Saturday, Dec 15, 2012

Feature lighting for the night were four Clay Paky Alpa 1500’s, focused in pairs onto the sails along either side of the ballroom. Overlaying the images produced a greater depth to both the still and rotating images, enhanced by rigging the sails at various angles and tilt. By utilizing strong images on the sides, the space had an intimate ambience for a room size accommodating over 400 people.

Each table was lit with a single Martin Mac 250 enabling precise focusing and the use of colour correction to warm white, showcasing the food and people to best advantage. Having no other ambient light during the Awards intensified the overall atmosphere. The Mac 250 colour wheel was used effectively to provide a slow kaleidoscope of colours on the tables when formal proceedings were finished. Additional Mac 250’s were used to do the “sting” effects for the awards and the red carpet light and patterning.

 

Stage lighting comprised both high & low tech lighting. Good old Par 64 cans provided the block colour while narrow beam fixed Lightcraft 228 LED’s created shafts of differing coloured light.  These served the dual purpose of filling the back of the stage and providing an interesting background for the photographs of award winners and presenters. Two Unique Hazers were used to provide the medium to be able to see the light beams while the back of the stage was covered with an immense LED star curtain of changing colours.

 

More low/high technology illuminated the stairs to the stage, with three strands of rope light per step behind heavily frosted acrylic providing horizontal lines of colour. The treads were lit with spill light from the Mac 700’s lighting the front of the stage, during the presentation of awards. Overall colours were selected to blend with the Award slide design and included UV blue at the end of the night for extra interest.

All lighting was controlled by a GrandMA lighting console which handled the programming and operating of the variety of luminaires and effects with ease.

 

A huge thanks for the technical success of the night goes to Chameleon Touring for their generous loan of equipment and the SCEC for the terrific venue. The Convention Centre staff, whose dedication and love of their work was clearly obvious, deserve a special mention, in particular Travis Henry (technical manager), Benjamin Ronczka (lighting operator) and Matthew Pemberton (vision mixer).

 

A monumental vote of thanks to the IES NSW Committee whose hard work, trust and faith enabled this event to be such a success. Like swans on a lake, smoothly gliding along, there’s a lot of paddling going on beneath the surface.

 

text : Jan Primrose, event technical producer

Footnote : Jan is Project Director of BIFFI Luce Australia and has an extensive history in stage lighting and commercial design. She is currently the Secretary of the IES NSW Chapter Management Committee