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		<title>ROBE lighting - Latest News</title>
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		<description>Latest News</description>
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			<title>ROBE lighting - Latest News</title>
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			<description>Latest News</description>
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		<lastBuildDate>Fri, 27 Aug 2010 13:54:00 +0200</lastBuildDate>
		
		
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			<title>Robe Launches new Green Initiative at PLASA</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-launches-new-green-initiative-at-plasa/</link>
			<description>Robe launches a major new green initiative - &quot;Think of the Future - Consider Nature&quot; - at PLASA...</description>
			<content:encoded><![CDATA[Using Robe's latest products, the renowned booth lightshow will consume 30% less power than before, and look equally impressive.
There will also be no less than 7 newly launched environmentally friendly moving light and LED products on stand 1-F47 from the Czech Republic based manufacturer.
Says MD Josef Valchar, &quot;Robe has already been operating a strong green policy for several years, we are not just jumping onboard a current trend, and now is the time to push this philosophy to the next level&quot;. He adds that Robe intends to keep at the forefront of developing sustainable technologies and encouraging everyone to think seriously and imaginatively about their application in our industry, with &quot;Our collective futures in mind&quot;.
&quot;Think of the Future - Consider Nature&quot; also sees a whole new range of Robe marketing materials and merchandising, which will be available and running alongside all the classic Robe brand idents.
Robe's stand at PLASA this year will be as eye-catching and elegant as ever, sporting a strong green theme and colouration, and adorned by several strategically placed beautiful Bonsai Trees to really bring the environmental message home.
The ergonomics of the stand design allow maximum accessibility for visitors and customers to view the new products and meet the people behind them. The space is completely open all round, with an inviting feel, encouraging the rapid and fluid movement of people, with a raised area in the middle that can be utilised for&nbsp; meetings or chilling out and enjoying Robe's famous hospitality.
The top of the stand is draped on three sides and hanging from the roof will be a series of projection cones in stretched white fabric, with one larger central cone. These will be used to highlight Robe's powerful and versatile DigitalSpot 7000 and 3000DT fixtures and their projection capabilities.
Lighting and visuals for the stand are designed by Robe UK's Nathan Wan, and will utilise Robe's latest ROBIN series of moving lights, both 600 and 300 versions in Spot, Wash and Beam ranges, and also their ColorWash 750AT Tungstens.
The New Product gallery will be open and accessible all around the ground floor area of the stand allowing people a close up look at the technology.
The back of the stand will feature a section for sister company Anolis's latest architecturally orientated LED products, and at the top, a large projection screen will receive material from DigitalSpot 7000DTs rigged on the nearby HSL stand.
Robe's demo room will also be running throughout the exhibition, where individuals or groups can be booked in for an in-depth session on the new products and to learn more about Robe's concepts and dedication to carbon emission reduction.]]></content:encoded>
			<category>Product News</category>
			<category>Announcements</category>
			<category>Exhibitions</category>
			
			
			<pubDate>Fri, 27 Aug 2010 13:54:00 +0200</pubDate>
			
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			<title>Robe CitySource 96s for San Ramon Valley Bible Church</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-citysource-96s-for-san-ramon-valley-bible-church/</link>
			<description>When Zamar Media Solutions from San Jose, California was asked to propose a new LED lighting scheme...</description>
			<content:encoded><![CDATA[The Church has a busy schedule of services and events; Zamar understood that the main requirement was to cover the stage area seamlessly with pleasing, warm light that would render natural skin tones for both cameras and live viewing audiences.<br /><br />The lighting design was created by Zamar’s Josh Kimmich. It’s the first time the company has used the CitySource 96 fixture, which was launched at the end of 2009, but Zamar has worked with Robe fixtures – primarily moving lights - on numerous other House of Worship installations, so they knew they could rely on the quality, engineering, and reputation of the brand. <br /><br />“LED is just starting to gain popularity with our church clients” says Zamar president Michael Dow, adding that as far as he’s aware, this is the first all-LED lighting rig in a church in the San Francisco Bay Area.<br /><br />The client specifically requested that LED units be used for their energy-saving properties and environmental friendliness.<br /><br />Housed in a compact, IP65 rated aluminium casting, the CitySource’s 96 high-brightness Rebel LEDs provide an incredible light output previously unavailable in LED fixtures of this size. Control is via DMX/RDM allowing for advanced programming options - in this case they’re controlled by an ETC SmartFade - and the latest processing electronics ensure a stable white balance is achieved as well as a minimum life expectancy of 60,000 hours.
<br />The CitySource 96s were selected for their brightness and homogenized lightsource, which produces an ultra-smooth quality of light similar to an incandescent fixture, making it ideal for this application where mimicking tungsten light topped the agenda.
<br />They are hung from the ceiling of the venue above the stage, and are now in use every week.<br /><br />]]></content:encoded>
			<category>Church</category>
			
			
			<pubDate>Mon, 16 Aug 2010 07:59:00 +0200</pubDate>
			
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			<title>Robe Helps Light 2010 World Cup Closing Ceremony</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-helps-light-2010-world-cup-closing-ceremony/</link>
			<description>Robe ColorSpot and ColorWash 2500E ATs and REDWash 3●192s were a major feature of the spectacular...</description>
			<content:encoded><![CDATA[Dunn and Turner collaborated closely on the design and specification of the equipment, all of which was provided by Gearhouse South Africa, the main technical suppliers for the Closing Ceremony event produced by The VWV Group.
The lighting had to be big, bold and memorable to fill the stadium with awesome effects and WOW factors for the 30 action-packed minute show, which has been acclaimed as among the best and most visual World Cup ceremonies to date, a challenge to which Dunn and Turner rose with characteristic zeal!
They needed the most powerful lightsources available to make maximum impact in the space, and that's why a large number of Robes were selected. With a relatively expedient rig in terms of fixture numbers, each one needed to be as flexible and multi-functional as possible.
The 44 REDWash 3●192s were positioned around the perimeter of the field of play. They were used for throwing colour washes across the pitch cloth for the big dance numbers, and looked very cool with their big blocks of light, specially on the aerial camera shots. The colour mixing produces a fabulously rich and very bright quality of light which, being LED, is completely different, and this worked perfectly for diffusing the edge of the pitch cloth (a light coloured cover was down for the show and removed for the game), the centre of which had to be left clear for fabulous large format video projections.
From the top of the stadium, lights were installed on 4 descending rings with ring 4 being the highest and ring 1 the lowest.
The 48 ColorWash 2500E ATs were hung around ring 1, attached via special brackets to the stadium walls. They had throw distances of up to 50 metres to contend with on maximum reach, and so their high light output came into its own. They were utilised for streaking the lower seating levels all around the stadium and to light the performers on the pitch - a cast of 740 including 40 elephant operators - and 35 main artists. They were also used to swing up and light the roof skins on the far upper level, and to texture these same surfaces with gobos.
The ColorSpot 2500E ATs were on ring 2. These played a vital role in lighting the edges of the projection area. They were fitted with four different custom gobos, including a rectangular 'framing gobo' that was designed to produce the exact mask required to apply light precisely to the projection border area.
Preventing light encroachment on the projection area was really important, and took lots of diligent programming, and Robe's framing gobo was a real godsend in helping this process.
The other custom gobos supplied to Gearhouse by Robe were a starfield, a sponge effect and a block gobo that emulated the blocky architectural appearance of the exterior of Soccer City.
The ColorSpots were also used as a multi-tasking fixture. In addition to lighting the projection surround, they also lit the edge of the pitch cloth, as well as being used as gobo projection units and key lights for performers in specific numbers.
Gearhouse has a large stock of Robes, and Dunn and Turner have both used them on many previous shows and projects. They like the versatility, power and reliability of the lights, and the thought and time that Robe puts in to developing new technologies and listening to what end users really want. This has resulted in the most dynamic range of moving and digital lighting currently available, with fixtures that are really practical across multiple applications.
The Closing Ceremony show was programmed and run by Tim Dunn on a grandMA full size console. Hugh Turner called the 8 follow spots, and the fibre data network used for distributing lighting control was designed by Chris Grandin from Gearhouse Media.
Dunn's vast experience of lighting stadium shows and Turner's extensive theatrical background produced the perfect combination of epic spectacle, pizzazz and drama which brought one of the best organised and most enjoyed World Cups ever to a dramatic and successful conclusion.
The Closing Ceremony show included a show-stopping rendition of the Waka Waka World Cup theme song by Shakira, and a lively colourful mega-mix of contemporary and classic African song, dance and theatre.]]></content:encoded>
			<category>Events</category>
			<category>Television</category>
			
			
			<pubDate>Tue, 27 Jul 2010 08:28:00 +0200</pubDate>
			
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			<title>Robe Sends Off Supergrass in Style</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-sends-off-supergrass-in-style-1/</link>
			<description>Lighting designer Martin Dudley used Robe's new ROBIN 300E Beams and ColorSpot 700E ATs to light UK...</description>
			<content:encoded><![CDATA[Dudley's company Martin's Lights supplied all the lighting equipment for the tour. He has worked with Supergrass on and off for the last 8 years and has LD’d the band on a number of occasions over the last 2 years when their regular designer, Matt Arthur, has been busy elsewhere.
He used this as a high profile opportunity to put the ROBIN 300E Beams through their paces, with 8 units on the show, which were all mounted on flight cases in a line at the back of stage - in ACL style - but utilised for a whole variety of different effects.
&quot;They are unbelievably bright,&quot; declares Dudley commenting on the Beams. He also used 6 of his ColorSpot 700E ATs for the shows - so not a lot of moving lights for the larger venues like Brixton Academy, but just those 14 units gave him plenty of creative scope for the band's epic 2 hour set, which included 4 songs from each of their 6 studio albums in reverse chronology, plus their 2 earliest hits, with a short film between each section.
The other things that particularly impressed him about the ROBIN 300 Beams were the split colours, the 'dirty' colours and the soft edging effect on the beams utilising the frost filter. He also noted that the gobos matched those of the ColorSpot 700s really well ... plus the fact that all 8 ROBINs could be run off just 16 Amps of power.
His brief for Supergrass's lighting design was left completely open, but it all had to fit into one truck with the PA, backline and merchandising so immediately lent itself to being minimal, whilst needing to be very versatile to cover the shifts in musical style. In addition to the moving lights, he used a selection of generics - PARs, blinders and strobes.
The idea was to reveal different elements of the lighting in layers as the show progressed, so the ROBIN 300 Beams were only introduced during the second section covering the 5th album, Road to Rouen, and then it was very subtly, in a frosted out congo blue. The first song, “Tales Of Endurance” was a quiet 'builder', so a good point for bringing in floor lighting.
Dudley's technician on the tour was Andy Bain, who liked the light (20 Kg) weight of the ROBINs, and the fact that the units are so manoeuvrable. Their flight cases are also compact and easy to stack in the truck.
Martin's Lights purchased its first Robes about 5 years ago - ColorSpot 575 ATs - which have worked constantly ever since, including on a few Supergrass shows! All Dudley's Robe kit has been supplied through Robe UK.
&quot;Robe is a great brand - the units are bright, reliable and well engineered,&quot; he affirms, &quot;I have looked at many comparable brands, and Robe still keeps coming out on top for me&quot;.
The tour was production managed by Mick Brown, who also has a long history with the band, who performed their final show at La Cigale in Paris on June 11th.]]></content:encoded>
			<category>Stage</category>
			
			
			<pubDate>Wed, 21 Jul 2010 12:01:00 +0200</pubDate>
			
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			<title>Robe Lights World's Largest Football</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-lights-worlds-largest-football/</link>
			<description>Robe CitySkape Xtreme LED fixtures were utilised to illuminate what's been officially declared by...</description>
			<content:encoded><![CDATA[The 15 metre high ball currently resides at the Emperor’s Palace Hotel, Casino Convention &amp; Entertainment Resort, Johannesburg, South Africa and is a promotion for Kia Motors intended to mark the culmination of the 2010 FIFA World Cup.
To draw attention to the inflatable sculpture, Kia asked Hans Rooseboom of EVENT PRO Technical Services in Johannesburg to light the ball, for which he decided to try out the CitySkape Xtremes to meet their brief of making the installation funky and spectacular to match the giant ball!
Four CitySkape Xtremes are placed around the ball on 4 metre vertical truss sections, two of them at 15 metres away across the other side of the car park access road, and two to the back, positioned so they also create attractive reflections on the water features at the back.
Rooseboom - who has worked with Kia on many events - selected the CitySkape Xtremes after a shoot out with other LED fixtures that was arranged by Robe's South African distributor, DWR.
With only 2 x 15 Amp sockets available for power, he needed a low power light, so LED was an obvious solution, also bringing environmental benefits.
He is also familiar with the Robe brand, having used their moving lights on many occasions, so knew they would be reliable and versatile.
The CitySkape Xtreme is a powerful outdoor LED fixture featuring 188 High Power Luxeon K2 RGBW LEDs, densely populated providing an extremely bright light output. The unit is completely silent due to its convection cooling system and its IP 65 rating makes it ideal for numerous exterior applications.
The challenges of the installation included ensuring that air traffic (Emperor's Palace is adjacent to Oliver Tambo International Airport) and road traffic on the busy R21 highway that runs right alongside - were not distracted.
The lights were set on a slow fading chase, flowing through 4 basic colour combinations.
Says Rooseboom, who has 20 years industry experience, &quot;I really like the interchangeable lenses of the CityScape Xtreme and the fact that the heads are individually adjustable. Robe have really thought things through - as always - and produced a very flexible fixture&quot;.
He goes on to comment that the superlative service he receives from DWR is also an important element when considering his choice of fixtures.
<b>About the BIG Football</b>
It was based on the Telstar ball of the 1970 FIFA World Cup - although about 70 times the size and 1500 times heavier than the official Jabulani Ball used in the 2010 tournament.
The ball needed to meet certain specifications to qualify for the Guinness rating - it had to be inflatable and deflatable and be able to roll and be kicked, and it also had to be an exact replica of a FIFA match ball.]]></content:encoded>
			<category>Venue</category>
			
			
			<pubDate>Tue, 13 Jul 2010 13:34:00 +0200</pubDate>
			
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			<title>HSL &amp; Robe Cruise with Azura</title>
			<link>http://www.robemultimedia.it/it/news/article/hsl-robe-cruise-with-azura/</link>
			<description>Robe moving lights - over 120 fixtures - including DigitalSpot 7000DTs have been installed into 4...</description>
			<content:encoded><![CDATA[The lighting was specified by Carnival UK's Entertainment Sound &amp; Lighting manager Philip Yeomans, and the package was delivered via Robe UK with Blackburn, UK, based HSL undertaking the installation and providing the ongoing technical support.
The project has seen close collaboration between Yeomans, Mick Hannaford from Robe UK and Simon Stuart from HSL.
A key element for Yeomans was forging a direct relationship with a manufacturer - he wanted a reliable, cost effective brand and needed several customisations. He also required excellent technical support. He has used Robe products for some time now, and has also worked with HSL before and been impressed by their work and attitude.
He is a &quot;big fan&quot; of the kit and knew that both companies could deliver the standards of excellence required for providing lighting and support in this demanding environment, where all areas of the ship are in constant use.
Robe lighting has been installed into 4 areas of&nbsp; Azura - The 800 capacity pros arch Playhouse Theatre, the Manhattan and Malabar lounges, and the open deck area by the Forward Pool.
<h4>The Playhouse</h4>
In the Playhouse, they needed a dynamic and flexible house lighting system that would be able to light a diversity of different entertainment - from drama, cabaret, musicals to comedy and rock bands. Currently there are 7 full production Playhouse shows taking place over the standard 14 day cruise period, all produced by Steve Bee for in-house company, Headliners.
Yeomans worked with Bill Haven of Nautilus Entertainment Design on the technical design for the venue, and lighting design for the different shows is created by a combination of their in house team and external theatre designers.
Robe's ColorSpot and ColorWash 700E AT Series proved to be the ideal choice for the venue in terms of brightness and size, with 40 ColorSpots and 35 washes spec'd to cover all areas of the stage which is 14 metres wide. These are hung on overhead trusses and FOH lighting bars.
In addition to these, there are 6 ColorSpot 575E ATs and 12 ColorSpot 1200E ATs, plus 6 of the new and highly popular Robe ROBIN 300 Beams.
The ColorSpot 575E ATs are attached to side stage ladders in the stage wings, their compact size is ideal for the space and their punchy output is excellent for cross stage lighting at all levels.
The ROBIN 300 Beams are in funky chrome housings and built into the set. They are used for various production numbers like Pinball Wizard, with their tight mega-bright beams making a real impact. Says Yeomans, &quot;The tight beam and the output is incredible, it cuts right through everything else in the air&quot;. As well as for razzmatazz moments like Pinball, they are also used for the more decorous Swing show, where their effect is completely different.
Projection is an extensive feature of most of the shows staged in the Playhouse, so Robe's DigitalSpot 7000 DT was an ideal instrument to provide flexible front and back projection, and also for projection onto moving screens and scenery pieces. This is currently a feature of the all-action James Bond section of the current&nbsp; house show.
All the lighting - including lots of generics - is run from a grandMA full size console, together with content for the DT7000s, which has been produced by Mark Anand of DMI.
<h4>Manhattan</h4>
This lounge is to the aft of the ship and is used for disco/club nights in the evening as well as for cabaret shows, presentations and lectures, so the lighting has to cover all types of events.
The lighting rig consists of 6 Robe ClubSpot 250 CTs, 4 Scan 250 XTs and 4 ColorSpot 170 ATs. It's designed as a small club rig that offers plenty of latitude for dancefloor effects and creating a lively ambience, which can also be used for cabarets and other stage presentations.
The 300 capacity Manhattan often features tribute bands and has a 4-piece house band. The ceiling height is low, so the lighting units had to be small, unobtrusive and aesthetically pleasing in their own right. There is an MA ultra light console for control.
<div class="pagebreak">&nbsp;</div>
<h4>Malabar Lounge</h4>
This is an intimate space featuring a range of events from classical piano recitals to party nights, complete with a 7 piece house band, so again the need was for a diverse system with lots of creative scope.
Yeomans spec'd an almost identical rig to that of Manhattan, together with a large generic rig.
Once again, there is very low headroom, so the smaller sized fixtures are a perfect fit. Everything is in the air apart from 2 of the ClubSpot 250 CTs which are on the floor at the back of the stage, perfectly placed for some beam-work effects.
<h4>Open Deck</h4>
Several shows are staged up on the top deck by the pools while&nbsp; Azura is cruising through warm climates, for which additional lighting equipment is required, and this comes in the form of 4 x ColorSpot 700E ATs and 4 x ColorWash 700E ATs.
Yeomans spoke to Robe about their special requirements for follow spots, to which Robe came back with a specially customised version of their powerful ColorSpot 2500 unit, complete with grab-handles at the back and a small control/playback desk for the operator to use to select colour and iris and which disconnects the pan and tilt. These fixtures are also DMX controlled so the desk operator can do the on/offs and blackouts if desired.
&quot;I spoke to both Robe and HSL about what was needed here,&quot; explains Yeomans, &quot;And they came back with a solution which is now also available as a production model&quot;.
Other general customisations undertaken by Robe included changing the gaps in the prisms on the ClubSpot 250 CTs. They also tweaked the dimmer curves on some of the fixtures, and many bespoke gobos were produced for all the installation areas. &quot;Robe listened to what we needed and wanted,&quot; says Yeomans, &quot;They were a pleasure to deal with on all levels&quot;.
<h4>The Install</h4>
Nine companies initially tendered for the supply of moving lights on Azura, This was narrowed down to 3 main contenders from which Robe was chosen - so the contract was won against stiff competition.
&quot;I am really happy with the reliability of the products, and the 3 year guarantee is a big attraction, plus superb technical support and the fact that they listened to us,&quot; explains Yeomans.
The project underlines an already strong relationship between leading UK rental company HSL and Robe. HSL's Simon Stuart nurtured this which included arranging numerous demos so Yeomans could see the kit in action in situ before he committed to purchasing.
HSL will be undertaking all the Azura' guarantee technical support for Robe, and they installed all the Robe elements onto the ship with a site team of 5 led by Ryan Hopkins. HSL's project manager Mike Oates was also integral to formulating the tech support package.
&quot;HSL have been amazing and I can't speak highly enough about them on this,&quot; enthuses Yeomans, adding that the installation - for which HSL worked alongside his house technicians - was the quickest he has &quot;ever&quot; seen, taking just 3 days out of the scheduled 5!
There were several reasons for this, one of which was the amount of planning and preparation that HSL put in beforehand to ensure that as much detail as possible was covered by the time the install team arrived at the Fincantieri Shipyard, Monfalcone, Italy.
Hopkins visited Azura for a week a month before the installation date to check that all the rigging points and fixings that they were expecting to be available were actually there, and in the right locations, etc.&nbsp; He took a comprehensive set of photos, and fed all this back to Mike Oates and Rupert Reynolds in the office, who then drew up final versions of the lighting plot to incorporate any modifications, giving the site crew accurate and current information to work with.
This helped the onboard operation to go as smoothly and efficiently as it did, even though they were working in demanding conditions, hustling for space - and seizing windows of opportunity - amidst a myriad of other trades and contractors all scrumming to finish their elements of the fit out!
They had to change the voltage of the fixtures from 240 to 120 in one of the bars, for which Robe sent out the necessary components the next day from the factory, neither fazing anyone or decelerating the pace of the operation.
HSL has worked on previous cruise ship installation projects before, but this is the largest, most comprehensive and highest profile to date.
<h4>Communication</h4>
Communication has been vital in the smooth running of this operation and for Robe, HSL and Carnival UK working together so successfully, with Mick Hannaford the hub of communications between Robe's factory in the Czech Republic and Yeomans, leading the discussions to ensure that the customisation requests were understood and the solutions thoroughly explored and undertaken correctly.
Azura is based in Southampton between April and October, offering holidays of between 2 and 16 nights in the Mediterranean, Baltic and Canary Isles, with fly-cruise holidays from Barbados throughout the winter mont]]></content:encoded>
			<category>Venue</category>
			
			
			<pubDate>Wed, 07 Jul 2010 08:53:00 +0200</pubDate>
			
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			<title>Robe Scores in World Cup Broadcasts for SABC</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-scores-in-world-cup-broadcasts-for-sabc/</link>
			<description>Robe ROBIN 300 Spot and Wash moving light fixtures are making a big impact in the World Cup...</description>
			<content:encoded><![CDATA[All SABC's 2010 FIFA World Cup match coverage happens in this studio along with several other regular programmes which are broadcast from this temporary location for the duration of the World Cup.
The spectacular set is designed by Dewet Meyer and very much has lighting, depth and dynamics in mind. The lighting design is by Andre Rossouw of SABC and Francois van der Merwe of MJ Event Gear. Van der Merwe also programmed the show and is sharing operating duties with Theo Roodt. The equipment is supplied by MJ and SABC.
MJ brought in the moving lights - including the 36 ROBIN 300s which were purchased specially for this project - Robe Media Spinners, LED lights, trussing and control. All the white and studio lights are supplied by SABC.
Meyer's set features two distinctive semi-translucent trussing arches covered in white knitted material which absorbs lighting beautifully, and a series of scenic columns at the back in the same material, which also change colour with lighting. The floor is printed. It features lots of curves and is divided into 4 separate areas -&nbsp; 2 circular interview/presentation areas left and right, a centre stage section which can also be used for performances, and in front of that, a panel discussion area. The space can also function as one large environment if needed. There is a large projection screen at the rear, and numerous plasma screens dotted around.
The whole vibe is of vitality, spontaneity, colour and fun - in keeping with the cosmopolitan spirit of Africa and the excitement of the World Cup.
MJ Event Gear first invested in Robe products about 3 years ago. When they were confirmed for this job, it was an ideal opportunity to buy the latest technology - so the sale totalling 24 ROBIN 300 Washes and 24 ROBIN 300 Spots was co-ordinated by Robe's South African distributor, DWR.
The ROBIN 300 Washes are placed inside the pillars at the back of the studio and used for vibrant colour changing effects. The Spots are positioned on the floor at the back of the studio, used for behind-camera-candy and effects for 'beauty shots' and medium close-ups.
The ROBIN Spots are also in close proximity to some other 2K moving lights - where they more than hold their own in terms of visibility, despite being far smaller!
&quot;They are absolutely phenomenal,&quot; states van der Merwe on the ROBINs, &quot;The zoom is incredible, and they are a nice small unit, very punchy and perfect for up-lighting and washing sets&quot;.
Robe's Media Spinner 50s came into their own when it needed a bit of ingenuity for 8 large plasma screens dotted around the studio floor. Rossouw already knew about the capabilities of the Media Spinners, and when he looked through the show scripts, he realised that it would ideal to have a monitor that could rotate to show SABC branding on the reverse ..... for which, with the Media Spinners, they had the perfect solution.
All lighting in the studio and the Media Spinners are programmed into a grandMA console run by van der Merwe.
The studio is running for nearly 18 hours a day throughout the whole World Cup tournament.]]></content:encoded>
			<category>Television</category>
			
			
			<pubDate>Tue, 29 Jun 2010 08:40:00 +0200</pubDate>
			
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			<title>Robe in World Cup Kick Off Concert</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-in-world-cup-kick-off-concert/</link>
			<description>Robe lighting did its bit to represent the Czech Republic in the absence of the country's football...</description>
			<content:encoded><![CDATA[The show featured a star studded line up, headlined by Shakira, The Black Eyed Peas, Alicia Keys, John Legend, Vusi Mahlasela, Blk Jks, Juanez, Tinariwen, The Parlotones, Big Nuz &amp; DJ Tira and many more. There were also addresses by South African President, Jacob Zuma and Nobel Peace Prize winner, Archbishop Desmond Tutu.
All the lighting equipment was supplied by Gearhouse South Africa, the lighting design was created by Patrick Woodroffe and the show was programmed by Tim Routledge. The final 3 hour section was broadcast live via the South African Broadcasting Company (SABC) and syndicated worldwide, reaching an estimated audience of up to a billion. Thirty thousand enthusiastic music and football fans crowded into Orlando Stadium to enjoy the great music and vibes first hand.
The Robe fixture count included 36 x REDWash 3●192s, 28 x ColorSpot 2500E ATs, 16 ColorWash 2500E ATs, 24 ROBIN 300 Washes and 6 ColorWash 700E ATs.
As well as capturing the spectacle and spirit of the moment, Woodroffe's design needed to be highly flexible to incorporate the wide range of performance taking place onstage. It also had the dynamics to provide balanced key lighting and exciting camera-candy for the telecast, plus paint big, bold, memorable pictures for all those watching in the stadium.
Twenty-four of the REDWashes were hung on four (out of a total of six) 9 metre high truss towers positioned in between the front sides of the stage, framing the side scrims and the left and right LED screens outside of these. The fixtures were used for front lighting the audience, for adding a bit of 'sparkle' to the wide shots and for back lighting the B Stage, which was built downstage left, in front of the scrim area. The other 12 were rigged on two side trusses over the stage and used for potent cross stage blasts of colour.
The ROBIN 300 Washes were placed around a mezzanine level walkway 2.5 metres up off the stage that ran around its 3 enclosed sides. This space was used for dancers and the Soweto Gospel Choir, who made several appearances throughout the show. The ROBINs - newly purchased by Gearhouse South Africa - provided punchy back lighting for performers on stage, and were a main feature in the back of the onstage cameras shots.
It was the first time that Woodroffe and Routledge had used either the REDWashes or the ROBIN 300 Washes. Routledge comments that the REDWashes were bright and produced some really nice colours, and he also thought their rectangular beam shape added interest to the mix. He also thinks the ROBIN 300 washes are an excellent small fixture.
The ColorSpot 2500E ATs were used as part of the audience lighting package. They were rigged on the 2 x FOH follow spot towers and onto trussing installed into sections of the stadium roof - at the end and along the sides of the arena. The 16 ColorSpot 2500E ATs were also rigged on the stadium roof trussing, and provided bright high level illumination. The power and intensity of the 2500s was ideal for this application. For large TV extravaganzas like this, good and appropriate audience lighting is fundamental building to the atmosphere as well as a vital element of the visual coherence of the whole picture.
The 6 Robe ColorWash 700E ATs were on the stage floor, used for backlighting and beam-work upstage of the main performance area.
Routledge controlled all the stage lighting - which also included other moving lights, strobes, LED fixtures and generics - from a grandMA full size console, while Gearhouse's Hugh Turner ran the audience lighting with another grandMA full size.
Woodroffe's associate LD was Adam Bassett. The event's production director was Jim Baggott, and the show was produced by Kevin Wall of Control Room. The set - featuring 154 'shields' cladding the inside of the stage - was designed by Ray Winkler of Stufish.]]></content:encoded>
			<category>Stage</category>
			<category>Events</category>
			
			
			<pubDate>Mon, 28 Jun 2010 09:10:00 +0200</pubDate>
			
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			<title>Cool Britannia For Robe</title>
			<link>http://www.robemultimedia.it/it/news/article/cool-britannia-for-robe/</link>
			<description>Cape Town, South Africa based C&amp;S Lighting is a busy rental operation run by Donald Clark who has...</description>
			<content:encoded><![CDATA[Delivered by Robe's South African distributor DWR, the new Robe moving lights - have replaced all C&amp;S's previous mid range units from another manufacturer!
The first major gig for the new kit was &quot;Cool Britannia&quot;, a music &amp; football festival staged at Cape Town International Convention Centre (CTICC), celebrating the 2010 Soccer World Cup. The venue - a concept by Global Icons - provided a space for football fans and music lovers to enjoy the matches live on big screens, followed, with performances onstage throughout the day, culminating in a headline act after the last match of the evening. The dynamic line up included Fatboy Slim, Estelle, Flash Republic, Cuba Libre, Flat Stanley, Euphonik and many others, attracting crowds up to its 5000 capacity.
C&amp;S's new Robe units were the main fixtures lighting the stage inside Cool Britannia's Global Arena. The whole idea started 10 years ago primarily as a party and entertainment space for UK supporters - but has grown to include an international following amongst the travelling football supporter community.
The lighting design by Alan Muller, appointed technical advisor to Global Icons, entailed the installation of over 300 metres of trussing in the roof of the CTICC to attain the correct lighting positions.
With a wide selection of live artists and DJs artists appearing represented all types of musical genre and the venue operating up to 18 hours a day, the rig needed to be highly flexible, a requirement made infinitely easier using the new Robe's.
The front truss featured 6 x ColorWash 700E ATs used for general stage washes, and there were 4 'finger' trusses, angled and slightly offstage, each of which had 4 ColorSpot 700E ATs. There were another 4 ColorSpots on top of the back truss and 6 more ColorWash 700E ATs onstage for low level side lighting.
Five Robe LEDForce 18s were also deployed on each finger truss section - used for strong medium level cross stage washing and effects, with another 7 used as key lights on the front truss, a task they performed extremely efficiently. Clark thinks the pastel colours - often a problem area for LED fixtures - are &quot;Amazing&quot;.
The LEDForce 18 contains 18 x 3in1 RGB LEDs or 18 x 3IN1 RGBW LED multichips and offers homogenized color mixing and a very bright 25 degree beam.
In the foyer another 20 LEDForce 18s illuminated the concrete pillars. These were set on a slow chase each day to match the flag colours of the completing teams. A further 6 lit the trees and foliage.
Back in the Global Arena, AV Alliance's Robe ColorWash 575AT Zooms were used for house lighting and audience effects, along with other LED fixtures, PAR 64s and 56s.
Additional stage lighting included PAR 64s, strobes, blinders and MultiPARs.
So why did Clarke choose Robe? &quot;It's all about relationships for me&quot; he states, by which he means the relationship between himself, Duncan Riley from DWR, Robe's Sales director Harry von den Stemmen and MD Josef Valchar.
He visited the Robe booth at Prolight+Sound in March, and that's when the seeds of the deal started to germinate.
&quot;Duncan really went the extra mile to ensure I had the lights guaranteed to arrive on time, even before I had the gig confirmed&quot; he explains &quot;and the overall support from DWR has been incredible - for them this is the most important factor&quot;, adding that the reliability and great value of Robe also helped make the decision.
The Cool Britannia stage lighting was controlled via an Avolites Tiger Touch console running ArtNet, with a Pearl Expert doing the house and audience lighting. Three lighting operators rotated between the shows - Henning de Villiers, Darion Garrison and Jonathan Green.
&quot;My team love the gobo selection on the Robe's, the brightness and the easily navigable menu system. They are also light and easy to lift and handle, and overall have been absolutely fantastic&quot; concludes Clark.]]></content:encoded>
			<category>Stage</category>
			
			
			<pubDate>Thu, 24 Jun 2010 14:32:00 +0200</pubDate>
			
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			<title>Robe Style For Jamie Cullum Show</title>
			<link>http://www.robemultimedia.it/it/news/article/robe-style-for-jamie-cullum-show/</link>
			<description>Super talented jazz-pop singer/songwriter and multi-instrumentalist Jamie Cullum is on the road...</description>
			<content:encoded><![CDATA[The moving lights are all Robe, supplied along with the rest of the lighting equipment by Leeds, UK, based Zig Zag Lighting.
Thomas has been a big Robe fan ever since he started using the brand back in 2004, so it was a &quot;no brainer&quot; when it came to spec'ing the rig!
&quot;Robe has always been very reliable and offered plenty of creative options,&quot; he states.
His show for Cullum, for whom he's worked - initially as a dimmer tech - since 2004, is a fabulous blend of elegance and cool to match Cullum's dynamic performance which has won him massive popular success amidst great critical acclaim.
Thomas received a basic lighting brief from show designer Mark Silver, who designed an innovative set based on piano strings. These were fabricated by Zig Zag and consist of a series of boxed winch sets with white nylon rope - the bottom sections sit on the floor upstage, while the top sections are raised up to the trussing mother grid, pulling the ropes up with them, and tensioned when at trim height. Integral to the boxes are LED lighting fixtures which point directly upwards, so the sheeny texture of the ropes catches the light beautifully.
The overall look of the show draws inspiration from the legendary jazz record label Blue Note. Silver was very keen on certain colours to be used, and so Thomas also needed to use fixtures with excellent CMY mixing facilities to reproduce these in the perfect hue - another reason for choosing Robe.
Thomas keeps the colour mixes simple and clean and beam effects are used sparingly, but with great impact, in a jazzy but not overly flashy vibe!
Above the stage on the mother grid are 12 Robe ColorWash 575E ATs and 8 ColorSpot 700E ATs, and these are utilised to achieve the saturated cyan, magenta and yellow mixes that are integral to the show, along with classic primaries of blue and red.
Then there are 4 ColorSpot 575E ATs upstage on the mother grid and 6 on the floor across the back of the stage, used for heavy back lighting of the whole band and to silhouette Cullum on the projection screen upstage of the strings. They also move out into the audience at times for gobo effects.
On the front truss are 4 ColorSpot 700E ATs and another 6 ColorWash 575E ATs. These are for full stage washes and for picking out Cullum at the piano, the Rhodes keyboard and the various other stage positions he used during his energetic performance. Two house follow spots also help pick him out when he is on the move.
&quot;It's fundamentally a jazz show, laced with some elements of rock 'n' roll,&quot; says Thomas describing the crossover style of lighting which suits the show so well.
He particularly likes the animation wheels on the ColorSpot 700E ATs, and thinks the zoom range on the ColorWashes is &quot;fantastic&quot;, with the flexibility of almost being able to use them as washes or spots.
All the lighting is controlled via an Avo Diamond 4 Elite. There is no set list and plenty of improvisation, so he has a pool of songs programmed and keeps on his toes during the show, although he can sometimes anticipate what's coming up next by Cullum's preamble.
The projection screen is also used for an arty camera mix and Catalyst media server playback, supplied by XL Video.]]></content:encoded>
			<category>Stage</category>
			
			
			<pubDate>Thu, 17 Jun 2010 15:39:00 +0200</pubDate>
			
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