs headed by the biennial Light + Building event. The next edition will be held from 8 – 13 March 2026 in Frankfurt, Germany.

Messe Frankfurt organises several trade fairs for the light and building technology sectors in Asia, including Shanghai Intelligent Building Technology, Shanghai Smart Home Technology and Parking China. The company’s lighting and building technology trade fairs also cover the markets in Argentina, India, Türkiye, the UAE and the USA.

For more information on Light + Building shows worldwide, please visit http://www.brand.light-building.com. For more information regarding the lighting shows in China, please visit http://www.light.messefrankfurt.com.cn or email light@china.messefrankfurt.com.

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