ETC makes the news at Fox Studios
The Los Angeles Bureau of the Fox News Channel has seen its share of rising and falling news personalities but a constant star is ETC.
The small studio in Culver City serves as the Left Coast broadcast centre for several prominent US TV presenters, including Laura Ingraham, Sean Hannity and Geraldo Rivera. In the late 80s and early 90s it was the home of the late-night talk show, The Pat Sajak Show. In 2017, the stage underwent a complete overhaul – out with the wood-panelled look in favour of a Plexiglas and stainless steel design with a curtain track backdrop that can switch from night to day faster than you can say “breaking news.” With its unusually high ceiling and excellent acoustics, the stage is now home to The Next Revolution with Steve Hilton Sunday night broadcast.
The revamped set design came with a much-needed new lighting package provided by 4Wall Lighting’s Los Angeles office. Lighting Director Eric Reinig and his counterparts in New York specified a mostly ETC LED system. “It only made sense to go LED, for the flexibility and the reduction of heat onstage and the running costs,” says Reinig. “The old rig of standard 1K and 2K fixtures and old Strand gear was well past its prime.”
The new rig features 32 ETC Source Four LED Series 2 fixtures with Lustr arrays and a range of lenses (19, 26 and 36 degrees), serving as the new key lights for the talent and colour washes on the scenic panels. A few classic Source Fours are used as specials, powered by an ETC 24-channel Sensor3 dimmer pack. “Even though we have to colour correct them to 4300 degrees, the conventional fixtures give me a softer look. But you can’t beat the Lustrs for flat field and coolness to the touch.”
Describing the change in lighting control, Reinig jokes: “We went from a ‘baby starter’ two-scene, preset to an ETC Ion 1500 with a 2×20 Universal Fader Wing.” The learning curve more than paid off in the ability to set up pre-programmed looks for Fox shows and any incoming rentals. The nearby Fox Sports One/Fox Deportes studio, where Reinig is also an LD, uses an Ion console.
Reinig’s career path was equally transformative. While he worked in construction, he maintained an interest in photography and operated a DJ company with several DJs and mobile systems for private parties and nightclubs. When he was injured on a construction job, he went back to school – first to Moorpark College, followed by a degree in cinematography at California State University, Northridge. “I was lucky to have a friend at Fox who let me play with equipment and learn the gear – I also was also an apprentice with cinematographer Bill Bennett (a member of ASC) and fell in love with lighting.”
Today Reinig uses studio down time to experiment with new lighting looks and get deeper into the workings of the Ion. Pointing out the extremely long top hats on the Lustr fixtures around the news desk, he explains, “Our host Steve Hilton is bald and we use this technique to reduce hot spots on his head. I am guessing other shows have faced the same challenges in controlling multiple points of light off of the top of their host – it’s a great trick.”
Looking ahead, Reinig already sees a need for 12 more Lustr fixtures and 12 spares, as the studio may expand into more of an entertainment stage. “Every time I go to LDI, my mind starts racing with the possibility of new gear. It’s an exciting time in lighting.”
ETC takes balloon museum to new heights
The Anderson Abruzzo Albuquerque International Balloon Museum in Albuquerque showcases the beauty, ingenuity and history of lighter-than-air flight in a building that has become a beloved landmark in its hometown. Thanks to new control products from ETC they were able to modernise their lighting control, offering a dynamic lighting environment that was also more energy efficient.
The museum doesn’t just house balloons, it also is meant to look like one. Its striking facade is the silhouette of a hot air balloon, with the top of the building a dome – newly washed with colour-changing LED fixtures. The museum wanted to take advantage of capabilities of the LED fixtures and reinforce the iconic nature of the building. The solution was an ETC Paradigm system. Lighting looks were programmed into the system and now the museum staff can choose custom colours for different themes or special events.
“Because we are used a lot and we do a lot of activities all year round in the very early morning or late at night, it gives us a way to add an element of beauty to the building,” says Paul D. Garver, manager of the museum. He has plans to let the lights react to weather conditions like temperature, wind speed and more, and when he’s ready to do that ETC’s system will be able to accommodate that as well. As it is, the lights are still a big hit. “They’re a living, breathing part of what’s going on and it’s a big benefit to us.”
The Paradigm system is also a hit inside. The Museum’s event spaces are now easily changeable thanks to Paradigm control and the 7-inch Touchscreen station. Positioned near the ballrooms, the museum can easily shift preset looks in the ballrooms, showcasing the flexibility of the space.
“We use the Touchscreen and its ease of use as a selling point to potential clients,” says Garver. “Everyone is really impressed.
“Museums are educational and engaging venues. We’re always looking for creative ways to get people involved and connected to us, lighting is one way to do that.”
Now, thanks to ETC, it’s easier than ever for the museum to take its patrons to new heights.
ETC ColorSource Console and Fixtures Training
ApexPro and ETC are proud to announce a 1-day training course to take place on 2nd March 2018 at the ApexPro offices in Weltevreden Park.
The course will cover programming on ETC’s range of ColorSource consoles. The course will also introduce participants to ETC’s range of LED fixtures, providing them with a working knowledge of the different types of fixtures, the light that they produce and how to spot a bad LED fixture as well as where the pros and cons of LED over Tungsten truly lie.
The aim of this training course is to offer young technicians who are keen to learn, the opportunity to get hands on experience with real-world lighting equipment in an atmosphere that is fun and not intimidating while also being informative and above all, useful
By the end of the day participants will leave with the ability to program on ETC’s ColorSource Consoles as well as have practical knowledge on various kinds of performance lights and how to deploy them properly to get the best results.
All participants will be presented with a certificate upon the successful completion of the course confirming that they have undergone the training.
The ColorSource Console and Fixtures Training course offers an excellent opportunity for those looking to get into lighting to give themselves a boost into the industry. Absolutely anyone is welcome from any one or more disciplines so please don’t feel shy. The only real pre-requisite is a desire to learn, and perhaps pick up a few new tips and tricks along the way.
Space is limited but don’t worry, if you miss out on this session, there will be more later in the year.
ISE 2018: ETC presents architectural lighting control solutions
ETC will showcase a selection of its versatile and scalable architectural lighting control solutions at ISE 2018. Stand 15-R260 will be dedicated to a collection of reliable, well-supported and easy-to-maintain architectural systems from ETC – designed to suit installations of all sizes and budgets – from a single room to office complexes, large museums, convention centres and entire theme parks.
Unison Paradigm control system
Designed as a new way of thinking about building control, ETC’s visionary Unison Paradigm system fuses architectural lighting control advances with entertainment lighting control technology. ETC’s award-winning expertise in both areas together, providing the best of both worlds.
Paradigm delivers a new level of comprehensive control – sophisticated facility-lighting and building systems integration. And it does so with unprecedented flexibility and simplicity: a green-minded energy management system that capitalises on daylight harvesting, occupancy sensing and time schedules for maximum electricity and budget savings, plus the power to speak with different devices from different manufacturers over the same control system.
Making its debut at ISE, Paradigm version 4.0 boasts several additional features, including energy management monitoring and display, colour control support for conversion to RGBA and RGBW, and comprehensive Paradigm Inspire support in LightDesigner.
Unison Echo control system
The Unison Echo control system offers flexible, intelligent, and scalable control – simply. Whether it’s turning lights on and off, a need for multiple presets, daylighting and occupancy controls for energy savings or the ability to control hue, saturation and intensity of colour-changing LED luminaires; Echo has a solution to fit your requirements.
Mosaic control system
Everyday life has become the staging ground for entertainment technology experiences. The art and wonder of interactive lighting, automation, audio and visual spectacle, kinetic-art displays, water effects, and more are captivating people’s attention – differentiating a venue, creating a landmark, making a truly memorable event. ETC’s Unison Mosaic is a control solution that allows users to merge show control, LEDs, moving lights, media effects, and more into a single work of art, seamlessly closing the distance between technology and life.
“ISE 2018 presents the perfect opportunity for visitors to explore the full range of architectural solutions from ETC,” says Rosi Marx, ETC’s European marketing manager. “Whether you’re looking for one control system used independently as a focused control solution for a specific room or small venue, or multiple systems integrated together to form a single powerful system, our team of professionals will be on hand to discuss options to suit your specific requirements.”
This article is originally from www.pro-systems.co.za
New Mosaic v2.4 software and Mosaic Touchscreen Station
Mosaic version 2.4 software
The premiere product for lighting control and media effects on a grand scale just got better. The newest version of Mosaic software – 2.4 – is here, and includes features big and small, including a new type of timeline, RGB over DALI control, and more.
Timeline has undergone the biggest change in Mosaic v2.4 – adding a real-time 24-hour timeline option. The new timeline starts at midnight and ends at midnight one day later. This real-time timeline makes it very easy to program effects based on any given hour of the day, and includes all events within one timeline, removing the need for multiple timelines and triggers.
The new real-time timeline also includes waypoints that automatically adjust to astronomical events. For example, events can be set to run from sunrise to sunset, and the software will automatically adjust the timing of events to fill the time, whether it’s a long summer day or in the middle of winter.
Other new features include the addition of I/O module support to distribute custom triggers to external programs, a newly re-designed patch to make setup easier, simple RGB control over DALI, bug fixes and optimisations.
Mosaic v2.4 is available for download now. Current generation Mosaic products already in the field can be upgraded.
For more info about Mosaic, visit etcconnect.com/mosaic
Software updates for Eos and ColorSource consoles
Eos v2.6.2 is a patch that addresses several bugs in the previous Eos family software release. It is recommended that you update your console as soon as production schedules allow.
If you’re updating from an older software version (pre-v2.6), please note that the output of your Eos family controller may be increased/adjusted in accordance with the new output scheme introduced in that release. You can read about the changes in v2.6 here.
For a rundown of Eos v2. 6 features, check out the intro video:
ColorSource v1.1.3 is a patch release that fixes a number of playback-related issues in the previous release for your ColorSource or ColorSource AV console.
It is recommended that all ColorSource users update as soon as their production schedules allow.
ETC adds new features to Unison Echo systems
ETC’s Unison Echo family just got more powerful. New common v3.1 operating software adds customer-requested features to the architectural control system, including tuneable white and sequence control for the Echo DMX Scene Controller, and more.
DMX Scene Controller can now control tuneable white DMX luminaires, giving users the ability to choose a colour temperature that best suits their space. Control for colour-changing fixtures has also been expanded, allowing users to mix a chosen temperature of white as well as colours.
A new sequence feature has been added to provide dynamic lighting control. Trigger functions in the DMX Scene Controller have been expanded to control how the system should behave if a DMX source is plugged in, or what to do if a primary DMX source is lost.
Echo stations and sensors now support preset control across multiple spaces. A single button push can control multiple rooms, including the ability to turn off lights in multiple spaces. Plus, Echo photo sensors support a new inhibit function that prevents the sensor from raising levels when they have been purposefully set to a lower level. This is useful in classrooms with projectors and many other installations.
All products in stock currently are being reworked to ship with this new code. Remember that only products with the microSD card slot are field upgradable. Please contact ETC Technical Service for details.
For more info on the Unison Echo line of products, visit etcconnect.com/echo
ETC to premiere new products and software at PLASA
PLASA Show returns to Olympia London later this month and visitors to the ETC stand – J30 – are in for a treat. PLASA Show 2017 will mark the global tradeshow debut of the recently launched Ion® Xe lighting desks and the soon-to-be released ColorSource® Cyc fixture. Also to be unveiled is the eagerly anticipated Cobalt® software version 8.0. Additionally, Source Four® turns 25 this year and ETC will be honouring the occasion on stand J30.
With compact footprints and full-featured Eos® software, the new Ion Xe and Ion Xe 20 consoles bring award-winning programming power to smaller venues. Since the new consoles feature the same backlit keyboard layout as their larger Eos family siblings, workflow can transfer seamlessly from desk to desk. Accompanying the consoles are the new Eos Fader Wings which provide 20 or 40 standard faders in handy, USB-connectable modules that match – and are compatible with – all the latest Eos family hardware.
PLASA visitors can get a sneak preview of the upcoming ColorSource Cyc fixture. Slated for release later this year, this purpose-built cyclorama light is bright, compact and affordable. It’s also the first ColorSource fixture to add a fifth colour to its LED array, incorporating indigo with the RGB-L mix to achieve rich, theatrical hues. The Cyc will be joining fellow family members on stand J30, including ColorSource Spot and PAR fixtures, ColorSource AV control desk, and ColorSource Relay wireless power control solution.
Cobalt version 8.0 software
Engineered for lighting on-the-fly, the Cobalt line of control was designed to rid the lighting process of unnecessary keystrokes and complicated syntax. Debuting at PLASA, Cobalt software version 8.0 introduces several key features and improvements, including a new multi-console network structure; a redesigned graphic interface; a clone feature to copy show data from a single channel to other channels; and a completely new Magic Sheet engine, giving users quicker and more manageable control of their rig.
Source Four turns 25
ETC will be commemorating the 25th anniversary of the Source Four fixture. The product has played a significant role in the company’s history, has made an enduring impact on the industry, and almost 3.8 million Source Four fixtures have been shipped since its launch, which gives ETC plenty of reasons to celebrate.
More from ETC
Available for demonstrations, there will be a Gio @5® lighting control desk, which brings the acclaimed control of the Eos Ti® and Gio® consoles within reach of users with smaller spaces and tighter budgets. There will also be opportunities to see Source Four LED Series 2 fixtures in action and to speak to the rigging specialists about the Prodigy® P2 hoist system and QuickTouch® rigging controllers.
For more information on ETC and its products, visit etcconnect.com.
Lighting the 200-year-old rock star
Strange to say, but until this year there had never been a museum dedicated to the Revolutionary War. That all changed this past April when The Museum of the American Revolution opened in Philadelphia And the “rock star” of the museum, according to The New York Times, is George Washington’s field tent. Yes, that George Washington. The actual, more-than-200-years-old tent that General Washington ate in, slept in, and plotted in (it was called the original Oval Office) is on display at the museum. Making sure it can be seen, though, was a tough battle in itself. The museum had to satisfy the requirements of the conservators—making sure the centuries-old fabric was preserved—yet create an engaging show that would be compelling to modern audiences. To balance these competing directives, they turned to Ted Mather and Rachel Gibney from New York City’s Available Light. And they, in turn, chose ETC ColorSource fixtures.
Mather has extensive experience in museum lighting. “I started getting pulled into this in 1999, when exhibit designers were realizing they had to up their game,” says Mather. Museums realized that simply presenting a wall of information and artifacts behind dusty glass wasn’t connecting with modern audiences, and they were losing the battle for attention with the new generation. “What they started to do was create immersive environments that felt like science labs or operating rooms. When the environment around you changes based on your actions, you feel engaged and there’s a reason for you being there, as opposed to just sitting there,” adds Mather. “Visceral experiences stick with you afterwards.”
And while Mather and Available Light’s experience in the theatre realm gives them a keen understanding of the dynamic ways to use light to tell a story (color, contrast, texture, movement, angle, focus), their experience on the exhibit side means they know how to do it simply. “There’s no run crew in a museum,” explains Mather. “Available light has learned to use a theatrical lighting language without requiring the maintenance and support a show does. We are attuned to doing design work that can withstand the architectural environment.”
All of which is exactly why they were called in for George Washington’s tent. The museum knew they needed to produce a show that would get audiences emotionally invested, and had hired a video production team to create a film-like experience around the tent. The experience would show what the tent meant to George Washington and the success of the American Revolution, all while changing the times of day and locale, evoking a sense of the travels of Washington, depicting different locations of fields, foliage, frozen streams, snow and winter.
“Basically the video is different locations and times of year,” says Mather. “Our lighting needed to track those times of day, where the sun was coming from and going to, then light the scenery around the tent as if it were in that setting—gobos for patchy clouds, some dappled green for foliage.”
But now that the museum had a video exhibit, they had two competing directives — and a lot of restrictions.
Directive One: Docent viewing. The museum still needed a traditional “isolated jewel” look for the tent, showing it off under white light. “Whatever was lighting it had to reveal it as an artifact, a piece of historical material. The fixture had to do white very well,” says Mather.
Directive Two: Show looks. For the video show, the light needed to be able to show a variety of colors as well as have a variety of texture to wash the tent as if it was outside, in the actual environment being displayed on the video. “The whole point here was to show it ‘outside,’ out there with the men in the middle of winter, the middle of summer.” In this mode the light had to be carefully controlled so that it wouldn’t spill on the video projection surfaces, or out into the house.
In addition to these artistic guidelines, there were numerous technical demands that had to be adhered to. The light had to be UV and infrared free. And finally: There was a hard limit on how much light could hit the tent. The tent could handle no more than 50,000 lux hours per annum. “Whatever the brightness was, we had to meter all of that and add it all up – brightness, length of show, number of shows per day, week and year — at the end of the year it all had to stay below 50,000 lux hours per annum.”
The competing demands for viewing, combined with the hard restrictions on lighting output led to a museum staff that was skeptical the exhibit could happen without damaging the tent.
“The fact that I have a show background immediately raised red flags to some people on the museum’s staff. ‘Will they know anything about conservation?’ ‘Will they be responsible with the artifact?’ We had to build trust,” says Mather.
They did that by conscientiously listening to conservator’s requirements on UV, infrared, and ozone, and using in-depth measurements during thorough test runs. The hard cap of 50,000 lux hours per annum the tent could be exposed to annually? Mather brought in a color spectrophotometer to measure and record the output of lights. That hurdle crossed, the conservators demanded the lights had to be placed at least eight feet away from the tent. Why? “Fibers in the tent will expand and contract from heat,” says Mather. This requirement is a holdover from the days of halogen and has become irrelevant in the age of LED sources—but the conservators didn’t know that. “I had to leave a light on for a few minutes and then ask them to feel the fixture, to see how not warm it was. I took the time to educate the conservators about the lights, because it’s such a big responsibility for them.”
Mather and his crew also built a full-scale mock-up of the exhibit in Orlando. They used it to test several different fixtures, measure output and judge the quality of the light. “We tested several different fixtures: ETC’s LED Source Four Series 2 with the Lustr and Tungsten arrays, ETC’s ColorSource fixture and a few others,” says Mather. “We needed a fixture with a high quality white and good color. We wanted pick a fixture that would make the historians happy.” They chose the ColorSource line of ellipsoidals and PARs thanks to the quality of their light and their beam shaping capabilities. And the historians were happy—so happy, in fact, that they asked Available Light to design the light for the rest of the museum, too.
The result is a show – and museum – that preserves the historical artifacts of our nation, and also creates an excitement around it.
“I’m delighted to have been able to work with such a creative team dedicated to making the tent a meaningful part of our nation’s story,” adds Mather. “I’m thrilled with how it turned out! Rather than an embalmed artifact, it really breathes life into our relationship with George Washington.”
Not bad for a 200-year-old tent and the latest in lighting.
This article is originally from www.etcconnect.com
ETC’s Ion gets an upgrade: introducing Ion Xe consoles
For nearly a decade, ETC’s Ion® consoles have brought powerful control to theatres, concert venues, studios and events around the world. Now, with the release of two Ion Xe consoles and two new fader wings, the small but mighty workhorse of the Eos® family gets an upgrade.
Power in a small package
With compact footprints and full-featured Eos software, Ion Xe consoles bring high-level, award-winning programming power to smaller venues. Since the new consoles feature the same backlit keyboard layout as their larger Eos family siblings, your workflow can transfer seamlessly from desk to desk. Ion Xe desks support up to external two multi-touch monitors, so you can take full hands-on advantage of colour tools, Magic Sheets, Direct Selects and more.
Ion Xe consoles feature full main playback controls, fader controls, level and rate wheels, four rotary parameter encoders and support for up to five USB-connectable wings and devices. Ion Xe consoles are available in two output counts: 2K (base) and 12K (expanded), providing control for a wide variety of rigs. For extra security and flexibility, ETC has also released a new Ion Xe RPU (Remote Processing Unit), which can serve as a backup, remote programming station, or primary controller for your system.
“The Ion brand is much loved for its compact footprint and powerful feature set at a very attractive price,” explains Eos family Product Manager Anne Valentino. “We wanted to ensure its replacement maintained those attributes, while providing a more consistent hardware design with the larger products in the family. Ion Xe is a powerful addition to a product line-up that covers a broad cross-section of the market.”
Customise your faders
The new Eos Fader Wing accessories provide 20 or 40 non-motorised faders in handy, USB-connectable modules that match – and are compatible with – all the latest Eos family hardware. The wings share the profile of the Ion Xe and Eos Motorized Fader Wings, and they can be used with all Eos family products (with the exception of Element).
Fader wings make it easy to customise your Ion Xe to the specific needs of your show; you can connect up to three motorised or non-motorised fader wings to any Ion Xe desk. Want manual playbacks as a permanent feature of your work surface? The Ion Xe 20 model streamlines your control booth setup with a built-in bank of 20 page-able, non-motorised faders.
For more information, visit www.etcconnect.com/Products/Consoles/Eos-Family/Ion-Xe/Features.aspx