DRSA Wins Contracts to Refit Yauchts with LED lighting
LIGHTimes News Staff
August 19, 2014...DRSA, a supplier of marine LED lighting, recently secured more than 12 major
contracts to refit yachts ranging between 100’ and 175’ with LED
lighting. According to DRSA, refitting yachts with LED lighting that have
dimming capabilities is now in high demand because the technology for LED
lighting has finally made its way to the yacht industry.
“We have dramatically increased our focus on designing, creating
and sourcing LED light products over the past year as we have seen significants
benefits in the marine industry,” said DRSA president Cathy Smith.
“LED lights are smaller in size, brighter in appearance and lower in
heat emissions. Also, we have now been able to identify solutions to properly
dim LED lights on board, so anyone with a yacht going thru a refit - or a used
build - is well advised to look at these alternatives,” Smith added.
For more than 25 years, DRSA has designed, developed, manufactured, and
imported luminaires, light bulbs and LEDs to illuminate entire vessels from bow
DRSA will be showcasing its products at the International Boatbuilders
Exhibition and conference (IBEX) 2014, September 30-October 2 at the Tampa
Convention Center in Tampa, Florida.
Over 1000 Elation LED luminaires Light Up Bikini Berlin Concept Mall
SSL Design News Staff
August 14, 2014...Bikini Berlin (not a swimwear company) is a culturally protected Grade II
listed building in the German capital. The company's recent revitalization
included the installation of over 1000 Elation Professional LED luminaires.
Bikini Berlin is a unique concept shopping mall located next to the Berlin Zoo
that has stores cinema, hotel, and offices. The mall that targets
style-conscious consumers opened in late 2013 after a 3-year renovation.
The centerpiece of the complex is the historical 200-meter long Bikinihaus,
an open colonnade that is an architectural symbol of Berlin’s west
cityscape. The building known as Bikinihaus due to its two-tier architecture
that reminded some architects of the two-piece swim garment. The
building’s lower three floors contain a variety of retail stores and
restaurants unique to Germany with no international chain stores. An integral
part of the space contains modular wooden specialty shops known as Bikini
B+M Elektrobau GmbH of Berlin provided complete electrical planning and
implementation for the space, including lighting for the long, open Bikinihaus
hall. B + M employed 1000 Elation Opti Tri White and 50 Opti Tri RGB LED
“There was only one requirement really, and that was for all the
lighting fixtures to be reliable LED lamps,” states Maik Simmchen,
project manager at B+M Elektrobau. “The Elation Opti Tri lights
fulfilled that and much more.”
Elation's Opti Tri White is a high-CRI, high-output LED luminaire that
blends 18x 9W cool white, warm white and amber LEDs create a uniform projection
of flat white light. The track-mounted rows of fixtures beneath the Bikinihaus
ceiling, illuminate the commercial, retail, and walking areas below including
the staircase up to the second level.
The fixtures, which complement and match the natural light that floods in
from the steel building's abundant windows, draw a total power of only 160
watts per unit. The LEDs in the fixtures have an estimated life of over 50,000
hours. A standard 20° lens with an adjustable rigging yoke and swivel head can
precisely cover the space with easy lighting adjustments if needed. An optional
barn door can be added to the fixture for even more accurate illumination.
On the ground floor, color-changing Opti Tri RGB LED luminaires were
installed to add a touch of dynamic color for the holiday shopping seasons or
special events. P-65 rated Elation ELAR 180 Par WW luminaires operate from a
sixth-floor position. Their warm white light projects down onto the
second-floor outer deck. More ELAR 180 Par WW fixtures light up the forecourt
of the Zoo Palast, Bikini Berlin’s historic cinema, with additional
fixtures used at the 24-hour Hotel.
Five Elation Art SSC lighting controllers with expansion module ART IO units
control the entire system. The low-maintenance 1024-channel Art SSC control
solution uses minimal power because all operating and programming is done
through a web interface.
CrossCountry Trains Chooses Novah’s LED Lamps
SSL Design News Staff
August 12, 2014...CrossCountry Trains has selected a variety of Novah’s LED lamps to
illuminate many of its offices and crewing operations in the UK. Over the past
few years, CrossCountry Trains installed the Novah products, which include
various flood lights and lamps, to help the company save money on energy and
The CrossCountry rail network is reportedly the most extensive passenger
rail company in Britain. The rail network stretches from Aberdeen to Penzance,
and from Stansted to Cardiff and includes over 100 stations. CrossCountry used
Novah's LED lighting products for office lighting upgrades and to replace or
retrofit existing lamp fittings. The company used the Novah products in key
locations including Manchester, Newcastle, Leeds, and Birmingham.
Andrew Porter, property manager at CrossCountry Trains said, "The Novah
product range is superior to other units we have tried -- we still have
original Novah LED lamps that were installed over three years ago in daily use.
By supporting the development of best practice and using innovative lighting
solutions where we can, such as Novah's LED lights, we aim to reduce the
environmental impact of our operations."
Vision Accendo helps Illuminate St. Mary's Stadium
SSL Design News Staff
August 12, 2014...Vision Accendo supplied LED floodlighting that was installed at St
Mary’s stadium ahead of the 2014/15 soccer (football) season of the South
Hampton Football club. The new lighting system will be meet the higher light
output levels that the Premier League requires. St Mary's will be among the
first stadiums in Europe with LED floodlighting. Vision Accendo says that the
new system will provide a higher quality of broadcast lighting and
significantly reduce the amount of energy used when compared to conventional
metal halide floodlights.
The new LED floodlight system is expected to vastly reduce flicker during
slow-motion broadcast replays. Premier League regulations require that clubs'
floodlights have a flicker rate no higher than 6%.
Testing on the new system recorded a flicker rate of just 0.2%. The system
uses considerably less energy than the club’s previous halide lighting.
Vision Accendo says the installation of the system is now underway and will be
completed well in advance of the 2014/15 season, which begins in mid-August.
Mark Humby, Stadium Facilities Manager at Southampton Football Club, said,
"Our first issue was to make sure the stadium roof structure could
take the added weight of the new floodlight system required to produce the
correct lighting levels. During this process I have been introduced to the
technical term 'flicker' which only causes an issue during slow motion and
super-slow motion footage. By using a top quality LED product we have all but
removed this issue which can be seen on the majority of sporting footage that's
produced under floodlit conditions.
"We can now look forward to installing a superior innovative lighting
solution that will enhance the viewing experience of both the fan in the
stadium and the armchair supporter."
Ian Williams, Chief Technical Officer at Vision Accendo, added, "The
supporters of Southampton Football Club will see the new installed
floodlighting positioned 360 degrees around the stadium, while television
broadcasters and viewers will also see the benefits of our installation at St
Mary's in the coming season."
Minneapolis Institute of Arts Gets LED Lighting Makeover
August 7, 2014...A two-year project at the Minneapolis Institute of Arts replaced about 8,300
light bulbs in its galleries with LED lighting for a cost of around $388,000.
The walls needed to be painted because of the light's different color. The
lights combined with the grey wall make the artwork standout and bring out the
purple, blue, and green colors, according to an article
in the Minneapolis/St. Paul Business Journal.
Aproximately $240,000 of the project's funding came from rebates and grants
through the National Endowment for the Arts and Xcel Energy Inc. of
Minneapolis. A study by Xcel Energy predicts that the LED lighting could save
the museum about $149,000 per year. With additional savings of 2000 hours of
work time devoted to bulb replacement over five years. Besides the savings, the
bulbs emit no ultraviolet rays that could damage the artwork.
Chauvet Professional Helps Illuminate Cokesbury United Methodist Church
SSL Design News Staff
August 7, 2014...Cokesbury United Methodist Church in Knoxville, Tennessee, is mega church
with three distinct campuses that draws over 3,500 worshippers every week. The
church offers a blend of contemporary and traditional services. Two days a
week, Cokesbury has broadcasting capabilities for live streaming of services
with outstanding audio systems throughout all three campuses. Most recently,
the church now features a new LED lighting system, that Ken (“KP”)
Patterson of a Tennessee lighting company, designed.
The lighting system employs a variety of LED fixtures from Chauvet
Professional and Chauvet DJ, giving Cokesbury Church the flexibility to go from
dramatic visual effects to soft accents for the varied mix of contemporary and
traditional services held at (and broadcast from) its three campuses. The LED
lighting also helps the church get the energy and cost savings benefits.
“We used primarily existing locations from the old lighting rig to
hang the new fixtures,” said Patterson. “The positions
already had power and were located so as to give good angles and also good
front light for the cameras. The church does quite a bit of live stream
broadcasting, so this was an important factor. We control the lighting in
Epworth via an ETC Ion console with 4 DMX universes and Ethernet distribution.
The other two rooms have Strand 250 ML consoles utilizing two DMX universes.
The Data Stream 4s are used for DMX distribution all over each
“The church has three very distinctively different areas for
services, and the church leaders want all of them to have modern lighting
technology to complement their extremely high powered audio system and
sophisticated television production capabilities,” said Patterson.
“My goal was to give the church a lot of bang for its investment in
lighting by providing it with a versatile LED lighting design. I elected to go
with Chauvet fixtures, because I’ve had good experiences with the company
and its products.”
Patterson chose to use 70-watt moving yokes, 26 COLORado 2-Quad Zoom Tour
wash fixtures, 12 Q-Spot 460-LED , and 12 SlimPAR Pro RGBA washes as well as 8
COLORdash Accent RGBW LED effects from Chauvet Professional, 6 Data Stream 4
optical splitters, 2 Intimidator Spot LED 250 moving fixtures from Chauvet DJ,
and dozens of Chauvet DATA cables and Chauvet’s great CLP-15 clamps
Patterson points out that the Chauvet fixtures have features that make them
well suited for broadcasting including having high color rendering, smooth
dimming and being quiet and flicker free.
Patterson especially liked the COLORado 2-Quad Zoom Tour, a powerful RGBW
10-watt LED unit with a zoom range of 6°-31° and five dimming curves.
“This fixture has a good zoom range, and the latest version with
single four-color chips is even brighter than before and there are no color
shadows. The dimming seems to be smoother with every new fixture. Smooth
dimming is absolutely a necessity for me in choosing a fixture with this much
impact on the overall lighting.”
Patterson installed the COLORdash Accents all over the three Cokesbury
campuses. “We have distributed DMX downstage right and left, as well
as upstage right and left,” Patterson said. “The church
changes its sets weekly, and they use the Accents very nicely to ‘color
things’ close up."
“There’s an excellent tech team at Cokesbury and they love
working with the lighting equipment,” continued Patterson.
“This team consists of a main lighting tech and three part-time
staff, all of whom know their technology. They know how to utilize every facet
of the lighting system, but at the same time they’ve also reduced some
operations to simple button stations so that a Mom leading a Bible study can
still have good light.”
The new LED system is has a low power draw. “I converted lots of
existing 20 amp dimmer circuits to non-dim and changed the connectors from
stage pin to Edison NEMA 5-15 female, to end up with 10 times more power than I
could possibly use,” said Patterson. “Power was never a
factor. When you have a large incandescent system in place already, you have
plenty of copper everywhere. The power draw requirements of the LED system are
much, much lower.”
“Everyone loves the lights,” said Patterson.
“I’m happy with the way the equipment has performed, and the
church is happy to have a lighting system in place that meets the high
standards they established with their audio system and broadcast
Robe Lighting Used in Opening Ceremony of 2014 Commonwealth Games in Glasgow
SSL Design News Staff
August 5, 2014...Tim Routledge designed the lightshow for the opening ceremony of the 2014
Commonwealth Games at Celtic Park stadium in Glasgow. The lightshow used over
500 Robe moving lights. Jack Morton Worldwide (JMW) produced the two hour show
and David Zolkwer directed it. The show featured special guests including Rod
Stewart and Susan Boyle and offered a quirky and humorous snapshot of Scotland.
A live audience of over 40,000 got to see the ceremony in addition to about 2
billion TV viewers.
Routledge employed 64 of Robe's amazing new big lights, which will shortly
be launched worldwide along with 28 of Robe’s new LEDBeam 1000s. From
Robe's Robin Series, Routledge added 183 x Pointes, 100 x LEDBeam 100s, 98 x
LEDWash 600s and 60 x CycFX 8s. These combined with other lighting fixtures
helped Routledge create one of the most spectacular Commonwealth Games OCs
ever. Routledge, the head lighting programmer for the London Olympics
Ceremonies, won the contract from JMW to design lighting for the Opening and
Closing Ceremonies of the Games.
“Robe were extremely enthusiastic and also offered some fantastic
opportunities to work with new and innovative technologies - it’s very
exciting to be the first to use new products,” he stated.
Working at Celtic Park, which is not normally used as a theatrical event
space, was a challenge. The enormous park forced designers to deal with
physical restrictions such as weight loading to install their equipment in the
right places. Several physical levels of lighting were built up or stripped
away to get the coverage needed in conjunction with the onstage action. A
scaffolding platform was built running 270 degrees around the stands on the top
level of the stadium at the back of the seating bowl to facilitate lighting
positions, cable management, follow spots, amp ‘worlds’ and other
technical areas. The big lights were positioned furthest away from the field of
play because their incredible brightness easily cut through to the action on
the pitch of 100 meter wide stage. Routledge also positioned 96 x LEDWash 600s
at this level to light the underside of the seating stand roof. On the edge of
the roof rigging points were only viable where trusses with fixtures lit the
audience. A ring of wash lights used for show key lighting, plus 80 Solaris
Flare Junior LED strobes were installed on the next level down. At floor level,
Routledge used the majority of his Pointes. Around the perimeter of the field,
Pointes in clusters of six in weather domes were positioned in 16 ‘floor
pod’ positions. These 96 Pointes were shot across the brightly colored
floor cloth and were fired into the air and and were positioned to
criss-crossing the pitch, creating matrix effects and skimming the floor with
gobos and texturing.
“As always, the Pointes were hugely versatile and worked very
hard,” said Routledge.
Sixty of Robe’s CycFX 8 moving LED battens were strategically
installed around in Vom 2, the main entrance for the Athlete’s Parade
into the stadium to create the vibrant, lively chases and effects immediately
before the athletes walked out to be greeted. Immediately above each of the two
entrance / exit voms were ten Pointes and six LEDWash 600s. A 95-meter-wide by
10.5-meter-high LED screen was placed at the back of the stage that ran along
the entire South stand at Celtic Park. Another 40 Pointes were placed around
this, rigged to a goal-post style truss structure. These could illuminate the
action on the field and provide animated beam effects and specials like
‘crowning’ the Commonwealth flag when it reached the top of the
mast. Eight specially dedicated LEDBeam 1000s illuminated the flag itself
around the base to highlight it as a core symbol of Commonwealth unity.
The fast-paced show started with a snapshot of Scottish history, tradition, and
landmarks and culminated with the hoisting of the Commonwealth flag and HRH the
Queen declaring the XX Commonwealth Games open.
The tiny 100 LEDBeam 100s were positioned at one-meter intervals. Twenty
LEDBeam 1000s were positioned in a semi-circle behind The Queen’s Arrival
Stage on the west side of the pitch to back-light a temporary white screen
erected behind The Queen during her arrival moment. Once the screen was
removed, the LEDBeam 1000s formed a powerful nucleus for aerial looks firing
upwards from that end of the pitch.
Routledge worked with lead programmer Jonathan Rouse and programmer Tom
Young who both used grandMA2 full size consoles, and fully redundant backup
systems provided by lighting contractor PRG.
Chris Henry was the Design Associate for the project. She also trained 18
volunteer operators to use the follow spots … and called them during the
“A huge amount of collaboration made this all happen”
said Routledge in conclusion, following the successful opening ceremony.
“We really had to ‘box clever’ with this project and
maximise the ‘bang-for-buck’ on each and every cue – from
using hundreds of generic fixtures to cross-light the field of play to using
the latest in Robe technology – every light was considered and placed
accordingly so it could offer maximum benefit to the show."
“Robe products have been increasingly prevalent in my designs over
the last two years and with Robe’s enthusiasm and service on this project
alone, I feel that their fixtures will be at the centre of my design processes
for some time.”
After the ceremony, the entire production was stripped out of Celtic Park
and a team re-rigged the production in Hampden Park stadium in the south of the
city for the Closing Ceremony, starring Kylie Minogue.
Lighting Designer Michael Meacham Employs Chauvet LED Lighting to Provide Illumination and Effects for Japanese Nightclub
SSL Design News Staff
August 1, 2014...Lighting designer Michael Meacham chose Chauvet Professional LED lighting to
make a bold statement in the new nightclub Vanity Osaka. Meacham's lighting
design for the club draws upon the brightness as well as the color and pixel
mapping capabilities of over 400 Chauvet fixtures.
Meacham of iDesign Productions of Miami faced a special challenge when
lighting Vanity Osaka. "This is a single level club with both sides of the
dance floor elevated for VIP seating, so my design was going to be broad,
horizontal and expansive," he said. "The challenge I faced, though, is
that there are these huge structural columns that land right in the center of
the dance floor."
Meacham used EPIX 2.0 bars and EPIX 2.0 strips along with some ingenious
pixel mapping to integrate them into his beautiful design. "I figured the
columns would be a great place to start my design," he said. "Once I started
the design utilizing the huge columns on the dance floor, the rest came
together quickly. It was a really smooth, fun process."
Meacham's overall lighting design has transformed the Vanity Osaka dance
floor into a free flowing swirl of patterns and colors that quickly surrounds
visitors with an unforgettable visual experience.
"My vision for this project was to create an expansive look inside the
club," said Meacham. "The idea is to have an intimate lighting and
video experience in every direction. We want people to be immersed in the
entire space, no matter where they are in the club. Our goal is to create
something that surrounds everyone."
Meacham noted, "The EPIX fixtures on the columns, just flowed so well
with the DJ booth and ceiling lighting," he said. "It created a very
He also built EPIX 2.0 bars into the wall behind the DJ booth and added five
configurations of 32 EPIX 2.0 strips each on the ceiling. He positioned EPIX
2.0 strips behind the frosted glass in the VIP area. The lighting designer
emphasized the EPIX lighted columns with 20 Intimidator Spot LED 350 moving
fixtures from Chauvet DJ in four groups of five. The motorized focus of the
Intimidator Spots project crisp gobos over the dance floor.
Above the VIP areas on either side of the dance floor, Meacham positioned
eight Strike 882 white SMD LED strobe panels with pixel control and special
effects macros. "The Strikes have an impressive big punch, plus the
individual pixel cells make for great chasing effects," he said.
Meacham explained, "I love high contrast abstract video. It's much more
captivating to use it as moving art and interesting eye candy. There is a lot
of color matching between the video and moving lights that gives the guests an
exclusive experience that's different than most other clubs. Vanity has an
ambience of pixel mapping effects."
The GrandMA sends DMX to the Chauvet strobes, movers, and hazer. Meacham
said, "I used Arkaos Media Master Pro in fixture mode talking to GrandMA
via native MA NET with CITP enabled. All the EPIX, including the VIP
uplighting, is mapped with Kling-Net. There's a huge video content library set
up and by having CITP enabled, it allows the lighting operator to see a still
preview of the video in the MA windows."
Other lighting for the club included 41 EPIX Drive 642s, 299 EPIX 2.0
strips, 59 EPIX 2.0 bars, 12 Q-Wash 419Z-LED RGBW moving yoke fixtures, 20
Intimidator Spot LED 350s, 8 Strike 882 panels, and one Amhaze II water-based
"My client was thrilled," continued the lighting designer.
"Vanity is one of the most original and unique clubs. There is nothing like
it in Osaka."
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