102 VENUE
Pictured during early planning stages: Adam Zeichner, New World Symphony’s Senior Director for Program Operations (back row, on left); Yasuhisa Toyota, Acoustician with Nagata Acoustics America (centre, left); Frank Gehry, Design Partner with architects Gehry Partners, Joshua Robison, Director of MTT Inc. and Michael Tilson Thomas’ Partner/Manager, with Richard Pilbrow, Founder of Theatre Projects Consultants (front row, left-to-right).
FULLY PROGRAMMABLE FIXED AND MOVING LIGHTING SYSTEMS According to Steven Cullipher, Systems Division Manager with Barbizon Lighting Company’s Florida office, a mixture of fully programmable ETC fixed and Vari-Lite moving instruments were specified for the performance hall. “We installed the first [Vari-Lite] VT1100 Series systems supplied to a US customer: a total of 44 VL1100TS automated ERS luminaires with 1kW lamp, framing shutter, mega-clamps, safety cable and 20A 2P&G connector, all painted white, plus eight VL1100TI luminaires with 1kW lamp, iris and 2P&G connector, again painted white.” ETC instruments include 12 x 5° Source 4 Ellipsoidals, 12 x 10° Source 4 Ellipsoidals, 24 x 19° Source 4 Ellipsoidals, 20 x 26° Source 4 Ellipsoidals, 25 x 36° Source 4 Ellipsoidals and 5 x 50° Source 4 Ellipsoidals, plus 39 Source 4 PAR EAs with colour frames. Also supplied: 12 Altman four-cell Focusing Cycs with c-clamp, colour frames and trunions, 10 Altman 6ft ZipStrips with 30 lamps, hanging irons, trunions and colour frames and two Lycian SuperArc 400’s with 400W HTI lamp. Accessories include City Theatrical Main Frame for Source 4 Ellipsoidals, Four Par Barn Doors, A-size Pattern Holder, Top Hats, Half Top Hats, and spare ETC lens tubes. “We specified the newer [Vari-Lite] VT1100 Series overhead mov- ing lights because they are quieter,” adds Theatre Projects’ Delinger. “New World also added VL550 Washes, because they offer more flexibility and opportunities for additional color and face lighting.” “There is no lighting grid,” Cullipher adds. “Instead, the instruments are installed behind covers that allow them to be raised through the ceiling for maintenance and repair. In addition, some of the Source 4 Ellipsoids are mounted on traditional clamps to provide individual adjustments.” All instruments are controlled from MA Lighting grandMA2 full-size and grandMA2 ultra-light lighting consoles supplied by ACT Light- ing. “I chose the grandMA2 because of the amount of control we need,” says veteran lighting designer Stefan DeWilde. “We have 300 conventional fixtures and hundreds of LEDs in the atrium that run off the console. Then there are 150 conventional fixtures and 75 moving light in the hall. Nothing else but grandMA2 made sense. We’re running multiple networks - ETCNet2, Art-Net and MA- Net2 - plus Pandora’s Box HD media servers.” When required, the grandMA2 also controls video, hazers, scent generators and four RGB laser projectors. “The grandMA2’s user interface and bigger screens help the efficiency of programming; you can lay out every- thing and select fixture layout much more efficiently.”
EXOSTAGE AT MIAMI BEACH SOUNDSCAPE The 7,000 sq ft video projection wall adjoining the performance hall
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is complemented by an audio system within the adjacent 2.5-acre SoundScape outdoor viewing area. Four Christie HD+30K projec- tors, each offering 30,000 ANSI lumens, project onto the wall. The main viewing area opposite the projection wall accommodates up to 1,000 people, and is surrounded by speakers designed to resemble two large-scale and gently curving ballet barres. “Our directive was to create an immersive audio experience,” recalls audio consultant Vogler. “We wanted to bring the high quality acoustics from inside the concert hall to the great outdoors in South Beach. Of course we needed state-of-the-art technology to create this. After successfully working with a [Meyer Sound] Constellation [electronic acoustic] system for the Star Wars: In Concert tour [to provide a portable acoustic shell for the on-stage symphony orches- tra playing live to projected scenes from George Lucas’ films], we knew that Meyer could help us achieve the indoor / outdoor experi- ence. It has worked brilliantly! “The design goal of bringing an indoor concert experience to people picnicking outside in the park was accomplished using loudspeak- ers, oriented in varying angles, with a Constellation system simulat- ing reflections off the hall’s interior walls.” An array of 24 specially rigged microphones within the performance space serves as inputs to the Meyer Sound D-Mitri digital audio platform that digitally recreates an electronic ‘model’ of the acoustic interior that is relayed to the outside audience as an adjunct to the conventional surround- sound playback for the WallCast. “We used existing - but still emerging - Meyer Constellation technol- ogy,” adds Sonitus co-partner Tim Boot, “and applied it in a way that had not been done before. Normally, Constellation is intended to augment and enhance existing acoustics; it is an acoustic tool to make a facility more variable and more flexible. What we did uniquely in SoundScape was to use these tools to create a concert hall-like acoustic environment in the outdoors. This had never been done before. “Parks are usually devoid of any form of natural acoustics that might be appropriate for orchestral music. We used Constellation’s advanced algorithms and hardware to create a synthetic, yet very believable and natural sounding, acoustic environment. Constellation provides a powerful tool palette to create acoustic environments. The key to the success is the tuning and voicing; we worked very closely on-site with Meyer to create the artificial acoustic environ- ment that people experience in the park.” Within the SoundScape park a number of loudspeakers are arrayed below the WallCast screen. Brian Bolly, Meyer Sound’s cinema and live sound Project Manager, was part of the company’s techni- cal team that collaborated with Sonitus and Pro Sound & Video on project design and implementation. “The beneath the screen
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