024 INTERVIEW


home to the workplace - it has transformed the lighting industry over the last five years,” rationalised Biviano, as he presented the introductory range that included ArcSource downlights, ArcLine LED strips (the name providing a nostalgic reminder of Mode’s successful strobe-chasing zippers of the 1980s) and the proprietary ArcPower series of controllers. But the recession remains in full spate and traditionally the industry has always needed to look beyond its entertainment heartland for salvation in times of hardship. Last time the economy tanked so severely was in 1992 and at that time Spain offered the lifeline - with the Barcelona Olympics and Expo 92 in Seville. This year there is the FIFA World Cup and the Shanghai Expo. “Anyone would be lying who said they hadn’t been affected [adversely] from September 2008 onwards but the timing has been good for us,” says Biviano. By this he means he has not only been able to take advantage of government spending generally, but by meeting the requirement for environmentally-friendly systems Anolis also become eligible for consideration under ‘green budget’ allocation. Welcome to the new world of ‘environomics’. “It’s been the saving grace because the production entertainment market is shrivelling,” he says. “The rental production industry got cold feet whereas normally in recession times entertainment sales go up. Now they will only buy if there is something specified on riders.” But something both festivals and major tours need in 2010 is a cost-conscious LED video screen. Having consolidated Anolis, Biviano started to look at this as a natural consequence, setting up a manufacturing base for ULA’s newly-formed VuePix in Shenzhen. Just as Anolis had debuted at ARC, ULA chose Entech 2008, Australia’s predominant show, to unveil the company. “It’s the crossover of the lighting business into video and we formed the company because I could see that transition of lighting into video. Talking to LDs, a lot of show lighting is declining in favour of video and moving lights are becoming as obsolete as the parcan.” Justifying the decision, he says, “A lot of our clients are big in the corporate sector, such as car shows.” And indeed it has been motor shows around the world that have done much to pioneer the early moving pixel displays. Having played around with 64mm pixel pitch displays in the early days, VuePix’s range today incorporates a combination of lower-res (18mm and 25mm) and hi-res 6mm and 10mm pitch screens. In the concert arena, one of the champions of this technology has been George Michael - and his monstrous 250 sq metre display saw 200 panels of VuePix’s 18mm pixel pitch displays used in the set design. But this, too, has become a competitive sector, and Con Biviano realises the importance of being able to offer a good return on investment, building to order and generally offering a 30-day turn-around. “The process starts when we invite major clients to our facility in Shenzhen


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“It’s the crossover of the lighting business into video and we formed the company because I could see that transition of lighting into video. Talking to LDs, a lot of show lighting is declining in favour of video and moving lights are becoming as obsolete as the parcan.”


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