ON THE ROAD: Arctic Monkeys
Above: LD Andi Watson; CyberHoist operator Sebastian Habrechtsmeier; FOH sound engineer Matt Kettle.
itself side-lit by 16 more PARs with scrollers. We “Each cluster contains five CP60 PARs with the motors.
use a combination of Lowell Omnis and PAR 64s scrollers, all individually controllable, surrounded “So CyberHoist does exactly what I need
with scrollers, one for each band member, to do by a ring of PAR 36 ACLs. So we can texture for this show. It can actually do a huge amount
this and frequently the only key lighting on the the beam of each cluster by changing the more and maybe we’ll move that on a little
band is from the front omnis or PARs. intensities and colours of the five individual in later shows. But for the moment it’s an
“But to get a lot of variety into the looks, beams. And because CyberHoist is so flexible incredibly precise, wonderfully controllable and
we had to get creative,” he laughed, “and the and repeatable, we could make the same look reliable tool.”
CyberHoists are very crucial to this design. changes work easily with different trim heights. The CyberHoist system was supplied by
Matching the audience’s expectations of shows “With three CyberHoist pick-ups per cluster, Flashlight. Programming was performed with
these days, yet without moving lights or LEDs, one at top centre and two at the bottom on CyberHoist operator Sebastian Habrechtsmeier.
meant that I wanted to introduce a dynamic either side, we can vary the clusters and we can Watson explained: “Sebastian and I sat in
element that met the band’s likes and dislikes. angle it left and right, which gives us a bunch of rehearsals for a while programming, just like
you would a moving light rig. Sadly, he got ill
“The design for this tour is a sort of progression of how
halfway through the tour and had to go home,
and he’s been replaced by quite wonderfully
I’ve been working for them in the past...” Andi Watson
able colleagues.
“We had a couple of shows where we had to
reduce the trim heights, so Sebastian generated
“My ‘big trick’ on this is that while I’m not preset focuses with the positions on each band a lower set of preset focuses. But whilst the
allowed moving lights I designed 10 big circular member, and we pull out of those positions original programming was kind of complex, the
lighting clusters that, using CyberHoist, we can — just as you would with moving lights — at actual day-to-day running is very simple. It’s
individually position and point at different band different heights to create big band washes. easy to change the trim height at load-in and
members for different songs. “The whole stage is transformed by the the whole show is set for that day in seconds.”
“The idea was to turn the PAR clusters into changing cluster positions, yet the moving
effectively big repositionable light sources using element is only PAR cans, with the CyberHoist VIDEO
a highly accurate control system, that could making it look different for every song. Also perceptively simple and old-school is the
move very, very slowly and controllably in terms “Apart from two live moves they normally show’s video element — although a world of
of the acceleration and deceleration as well as reposition in between songs, and it’s very technology and programming works backstage
just normal motion speed, and which could do important that they reposition completely to make it appear so. Four camera operators,
some fairly complex moves in terms of relative accurately and without appearing to move, led by camera director Rik Schoutsen, each
speed. which meant no jerking, no sudden stops on control two remote pan/tilt/zoom robocams.
TPi FEBRUARY 2010 • 49
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