Christien Methot, principal lighting designer at Design One in New York City, turned to the scenic design qualities of Elation Professional’s Artiste Picasso™ color and graphics moving head for a special snow globe promotion of the all-new 2019 Nissan Altima.

Design agency Fake Love worked with Stuart Weissman Productions to display the car in a 36-foot geodesic dome dubbed the world’s largest snow globe. Taped around the holidays in lower Manhattan and open to the public, the online and social media campaign was also a photo opportunity for guests that drove people to Nissan’s Instagram page.

Methot, who worked closely with Stuart Weissman Productions on the project, explains that the brief was very theatrical and all about experiencing the car amidst a fun winter-wonderland complete with snow and changing scenes. “They wanted to create very specific environments with lighting, the way a theatrical lighting designer is asked to do,” he says. “The idea was to show off the all-wheel drive aspect of the new vehicle so part of my task was to make it look like a crisp, sunny day one moment then a cloudy, rainy day the next, then a snowy day. I needed a light that had some punch but was very theatrical in its capabilities as far as the effects on board, and the Artiste Picasso fit the bill.”

In order to display the different types of clouds you would see in each of the weather events, Methot loaded the Artiste Picasso with custom cloud gobos. “Half the globe was white opaque and half was clear plastic, much as a snow globe would be,” he explains. “We uplit the white opaque half like a theatrical cyc and were able to change the overall color in the dome, then we punched the effects of clouds across it. Many of the effects required us to track the clouds horizontally across the skyline, all of which was able to be done really smoothly with the wonderful high-res capabilities of the fixtures, very reliably recreating a cue time after time. In combination with the colors, we were really able to transform the space.” The Picasso also gave the designer the ability to dim down to a very low level and then back up very smoothly.

Twelve Picasso fixtures worked from an arch truss about a 20-foot throw from the cyc. “Although it wasn’t a long throw – the zoom capability helped with that – the snow globe was outside so ambient lighting was an issue. The first time we turned them on, the output was a wonderful surprise. They had really great punch and wonderful color.”

Also rigged in the arch truss were white light Fuze Wash 575™ LED PAR moving heads used specifically to light the car in a flat field of high quality light. “The single source was really helpful in keeping the sparkle aspect off the car and getting it to stand out from its environment,” Methot said. “It was my first time using those and I would certainly go back to them again.” The Fuze Wash 575 uses a high-output 350W COB LED engine with a color temperature of 6,800K that is ideal at accentuating the details of an object and with a high CRI of 95 it has the ability to accurately reflect an object’s true color.

The immersive experience ran for about a week and proved to be excellent publicity for the new vehicle, presenting Nissan as a company that not only moves people literally but also emotionally.

The 2019 Emirates Airline Dubai Jazz Festival staged at Dubai’s Media City Amphitheatre and presented by Mastercard included a diverse and star-studded line up of premium international artists, including Snow Patrol, Alicia Keys and Jamiroquai, which were lit with 72 x Robe MegaPointes and 48 x Spiiders – among other lights – supplied by top lighting rental company, MediaPro.

Produced by Done Events, this was the first time MediaPro has been a technical supplier – lighting and video – for the Jazz Festival. The event’s production design, incorporating both these disciplines plus set and scenics, was a vibrant collaboration between production designer Miguel Galvao and his assistant Andreas Malan from RAW Concepts working with MediaPro’s Harold Fernandes who was senior LD and set designer.

The goal was to create the best possible audience experience by ensuring that the rig looked larger and more impressive than in previous years whilst also capable of being pulled back to add that essential intimacy so suited to the music and performances.

It also had to offer international standards to satisfy the lighting designers and directors looking after the three headliners – Bryan Barancik for Alicia Keys, Matt Jensen for Jamiroquai and Davy Sherwin for Snow Patrol. With large amounts of LED screen onstage, it was imperative that they used bright and powerful lighting fixtures to achieve a good balance between the two disciplines, and MediaPro’s new MegaPointes and Spiiders were an obvious choice.

The fixtures were part of a substantial Robe investment made by the company in the last 12 months.

A StageCo roof structure was installed by AES, complete with a series of circular trusses between 18 and 28 metres in diameter, which were used to create a curved LED design with some elements on Kinesys hoists for movement and to lift the upstage LED screen for band changeovers. Multiple spreaders were used in the roof to create points exactly where needed for this and for the lighting trusses.

Forty-two of the 72 x MegaPointes were rigged on seven vertical truss pods along the back and upstage sides of the stage, together with another 12 on three horizontal bars creating a powerful wall of effects lights. The other 18 were on three trusses, one positioned mid-stage with two in the offstage / upstage corners.

The luminaires were used for all the fantastic gobo effects and spectacular aerial eye-candy as well as for super-bright beam sources when needed.

The 48 x Spiiders were dotted around the overhead trusses and used for general wash lighting and creating rich and impressive colours. Some of the visiting LDs got arty with the ring and pixel control and the Spiiders’ central LED effects.

“Everyone enjoyed the brightness and range of effects on the MegaPointes and the fabulous clear optics” reported MediaPro’s owner Abeesh Pushkaran. One of the many features that he likes about the MegaPointes is the fact that a gobo or a mid-air effect can be perfectly focussed at almost any distance with the zoom in or out.

“Spiiders are a legend!” he declared. “All the lighting designers were really happy to see them on the rider”.

A pre-vis studio was set up on site in the artist area for LDs to programme, tweak and update their showfiles during the daylight hours, as the dark and quiet time between the previous night’s show coming down and the sun rising… was extremely short!

For lighting control there were two grandMA2 full sizes at FOH and a GM2 light for the previz, running over three NPUs for processing.

The lighting and video elements worked closely together so textures and colours could be matched and contrasted at times for the best effects

All the rigging calculations and supervision was undertaken by Colin Silvers, MediaPro’s head of rigging.
MediaPro International is a technical production and rental company providing innovative technology and creative design solutions to all sectors of the events market.

Established in the UAE in 2004 by Abeesh Pushkaran, the company has built a prominent presence throughout the Middle and Far East which is driven by a vision and commitment to delivering cool and creative results to an ever-increasing and diverse client base.

A proactive program of investment and expansion over the last decade has seen MediaPro evolve into one of the most successful and largest full-service technical event solution companies within the Middle East region. This process has included the recent acquisition of these Robe moving lights, a choice based on popular demand.

These Spiiders and MegaPointes are the first Robes purchased for the Dubai branch as “reliable and rider driven” multifunctional lights for large scale music shows and festivals, and to support the ever-growing number of international artists playing the region.

Image credits to Ob Panakal.

White Light has recently joined the Production Services Association (PSA), reaffirming the company’s commitment to the welfare of its freelancers.

The PSA is the trade association for companies and individuals involved in the live event production industry. Its aim is to represent, improve, educate and develop the business of technical production for live events. This is achieved by pooling the knowledge of the entire industry to create a single voice and a central resource for its members.

The association is directed by its members through the PSA Council. One of these council members includes John McEvoy, who is WL’s Head of Business Delivery Resources. John comments: “I’ve been involved with the PSA for several years now and know what a brilliant organisation it is. It’s there to deal with the real day-to-day issues that many freelancers face and ensures that they are backed by a strong support network who can offer everything from legal advice to any generic queries”.

He adds: “At WL, part of my role is to look after all of the freelancers on our books. I want to ensure that anyone who works alongside WL is given the very best support possible and knows that we take the responsibility of looking after our freelancers very seriously. As a company, we’re renowned for our people and their friendly, approachable nature. We want to make WL a great, supportive place for anyone to work hence why joining the PSA is so important”.

The PSA was formed in the early 1990s at the International Live Music Conference when a group of forward-thinking individuals decided that the industry had issues best addressed by one voice speaking as a whole. Since then, the organisation has encouraged its members to make them aware of any issues that need addressing. The initial contact is usually made through the PSA office or council member. The PSA has many functions but one of the most important ones is that of pooling the resources of the industry to tackle any issue. The PSA is also widely recognised as the body that can represent the views of the industry when deciding on legislation and codes of practice.

John concludes: “Ultimately, it’s the freelancers who are out there on a day-to-day basis delivering our projects and acting as our representatives. Everyone who works for us is part of the WL family and we want to show our commitment to them by offering all of the benefits they deserve”.

• Zumtobel Group redesigns customer centre in Bologna, Italy
• Light experience on 450 square metres
• New customer forum and showroom for Zumtobel and Thorn brands
• Harald Gründl, EOOS presented new Zumtobel SUPERSYSTEM collection at Salone de Mobile

On the evening of 16 April 2019, the Austrian lighting company Zumtobel Group opened its redesigned Light Centre in Bologna covering an area of 450 square metres. Around 200 guests attended the official opening. The conceptual redesign of the Bologna Light Centre has created a customer platform which conveys the experience of light in its various applications and underlines the extensive lighting expertise of the Zumtobel Group and its brands.

“We are delighted to have created a platform for our customers with the new Light Centre Bologna, which shows everything from indoor to outdoor lighting solution. The final location inspires and creates an inviting space to discuss and design lighting solutions together with our customers. It is a place where light can be experienced and it is enormously important to us to be able to convey this experience of light to our customers,” says Karl Oberhollenzer, General Manager Zumtobel Group Italy.

Opening framed by Francesco Iannone & Serena Tellini
The evening event was framed solemnly by a keynote speech by the lighting designer Francesco Iannone & Serena Tellini, Consuline Architetti Associati from Milan, Italy. Francesco Iannone has been working with lighting design and industrial design applied to lighting for 30 years. In 1986, he founded the Consuline office in Milan, where he works with Serena Tellini.

The fascination of light
The Zumtobel Group showcases at the newly designed Bologna Light Centre its broad product portfolio and the expertise of the Zumtobel (Indoor) and Thorn (Outdoor) brands. Light for specific applications, professional lighting solutions and the related services.

The idea of the Zumtobel Group Light Centres was raised more than 25 years ago based on the philosophy to establish a place where people can experience the best light for a particular application – this is also the philosophy that the new Light Centre in Bologna pursues. With the recent opened light centres in Vienna, Paris, Zürich and now Bologna the company wants to step in into a new area of customer dialogue and interaction. For March 2020, the next milestone in the company’s history is just around the corner, as the new Light Forum at the headquarters in Dornbirn will open up its doors.

Milan Design Week: Presentation of new Zumtobel SUPERSYSTEM integral collection with EOOS designer Harald Gründl
On the occasion of Milan’s Design Week, EOOS designer Harald Gründl from Vienna, Austria, presented the new Zumtobel SUPERSYSTEM integral collection in the prestigious setting of the Royal Room of the Central Station in Milano on the evening of 12 April 2019. The Zumtobel SUPERSYSTEM integral collection designed by EOOS provides light planners with a tool for outstanding lighting technology aiming at making the light source nearly invisible.

Eight of ArKaos’ new 4K Studio Servers were in action providing a 360-degree video solution for the recent fourth German edition of popular TV franchise Dancing on Ice, which was recorded at the Magic Media Company’s Coloneum venue in Ossendorf, Cologne, in a special set up that was customised for the first series.

The show’s lighting designer was Manuel Da Costa who is very well known in the world of television, and has lit DSDS and many other leading German talent and music shows. Manuel worked alongside his regular visuals designer Dennis Muhl who wanted to run the video cues via his grandMA3 console. The video and screens supplier was ETC Germany.

They approached ArKaos looking for a new server solution that could offer extremely high-quality rendering performance, and that was easy and intuitive to control from a lighting console.

They needed this for quick and precise video mapping of the large-scale LED screen covering 360 square metres and wrapping the studio which was integral to the production design … as well as hardware with genlock capabilities.

The LED screen was three different pitches – 2.8, 5.7 and 8.6, and the two main rings of LED around the studio were 6768 and 8568 x 144 pixels resolution respectively. In addition to this, four LED banners ranged between 1768 and 4160 by 728 pixels and there was a strip of LED in front of the judge’s chairs.

Eight Panasonic 31K video projectors were used to project detailed and intricate images onto the ice, effectively using it as another screen.

On top of all that, there were 44 universes of LED tape that needed to be mapped – via the network – into Manuel’s grandMA2 lighting console.

Manuel and Dennis wanted a manufacturing company that had an imaginative approach and whom they could trust in terms of support and ongoing development as well as a team with whom they could build a solid relationship for the development of potential future needs.

ArKaos ticked all the boxes!

Dennis had it in mind to use the ArKaos 4K servers following an encounter at the ISE expo in 2018 with Olli Winkler from LMP, ArKaos’ German distributor.

After the exhibition, Dennis and his colleagues attended one of ArKaos’s regular free training programmes to get more in-depth with the Belgian brand’s popular MediaMaster software and its intuitive VideoMapper.

Dennis saw this as an ideal opportunity to check out MediaMaster software with DOI in mind, after which he ordered a demo version to test it further.

Olli and Dennis met Manuel Da Costa at the latter’s MDC company HQ, where they discussed the overall production design that Manuel had in mind and how the ArKaos system would help facilitate the specific aesthetics.

They all embraced the idea of pushing technical boundaries, and in utilising the 4K server to handle high quality video content fully integrated into the lighting console.

The next meeting involved ArKaos’ operations manager Benjamin Bauwens plus Volker Suhre from Erkrath based ETC Germany, the show’s video supplier.

Everyone had many questions related to the performance of the servers in relation to the high quality HAPQ codec as the size of the video content was huge. They also talked extensively about the new functionality of ArKaos’s ‘DMX surface control’ because they would be the first visuals team worldwide to use it!

After this, ETC Germany placed the order for the eight servers – plus a spare – so Dennis and Manuel could have the powerful, flexible and dynamic video control they required.

The hardware was delivered directly to MMC’s studios where the servers were installed by Dennis, plus Olli Winkler who also supported the first setup and was on hand for Dennis and MDC’s server farmer Viola Weinert during programming.

The series’ video content was created by Gravity Germany, and the show was broadcast on Sat 1.

Dennis comments: “For me, the ArKaos server is a fast plug-and-play solution that stands out from other media servers in terms of flexibility and speed. I am very interested in how this server will be developed even further.”

As a result of the success of this project, an updated version (v5.4) of MediaMaster was released by ArKaos for the benefit of all, with new features including a boost to the rendering and performance by 33% utilising the same hardware.

This boost is partly delivered by the utilization of a GPU accelerated codec, HAP, which dramatically speeds up the decoding elements of the process.

The 2019 Dancing On Ice series was hosted by Daniel Boschmann and Marlene Lufen and was very well received by the public. The competition was won by Sarah Lombardi and her professional partner Joti Polizoakis.

This year sees Clerkenwell Design Week celebrate its 10th edition, taking up residency in one of London’s key hubs for design and architecture. From new designs by Ronan and Erwan Bouroullec for Established & Sonsto Fritz Hansen’s exhibition in collaboration with Zaha Hadid Architects and an outdoor cooking space serving food by Kitchen Architecture, CDW’s 10th edition is a show full of celebration and achievement. Set across three days, 21 – 23 May 2019, CDW is the annual focus for London’s leading design district. The festival programme has been tailored to reflect the unique nature of this culturally rich area playing host to hundreds of showrooms, fringe events, talks, workshops and installations.

C D W   P R E S E N T S

For CDW Presents 10 year anniversary, expect exciting street spectacles, including Once Upon A Time in collaboration with UAL, in partnership with Landsdown’s London which takes inspiration from the rich and sometimes dark historical tales of Clerkenwell. For this initiative, CDW have collaborated with BA Graphic Design Communication students at Chelsea College of Arts to create a series of graphic installations inspired by the stories relating to the significant locations. The seven winning entries have been chosen by a judging panel including; Max Fraser, CDW Content Editor; Priya Khanchandani, ICON Editor, and David Barnett, Chelsea College of Art Course Leader, BA Graphic Design Communication. In conjunction with the project, Lansdown’s London will be hosting historical walking tours during CDW exploring its past as a centre of making, from clock-makers to gin distillers.

C O M M U N I T Y   P R O J E C T S

CDW’s installation Reflect Us, created by artist Beau Kerouac intends to bridge gaps in society by confronting visitors with illuminated eyes etched onto 10 glass gateways, telling the stories of the homeless from our city streets. Using AR technology, Beau Kerouac invites visitors to question how an act of respect; simply making eye contact, can change someone’s day for the better through shared experience.
For its fourth year, Scale Rule is back, engaging students from around London to create a concept which inspires visitors to take a moment and look up, by creating an arch within an arch in the historical location of St John’s Arch. This year’s winning concept plays with the idea of space and enclosure by subtly drawing on the historic form of St John’s Gate.

C O N V E R S A T I O N S   A T   C L E R K E N W E L L

For CDW’s 10th anniversary, the Talks will take place in the Moth Pavilion designed by architect Pereen d’Avoine from Russian for Fish. Conversations at Clerkenwell, curated by Katie Richardson brings to life topics of the day with leading and emerging designers, architects, thought leaders and creative institutes. Highlights for 2019 include a workplace panel including Sebastian Wrong and Erwan Bouroullec, in conjunction with Established and Son’s installation for CDW, discussing how good design can shape the workplace of the future. Benjamin Hubert joins Max Fraser for a chat on his latest collaborations across the CDW event. New London Architecture showcase some outstanding work for an ongoing public housing project, including a submission by Alison Morris Architects and the talk will be chaired by Ben Derbyshire, the president of RIBA. OnOffice will host a panel session of design-innovators making a difference to wellness in the workplace. The full programme will be announced closer to the show. Talks are ticketed at £5.

P O P   U P   S H O W R O O M S   A N D   W O R K S P A C E S

For Clerkenwell’s 10th anniversary, a plethora of exciting pop up showrooms and workspaces will take place during the festival. Established & Sons will take up residency in Fora to launch four new designs including The GRID SOFA by Ronan & Erwan Bouroullec, the KD TABLE and BEAM TABLE by Konstantin Grcic and the LUCIO CHAIR by Sebastian Wrong.

Fritz Hansen will be collaborating with Zaha Hadid Architects to showcase aspects of their Heritage Exhibition, whilst Relay Design Agency will present + Halle, Baux, Orsjo, Mitab and Zeitram within a fashion house on Clerkenwell Road. KI, one of the world’s largest manufacturers of workplace and education furniture will take over an architectural gem in the centre of the festival site. The pop-up showroom at the landmark Paxton Locher House on Clerkenwell Green will be transformed into ‘KI House’ for the launch of several new UK-designed & manufactured products.

S H O W R O O M S

Integral to the festival are the local resident design showrooms, many of whom partner with CDW, providing an array of stimulating events from talks and workshops to major installations. Coinciding with CDW’s 10th anniversary, an abundance of new showrooms will arrive in Clerkenwell including Optelma, Vescom, Fredericia, Workstories, Duravit, Abstracta, Piemme Industrie Ceramiche S.P.A, Haiken Ltd, , Savile Row Projects, Parkside and JPMA Global.

E X H I B I T I O N S

CDW’s exhibitions are hosted in distinctive spaces around the area linked by a route running through the centre of EC1. There are seven exhibitions, each with a different curatorial focus, ranging from cutting edge international design, to emerging talent, lighting, luxury interiors and the best of British design.

Back by popular demand, Light at Clerkenwell Design Week 2019 will showcase the top international lighting brands located within the brick vaults of fabric, the former cold-store turned nightclub. Exhibitors include Belgian based company Wever Ducre who create trendsetting lighting sytems. Established in 2015, Swedish design brand Pholc will be showcasing lighting in collaboration with talented designers, each sharing the Scandinavian aesthetic.

For more information on what’s taking place this Clerkenwell Design Week, visit: www.clerkenwelldesignweek.com

Making its debut at the NAB Show, the new Chroma-Q® Space Force onebytwo™ variable white LED soft light panel won a Lighting Product of the Year Award in the show’s inaugural awards event, held in Las Vegas on April 10th.

The cost-effective, bright, high quality unit is a modern replacement for traditional soft sources used in TV studio, live broadcast, vlog, film & photographic applications.

Featuring Chroma-Q’s 15 years of LED innovation and its award-winning Space Force™ LED space / soft light’s technologies, the onebytwo is the ideal fit for standard room ceiling height studios and small spaces.

“It is an honor to accept this prestigious award on behalf of the Chroma-Q team.” explains Paul Pelletier, Global Brand Manager. “The response for this product has been overwhelming on the show floor and through our distributors. We developed the onebytwo to provide our customers with a more compact variant our popular Space Force model, enabling them to utilise our innovative soft lighting technology in any size studio.”

The 1×2 ratio and compact dimensions enable panels to be mounted side-by-side in either ratio, overhead or on a wall, to create a huge volume of light in a small space.

Highly efficient and natively single-source, the onebytwo is CCT variable between 2,800K and 6,000K, and has an output of up to 13,900 lumens. The extremely high quality, diffused light is matched by a superbly smooth dimming intensity gradation.

Convection cooling provides quiet operation for studios and a cooler working environment – reducing air conditioning needs to further boost energy savings.

Manual & remotely controllable LED frequency up to 96,000Hz ensures flicker-free operation, along with wired or optional LumenRadio CRMX, RDM functionality.

The lightweight design (only 8.25kg / 18lbs) incorporates all power & control electronics, making it quick and easy to set up. Built to last, it requires minimal maintenance and retains colour consistency between units owing to Chroma-Q’s LED emitter inspection and proprietary ColorSure™ LED calibration system.

Optional accessories include a low-profile hanging offset bracket, 4-way bridle, and a full range of beam control accessories.

Visit www.chroma-q.com for more information and to find your nearest Chroma-Q dealer. Alternatively, the Space Force onebytwo will be on display in Stage 5, Booth S315 at Cine Gear at The Studios at Paramount, Hollywood, CA from May 31 to June 1st, 2019.

Follow us on: www.facebook.com/chromaq.lighting.

Last month, North Yorkshire-based lighting rental company R&M Productions acquired a large stock of Martin by Harman’s award-winning MAC Viper Profiles.

The MAC Viper Profile is regarded as one of the market-leading profiles, with the 1200-watt high-output profile luminaire boasting a highly efficient optical system. In addition, it is brighter, faster, more compact and consumes far less power than many of its rivals.

Peter Shorten of R&M Productions said: “The MAC Viper Profile is regarded by many as the industry standard in large format spots. We’ve been supplying them to meet riders for the last couple of years and have had client demand for them, so it seemed like the natural progression to make them our next major investment.”

The Vipers were purchased through production equipment sales company A.C. Entertainment Technologies Ltd. (AC-ET), who delivered them in a matter of days to get them straight onto a run of R&M shows. R&M Productions has a longstanding working relationship with AC-ET.

Peter said of Ben Steppenbeck, Northern Sales Lighting Manager for AC-ET: “Ben’s a great asset to A.C., we’ve worked with AC-ET for a long time as they’ve got a proven track record of good service.”

On what specifically persuaded them to invest in the Vipers, Robbie Baxter of R&M Productions said: “They’ve got a range of gobos and an impressive zoom, as well as exceptional light output and optics.

“We’ll be using the Vipers on a range of projects over the summer and into autumn, including outdoor events, festivals and tours. They’re the go-to choice for most of the touring LDs we work with.”

Contact the company now to discuss how AC-ET can help you achieve your aspirations, on +44 (0)1494 446000/sales@ac-et.com, or visit www.ac-et.com.

Keep up to date with the latest AC-ET news via their social network pages:

www.instagram.com/ac_ent_technologies/

www.facebook.com/acentertainmenttechnologies

North American Lighting and Video rental specialist 4Wall Entertainment has invested in new Kinesys automation equipment with the purchase of 36 x Elevation vari-speed chain hoists, 36 x LibraCELL load monitoring shackles, two K2 control consoles and numerous Kinesys Vector control systems.

This substantial purchase is for general stock and reflects the growing trend and demand for automation systems as part of shows, events, touring lighting and video systems as well as set element motion.

The decision to go with Kinesys was made by Brett Puwalski, Vice President of Operations, a key catalyst in this move to boost the automation resources available for 4Wall’s diverse roster of clients.

Kinesys was selected because the brand has a “great track record for reliability and service, and due to its longevity in this specialist area. Kinesys has proved time and again that it is rock solid” stated Brett.

“The current generation of visual and production designers use automation to move both lighting and video elements to WOW audiences and create amazing drama and stunning stage environments” he added, highlighting how video, in particular, has become a huge part of so many production designs in the last decade.

The decision to invest in both of Kinesys’ powerful and intuitive control options was also for maximum flexibility.

The K2 console is a self-contained hardware solution produced by Kinesys that includes a PC optimised to run the K2 software for the best possible user experience. It allows faster programming and easier operation with an intuitive approach, as well as dedicated buttons and playbacks. There’s also an inbuilt Emergency stop (ES) and Dead Person’s Handle for connection to an ES system, such as Kinesys’ own Array PD-ES.

The operator can ‘click-and-drag’ objects around the K2 screen that outputs a 3D graphical representation of space rather than typing positions into a table, which gives instant feedback as to the object’s position in relation to other moving items.

“For K2 projects this gives us an amazing amount of accuracy with the hoists. We were all impressed with the 3D visualisation” said Brett.

4Wall’s crew received training at Kinesys’ Atlanta facility at the end of last year and again in 2019, and their general feedback has been that the kit is safe, dependable, easy to install, programme and use – all aspects that are key to a smooth tour.

The first project for the new 4Wall Kinesys kit was an iHeartRadio ALTer Ego 19 event at The Forum in Los Angeles featuring performances by Twenty One Pilots, The Killers, Muse, Weezer, Rise Against and others.

4Wall’s new Roe LED video product was moved, ‘Guillotine style’ over the turntable stage. As each act finished their set, the stage revolved around, revealing the next act already set up and ready to go.

The Kinesys system will mainly be kept at 4Wall’s Lititz, Pennsylvania shop when it is off the road and will be available wherever needed.