World leader in lighting demonstrates the critical role of packaging innovation to meet its sustainability goals.

Signify, a world leader in lighting technology, recently achieved CO₂ neutrality supported by its partnership with sustainable packaging manufacturer, DS Smith. The companies streamlined the packaging process and made shipping of LED luminaires more sustainable to help drive the transition to the circular economy.

Signify actively strives to reduce the environmental impact of its products, reducing emissions by over 70 percent since 2010. It recently presented a new five-year plan, in which the company aims to double the positive impact of its operations on the environment and society.

Johan Damkot, Senior Buyer at Signify, underlines the role that shipping packaging plays in the  process towards sustainability: “The DS Smith packaging specialists have built up a strong reputation within Signify and by working with our engineers, designs are aligned from the start and never use more material than strictly necessary. This process tackles everything from bespoke solutions for complex LED fixtures to modifying product design to reduce empty space in the transport of goods. ”

This approach led to innovative and practical solutions such as the ‘end caps’ for LED packaging, which only need to be placed on either side of the products and require 76 percent less packaging material. In addition, the packing process of the products is ergonomically better and the packaging itself is more stable when stacked, which reduces the risk of damage. In terms of circularity, the percentage of recycled raw materials was an important part of the process and a solution that is 100 percent recyclable.

Finally, the ordering process and delivery performance were also streamlined. Johan Damkot explains: “Delivering on time is not simply a matter of delivering before the deadline. With packaging, just in time is the perfect time and ensures it is at peak performance for all our deliveries. You need partners who deliver the goods flawlessly, 100 percent in time, just in time. Not once, but year-in-year-out “.

The collaboration with DS Smith started in the late 1980s, when Signify –then Philips Lighting – began to increasingly specialize in custom-made lighting solutions. Both global players are leaders in their respective fields and have ambitious sustainability goals in the areas of circular economy, CO₂ reduction and recycling. Signify introduced the Circular Lighting Principle with which lighting is no longer discarded but reused after use. DS Smith introduced the Circular Design Principles last year, supporting the transition to a circular economy for packaging users and the packaging sector.

Photo by Henrik Petit.

Live Company is a full technical production and rental specialist based in Skovlunde, a suburb of Copenhagen, Denmark, owned by Peter Clausen, Mikkel Bedsted and two other business partners, all of whom are dedicated to providing excellent service and high production values to clients across multiple performance genres.

Since 2018, the company has invested steadily in Astera products, the first ones being AX1 PixelTubes which were purchased to illuminate the domed roof of Cirkusrevyen’s big top venue in Dyrehavsbakken (the north of Copenhagen).

Started in 1935, Cirkusrevyen is the biggest revue show in Denmark and has been performed every year except 2020, when the season was cancelled due to the Coronavirus pandemic!

The AX1s were modified with special magnetic fastenings for this specific project. They were utilised during a spectacular dance number, where the dancers plucked them from the stage floor and mounted them vertically and horizontally on the set thanks to the magnets. They also charged off power from the set, and ran flawlessly for over 150 performances, for which the lighting was designed by Malthe Haugaard who has been working in this role since 2015.

Since then, Live Company has increased its stock of the RGBW AX1s, and now has over 70 fixtures in the house, as well as investing in 24 x Astera AX3 LightDrops.

“These Astera products are great for so many things,” commented Peter, adding that they have been used on multiple types of project from music videos to set dressing and illumination.

Recently, 54 x AX1s were dry hired to the Royal Danish Opera in Copenhagen for two different shows, La Voix Humaine and Simon Boccanegra, the latter of which was lit by Fabrice Kebour.

In Stockholm, Sweden, Folkoperan utilized 40 of Live Company’s AX1s for their recent production of “Tristan & Isolde” with lighting designed by Clement Irbil. The AX1s made up part of a large pixel mapped installation.

“We’re delighted all-round with the Astera fixtures – they just work in whatever scenario,” starts Peter. “The light output to power and weight ratio is excellent, and the AX1 is a totally unique product, we could not find anything else like it.” They have also upgraded their control systems to work with the AX1’s inbuilt Lumen Radio wireless DMX receiver.

They believe that Astera has spent its time wisely during the pandemic in coming up with many new ideas and producing numerous helpful videos and tutorials.

Peter thinks the Astera build quality is robust and is impressed with the colour continuity between consignments as they have built their stock up in batches of 8 or 16 AX1s at a time, so this is another important consideration.

In fact, the AX1s and AX3s have been their busiest products on average so far during the pandemic period, when there has been – particularly towards the end of 2020 – a flurry of projects mostly at very short notice and having the Asteras sitting prepped and ready on the selves has been an ideal solution.

Lighting design was by Clement Irbil and set/costume designer by Maja Ravn.

Photo by Sören Vilkas.

Prolojok launches CIBSE approved CPD to support organisations getting back to the office safely, utilisting the power of lighting controls.

Prolojik is at the forefront of harnessing the ubiquitous nature of lighting controls to support the safe return of workers to their offices.

The ‘Great Home Working’ experiment, thrust upon organisations by an emergency global pandemic has not been a mitigated disaster largely due to the the ‘quiet heroes’ that sit within  IT departments who have  designed and developed robust infrastructures, with such high levels of resilience that they can cope with the level of remote traffic whilst maintaining the required security levels. And secondly a millennial generation of tech savvy employees, who in the main will have been able to adapt with ease because they understand and trust in the IT.

However, whilst adaptive workforces have managed during this testing time there is no doubt that for organisations to progress people need to be together and a migration back to the office is inevitable and will gather pace as the vaccine is distributed through the country.

Business leaders are now faced with their next challenge; assuring an apprehensive workforce and customer base that that premises are safe, secure and sanitised.

In this new CPD presentatiaon, Prolojik outlines the key to restoring this confidence is for employees to be able to provide insights for user of live, accurate, targeted and relevant data and information on key factors such as air quality, safe occupation densities, management of optimum environments or giving workers the ability to identify where the appropriate space is available for their work.

In order to achieve this, Prolojik has developed a series of sensing technologies that can work alongside their lighting control networks, or be implemented independently to support space insight.  These solutions apply equally to new build and retro-fit spaces to quickly and effectively support the following business outcomes.

• Targeted Messaging
• Indoor Navigation
• Environmental Monitoring
• Building Sanitisation
• Physical Distancing
• Profile-based Control
• Lone Worker Monitoring
• Revenue Leakage

The CPD is available immediately and is of particular interest to developers/landlords, end users, building consultants and facilities managers. Please contact info@prolojik.com to learn more and arrange a time.

The Institution of Lighting Professionals (ILP) and International Nighttime Design Initiative (NTD), are pleased to announce a public, co-hosted, curated resource, “WRITING, LIGHTING AND NIGHT: an ever-expanding booklist”. The Booklist will be interactive and encourage input.

The launch event will be moderated by Nick Dunn, an architect/writer with a focus on both subjects. Nick will be joined by two booklovers from each organization.

The event will be held online on 11 February 2021 at 11:00 New York time / 16:00 London time.

The Booklist project has been founded to raise awareness of quality books that cover nighttime design including lighting, and how these disciplines can have a positive effect on the planet and society.

ILP are looking forward to a great event which will be open to all to attend.

You can register to attend here: https://www.eventbrite.co.uk/e/writing-lighting-and-night-an-ever-expanding-booklist-launch-event-tickets-137647801279

One of Sweden’s largest regional theatres, Östgötateatern have further invested in Chroma-Q^®’s award-winning Color Force II^TM Cyc, Wash & Effects LED battens.

Welcoming around 100,000 visitors a year across their two beautiful theatre buildings and smaller venues, Östgötateatern offers a wide range of theatre – from classic Swedish tales, to modern international plays. With Color Force II in demand for a number of their performances they have expanded their stock to 26 units to enable the fixtures to be used on multiple stages and performances at the same time.

Linn Persson, Lighting Designer at Östgötateatern commented: “We first purchased Color Force II back in 2018, and they have since become a staple fixture for a number of performances taking place in our theatres. We have been very impressed with their performance, which meets our requirements for a good, strong cyc light perfectly. Our backdrops are often 7 metres or higher, and with Chroma-Q’s Color Force II we can light many metres high without loss of intensity higher up on the wall.”

As soon as the pandemic situation allows, Östgötateatern will re-open their theatre buildings. Two upcoming plays that are planned for their big stages are; The classic adventure Peer Gynt and the Swedish premiere of the comical Finnish play, Expedition Kyla. Now with additional stock of the units, Color Force II will be used on both of these performances taking place at the same time.

Linn continued: “Color Force II is a great fixture. It is smooth, bright and colourful cyc light. I can’t wait to find other ways to use them now we have more.”

The fixtures were supplied by Chroma-Q’s European distributor, A.C. Entertainment Technologies (AC-ET).

“Although AC-ET are based in the UK and we are based in Sweden, working with them has been a good experience. Their team are friendly and helpful and I know they are always happy to help with any questions we have.” Concluded Linn.

Visit www.chroma-q.com for more information and a full list of Chroma-Q dealers.

www.facebook.com/chromaq.lighting

www.instagram.com/chromaq

Photo: Yossi Zwecker.

Over 150 theatrical venues, concert halls, music clubs and sport arenas across the whole of Israel – in cities and communities large and small – were lit up in red on 26^th December 2020 in a ‘Red Alert evening of action’ designed to highlight culture and the arts and the immense amount of enjoyment, entertainment and value that it brings to all.

The spontaneous event – that began like so many of these organic movements as an animated conversation – was organised by multidisciplinary artist, musician and lighting designer Nadav Barnea, together with lighting designer Baruch Shpigelman, and it energised and united engineers, technicians, designers and directors working in every discipline in the sector – lighting, sound, video, staging, rigging, visual, scenic, cameras & broadcast, etc.

Delighted to participate was another leading Israeli lighting designer, Eran Klein of Cochavi&Klein who worked closely with his business partner Eli Cochavi to light up one of the two main sites in central Tel Aviv with an all-Robe lighting rig featuring Spiiders, BMFL Spots and LEDWash 1200 fixtures.

The lights were supplied by Danor Theatre and Studio Systems whose Erez Hadar also enthusiastically participated in the event.

These Robe fixtures were used to illuminate The Cameri Theatre, and the Tel Aviv Performing Arts Centre, all standing adjacent to one another in Sderot Sha’ul HaMelech square.

“Robe was my first choice,” explained Eran, “I picked the Spiiders and LEDWashes for their power, coverage and fantastic colours as it was important to get a really rich and luminescent red.” The BMFL Spots were used for crisp gobo projections together with cool animation effects and other textural overlays.

The fixtures were all positioned on flight cases and other objects in the square, where they had an unhindered beam-path to illuminate the buildings, all of which glowed in resplendent red.

The other major Red Alert site in central Tel Aviv was the Habima Theatre – lit with 12 x Robe MegaPointes – and the Culture Palace which were also turned red for the evening.

Other notables included the Jerusalem Theatre, Teddy Stadium and the Israeli Museum of Art also in Jerusalem.

The goal of the action was to fire up all media outlets, try and get the voice of the industry in front of more people, and most notably, to influence politicians to help with re-starting the industry and getting venues open and events being staged and operating in a Covid safe environment.

The – usually – lively music, arts and culture scene in Israel is richly diverse, incredibly proactive and through the years has produced an abundance of talented individuals who are acclaimed worldwide. The country is also a popular touring circuit destination for major international artists and performers, and there is a large associated ‘culture tourism’ sector that boosts the GDP each year.

Photo: Uri Rubinstein.

The locally-based creative and technical production infrastructure that supports this dynamic segment is also hailed as for its ingenuity and excellence.

During the pandemic, the lighting of buildings, monuments and landmarks in red has become synonymous with support for live events and the performing arts which have been particularly hard hit since shutting down in March 2020.

In many parts of the world – Israel included – companies and professionals in the sector have had no roadmap or timescale for restarting and have received no financial assistance to stay afloat.

“Our expectations grew higher each time the list of places lit in red expanded,” commented Nadav. “We saw places we didn’t even know were joining in posting red pictures and tagging the event on social media, and it was incredible!

“We knew that the media has the power to really spread the word and apart from a few interviews to radio shows we did not expect it to explode as it did!”

Almost every national newspaper, news channel and web portal commented and talked about the action with several front-page features and lead stories.

“I can happily say that a moment of ‘let’s do something’ became a show of force presented by the whole Israeli entertainment industry,” commented a delighted Nadav.

Approximately 150 different buildings were lit red, with 1500-2000 people involved which is a remarkable achievement.

Lighting designer Baruch Shpigelman, who is currently working with Nadav, stated, “It united an entire industry which said, loud and clear, that entertainment and performance is part of every element of Israel, north to south, east to west. Its existence is at the essence of people’s spirit and well-being, as without culture, there’s no community! The entertainment industry is proud to say – we are still here and we are here to stay!!“

There is an unmistakable sense of boldness, perhaps even bravado, betrayed by a name like “Welcome To The Other Side.” In choosing this title, the author of a work is promising a transformative experience, one that will liberate the imagination of all who partake of it. In the case of electronic music pioneer Jean Michel Jarre, this confidence is well-founded — a promise kept!

Released on New Year’s Eve, Jarre’s Virtual Reality show is a mind-expanding experience that garnered 900,000 views on YouTube within a week of its release and, according to Sony Music International, over 75 million views on all outlets (Facebook, VRC, Weibo, Tik Tok). Defying all expectations, his creation swirls high-tech sights and sounds around a reimagined (and virtual) nine-centuries-old Notre Dame cathedral.

During its 55-minute run time, conceived to celebrate the arrival of 2021 in the French capital, animated geometric forms rise and fall within the historic church’s nave, keyboard instruments melt with color, brilliant light patterns run up stone columns to play off stained glass windows… all turning common perceptions on their head, so the viewer can come out “on the other side.”

Moving seamlessly with Jarre’s music in Welcome To The Other Side is a multifarious lightshow created by Jvan Morandi of Placing Shadows using his ChamSys MagicQ MQ80 console as the starting point to merge show business with game engine workflows. Run along triggered timelines within the Unity game engine, the lightshow is divided into two parts: interior stage element and architecture: sequences created via the ChamSys but then run directly by the Unity engine a series of exterior architectural sequences, involving lights and lasers aa well as camera moves played back via the lighting desk thought ArtNet and software.

“We programmed the cues with a ChamSys MQ80 in my studio,” notes Morandi. “All the cue lists come from ChamSys and were translated into a set of Unity animation triggers on a timeline. When I say ‘translated,’ I mean that Victor Pukhov used the visualized lighting cues to create shader animation that then got triggered by Unity custom scripts by Antony Vitillo.

Morandi credits his MQ80 with helping this process go smoothly. “The Copy linked features in the ChamSys console were very useful, as was the Off-Set patch,” he said. “With so many camera shots on the outside I needed to dress the shot and fill it differently depending on the situation. Also, the ability to link my desk directly to my software and transfer data between the two, (they patch automatically in ChamSys) was a big help in creating the shots quickly.”

During the show, Jarre played live from TV Studio Gabriel in Paris. He was lit only by a video projector and portrayed in vivid colors and shapes coming directly from the same video content that was UV mapped on the inside of the virtual cathedral. Lending another evocative touch to the show was the virtual rendition of Notre Dame’s interior. The 3D model and the game engine programming were optimized by Lapo Germasi and Victor Pukhov of Manifattura Italiana Design. “Once we received the interior of the cathedral, we worked with our studio software and the game engine to find the right looks,” explained Morandi.

When designing the stage set in the middle of the church, Morandi envisioned a “modern version of Stonehenge.” He viewed the circular stage as a reflection of the shape of the big stained- glass window at the front of the cathedral. The stage columns that animated the scene were video mapped and received streamed content from a cue list on Vimeo.

“The stage lights are actually not real light but volumetric shaders that were animated by Victor Pukhov to mimic my ChamSys programmed lighting cues,” said Morandi. “Most importantly, Vincent Masson created the 3D animations that made the show look stunning. He used our 2D content as starting point, and with a lot of passion and talent created the 3D versions of it.”

Collaboration was critical to making this VR creation come to fruition. “This project involved a great many very creative people coming together from diverse backgrounds, starting with Jean Michel Jarre whose vision and hard work made it all possible,” said Morandi. “Credit should also go to Louis Caracciolo from VRroom, our French VR Producer; and Antony Vitillo of NTW (Italian developers that looked after all the scripting and game engine functionalities). Jonathan Klahr did an amazing job on the 2D video content mapped onto the interior walls. Stephan and Jeroen from LaserImage of Amsterdam programmed the initial laser sequences. Georgy Molotsdov, Maud Clavier, David Montagne (global tv broadcast) did a great job filming the show all in VR.”

Exemplifying the scope of the project, one camera director was in Moscow (Georgy Molotsdov), while another was in Paris (Maud Clavier). Each of them controlled up to eight remote VR cameras and drones. Filming of this live VR gig was completely in VR within the VRchat platform, an accomplishment that would have been unimaginable not that long ago, but one that will become commonplace not that far into the future, according to Morandi.

“Once we have tested and solved various technological issues, I see tours in the future travelling with a VR/AR component in the crew,” he said. “Each show will be attended by real audience as well as VR/AR audiences. It will be just another way to enjoy entertainment.”

Charlotte Lee, Head of External Affairs at NAPIT, provides an overview of The Electrical Safety Standards in the Private Rented Sector (England) Regulations 2020, and how to remain compliant amidst the Covid-19 pandemic.

With the 1^st April 2021 deadline fast approaching for all homes with an existing specified tenancy required to have in place, or to have carried out, an Electrical Installation Condition Report (EICR) which has been completed by a qualified and competent person, the restrictions faced by many due to Covid-19 have caused some concern for landlords and letting agents regarding compliance. These concerns have been exacerbated by the latest National Lockdown, announced on the 4^th January 2021.

The Regulations make it clear that every electrical installation in the residential premises must be inspected and tested at intervals not exceeding 5 years, and if the resulting EICR is found to be Unsatisfactory then remedial and further investigative work needs to be completed within 28 days of the report being carried out.

An EICR falls into two categories, Unsatisfactory or Satisfactory.

An Unsatisfactory EICR is one which has Observation Codes C1, C2 and/or Further Investigation (FI), which indicate an electrical danger is present, or further work is needed to ascertain whether a danger is present.

A Satisfactory EICR has observation Codes, C3 or no other observation codes. A C3 observation is given when the safety of an installation could be improved if an update was made to the electrical installation, but as it stands the electrical installation isn’t unsafe. Landlords are not required to take any action to rectify C3 observations, but they may choose to do so.

The Electrical Safety Standards in the Private Rented Sector (England) Regulations 2020 were published in January 2020, when the impact of Covid-19 was unforeseeable. The nationwide restrictions faced by all have undoubtably made complying with these Regulations more challenging than was intended, due to restricted access to homes, restricted working, shielding, isolating and anxiety. However, the safety of people in their homes is paramount to the Government who have made it clear that all reasonable steps must be taken to ensure the electrical safety of privately rented homes. This is set out in Part 3, section 5 of the Regulations. The Government have also made clear that during the January 2021 National Lockdown, those who cannot work from home, including those working in construction can go to work, meaning that electrical contractors are still able to undertake electrical inspection, testing, installation and remedial work in dwellings.

That being said, the Government have published specific Guidance for Local Authorities on the enforcement of standards in rented properties, which states in relation to the Electrical Safety Regulations:

“A landlord would not be in breach of the duty to comply with a remedial notice if the landlord can show they have taken all reasonable steps to comply.”

It goes on to say: “A landlord could show reasonable steps by keeping copies of all communications they have had with their tenants and with engineers as they tried to arrange the work, including any replies they have had. Landlords may also want to provide other evidence they have that the installation, is in a good condition while they attempt to arrange works.”

With the above in mind, landlords and letting agents should remain vigilant and focussed on doing all they can to ensure any property with an existing specified tenancy has an electrical inspection and test carried out or in place for compliance with the Regulations before the 1^st April 2021, but should be comforted by the Government Guidance which acknowledges the challenging circumstances we find ourselves in and provides a reasonability clause to prevent landlords from facing enforcement action when they have done all they can to comply.

GlasGLOW3 was a truly magical illuminated trail event, full of fun and fantasy, conceived and produced by event specialist itison and staged at Glasgow Botanic Gardens. It ran for two and a half weeks in October and November featuring a fully Covid-compliant 1.5 kilometre socially distanced walking trail featuring numerous highly imaginative lighting works, installations, and adventures!

Lighting designer Grant Anderson was one of a core creative team comprising itison’s Oli Norman, set designer Kenneth Macleod and composer Kevin Murray who wrote and compiled a unique soundscape for this unique and invigorating project that captured the hearts and minds of the city during very challenging times.

With a superhero central narrative to the trail, Grant chose 60 x Robe iPointes to be key ‘hero’ luminaires within his dynamic site-wide lighting design for GlasGLOW3. iPointes were chosen for their brightness and ability to create super-strength beams of light that would be visible from across Glasgow in the right weather conditions.

2020 was the third year of the event. Grant also lit last year’s GlasGLOW and this year it took on new significance and resonance for local communities as so many public events have been cancelled due to the pandemic.

The current Glasgow Botanic Gardens is in the vibrant West End area and has occupied this site since 1842. It features several impressive glasshouses, most notably the Kibble Palace which was moved there by barge in 1873 from Coulport on Loch Long, and now houses a forest of tree ferns.

GlasGLOW 2020 was the most advanced yet in terms of integrated guest experience. Every illuminated piece around the trail – which took about 60 – 90 minutes to complete via a one-way system – was related to “The Power Within”, a world of darkness from which heroes could rise up and discover the light. It offered the chance for every participant to rail against the gloom, become their own superhero and discover their ‘power within’ … including meeting and defeating their nemesis!

The trail site was divided into five zones, with a central music theme running throughout, with stems from this used to create individual soundtracks for the different display / installation areas.

Grant designed lighting for the entire trail, which was slightly shorter in the previous year because it was not possible for guests to go inside the glasshouses due to Covid restrictions.

The principal area for iPointes was the ‘UFO crash site’, a staged area and key part of the story – even alluded to during the 2019 event – and the location where the audience could use their powers and inner strength to defeat their nemesis.

The lightshow here was designed around a complete two-and-a-half-minute looped audio sequence played out with full illumination lighting including a ‘call & response’ segment during which people realise the UFO is evil, engage in a fight, defeat the invader and assume ‘The Power’. It was the place where everything happened!

The iPointes were arranged in two concentric trussing circles – to mimic the shape of the elaborate UFO set piece – the inner circle measuring 10 metres diameter and rigged with 15 x iPointes and the outer at 15 metres in diameter, loaded with 30 x iPointes.

This 360-degree configuration of equally spaced iPointes gave Grant the chance to programme a myriad of beautiful, fluid geometric shapes and transitions that impacted across the whole site, becoming an effective visual epicentre.

In fact, people across the city could see the beams reaching across the sky, like a beacon of positive energy and playfulness with iPointes dancing across the clouds! It was particularly effective on damp foggy nights proliferated with low cloud – characteristic late autumn meteorology in the city – generating lots of Twitter chatter and interest!

The lighting had a real resonance with citizens of this normally vibrant, friendly, and lively community “It was a great morale boost to so many people to see an event like this happening,” stated Grant.

His overall decision to utilise iPointes was an easy one, having used them before on the 2019 GlasGLOW event in smaller quantities.

“Initially I chose them having used Robe’s MegaPointe on many occasions indoors,” he explained, “I wanted the razor sharpness of the beam and the quality and brightness … but in an IP rated housing.” He very specifically didn’t want to use lights that needed to be in domes for that section of the event for aesthetic reasons.

“There’s no other light like it … iPointe is in a class of its own for creating those massive searchlight effects.” As one of the five types of ‘hero’ fixtures, they were non-substitutable confirmed Grant!

The iPointes and all the other lighting futures involved in the event were supplied by Hawthorn, project managed for the rental company by Stephen Reid.

The UFO was further lit with LED PARs and a field of custom LED pixel tubes surrounding it, all controlled via a grandMA2 light console in a central control cabin which was hooked into a fibre network running site-wide incorporating general lighting, CCTV, point-of-sale areas, etc.

In addition, the UFO, four iPointes were positioned around the entranceway and used for sky-tracker searchlight effects, and five sat on the roof of the Kibble Palace with another five around the front of the structure.

Twelve Robe BMFL Spots were positioned inside the Kibble Palace which was closed to the public this year to ensure that people kept moving along the trail.

The famous wrought iron-framed 19th-century structure covers over 2000 square metres and was much enlarged after its move to Glasgow with the addition of a 150 ft diameter circular dome and the extension of its transepts to form an impressive front elevation. When it opened in 1873, the interior was lit by 600 gas lamps which could be coloured for effect.

Fast-forward 147 years, and it took only the 12 x Robe BMFL Spots – also on the ‘hero light’ list – to achieve a spectacular effect!

The final four iPointes were rigged on a run of truss at the ‘back’ of the gardens, and they were positioned so Grant could complete an animated network of beam effects emanating from all areas of the park shooting out across and above the city.

Grant combined his skills and experience gained from working in multiple lighting disciplines – theatre, concert, club – to create this exciting and invigorating environment which was a huge success generating lots of positive feedback.

Staging GlasGLOW3 involved a massive planning and logistics operation by the itison team, who were challenged further to ensure it was fully Covid-compliant, in the process offering much-appreciated work to a large team of industry freelancers.

Grant was extremely proud to be part of the event “walking around, watching people’s faces, and hearing their comments as they interacted and responded to the lighting, the story and the whole experience was incredible!” he stated, “It was joyous to watch people engaging in a shared experience once again.”

Hawthorn’s Stephen Reid added, “We were delighted to be involved in this project which offered so many people an outlet and something to look forward to in the current environment! It also showed just what can be accomplished in the most challenging circumstances!”

Photos Carlo Paloni.