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ChamSys Now Supports XYZ Positioning In MagicQ Consoles And Software

Écrit par James Harrison le . Publié dans News.

SOUTHAMPTON, UK – ChamSys has added a whole new dimension (quite literally!) to building lighting designs on its award-winning MagicQ series of consoles and software. The company’s just-introduced XYZ positioning feature makes it simple for designers and programmers to achieve the looks they envision in 3D space, without getting slowed down adjusting fixture pan and tilt parameters.

Building on the company’s existing Focus Point and Focus Line, the new feature allows MagicQ users to store XYZ palettes referencing static positions, dynamic trackers, and Visualisation objects.

MagicQ supports direct import of patch and XYZ information from popular 3D Visualisation packages, such as WYSIWYG, Capture, Depence, L8, and Vectorworks.  (ChamSys has recently implemented the emerging industry standard GDTF MVR protocol enabling direct import from Vectorworks.) 

« Our customers often patch and pre-program their shows in advance either using our ChamSys free fully featured MagicVis visualisation or their own choice of third party visualisation packages,” said Chris Kennedy, ChamSys Software Director.  “Whichever option they select, we ensure that they only have to set up the patch and the positioning of the fixtures one time to seamlessly transfer this information to MagicQ so they can take full advantage of the 3D XYZ features. »

Using MagicQ PC free software on Windows, Mac or Linux, a designer/programmer can create, visualise, and pre-program a full show of virtually any size with MagicVis or 3rd party visualiser software. 

« MagicQ does not require expensive per universe external processing nodes for show playback or for pre-programming,” said Kennedy.  “An entire show can be pre-programmed on a laptop without any hardware connected, which makes this feature ideal for those last- minute tour bus situations. »

Dynamic trackers can be received from external inputs over industry protocols such as Esta E1.59 Object Transform Protocol (OTP), PosiStageNet (PSN), or ChamSys simple open tracking protocol.  With any of these protocols, lights can be made to follow performers automatically in real time, track lighting of moving set pieces, and make compensations for lights on moving trusses. 

For those that are more adventurous, MagicQ allows the use of dynamic tracking inputs in its inbuilt automation system.  Automation events can be built-up to trigger events when received Trackers move in and out of areas on the stage, allowing changes in intensities, zoom, colours or any attribute to be triggered automatically.  

Areas are created simply by adding and positioning objects such as rectangle and circular forms into MagicVis. The user can choose whether events snap in and out as the Tracker enters the object area, or changes proportionality as the Tracker moves from the edge to the centre of the object.

« ChamSys has always been committed to leading edge software features and has been a strong supporter of third-party open protocols,” said Kennedy. 

The company’s support for XYZ Trackers, OTP and MVR maintains this tradition, offering our customers excellent system integration opportunities. »

ChamSys MagicQ software can be downloaded from https://chamsys.co.uk/mqdownload/

ChamSys Announces Winners of Online Programming Competition

Écrit par James Harrison le . Publié dans News.

SOUTHAMPTON, UK – With many designers and programmers looking for new challenges during the lockdown, the ChamSys Online Programming Competition offered a creative outlet: the chance to program the power packed 200-plus fixture rig that CHAUVET Professional had earmarked for the company’s stand at the 2020 ProLight + Sound exhibit before the show was ultimately canceled.

Drawing over 200 entrants from around the world, the contest asked participants to create a three-minute or shorter show with the PL+S rig, using ChamSys MagicVis software. The large outpouring of creativity awed the panel of five judges, though it made their job of selecting three finalists more challenging.

After a careful evaluation, the judges named Amir Cohen of Tel Aviv, Israel the winner for his inspired two minute and thirty-eight second show. Cohen’s design flowed seamlessly in sync with dramatic musical shifts he selected, as it transitioned from blinding effects, to black outs, to swirling gobo patterns, conveying myriad moods all along the way. Amir dove into MagicVis and even wove in different camera vantage point angles to stunning effect in his programmed show.

Second place winner, Niklas Fuchs of Vienna, Austria, created a dramatic choreographed display of light in his three-minute submission, which was entirely busked, with no time code. Third place finisher David Misakyan of Moscow, Russia, devote considerable creative juice to matching his lights with the music, weaving a mesmerizing pattern of strobes and crossing beams around Paul McCartney’s “Live and Let Die.”

Cohen received a MagicQ MQ70 console for this winning effort. Fuchs and Misakyan were awarded premium swag bags, and 25 other entrants were given MagicDMX Test Kits. All earned the satisfaction of taking a show rig that never got to be, and turning it into a virtual engine of unforgettable looks.

The work of the contest’s three top finishers can be seen on the ChamSys Facebook page.

Martin Dudley and Chris Davey Get Versatile For MiQ Ignite With ChamSys

Écrit par James Harrison le . Publié dans News.

DANANG, VIETNAM – Lighting, like music, is a universal language. That’s one reason why MiQ, a New York-based global market research firm, retained designers Martin Dudley and Chris Davey through UK-based event technology specialists Great Expectations, to provide professional lighting design services for a series of events the company was holding around the world for local clients and other interested parties.

But even though lighting has the power to move people everywhere, the availability of lighting fixtures cannot always be relied upon in every corner of the world. Understanding this, Dudley of Martin’s Lights Ltd. and Davey of Stagelighting Tech (both of the UK), knew they would need a powerful, yet flexible, controller that would allow them to accommodate a wide variety of rigs. They also wanted a control solution that they could they could carry on international flights.

These considerations led them to pack two ChamSys PC Wings for their globe-trotting “MiQ Ignite” tour, which concluded shortly before the COVID-19 lockdown. “We are both longtime ChamSys users,” said Davey. “This made us confident that we would manage very well running MagicQ software on Windows laptops with the PC Wings as we traveled to places that were not on the main international lighting circuit. Its programming power is fully fledged, yet it’s in a format that makes sense for travel.”

This confidence was well founded, as Dudley and Davey created engaging and aesthetically pleasing looks, often with widely different rigs in places like Cancun, Mexico and Danang, Vietnam. With Dudley handling the main conferences, while Davey took care of the entertainment lighting, the pair created looks that ranged from professional to festive, all while reflecting positively on their client.

“With all production equipment being supplied locally there was always going to be an element of surprise,” said Davey.  “We knew that no matter how much we put into the pre-production, what turned up on site was always going to be uncertain, both in terms of the type of equipment and also its of service history.  So, we often had to do things on the fly.”

In addition to having to deal with inconsistent rigs, Dudley and Davey had to design for a wide variety of entertainment specifications. “One day it could be a handful of lights for a roof-top reception, and the next night a vast acre of beach party, but the client expected -and got — the same vibe for both,” said Davey. “The power of the MagicQ software, its ability to morph quickly and transform shows, was invaluable; so too was the way it allowed us to find and create head files quickly and easily for random unknown fixtures.”

The ability of their control solution to handle different venues was also appreciated by Dudley and Davey. To illustrate this point, they recall how easy it was to move from copper DMX to ArtNet and back again, from a single PC Wing.

When things didn’t go as plan, their system served as fast diagnostic tool. “The ChamSys PC Wings made it incredibly easy to troubleshoot when the unexpected happened,” said Davey. “We both found ourselves playing teacher to the local crews and they were all very impressed with what we’d brought with us. It’s nice to know that in addition to serving our client, we helped advance local lighting markets.”

 

Machine Head Livestreams With ChamSys

Écrit par James Harrison le . Publié dans News.

VIENNA, AUSTRIA – Streaming has to be “part of the equation” for metal music to survive Robb Flynn told Loudwire in February. The Machine Head frontman was talking specifically about music services, but at the time, the Oakland, CA- based quartet was also video streaming shows from their Burn My Eyes European tour.  In March, when COVID-19 caused the cancelation of the remaining tour dates, the band was still able to reach its deeply loyal fans by making videoed shows available on a subscription basis via Nugs.net. 

Niklas Fuchs of MartinKames.com ran the tour’s intense, but highly nuanced lightshows, which used between six and ten universes, on his ChamSys MQ100 Pro 2014 with an Extra Wing. “The two months we spent on tour were very memorable,” said Fuchs. “Each show was over three hours and our show file consisted of 314 fixtures.”

Even in a musical genre populated by fiercely independent iconoclasts, Machine Head stands out for their willingness to bend (if not break) metal norms and race forward on their own path with the hungry intensity of lone wolf. The band’s uncharacteristic (for a metal act) embrace of streaming is just one example of their go-it-alone nature.  This distinctive trait is also very evident in the unique visuals they wrap around their music.

“A special thing about this tour is that three different designers contributed to the look, Thomas ‘Church’ Christmann, Martin Kames the head of our company, and myself. Each of us had his own creativity flowing,” said Fuchs. “Robb Flynn and Machine Head are very interested in a complex and sophisticated show.  They want the lights to be 100-percent on time, lighting up the right person at the right time. Our lighting needs to be calm and slow when the song is kind of soft and then be super punchy and hard when the song is more aggressive. Robb spends a lot of time with the touring LD to get every bit of the lightshow perfectly synced to the actions happening on stage, making the lightshows pieces of art.”

The MagicQ’s robust cue stack control on ten different playback faders made it easier for Fuchs to manage the intricately complex Machine Head show. He was also aided by the desk’s intuitive easy-to-navigate layout.

“Speed and responsiveness were of paramount importance on this tour,” said Fuchs “The windows gave me fast and easy access to different FX.  I made great use of the Cloning and Morphing as well as the Playback Priorities and Swap Function. Of course, the compact size was invaluable to me as we went from London, to Warsaw, to Paris, to Brussels. It was a nonstop whirlwind, but lots of fun!”

Of course, the “whirlwind” did stop, coming to a screeching halt when the pandemic hit. Sidelined, Fuchs now enjoys the band’ shows through the videos that were created, and looks forward to the day when the tour resumes. 

“I think streaming a show is a good way to reach more people, especially those who miss the tour,” said Fuchs. “However, nothing beats being there! The experience of sound, lights, the band members giving absolutely everything on stage, the energy of the crowd — these are just not transferable to a video stream.”

Murphy’s Production Services Powers “COVID-19 World Tour” With ChamSys

Écrit par James Harrison le . Publié dans News.

MIDVALE, UT – It’s been said that humor can make a serious difference in how well we deal with dark times. Nicolas (“Murph”) Murphy has no argument with that! Ordinarily at this time of year, the owner of Murphy’s Production Services is busy touring with The Piano Guys, Wax Tailor or some other client. Not in 2020!

No worries though, with live shows put on hold, Murph embarked on his own “world tour,” all without leaving the friendly and safe confines of his Salt Lake City suburb. Rather than simply livestreaming a band and calling it a day, he created a full blown, albeit virtual, tour package, complete with posters, virtual “backstage passes,” and even donates his time with a weekly streaming service: Social Antidote. 

The looks he’s created for his wryly named “COVID-19 World Tour,” are also very good replicas of the real thing, using eight “lazy universes,” a ChamSys MagicQ MQ500 Stadium console and a ChamSys SnakeSys R8 Artnet to DMX Node 5 for each of its weekly broadcasts.

“Not being able to go out on tour, I figured why not make up my own,” said Murph. “It gives me something to do while sitting at home. I make tour posters with dates and print them on my wide format printer that is usually spitting out lighting/video/scenic plots. I also make laminated ‘tour passes’ for friends.”

Although purely virtual and not good for admittance to any show, each tour pass is customized for Murph’s friends, with their name, as well as job title, which is some form of “House Integration Specialist.”

As for the Social Antidote Series streaming umbrella, it was the brainchild of one of Murph’s clients. “They had a whole warehouse full for production gear not doing anything, so why not use what they have on hand and try to keep everyone from getting rusty?” he said. “I pretty much only leave the house for groceries, or for this live stream. The software we use streams to multiple services, but doesn’t give us the viewer count to my knowledge. So, we rely on one of us looking at the different sites and putting the numbers together.”

Videoed in a warehouse-turned-studio once a week, the “tour” features a different local artist in addition to highlighting area businesses as a way of boosting community spirits.

Murph is gratified that his “world tour” is making a difference in the lives of people close to home. He’s also grateful that it gives him the opportunity to work his console.  “I have been touring with a MQ500 since 2017, right when they came to the United States,” he said. “From what has been told to me, I was the second person in the States to take delivery of the MQ500 and the first to take one on a North American Tour.”

“The COVID-19 Tour is fun, but on the serious side of my work, all of my concerts are programmed out quite well,” he continued. “So, if I’m unable to run the show for any reason, a half competent house LD could run it without too much trouble. This livestream has been no different. I come in the night before and sit down with the artist’s set list to hammer out lighting cues for seven or so songs that I have never heard before.”

When Murph needs to punt openers, or a musician wants to do a song that he hasn’t created cues for, he jumps to a page that includes his pallets in Playback form. “This way, I can have what are essentially two programmers at the same time and I can have them work independent of each other or effect each other,” he explained. “It’s one of the many versatile features that make the MQ500 so valuable.”

As rewarding as his weekly livestreamed shows have been, Murph is looking forward to getting back on the road.  He describes it as “surreal,” not being able to hear the sound of the crowd during show. “When the feed is cut, you are just done,” he said.

That is, of course, until the next weekly installment of the COVID-19 tour, which in turn marks one step closer to the day when Murph is back doing live shows again. Until then, humor will see him through just fine.

Mass Hysteria Streams Recorded Show Powered by Chirac Design and ChamSys

Écrit par James Harrison le . Publié dans News.

NANTES, FRANCE – Like a fierce winter storm blowing in off the nearby Atlantic, Mass Hysteria shook this port city to its foundations two years ago, when they performed a show for the 10th anniversary of the Elvish. Small wonder then, that the metal icons selected this show for their April 8 stream. Featuring 75 minutes of nonstop heart-pounding intensity, the show served up a pure distilled shot of the band’s fire driven passion.

Throwing fuel on the flames of Mass Hysteria’s sound was a relentless Romain Dronne designed lightshow powered by a ChamSys MagicQ MQ80 with an Extra Wing.

Part of the Chirac Design team, Dronne turned up the brightness of his rig at key points throughout the show, transforming the relatively tight confines of Club Le Ferraileur into a ball of light. The close-in setting of the club made the show well-suited for streaming, since many fans would be watching on mobile phones with their relatively small screens.

However, beyond this “technical” consideration, the size of the venue also reinforced the close relationship that the band has with their fans according to Dronne. “This is a small venue by the standards of Mass Hysteria,” he said, noting that the band has opened for the likes of Metallica. “But, the intimacy of this show’s venue is in keeping with the kind of connection that the guys share with fans.”

The connection, Dronne speaks of is readily apparent during the streamed show, as the band exchanges quips with the crowd and tosses swag into the audience, while fans share the moment with Mass Hysteria singing along and clapping in rhythm to songs.

Through it all Dronne’s design races forward in step with the show, accenting crescendos with bursts of light, engaging the crowd with audience lighting, strobing, creating evocative silhouettes and changing perspectives with unusual side lighting.


If the lighting seemed to flow naturally with the music to those watching the stream, it’s because Dronne is fully immersed in his client’s sound. He busked the entire show, never pausing for a millisecond. Indispensably valuable to him in this process was the user-friendly layout of the MagicQ MQ 80 with its 12-inch display.

“The brilliant thing about the MQ80 is how easy it is to navigate, especially for its size,” said Dronne. “I mean, here is something that is compact enough for me, yet its display is really easy to work with because of its size and high resolution.

“I especially like the Execute Buttons on the MQ80,” continued Dronne. “I used them, including Play and Pause to control Grid One. The Color Palette was also very important, since I relied on gradients of different shades when creating silhouettes to change up the mood on stage.”

Although his show used three universes and 32 fixtures, Dronne was able to create expansive looks and unsettling intensity without interruption. Like his client, who played in a smaller-than-usual venue for this show, he proved that the power to move comes in all sizes, an especially important lesson when streaming to an audience watching on smaller mobile screens.

ChamSys Expands Training Academy, Adds Weekly Live MagicQ and Multi Language Material

Écrit par James Harrison le . Publié dans News.

SOUTHAMPTON, UK – ChamSys continues to build on its global commitment to education, making webinar bookings and 20-munte appointment consultations found on the training page available in German, Italian and Spanish versions.  The company has also broadened the scope of its training with the addition of new Live MagicQ sessions that will stream every Tuesday  at 11 am EST (4 pm BST).

Conducted by the ChamSys training staff, the new sessions will delve deeply into key MagicQ software capabilities, such as mapping complex fixtures, FX setup and tracking. In addition to being livestreamed on Facebook, the lessons will also be made available on IGTV.

The new MagicQ material, which will be available only in English initially, will feature the following topics:

 

  • Control and Mapping of Complex Fixtures With Multiple Elements, which covers subjects like Ind/Dup, element selection, and  non-linear shape fixtures used in Grids — 14th April          
  • Better Busking With the Execute Window, which offers tips on setting up grids with groups, palettes and cues – April 21
  • FX 101, which looks at  setting up custom FX, group FX and playing back FX – 28 April
  • Faster Programming With Tracking, which explains tracking, detailing how it works with MQ, and also HLF, viewing tracking, block cue and block FX – 5 May
  • Advanced Pixel Mapping, which covers pixel mapper FX, movies, gifs and live feeds 12 May
  • Effective Playback With Options, which provides a detailed review of topics like advanced cue stack options, fader options and  playback holdover – 19 May
  • Timecode With MagicQ, which examines issues relating to timecode on cue stacks

For more information visit the “Training” section of the ChamSys website:

Training: https://chamsyslighting.com/pages/training

      ChamSys Training Academy Expands Online Learning Opportunities

      Écrit par James Harrison le . Publié dans News.

      SOUTHAMPTON, UK – Touring and live events may be on hold for now, but learning and career development continue to move forward at the ChamSys Training Academy. The lighting console maker has been actively expanding its online education resources with new courses, tutorials and appointment opportunities being added on a continuous basis. In addition to providing programmers with the chance to sharpen their skills (and develop new ones), the academy is serving as a platform for them to remain connected to the industry in the wake of the closings and cancelations that have taken place.

      Open to anyone, the academy offers daily online webinar training sessions. Conducted by active lighting designers and programmers, like Philip Watson, Brett Lorins and Charles Courser, these sessions cover a range of basic, intermediate and advanced topics.

      The ChamSys Training Academy also features an expanded menu of video tutorials, including Beginners Sessions that provided a basic look at subjects like windows, buttons, faders and shortcuts; to Intermediate Sessions that deliver in-depth guides to topics like using the Execute Window to its maximum benefit.  An extensive collection of Advanced Sessions is currently under development. 

      Another highlight of the academy is its free MagicQ and QuickQ online training sessions. Free of charge, the sessions provide practical user-friendly guides to mastering these powerful software tools.

      For programmers and designers seeking a more personal learning experience, the ChamSys Training Academy offers one-one-one consultations during normal business hours. There is no charge for these sessions, but they must be scheduled in advanced via the academy’s website. 

      For more information visit the “Training” section of the ChamSys website: 

      US: https://chamsyslighting.com/pages/training

      Outside US: https://chamsyslighting.com/pages/uk-training 

      ChamSys Unveils Contest for Programmers “Stuck at Home”

      Écrit par James Harrison le . Publié dans News.

      LONDON – There’s a massive new 200-fixture rig that was going to premiere at the now-canceled Prolight + Sound 2020 show.  There are also a lot of talented lighting programmers and designers finding themselves “stuck at home,” who would love a chance to show their creative chops. Put them both together and you have an exciting remedy for the “Coronavirus Blues,” called the ChamSys Online Programmers Competition.

      Sponsored by ChamSys, the contest, which runs between now and April 10th, provides lighting pros with more than a creative outlet during slow times, it also offers a chance to win a new MagicQ MQ70 console, something that is sure to open bright, new possibilities when the curtain rises once again on live concerts and festivals.  The first 25 entries in the contest will also receive a MagicDMX Test Kit, while the three top runners up will earn a premium swag bag. 

      Entering the contest is simple. To participate, entrants merely have to download the Vis/Base show file of the CHAUVET Professional PL+S 2020 rig, select a 1-3-minute song of their choice, and then program the lights using MagicQ with MagicVis visualistion.

      Once they do that, entrants have to record their entries via screen capture, and submit them, along with the show file to [email protected] by 11:59 pm Eastern Time (US) on April 10th. The entrant’s name, location and mailing address must be included in all submissions.

      The judges evaluating each submission are Max Koehler and Ryan Warffuel of Antic Studios, Phil Watson and James Harrison of ChamSys, and Michael Graham of CHAUVET Professional.

      For complete contest rules visit https://cutt.ly/Dtl7HQa

      ChamSys To Skip Prolight + Sound 2020

      Écrit par James Harrison le . Publié dans News.

      SOUTHHAMPTON, UK – After careful consideration and consultation with its customers as well as end users, ChamSys has elected not to participate in the rescheduled Prolight + Sound 2020. Although the company will miss the opportunity to meet with its friends and colleagues at Frankfurt, this decision was necessary given the large number of exhibitors who have already withdrawn from the show and the difficulty in rearranging scheduling and travel plans.

      ChamSys looks forward to participating fully in Prolight + Sound 2021. Meanwhile, the company will continue to present customers with information about its new products through upcoming roadshows as well as its standard marketing and communications channels.

      Kaiser Chiefs Duck Tour Powered With ChamSys MagicQ MQ 500

      Écrit par James Harrison le . Publié dans News.

      LONDON – There may be thousands of people filling arenas on the Kaiser Chiefs’ current Duck Tour, but after only a few notes have been struck, most of them probably feel like they’re enjoying the convivial company of close friends in the warm confines of their favorite pub. Such is the magic that this multi-platinum band is working on audiences with their spirited singalongs and on-stage antics.

      The iconic quintet from Leeds is not only a lot of fun to see on this tour in support of their seventh album, they’re also really enjoyable to light, especially when you have a ChamSys MagicQ MQ500 Stadium at your disposal.

      Just ask Lighting Director and Operator Jason Hyne, who is running the boards for the show, which was designed by Rob Sinclair. A ChamSys user since 2013, Hyne is working with the MQ500 for the first time on the Ducks tour, and finds that the console has greatly enhanced his work.

      “The MQ500 has been a pleasure to work with and has made running the show a lot of fun, by simplifying things and giving me more time to be creative,” said Hyne. “Rob Sinclair is responsible for the show’s lighting and set design. The Kaiser Chiefs new album Duck and its cover artwork heavily influenced his design path.  Consequently, the pace of the songs and show is quick. This is reflected in the lighting cues and programming. The extra number of faders, buttons and Exec in the MQ500 provides me with so many more capabilities.”

      Hyne notes that the band’s set is made up of 23 songs from a list featuring around 50 numbers. Each song has a page and is structured roughly to 20 cues per song; and each cue is running and releasing macros.

      “There is no time code, and Ricky Wilson, the frontman, runs around a lot,” said Hyne. “So, I’m working with a playback structure whilst I busk all of the front lights. The robustness of the MQ500 and its intuitive layout make it easier to manage all these variables.”

      The lightshow uses 12 universes over sACN and includes over 100 fixtures. Most of the programming for the show was done in Liverpool at Adlib.

      “I was very impressed with Adlib’s new programming suite, as well as team account handler Jordan Willis, and the lighting team of Kev Byatt, Paul Hyne and Oli Gorman,” said Hyne. “As you would expect, the MQ500 connected seamlessly every time to the WYSIWYG and was key in giving as true as possible perspective to the show. Again, it made the whole process easier every step of the way.”

      For Hyne, the move to the MQ500 was a “big jump” from the MQ80 he had been using. Although he had anticipated a “tougher challenge,” he found that learning to work the larger console was relatively seamless, the extra faders and buttons along with the second screen in the MQ500 making his work programming the Ducks show easier. “It gave the whole process a greater sense of freedom,” he said… not to mention making everything more fun.

      ChamSys MagicQ MQ80 At Home in Elsewhere

      Écrit par James Harrison le . Publié dans News.

      BROOKLYN – Technically, the “centroid,” or geographical center, of New York City, lies near the corner of Stockholm Street and St. Nicholas Avenue, just a short half mile walk from Elsewhere.  This distinguishing feature didn’t enter into the decision of the club’s owners when they opened their business at this spot in Brooklyn’s Bushwick section on Halloween, 2017, but the  location is very fitting, considering how their cavernous venue embraces the myriad artistic and cultural influence that give the Big Apple its distinctive and endlessly fascinating flavor.

      Every form of the city’s creative expression seems to find a home with the 24,000 sq. ft. confines of Elsewhere, which houses a loft café, art gallery and four performance spaces. It is, as one New York newspaper critic declared, a “community-driven environment where art thrives and different cultures meet.”

      Tying this creative cauldron together is a flexible lighting system that includes a large number of moving luminaires and stage fixtures as well as LED panels, most of which are controlled by the house ChamSys MagicQ MQ80 console.  Chris Madden, Head of Production at Elsewhere, selected the ChamSys desk as the club’s main console because of its price to performance ratio.

      “In addition to having a large number of fixtures, Elsewhere relies heavily on LED installations in the Hall, and throughout the building,” said Madden. “The MQ80 can handle a huge number of universes, in particular for its price point. It allows us to control all of our fixtures and multiple LED installations. Additionally, when artists bring in their own lighting package or video wall to the club, we still have open universes to control them as well.”

      Elsewhere’s four performance spaces are The Hall (700 Cap), Zone One (250 cap), the Loft (100 cap) and a rooftop space (500 cap).  The MagicQ MQ80 controls the lights in the Hall, where the headliner performances take place, while a MagicQ PC Wing with a computer runs lights in Zone One.

      David Wilson, a lighting designer who often runs lights at the club, pointed to a number of reasons why the ChamSys consoles have been so important to Elsewhere.  “The flexibility of setting up playback options and programming styles to match our workflow with

      external LED mapping programs, in addition to running the moving and static light rig, makes the MQ80 a great fit for this club,” he said. “I also find the tap tempo and global tempo control to be essential for the variety of acts we light at Elsewhere. This allows us to keep our basic looks and adjust their feel from show to show, or act to act.

      “Chris Madden, and the head LD Andre Ferreira really hold the place down well,” continued Wilson. “Between them and the ChamSys console, plus all the cool people who come here, this is a very supportive place for an LD.”

      True to the spirit of Brooklyn nightlife performances at Elsewhere are characterized by free spirited creativity and improvisation.  It’s not surprising then that busking is common to the LD’s stock and trade in these parts.

      “Everything in Bushwick is busking,” said Wilson. “The vibe here is DIY, so people really like to get into it. With this in mind, I would say that flexibility is the number one asset that the MQ80 brings to the table for me as an LD. What’s really important, given the flexibility the ChamSys has, is understanding the relationship between your executor pages, playbacks and programmer. Once you get that down, things start to move quickly.”

      Wilson explained how this relationship between LD and console works out for him at Elsewhere in Brooklyn.   “I slide faders with my left hand and bump with my right — so with my ChamSys, I like to have a few key group intensity faders on my left, with effects in the cue stack, along with a global intensity effect fader,” he said “Then in the middle, I’ll have global colors, color Fx and movement. On the right I have a global strobe fader and a blackout fader with both bumps set to swap so any accents can really be felt.”

      When there’s a visiting band, as opposed to a DJ, Wilson makes sure to have the blinders on a separate fader. He also likes to keep the crossfader as global rate, and the tap timer set to selected cue stack.

      “We have cues for backgrounds, but we rely on busking and improvisation for our shows,” he said.  “Things can go in a lot of directions here, so yeah the ChamSys’ versatility makes it right at Elsewhere.”

      Photo Credit: Luis Nieto Dickens

      Resolution X Invests in ChamSys QuickQ Consoles

      Écrit par James Harrison le . Publié dans News.

      Resolution X expands their control inventory with 6 ChamSys QuickQ consoles.

      “We were looking for an easy to use reliable hardware based console, which would suit the applications that require between 1 to 4 universes of DMX control’, explains Tim Hall, Managing Director at Resolution X. “Something which would have an intuitive user interface for new operators and provide an extensive feature set for the experienced programmers on small to mid-scale shows.”

      After a thorough evaluation of a range of small form factor standalone consoles, their choice landed on the award winning ChamSys QuickQ consoles, with an initial purchase of four QuickQ 20 and two QuickQ 30 consoles, which are now available from their Melbourne and Sydney locations.

      “The QuickQ 20 and 30 offered great balance between simplicity and power, which will allow us to use them on both our own production shows and for dry hire. The consoles are compact, but they have a large inbuilt touch screen, so there is no need for an external monitor on many jobs. The mobile like interface leads you through setup, programming and operation, making it easy to use even for new operators,” comments Tim on their key selection criteria. “We put our shortlisted consoles in our training room and sent operators in to see how far they could get without prior knowledge of the platform, and QuickQ came out on top.” 

      “Having the same substantial fixture library and compatible show files with the larger ChamSys MagicQ console range was a big plus when it came down to decision time. We always consider how any item will fit into the systems we provide to our customers, so the ability of these small consoles to use DMX over Ethernet protocols means we can easily maximize their output by sending them out with an appropriate ArtNet, sACN or Pathport node, making them an ideal addition to the ResX production and dry hire inventory”, adds Tim.

      For more information contact: [email protected]

      Iwan Hutapea Covers Diverse Range At Soundrenalin With ChamSys

      Écrit par James Harrison le . Publié dans News.

      BALI, INDONESIA – The iconic and influential British pop rockers Suede felt right at home when they headlined the Soundrenalin. The upbeat spin on alt music that the band spearheaded in the 1990s was reflected in the sounds of some of their coheadliners at the two day festival, such as the popular Indonesian quintet Padi Reborn. But pop music in Indonesia is every bit as diverse as it is in the UK, so sharing the stage with alt rockers was a wide range of artists, from the hard driving Indonesian metal band Jamrud, to local R&B legend Glenn Fredly. 

      Tying this diverse musical offering together visually on two stages, while still creating unique looks that reflected the unique personalities of each of the more than 40 artists who appeared at Soundrenalin, was a challenge, according to festival lighting designer Iwan Hutapea. It was one he met, however, in beautiful fashion with help from two ChamSys MagicQ MQ500 Stadium consoles. 

      “The diversity on the stage was impressive,” said Iwan, owner of Etcetera Lighting. “We designed the lighting rig to be very flexible. As for the console, we used ChamSys, not just for its capabilities, but also because it is very user friendly for programming and networking, which made it easy to add ArtNet.”

      When Iwan ran the boards during the festival he was grateful that he could work with playbacks and preset faders without swapping between modes, which made it easier to busk.  “We did a lot of busking, because many of the bands gave us their song lists only at the last minute,” he said. “This is when you really appreciated that the ChamSys is so user-friendly.”

      Iwan also appreciated how easy it was for LDs who have never worked with the MagicQ MQ 500 Stadium to familiarize themselves with the new console. “ChamSys was the festival console, so visiting LDs were given the opportunity to use it of course,” he said. “It was really a very straightforward process for them to learn the console and make personalities for their floor package fixtures. Really, my biggest challenge was to convince new LDs how simple the ChamSys was to use. But once they tried it, they were convinced.”

      Nick Ho Adds New Dimensions To G12 Asia Conference With ChamSys

      Écrit par James Harrison le . Publié dans News.

      SINGAPORE – As time passes, events and the lighting designers who work for them year after year often seem to develop a shared sense of how to approach the job at hand.  Such is the case of Nick Ho and the G12 Asia conference. The Singapore-based LD began working for the massive worship rally in 2005, and has lit every one of its annual conferences since 2016. 

      Like his client, which is constantly looking for new ways to engage worshippers, Ho refuses to rest on his laurels. Although his big, multi-faceted lightshows have earned widespread praise from the conference’s attendees and its Technical Director, Dennis Thien, Ho is always working to make them more compelling. This year, he and his programmer Justin Poh upped the engagement level by doing something they’d never done before: pixel map their rig’s washes.

      Creating this new design with the 78 wash fixtures in their rig was made much easier, they say, by the pixel mapping features in their ChamSys MagicQ MQ100 Pro. “This was the first time that we have tried pixel mapping washes for such a large scale event,“ said Ho, noting that the conference, which was held at the Singapore Expo Hall, drew 10,000 people. “The pixel mapping functions in our ChamSys works very fast, which was good, because Justin wound up creating looks on site during the conference. 

      “Pixel mapping the washes added another dimension to our show,” continued Ho. “Having the simple low res animation effects run across the back line truss created very engaging looks. Doing this was a straightforward process with ChamSys. We just had to create a fixture layout in the Output Window View Plan, create the grid size, and assign heads correctly into the boxes, then patch PIXMAP — and we were done!  The ease of working with ChamSys removes a lot of stress when you are trying something new.” 

      Ho was also impressed with how smoothly his console worked with the different brands of washes in his rig. “We had three different brands represented, almost evenly,” he said “It was quite a task to make sure we had the correct color balances across this diverse rig.  This was especially important because we had to watch our colors for our video cameras.”

      Ho and Poh had 409 fixtures run across 24 universes in their lighting design for the conference. Their lighting filled a variety of roles, requiring a versatile system, and a flexible attitude on their part.

      “As always, we try to balance the important creative aspect of lighting design with the practical ‘light first’ concept,” said Ho. “I tried to make use of the correct timing during worship segment to enhance the stage and the surrounding environment. At the same time, we wanted lighting to reach the audience, and work well for the cameras. There were times when we would turn off stage wash to create a back-light silhouette effects, without losing anything for the camera. There were always many different demands to weigh, so having a console that simplified things was very important.”

      In addition to the MagicQ MQ100 Pro, Ho and Puh ran their lights on a Maxi Wing with a MacBook Pro. A custom designed MIDI Controller was also used.

      “This year, I introduced MIDI wing hardware to be used with MQ100 as an ‘extra fader wing,’” said Ho. “This wing sent MIDI output to ChamSys. There is a very useful Automation feature in ChamSys that allows you to assign any MIDI input command to trigger cues. For G12, I assigned it to trigger a ‘Executor Window’. This wing helped Justin and me trigger as many effects as possible without losing our concentration during busking moments, which were different and more elaborate this year.”

      Whether it’s pixel mapping washes for the first time, or pushing his busking envelope, Nick Ho continues to expand his creative horizons with his ChamSys console at the G12 Asia conference – and his client couldn’t be happier.

      Peter Therrien Creates New Looks With New ChamSys Console For The Interrupters

      Écrit par James Harrison le . Publié dans News.

      CRANSTON, RI – The chart-topping punk ska band, The Interrupters wanted a new look for their shows when they contacted Peter Therrien and JDI Productions through an intermediary. “I was touring with Flogging Molly when someone, I still don’t know who, gave the band contact info for JDI and me,” said Therrien. “Their management reached out to us. My Flogging Molly tour was over and I had time, so here we are.”

      The “here” where Therrien and the LA-based quartet are right now, is in the midst of an extended North American tour in support of their Top Ten “Fight The Good Fight” album. For Therrien, the tour not only represents the chance to spread his creative wings with a first-time client, but also an opportunity to run a different kind of show with his new ChamSys MagicQ MQ80 console.

      “Cody James of JDI tried the ChamSys MagicQ MQ 500 Stadium lasts year, and told Derek Iorfida (owner of JDI Productions) great things about it, so Derek purchased some consoles,” said Therrien, who designs for the Cranston, Rhode Island-based company. “I wasn’t 100-percent happy with the console that I was using. I wanted something that would make it easier to patch and clone different house stuff on tour. My first show with the MQ80 was in June.  I haven’t looked back since.” 

      Unleashing some creative juices with his new console, Therrien is creating a silky smooth flowing lightshow that wraps itself effortlessly around the band’s bouncy ska sound with its very fast bass lines and airy upstroke guitar fills. Using intense downlighting against a backdrop of deeply saturated colors, he creates an ethereal glow around each band member, while geometric patterns of light created on risers accentuate the emphasis on the musicians.

      “I think all tours have their own set of challenges, but this one for me was all about learning the band, what they like, and what makes them feel comfortable,” said Therrien. “The

      Interrupters want a very classic ‘Punk Show’ at points so, verses get big looks. Then, I add some movements for choruses in deep washes of color. On the more ska/dance songs, it’s pretty much the same, but a little more movement and FX. The idea is to flow with the show and highlight the specialness of each band member.”

      Helping Therrien accomplish this in his 3-universe show is his ChamSys console. Given that his light show has to incorporate multiple fixtures from each new house rig on the tour, he appreciates how the cloning features of his console help him expand his rig.

      “This is just a really powerful option to have at your disposal on a tour like  Fight The Good Fight,” he said. “Going into the Patch Window, it’s very fast and easy to add fixtures when I get to a new venue. It’s also very convenient to be able to add fixtures, and sometimes just palettes instead of palettes and cues. The Execute Window is another great feature, since it lets me customize the console. Another thing I like is having all the Playback Buttons right below the screen.”

      Therrien is carrying an Extra Wing with him on the tour. The compact MQ80 console and the Extra Wing along with their cases, fit neatly in the trailer as the tour crisscrosses North America. “I have 26  programmed pages, plus one Exec Page for the 22 songs in the set, plus some others for the backup pages,” said Therrien. “The Extra Wing is where I keep all my ‘constants’ for every show.”

      This programming has worked to produced results that make the band and its legion of fans very happy. So much so, that when The Interrupters embark on their European tour at the end of the year, Therrien will be there as the band’s LD. Coming along with him will be his new ChamSys MagicQ MQ80 console. As he said, “there is no looking back.” 

      Photo Credit: vin_hel

      ChamSys MagicQ MQ70 Console Makes USA Debut At LDI

      Écrit par James Harrison le . Publié dans News.

        LONDON – ChamSys is offering a new level of mobility for busy designers and programmers with the new MagicQ MQ70 Console. Introduced at PLASA 2019, this trim compact console (it weighs in at a mere 7kg, or 15.4lb), will make its USA debut at LDI Booth 937.

      The new console works neatly as a piece of carry-on luggage, and meets the restrictions of even budget airlines like Ryanair and Southwest. Its compact size not withstanding, the MagicQ MQ70 offers big time scalability, supporting 24 universes of ArtNet/sACN natively, with an option to expand this to 48 universes directly from the console (with a paid upgrade). The console features a 10.1” multi touch display, along with illuminated fader and encoder tracks.

      The MagicQ MQ70 also has built-in WIFI, making it easy to connect to the ChamSys MagicQ Remote focus application simply by scanning the QR code on screen without the need for external networking hardware. MIDI input and output as well as LTC timecode input are also inbuilt, allowing easy integration with show control and timecoded shows.

      An in built UPS protects the MagicQ MQ70 in the event of a power failure. On the subject of power, this console consumes very little of it, so it requires no cooling fan, which means it operates silently, a critical feature for broadcast, theatrical and corporate show applications.

      Since the MagicQ MQ70 runs the same MagicQ software as other MagicQ consoles, it can accept shows programmed on them, and have its shows loaded and run on them, within the universe limits. 

      Like all ChamSys consoles, the MagicQ MQ70 is logical, intuitive, and easy to follow. The console also features an in built network switch, as well as audio input and audio. These user-friendly features, combined with the console’s portability, scalability and performance features, are sure to make the MagicQ MQ70, a welcome addition to the busy professional’s tool chest.

      ChamSys MagicQ Software Now Supports Import of GDTF Personality Files

      Écrit par James Harrison le . Publié dans News.

      SUNRISE, FL – ChamSys has become the first major lighting console manufacturer to release software capable of importing GDTF personality files directly. 

      The company’s ChamSys MagicQ software is free to download for Windows, Mac, and Linux. It supports an output on up to 64 universes without additional hardware or dongles, making it an ideal test platform for GDTF.  

      In addition to importing the basic channel information from GDTF, the MagicQ inbuilt MagicVis 3D visualisation and plot views will automatically make use of 3D and 2D information provided in the GDTF files.

      Demoed at LDI, ChamSys MagicQ software with the ability to import GDTF personality files received an overwhelmingly enthusiastic reception from all who saw it.

      Chris Kennedy, ChamSys’ Software Director, commented, « ChamSys is a strong supporter of GDTF and the philosophy behind it. The entertainment lighting industry badly needs a common personality interchange format for lighting fixture manufacturers to describe the features of their new fixtures, and GDTF can only advance this. 

      “We have always embraced open protocols, and we continue this philosophy with GDTF support,” continued Kennedy. “ChamSys currently supports a library of over 28,500 different fixture personalities, and we’re committed to continue working with fixture manufacturers to improve the electronic description of their fixture capabilities through GDTF. »

      GDTF is supported by MagicQ Software version 1.8.4.4 available for download here https://secure.chamsys.co.uk/download. More information about GDTF is available at the GDTF share web site gdtf-share.com

      Chirac Design Tours France With ChamSys

      Écrit par James Harrison le . Publié dans News.

      PARIS – Parodic metal band Ultra Vomit and EDM solo act Sebastian serve up two very different styles of music. But both share a penchant for pushing musical boundaries, and both are in the middle of popular fall club and festival tours throughout France. The two artists have something else in common too, each is supported by high-energy light and video shows created by Chirac Design and run with ChamSys consoles.

      “We tend to have intense clients, and we strive to match their intensity with our shows,” said Chirac co-founder and Marilyn Manson LD Nico Riot. “I have been a ChamSys user for quite some time, because the simplicity of the console frees me up to do the things I envision.”

      Riot’s enthusiasm for ChamSys is shared by his partner and Chirac co-founder Romain Dronne, who is using a ChamSys MagicQ MQ60 to run shows for Sebastian, and Gregory Dutein, who is powering Ultra Vomit shows with a MagicQ MQ80 plus an extra wing.

      “Sebastian is an EDM light show, but without the cliché of it,” said Dronne. “Our show has to be tight on the rhythm, but with flood lights — and not an army of tight narrow beams. We are doing RGB fast color chasers. Ultra Vomit is more like a theatre comedy rock show that includes standup comedy and light, as well as sound effects, managed via ChamSys Magic HD.” 

      Dronne is using the MQ60 for Sebastian because its compact size makes it easy to travel by plane and train on the tour. “This console can be transported as a carry-on luggage, but it gives me 12 universes without additional nodes. It has many of the same features as the MQ80, but in a smaller screen, with smaller fader knobs as well.”

      For Ultra Vomit’s tour, the Chirac team began the design process on a ChamSys MagicQ MQ500, then once the show was programmed switched to a MQ80 plus an extra wing. 

      “Each song Ultra Vomit does is a parody of a musical genre inside the metal sphere,” said Dutein. “We respect all the codes of every genre in term of lights and video contents. On black metal songs we use cold colors, strobes, smoke, and visual elements with black metal fonts. It’s more like a theatre rock show with a lot of jokes and interactions with the audience.” 

      Given that Ultra Vomit’s show is very theatrical in nature, it is modified every week. Dutein uses his MQ80 to update his show throughout the tour. It’s power-to-size ratio allows him to make changes while riding on the tour bus. The ChamSys console’s Setlist Feature option makes it easy for him to add to the show mid-tour without cue list issues. 

      “The ChamSys morphing option works great because it’s really fast,” said Dutein. “Also, the changing fixture palette option saves a lot of time. I love the cool and simple cue stack macros. It is very easy to change a page in a cue list, or activate a playback with only two characters.”

      Each song in the Ultra Vomit show has its own animated backdrop. At the beginning of the tour video contents for the band was made from the visuals of their last album, “Panzer Surprise.” This design was inspired by The Looney Toons cartoon, and this forms the basis of the show’s visual content. 

      As the show has progressed, Dronne and Dutein have created more content with different layers, resulting in in compelling interactive effects, such as a text synchronized with the singer to poke fun at various things. The Chirac team is using the Execute Button on their ChamSys consoles They’re also relying on the MagicHD for the content. “It’s really easy to program lights and videos together without losing time searching how to configure an external media server,” said Dronne.

      Regardless of where Ultra Vomit or Sebastian stop on tour, the versatility of the ChamSys MQ60 and MQ80 is deeply appreciated. “Ultra Violet plays in a very wide variety of clubs and live music venues,” said Dronne. “Sebastian plays festivals. In both cases we never really know how big our show is going to be. This is why having a console with this combination of flexibility and power is so valuable.”

      Arf & Yes Runs 148 Universe Show for Juhuasuan with ChamSys MagicQ MQ500 Stadium

      Écrit par James Harrison le . Publié dans News.

      HANGZHOU, CHINA – JSTV’s 99 Juhuasuan Shopping Day Show is big by any measure. The sheer volume of sales generated by the event sponsored by this Alibaba subsidiary leave no doubt about that. Neither does the spectacular lighting design by Ghent, Belgium-based Arf & Yes.

      Hovering over the 40-meter wide by 45-meter deep stage like some giant extraterrestrial craft, the stunning show transfixed the audience at this high-profile happening by directing intense, colorful beams of light outward, downward, and in every other conceivable direction to create an immersive matrix of effects that was balanced beautifully against a captivating pixel wall.


      Featuring 1,533 moving heads, 800 RGBW scenic lights, the show involved 148 universes and 49,515 parameters. This massive design was controlled by four ChamSys MagicQ MQ500 Stadium consoles without the need for any distribution nodes.

      Amazingly, the entire show was programmed on-site in a matter of days. “Because of a delay in the building of the rig, we had to program the show while some parts of the lighting rig were not finished,” said De Mets.  “Our multi consoles allowed us to program songs and offset at the same time. While I was programming songs, Michiel Goedertier from our team was offsetting a group of lights on stage with a third console. Fortunately our entire team, including LD Ignace D’haese, Philippe Vanderheeren, Tijs Coene, and Joeri Pluym did a great job handling everything.”

      De Mets also praised the ChamSys MagicQ MQ500 for making a vital contribution to the success of this impressive show. “Given the scale of this project, it involved a great deal of teamwork and reliable performance from our consoles,” he said. “There were three moving screens, two moving risers, and two catwalk elevators to give you an idea of the show’s size. We  worked with four consoles on the same network on the same show, and the MagicQ performed extremely well. The Replace Pallet, Offset Patch, Group FX and Page Holdover were all very helpful in this application.”

      The Arf & Yes lightshow was more than just grand in its scale. Its power to move the audience also emanated from the artful balance of its design. Brilliant shafts of light that rained down on the stage endowed the show with an evocative translucent quality. The  triangular configuration of lights on three levels positioned over the stage, created a sense of depth. As these mesmerizing looks were being created, deft key lighting seamlessly supported each of the 36 songs from the north and south of China that were performed at the event.

      A highlight of the design, and one that gave the show a magical, transcendent quality, was the 26-meter by 10-meter pixel wall that the Arf & Yes team created with the inbuilt MagicQ Pixel Mapper. “I used the Pixel Mapper with many layers with the addition of extra normal FX on the duplicated heads,” said De Mets.  “What’s more, I added sometimes extra normal FX on the duplicated elements”

      The dreamy pixel wall played off well against the overhead lighting elements. At an event fueled by excitement and tinged with anticipation, this balance between raw power and evocative imagery fit the mood to perfection.

       

      Client: JSTV

      Set design: Space Warp Engine

      Lighting Design: Arf & Yes

      Win a New MagicQ MQ70 Console at LDI – Las Vegas

      Écrit par James Harrison le . Publié dans News.

      Win a New MagicQ MQ70 Console at

      Las Vegas

      Interested in challenging others to a live playback competition at LDI in Las Vegas?!? Enter today for a chance to be crowned champion and be one of the first to own the brand new MagicQ MQ70 Console. Make sure to read the full competition rules before entering. First 25 entries submitted will receive a MagicDMX Test Kit.

       STEPS TO ENTER:

      Select a 1-3 minute song of your choice, to program using MagicQ with MagicVis visualization and the Vis/Base show file provided by ChamSys

       

      Go download the Vis/Base show file provided by ChamSys

       

      Submit your programmed screen capture entry, along with your name and mailing address to [email protected]
      by Nov 8th

       

      TOP 3 ENTRIES win a FREE 2 night hotel stay in Las Vegas, FREE show entry and flight to LDI & the opportunity to enter the final, live playback round at LDI Nov 24th at the Chauvet Professional booth.

       

      More Prizes:
      The first 25 entries submitted will receive a MagicDMX Test Kit.
      The WINNER of the competition will win a MagicQ MQ70 Compact Console.

      Top 3 playbacks will be judged by a panel of judges at LDI and only one participant will be named the competition winner.

      Competition rules:

      • No modification to the vis, room, fixtures or patch allowed
      • No limit on number of cues, palettes, FX used
      • Song selection must be under 3 minutes
      • All submissions due by end of day Nov 8th
      • International travel along with any VISA/Entry required for international shortlists are not included

      Fernando Rodriguez-Berzosa Powers Multi-Dimensional Show at Spain’s Florida Retiro with ChamSys

      Écrit par James Harrison le . Publié dans News.

      MADRID – Florida Retiro shares a name with a US State located over 7,000 kilometers away. No matter though, guests who enter this vibrant club have no doubt which country they’re partying in. From the mouthwatering Iberian ham of Cebo on its gourmet menu, to its acrobatic late night stage shows, this popular downtown Madrid club is pure Spain in its flare and style. 

      Adding to the vivid images that make this venue so memorable are the swirling, colorful lightshows that accompany the lavish dinner and post meal entertainment. House designer Fernando Rodriguez-Berzosa creates the stunning spectacles, and powers them with his ChamSys MagicQ MQ80 console. 

      Having been responsible for programming visuals at Florida Retiro since 2016, Rodriguez-Berzosa works with director Juan Ramos to create shows that reflect the passion and style of the popular venue. « The biggest challenge of designing for the dinner show here is to ensure that the light always matches the audience’s experience, » he said. « In addition to supporting the entertainment, we must create the right atmosphere to accompany different dishes.”

      Inspired by the likes of Wassily Kandinsky, one of the first artists to outline the psychological and physiological effects of color and shape on taste perception and emotion, Rodriguez-Berzosa transports guests on a journey through an ever-changing spectrum of lighting atmospheres. For example, he will use round shapes and warm tones, for starters, turn to reds on entrees, and end up with intense club lighting by the time the meal wraps up.

      With over 150 lighting fixtures in his rig, and shows that often have to undergo changes to reflect different performances, Rodriguez-Berzosa appreciates the flexibility and intuitive simplicity of his MagicQ MQ 80. He also values its fast morphing and cloning, as well as how easy the console makes it for him to create fixture profiles.

      “We have a full production schedule, so it is very convenient to copy things from my existing show files,” he said “Also having the cues on the console lined up and ready to go gives me the ability to change moods at my fingertips. Being able to group effects is also a big-time saver. As a result, I can focus more of my time on implementing a number of conceptual ideas regarding the psychology of color and shape.”

      A ChamSys user since his “MQ100 Pro2010 days,” Rodriguez-Berzosa finds that the easy-to-navigate 12-inch touchscreen on the MQ80 fits his style. “Some operators love to write on keyboards at 100 wpm speed macro lines that make you dizzy, but not me,” he said. “I am more the kind of a supermarket-checker programmer: I want to push buttons to get what I am after.  This screen gives me more freedom, so do the visualiser and the plot view, the output window in grid mode, the group effects, and the execute window with all its access to colors, macros and faders.”

      These time savers, give Rodriguez-Berzosa greater freedom to explore new ideas in his design. “People come to Florida Retiro with the expectation of seeing the extraordinary,” he said. “The simpler my console makes the design routine, the more I can push ideas that give the audience an experience they’ve never seen before.”

      Jvan Morandi Powers Manuel Carrasco Tour Through Wide Range of Venues with ChamSys

      Écrit par James Harrison le . Publié dans News.

      MADRID – In 1994, the city of Madrid built a new stadium in its bid to be named the site of the World Athletic Championships.  Although the city eventually lost out to Athens for the honor of hosting the games, its effort ultimately led to the creation of one of Europe’s most critically acclaimed stadiums: Wanda Metropolitano.

      The 68,000-seat stadium serves as the home to Atlético Madrid, but on Saturday June 29, it played host to another of Spain’s national treasures when it welcomed singer Manuel Carrasco who appeared there as part of his 35-date “The Cross of the Map” tour.  Fans who packed the stadium were immersed not only in the emotional power of the star’s vocals, but also by the sweeping visuals that Jvan Morandi ran from a control center powered by no fewer than six ChamSys desks including two MagicQ MQ 500 Stadiums, two MagicQ MQ100s, and two MagicQ MQ80s

      With its massive 350 square meter LED video wall spanning beyond the width of the bi-level stage, and its 400 lighting fixtures creating colorful matrixes of richly saturated colors, the 36-universe show enveloped the big stadium in a transcendent panorama. Evoking a sense of intimacy between fans and the chart-topping star, Morandi’s design along with the video content created by Jonathan Klahr, Andrew Morgan, Tom Hadley, Roof Studios, Stylorouge Studios and Karlos Sans, supported his client’s well-known pop ballads with softly sweet visuals. At the same time, the show also veered off into harder rock directions that were never seen before in Carrasco’s tours for his seven previous albums.

      Helping Morandi weave this intricate light and video tapestry together were his ChamSys consoles. He used his two MagicQ MQ500 Stadiums to run most of the lighting, video, camera switching and lasers; and two MQ100 Consoles to control audience lighting, while having his two MQ80 Consoles take care of the DMX automatic track that moved the LED screens on the horizontal axis.

      With the exception of some audience lighting, the entire show at Madrid was cue stacked. Morandi wrote 38 pages of cues, working with Reaper Software, Capture visualizations and some WYSIWYG with “great help” from Joeri Diddens, who also provided FOH support. All systems were run in ArtNet and Acn.

      “ChamSys saved a great deal of time in creating this show by simplifying things,” said Morandi. “We timecoded a very large number of cues, around 1600.  So, the timecode read via import CSV files feature in ChamSys was a godsend! The consoles’ timecode functionalities, network capabilities, and the ability to handle a large number of ArtNet universes have all been very important to me on this tour.”

      Another feature of the ChamSys consoles that Morandi has been placing a premium on is their versatility. Carrasco’s “The Cross of the Map” tour is very aptly named, as the show has been crisscrossing the Iberian Peninsula with a passion.

      All of Spain, it seems, wants to see Carrasco, who has had five Number One hits since he burst on the scene after participating in a reality song competition. (His show at the 45, 000 Benito Villamarin Stadium so out in four hours.)

      Reaching Carrasco’s large Spanish audience calls for the tour stopping at rural and remote areas with smaller venues. In contrast to Madrid’s Wanda Metropolitano, some sites on the tour have capacities as low as 7,000.

      “The tour moves between a number of extremely different types of venues,” said Morandi. “We have passed through car parks, to plaza de toros, to big stadiums and back. ChamSys is giving me the flexibility to adjust a very intricate show and scale it up or down so it fits into different venues. Also, most of the shows are outdoors, and in Spain the conditions have often been very hot and dusty. Yet, ChamSys has performed impeccably. As a designer, this among the most important things you can ask of a controller.”

      ChamSys Grand Opening Draws Crowd

      Écrit par James Harrison le . Publié dans News.

      SOUTHAMPTON, UK – Good times mixed with valuable insights at the Grand Opening of the ChamSys UK Head Office on September 2, as over 150 lighting programmers and designers from throughout Europe helped the company inaugurate its new office, training facility, and product development center.  In addition to mixing and mingling while enjoying food, drink and entertainment, visitors participated in informative classes, think tanks, and training sessions focused on the new MagicQ and QuickQ software from ChamSys.

      Adding a lighthearted touch of drama to the proceedings was a short skit presented by company team members on the history of ChamSys. The skit recounted how company cofounder Chris Kennedy developed his first console at the age of 10. Telling the story of a young man with big dreams, the skit showed how Kennedy achieved something beyond even his wildest imagination years later when an award-winning ChamSys console was used by Art & Yes to control a record-breaking 64,000 parameters over 186 universes directly without processing nodes.

      Also staring in the drama was the MagicQ MQ500 Stadium Console, which was featured in live demonstrations that highlighted its wide range of impressive features, including Focus Hold and Focus Line.

      Following his “acting performance,” Kennedy treated guests to a preview of the new MagicQ MQ70, an extremely compact and aerodynamic console with big-time scalability.  Animated light shows controlled by the MagicQ MQ500 followed this introduction.

      At the conclusion of the evening, Kennedy invited guests to return to the new ChamSys facility, reminding them that it would be holding multiple training sessions every month.  Based on the enthusiastic response to the innovations on display at the grand opening, it’s safe to assume that they will be taking him up on this offer.

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