032 INTERVIEW
Clay Paky’s first ever exhibition stand
Another Clay Paky initiative is The Knights of Illumination, backed by the STLD and ALD, with momentum provided by lighting professionals of the calibre of Durham Marenghi, Rick Fisher, Bernie Davis...
The infamous Golden Scan 3
Meanwhile, the company continues to collaborate closely with companies like Philips, Osram and GE in their drive for still greater efficiency.
LOOKING SHARPY The momentum of Alpha was then carried forward last year by the launch of Sharpy, which also picked up a PLASA Innovation Award for its unbelievable wattage-to-impact ratio. Seeing this compact lamp fitting with its 190W lamp in its passive state, it is impossible to comprehend that it is capable of an output greater than a 1500W lamp. But we were to see this with our own eyes during Mr. Zucchinali’s lightshow. “Everything today is about the beam strength,” reiterates Paky. “The beam technology has revolutionised the whole approach to lighting design. Any stage set today is covered by light and LED screens and it is difficult to fight against. Projecting gobos is no longer the point, the main issue is to have a solid beam projector and create powerful mid-air effects and laser-type flat scans. Optically, Sharpy, with its extremely short arc burner, is completely different.” And it will further increase Clay Paky’s penetration of the touring and TV markets. With so much history behind them, we took a fond look back at the days when each lighting piece on a disco ceiling seemed to require its own dedicated control protocol before DMX512 became universally adopted. At that time Pulsar even introduced their own PMX (Pulsar MultipleX) data stream, MSC was also being touted and several others. “From the beginning we made a choice that we had to be compatible with all control desks; first RS232 and then DMX 512. But now with ArtNet (a means of sending DMX information over IP networks) we have bidirectional communication. Every light now is a computer and we can collect a lot of info, such as lamp life,
www.mondodr.com troubleshooting and address settings that can be sent to the control board.”
THE PRESENT, THE FUTURE... AND LED With so much interest in heritage lighting effects (most recently with the setting up of a different PLASA (Past Light & Sound Activitists), it was perhaps not surprising to learn that during the year Clay Paky will be repurposing their seminar theatre as a museum. Busily annotating all the old data and curating pieces is the company’s archivist Davide Barbetta. Clay Paky has a sample of every piece they ever made as well as the Pulsar Oska, and a huge wish list of some of the most iconic pieces. Expect to see this before the end of the year. Meanwhile, the APIAS-promoted Show Way is up and running again (after temporarily being derailed during the recession) a few kilometres up the road in Bergamo. This has now become the de facto replacement for SIB, which provided the lighting industry with so many great memories, innovations and hangovers from 1983 onwards. The style and swagger always belonged to Clay Paky, with their Baia Imperiale spectaculars and sumptuous banquets at the Grand Hotel. Convenient Bergamo may be, but APIAS also tendered to Verona, Parma, Milan and even Rome before deciding that Bergamo had produced the best bid. Central to their thinking would have been that Ryanair runs a network of flights throughout the country from the local airport, making access easy. Another Clay Paky initiative is The Knights of Illumination, backed by the STLD and ALD, with momentum provided by lighting professionals of the calibre of Durham Marenghi, Rick Fisher, Bernie Davis and Clay Paky’s Enrico Caironi. The event will take on additional gravitas this year when the awards are staged within the aegis of the PLASA Show, in Earl’s Court’s Brompton Suite. But the biggest development in 2011 will be Clay Paky’s full scale entry into the
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