Tag Archive: Jonathan Haynes

1. White Light Goes to the Desert with Priscilla at ArtsEd

   14 February 2018 12:23 Comments Off on White Light Goes to the Desert with Priscilla at ArtsEd

   As part of its Third Year BA Musical Theatre Students Showcase, ArtsEd recently produced a brand-new production of Priscilla Queen of the Desert. Taking place in the Andrew Lloyd Webber Foundation Theatre, the show tells the story of drag queens Tick and Adam, and trans woman, Bernadette, as they embark on a road trip through the Australian outback. The show was lit by Nic Farman and White Light provided the lighting equipment.

   Priscilla Queen of the Desert is based on the 1994 film The Adventures of Priscilla, Queen of the Desert, and won an Olivier on its West End debut. Nic comments: “I had never seen Priscilla before which I think worked in my favour as I was able to approach it with a fresh pair of eyes”. Priscilla is renowned for being a glitzy and loud show; something Nic was asked to embrace for his design. He explains: “My brief was to be as bright and colourful as possible! Something I really had to consider was the use of projection in the show. PJ McEvoy, the set and projection designer, had created this large bus to sit centre stage which he then transformed with video. Making that projection have a visual impact was very important and this required close collaboration between the two of us to ensure the video and lighting created a cohesive stage picture”.

   In order to achieve this, Nic approached WL and worked closely with WL’s Business Development Manager Jonathan Haynes and WL’s Hire and Sales Coordinator Jim Dewhirst to select his exacting fixtures. He comments: “The show called for plenty of colour and texture from the lighting. I spec’d a number of Martin MAC 700 Profiles and Washes. The Profiles provided good beams in the air and gobo work on the show floor, whereas the Washes allowed me to wash the stage with saturated colour.

   He adds: “Overhead, we had the VL1100AS which I chose for their shuttering. It was important to control the light within the space so that I didn’t wash out the projection surfaces and the VL1100s gave me that ability. We also had a number of Pixel Line 1044s to light the cyc. With bold, saturated colours being so important, the 1044s had ample output for our relatively small cyc. Also key in my design were the ETC Lustrs which cross lit the space and allowed me to light the choreography with a rich colour palette”.

   With the production being so reliant on the use of projection, this mean that Nic had to be very exact with how he lit certain scenes. He comments: “It was all about retaining that balance between projection and the action on stage. I ended up with a lot of cues which had subtle lifts and drops at opportune moments to keep the balance right. It was also a very big show to tech in a relatively short period of time so I was grateful to have such a brilliant team at ArtsEd who facilitated everything”.

   The production ran from 2^nd – 10^th February and allowed the students the opportunity to perform in a large-scale show before graduating.

   Nic states: “This was a great show to work on with a great bunch of creatives. I am also very grateful to WL for being so supportive and allowing me to achieve everything I wanted with the show”.

   Jonathan adds: “We recently supported Nic with his West End debut, The Toxic Avenger, so it’s great he’s able to call upon our services for a completely different production. Ultimately, we want to ensure that we work closely with lighting designers on any project and provide them with the best service possible”.

   Photos courtesy of Robert Workman.

    

2. White Light Provides New Followspots to Royal Albert Hall

   22 January 2018 09:24 Comments Off on White Light Provides New Followspots to Royal Albert Hall

   The Royal Albert Hall is one of the world’s most historic concert halls. It has housed over 155,000 live performances and has a capacity of up to 6,000. The iconic main hall plays host to a range of events to over 1.7 million visitors annually, whether it’s live concerts, the BBC Proms, tennis tournaments, Films in Concert promoted by the RAH,  Cirque du Soleil and many more. The venue recently decided to invest in a range of Robert Juliat Cyrano 2500W HMI Followspots and approached White Light to make the purchase.

   The Lighting Design Manager at the Royal Albert Hall is Richard Rhys Thomas. He comments: “My role covers a few broad areas, namely overseeing the running of the lighting department as well as delivering a high-quality lighting service to incoming as well as internally produced shows. I also have to oversee the upkeep and maintenance of the systems and installations, specifying new lighting equipment and improving the design of the lighting rig as needs change”.

   It was Richard who decided that the previous rig required an upgrade of its existing followspots. He comments: “We wanted to replace our followspot provision with up-to-date and more efficient technology. Having used the Robert Juliat Cyrano magnetic version for years, we decided to upgrade and invest in the 2500W HMI electronic version”.

   The Robert Juliat Cyrano 2500W HMI has a narrower beam angle making it perfect for really long throw distances found in large venues such as the Royal Albert Hall. Its glass progressive frost filter and dark blue dichroic filter offers even more subtle design possibilities. It also has an optional DMX-control of motorised dimmer shutter, progressive frost and lamp ignition.

   Richard states: “The Cyrano is ideal for our needs for a number of reasons. Its output is great with a very flat field, the throw is ideal and the noise is generally very low. It has also proved to be very reliable in an environment where followspots are moved around on a day-to-day basis. We don’t have set followspot positions due to the nature of the building and the shows that we host here, so we need something that had some adaptability”.

   The decision behind purchasing the Cyranos was also influenced by a demand from incoming designers. Richard adds: “The Cyranos are a long-standing favourite for internal and visiting lighting designers due to their consistency, brightness and colour. They also look great on camera which, for us, is very important due to the number of televised events that are hosted in the venue”.

   The followspots have already been used on numerous shows including the BBC Proms, Later with Jools Holland and many more.

   Richard adds: “We are delighted with the Cyranos. We have a long-standing relationship with WL, who also have an annual lighting service contract with us and replaced the houselights in our iconic mushroom-shaped acoustic diffusers, as well as installed new LED houselights back in 2016. We can always rely on their excellent support, experience and guidance for any project”.

   Photos courtesy of Paul Karalius, Richard Thomas and Royal Albert Hall.

3. White Light Goes Inside Pussy Riot at Saatchi Gallery

   24 November 2017 10:45 Comments Off on White Light Goes Inside Pussy Riot at Saatchi Gallery

   Created by the Olivier-nominated Les Enfants Terribles, Inside Pussy Riot is inspired by the all-female punk rock group who staged a protest inside Moscow’s Cathedral of Christ the Saviour in 2012. This immersive theatre experience is currently taking place at the Saatchi Gallery to coincide with their Art Riot exhibition. Having supplied a range of immersive theatre projects already this year, White Light was called upon to provide the lighting equipment.

   Inside Pussy Riot invites audience members to pull on their balaclavas, stand in the dock and experience the realities of imprisonment. The lighting designer for the show is Charlie Morgan Jones. He comments: “Inside Pussy Riot takes its audience through the complete experience of Nadya Tolokonnikova’s trials and tribulations as the founder of Pussy Riot. At only an hour long, it’s extremely ambitious; as are all Les Enfants’ projects”.

   The show takes place across two galleries inside the Saatchi Gallery within a multi-purpose set. Charlie explains: “There are numerous locations used throughout the piece, such as the Cathedral, the police station, the courts along with the prison. Part of my role as the lighting designer was to help define each location. Similarly, after speaking with Les Enfants and the set designer in the initial planning stages, we decided to create a sense of heightened reality. There are a lot of scenes that are deliberately absurdist (reflecting a lot of the situations the Pussy Riot group found themselves in) so this felt like an appropriate choice”.

   Prior to the show opening, Charlie made two site visits in order to assess the space and begin formulating his design. He comments: “Whilst I knew what feel I wanted to create, with a lot of shows like this, it’s about adapting to what is being created. As we had an empty space prior to the tech, I had to wait until the set was built and then adapt my design as we moved forward”.

   Working closely with Production Electrician Paul Walmsley, Charlie approached WL to supply him with the kit he required. He comments: “I drew heavily on the ETC Source Four Minis, which, for me, are a fantastic replacement for birdies as they have that extra ability to focus. I also positioned a series of light bulbs throughout the space along with fluorescents (in particular for the police scene) and a range of LED tape.

   He continues: “Behind the stain glass window in the Cathedral there are a range of EvenLED panels. For the window in the prison, I used a range of ETC Source Fours with beam benders. I also drew on ETC Source Four Lustrs to provide additional colour where needed. We can’t actually rig from the Saatchi ceiling so we had to implement our own rigging points in order to position the fixtures as required”.

   Despite the ambitious nature of the show, Charlie and the LX team had a very limited time in which to set up the equipment. He comments: “From the first time I stepped into the space to the opening night, we had a week and a half to bring everything together. It was an extremely intense period but I thankfully had a brilliant team working behind me, which included a lot of Rose Bruford graduates. Similarly, the guys at WL were once again fantastic, offering suggestions and insight whenever we needed it”.

   The show has now opened and will run until 24^th December.

   Jonathan Haynes, WL’s Business Development Manager, comments: “We are delighted to work with Charlie and the rest of his team on Inside Pussy Riot. Like the previous immersive shows we have supplied, it’s an extremely unique production that required a very specific technical set-up; something we were able to support”.

   Photos courtesy of Kenny Mathieson.

4. White Light Goes Top of the Class at Italia Conti

   7 November 2017 11:29 Comments Off on White Light Goes Top of the Class at Italia Conti

   

   Italia Conti is the leading performing arts college institution in Great Britain. Founded in 1911, it has since became a global leader in delivering a wide range of disciplines, with many of its graduates becoming household names. The college’s extremely high standards need to be reflected not only in its teachings but also its facilities. As a result, it recently decided to upgrade its Avondale Theatre space and approached WL to provide a range of new fixtures.

   The Production and Stage Manager at Italia Conti is Amy Stevenson. She comments: “My role at the college is to work on the numerous productions across the academy; whether it’s a large-scale musical to a small studio drama. I also deal with the maintenance of our two in-house theatres, including the Avondale which seats 150 and is a great, versatile space. That said, it hadn’t been upgraded in a very long time and was struggling to keep up with the higher demands of the shows we were producing”.

   Not only that but the lack of upgrade also proved to be extremely costly. Amy adds: “Due to the equipment we had being inadequate for the productions we were working on, this meant we were constantly hiring in equipment for each show; whether it was a desk, dimmers or moving lights. We reached the point where we knew we needed a more permanent arrangement as we knew the shows would simply continue to grow in ambition”.

   As a result, Amy approached WL having worked with them before. She comments: “I had numerous discussions with our in-house lighting designer to discuss what we needed within the space. I then spoke to WL’s Business Development Manager Jonathan Haynes who offered his advice as to what fixtures he believed would fulfil our needs as well as fall within out budget”.

   

   WL’s Business Development Manager Jonathan Haynes.

   Jonathan explains: “I met with Amy to discuss her requirements for the new lighting system, and worked on a proposal to offer the most flexibility and value for money. I suggested the ETC ColorSource range as a high end yet affordable solution and we loaned some to Amy and the team to see how they responded within the space. We also suggested an electrical inspection to ensure that the theatre was completely safe prior to us providing any new fixtures”.

   Following the electrical inspection, WL supplied brand-new distribution boards along with a new dimming system and hot power racks. They also supplied a range of ETC ColorSource Pars along with an ETC Ion console. Amy states: “We decided to invest in the ColorSource Pars after Jonathan demonstrated them and we were impressed by their output. Similarly, we decided to purchase the ETC Ion as we know this is industry standard; which is exactly what we want for our students”.

   WL has now supplied the equipment and the space has been utilised for numerous end-of-year productions. Amy states: “The new fixtures have made an incredible difference; especially as we’re no longer limited to 200 cues for one show! The equipment has made the productions run much smoother and more efficiently, not to mention losing the lengths of socapex running from the desk to the dimmers has allowed for tidier cable runs. We are delighted with the new set-up and are extremely grateful to WL for being so helpful throughout”.

   Jonathan adds: “A lot of colleges, such as Italia Conti, are training the next generation of theatre professionals so it’s important they have the latest technology; both for those on stage and behind-the-scenes. We have vast experience of working with organisations of all sizes, whether it’s Rose Bruford, Latymer Upper School or Kingston University. In each instance, we were able to work closely with the client to provide a solution bespoke to their needs; just as we’ve done on this occasion”.

   Photos courtesy of Italia Conti.

5. White Light Puts on Horror Show with Toxic Avenger

   23 October 2017 08:38 Comments Off on White Light Puts on Horror Show with Toxic Avenger

   Based on the 1984 cult classic, The Toxic Avenger tells the story of the citizens of Tromaville who are crying out for a hero. Enter Melvin Ferd the Third who is tossed into a vat of toxic waste and transformed into The Toxic Avenger, New Jersey’s first superhero! Following sold-out runs at Southwark Playhouse and Edinburgh Festival, the show is making its West End debut at the Arts Theatre. White Light has been called upon to provide the lighting equipment.

   The Toxic Avenger is written by Joe DiPietro and David Bryan who are the Tony Award-winning team before the hit West End musical Memphis. It is lit by Nic Farman, who has worked on the show since its first London run. He comments: “I’ve worked with the director, Benji Sperring, many times before and my brief for this production was to have a lot of fun and be brave with my design. We often like to create bold stage pictures filled with colour and, for this show, it was especially important to create the cartoon style world in which the musical is set”.

   The show first opened at the Southwark Playhouse last year and Nic believes that the musical still embraces its B-Movie origins. He comments: “For the West End version, we wanted to ramp up the rock feel of the show and add more gig lighting to a rocky soundtrack. Similarly, the Southwark version was in thrust, whereas the Arts is in a proscenium arch, meaning we had to think about how to keep the audience as fully engaged as they were in the smaller space. As a result, takis, the designer, gave us a low apron to help get the cast down to the audience levels and I was allowed to light right out into the crowd”.

   This change in space meant that Nic had to make some additions to his previous rig. He comments: “I have drawn on a lot of Chauvet Professional units, who have been particularly supportive of me and the show. We have Maverick Mk2 spots, Maverick Hybrids, Ovation FC profiles and Ovation battens which all allow us to create great impact with colour and beam work. We also hired in some GLP X4s and X4 Bar 20s, with the bars working really well as backlight blinders. I also spec’d Elation Six PAR’s which have become my go to LED par because of their high output.

   He continues: “The other facet of the design is that we inlaid sections of the floor and pipework that makes the set up with pixel tape. Clancy Flynn, my Production Electrician and Programmer, built a system around my design”. Clancy explains: “We have 50 universes of Enttec pixel tape in the set, all controlled over ArtNet from a HippoCritter triggered by the lighting console. The control system was designed to maximise animations over the tape while keeping DMX channel requirements to an absolute minimum. WL supplied the Hippocritter media server that manages the images played over the tape, as well as the Pixelators that act as the LED drivers. They also sorted out the sale of the tape, PLink injectors and drivers we required.”

   The show, which has now opened to critical acclaim, marks Nic’s official West End debut. He comments: “Seeing the show grow from the fringe to the West End has been brilliant and doing that with a great team around me has been a joy. I couldn’t have picked a better show to be my first West End musical as the lighting plays an important role in the story telling, as well as reinforcing the music and managing to do a couple of jokes of its own.

   He adds: “I couldn’t have got the show off the ground without Clancy, who oversaw all of the load in, prep work and designed the network to run the pixel mapping. David and Jamie at the Arts were incredible at facilitating putting in a tricky show and couldn’t have been more helpful, as were Chauvet Professional who helped make the show look how I hoped it would. As always, a massive thanks to WL for their support, especially Jonathan Haynes and Jim Dewhurst, who helped us spec the show from the pixels through to the rig”.

   Photos courtesy of Irina Chira.

6. Five minutes with…Jonathan Haynes

   7 September 2017 15:06 Comments Off on Five minutes with…Jonathan Haynes

   

   WL’s Business Development Manager Jonathan Haynes

   
   We sat down with Business Development Manager Jonathan Haynes to find out more about his role at White Light.
   What does your role entail at WL?
   My role as Business Development Manager means I am responsible for growing and sustaining WL’s market share within the theatre and leisure markets; with a strong emphasis on key account support and development. Predominately I’ll work with larger venues such as the National Theatre and Royal Opera House and I also work closely with a string of lighting designers, including those just starting out in the industry. Much of my role is about promoting the WL brand and ensuring that everyone is aware of the services we can offer them. The last few years have seen huge growth at WL, with the company expanding into new areas such as video and audio, and I am always keen to remind even some of our oldest clients that we have a huge amount to offer!
   How did you first get involved in the company?
   I’ve now officially worked at White Light for ten years! I attended Royal Holloway, University of London, where I studied for a History of Politics degree. It was here I fell in love with lighting and quickly found myself becoming Head of Lighting at the Students Union. I found myself lighting, programming and operating a range of shows which included plays, musicals, comedy shows, nightclub evenings and even gigs! Somehow I still managed to end up with a 2:1!! Upon graduating, I started freelancing on a number of West End shows including Lion King, Dirty Dancing, Billy Elliot and Mamma Mia, as well as a wide range of corporate events at some of London’s most prestigious venues. However, I soon realised that the freelance lifestyle wasn’t entirely for me (I like to know where the next work is coming from!). As a result, I started to look for full-time employment that involved lighting in some capacity. That’s when I remembered I’d used the WYSWYG room at White Light when I took a show up to Edinburgh in my final year at university. I always remembered how friendly and accommodating they were and when I saw they had a vacancy for Sales Co-ordinator, I applied and got the job. Over the next few years, and during a time when the company grew exponentially, I worked my way up to a Senior Technical Sales role before becoming Business Development Manager.
   What does a typical week in your life look like?
   No two weeks are ever the same but I’ll try my best to summarise! I start every week by visiting the office on a Monday morning. This will mainly involve having a catch up with the Customer Service team to check in with them all and receive a progress update on the current jobs we’re working on. I will also attend internal meetings with the rest of the business development team to update them on new leads and developments. Then from Tuesday to Thursday I’m normally out on the road visiting venues across the country. I think it’s really important that I’m out there as it gives me the chance to speak to venues, meet them face-to-face and hear their thoughts, as well as discuss future projects or requirements. Also, where relevant, I’ll take some fixtures with me and perform on-site demos or show a new fixture or technology that might be of interest. Clients often find it the most useful when they can see how a certain product works in their space; something that is much harder to envisage at a trade show. As I’m out three days, this means I visit a lot places (I remember at one point last year I’d driven 1,400 miles in four days!). Once I’m back from my travels, I’ll spend Friday working from home, planning meetings and arranging visits for the following week.
   

   

   Jonathan represents WL at exhibitions across the country.

   
   What are you currently working on at the moment?
   As always, it’s extremely busy at the company. I’ve just got back from Wireless Solution in Sweden where I undertook training on their new G5 range. I’m gearing up for the PLASA Show next week, as I almost always represent the company at tradeshows across the country. In terms of projects, we’ve just finished supplying and commissioning the lighting for Google event spaces across Europe. We recently delivered all of the loose kit to the Story House, a brand-new theatre in Chester. We’ve also just sold some brand new Robert Juliat Dalis and GLP X4 Bar 20s to the National Theatre along with followspots to the Royal Albert Hall. I’m also continuing our work with Westfield, The Ritz and the BBC – so I’m certainly keeping busy!
   And finally, what has been your proudest achievement whilst working at WL?
   Thankfully, I’ve worked on some amazing projects at WL so these are only a select few. Obviously commissioning and delivering lighting packages for Google Dublin and London were brilliant projects, simply due to the magnitude of what we delivered. I was really pleased with our work on the David Bowie exhibition at the V & A as we not only supplied the lighting equipment but I also programmed it all. Our recent work at the Barbican was also very special as, in the space of a year, we completely replaced the lighting in their theatre and concert hall (both the moving head concert rig and the overhead orchestral rig). It was quite a big ask but something, as a company, we were able to achieve. I’m looking forward to what the rest of 2017 has to offer!

7. White Light Returns to 40th PLASA Show

   23 August 2017 08:09 Comments Off on White Light Returns to 40th PLASA Show

   The PLASA Show returns to Olympia London next month for what will be its 40^th anniversary. The event will once again present ground-breaking technology and exciting new launches by the world’s greatest designers and engineers. As the technical solutions specialist, White Light will be exhibiting on stand L50 where its expert staff will be on hand to meet customers old and new as well as present a range of revolutionary technology.

   This year’s PLASA Show promises to be the most exciting yet. Located in the heart of West London, there will be live demo opportunities for the audio and lighting sectors, technical workshops, training sessions along with topical seminars. WL’s Head of Business Development Lee Dennison comments: “We are delighted to be returning to the PLASA Show after what has been yet another significant twelve months for the company. In that time, we’ve become the in-house technical supplier at Claridge’s Hotel, installed exhibitions at the V&A and Saatchi Gallery, supported the relaunch of Hintze Hall at the Natural History Museum as well as continued to supply the biggest shows in the West End”.

   The company has also continued to invest heavily in the latest technology and will be displaying a range of products available on ShopWL at the show. This includes d3 Technologies – for which WL has recently been appointed as a Certified Solutions Provider. Lee comments: “The larger and more ambitious the projects we work on become, the more we have found ourselves drawing on d3 products. As the world’s first integrated video production suite, it really is the ultimate software to visualise, design and sequence projects. We have our own fleet of d3 hardware which we are really looking forward to discussing with customers”.

   Interactive Technologies is a world-class producer of professional lighting controls for the architectural, entertainment, stage and studio markets. The company’s products will also be on the WL stand, including the CueServer 2 which will be demonstrated by Interactive’s staff. Peter Threadgold, WL’s Customer Services Director, states: “The CueServer 2 has completely revolutionised lighting playback, making it much more user friendly. It can also be customised for different installation environments, eliminating the need for external adaptors. It’s exciting that we’ll be able to show this first-hand to those visiting the stand”.

   

   WL’s Mark Morley and Jonathan Haynes will be on the WL stand

   Also on the stand is Wireless Solution. Wireless Solution designs and produces W-DMX™ , the twice award-winning Wireless DMX system that is today the un-official standard for those that require the most dependable product available for transmitting lighting control data wirelessly, no matter the distance or location. The products on the WL stand include the revolutionary BlackBox G5, which both transmits and receives mode of DMX and RDM signals as well as operates in three different frequency bands, giving access to more channels.

   This year’s PLASA Show takes place from 17-19^th September. Also on display will be a range of other equipment stocked by WL including lighting fixtures, smoke machines, several LED video walls and video ceiling from Ledgo.

   Lee comments: “We’re really excited to be displaying at the PLASA Show once again – especially in its 40^th year. Looking at the programme, there is once again a hive of activity and we really look forward to catching up with old friends and creating new relationships”.

   Don’t forget to register now: https://registration.n200.com/survey/3rrbbikjs08sw?actioncode=NTWO000232JAO&partner-contact=0ls7bfbbzkly7

    

8. WL Supplies National Theatre with GLP X4 Bars

   25 July 2017 10:43 Comments Off on WL Supplies National Theatre with GLP X4 Bars

   

   The GLP Bars in use on the National’s production of Angels in America.

   
   The National Theatre on London’s South Bank has invested heavily for the second time in GLP’s award-winning impression X4 Bar 20s. The venue’s Lighting Resources Manager, Paul Hornsby, has added to the initial tranche of 18, which he purchased as soon as they first became available, with a further 20 in order to meet the increasing demand. Both batches were supplied by GLP dealer, White Light.
   Explaining his decision behind the purchase, Paul states: “We have an extremely substantial rig at the National, and so every year, with my onsite team, we evaluate and discuss what needs replacing and upgrading, depending on both lighting designers’ requests and advances in technology.
   He adds: “The initial GLP purchase was the result of a combination of lighting designer referrals along with our own need to replace our ageing DLC fixtures.” As soon as the first 18 fixtures arrived, they were immediately requisitioned for productions of Angels in America and Salomé.
    
   

   

   The Bars played a significant role throughout.

   
   Paul’s introduction to the X4 Bars had been on GLP’s stand at last year’s PLASA Show in London. He states: “I was extremely impressed and had never seen a unit like them — they seemed to have a lot of features. I had also seen them in use on other shows and heard nothing but praise from lighting designers who were quick to shout about their capabilities.”
   Both the X4 Bar 20 and smaller X4 Bar 10 are high performance battens that incorporate tightly-packed 15 Watt RGBW LEDs to produce a full line of light. High quality optics ensure a smooth, homogenised output across the batten through a broad pallet of pastel and saturated colours, complemented by exceptional dimming. DMX control offers full pixel mapping capabilities, while the impressive zoom range, from 7° to 50°, ensures effects from a narrow angle light curtain to a wide angle washlight.
   LDs were quick to recognise this unique feature-set, and due to the high demand for the X4 Bar 20s, it was always in Paul’s thinking to invest in a second tranche. He states: “We were immediately aware of how sought-after these fixtures are and the kind of impact they would make on all our shows here at the National.” This is so much the case, that the latest arrivals have gone straight onto Common and NT Connections, while 24 of the X4 Bars will be used on the upcoming production of Follies.
   Part of a cutting edge resource of fixtures at The National, they can easily be installed in any of the theatre spaces within the complex, notably the Olivier and the Lyttelton, in order to provide LDs with greater flexibility.
    
   

   

   WL’s Business Development Manager Jonathan Haynes

   
   The National Theatre has invariably turned to White Light to meet its requests over the years. Paul adds: “We are aware that WL can always offer us the very latest fixtures available on the market — such as the X4 Bars.” Reviewing the merits of the Theatre’s latest lighting acquisition, he remains unequivocal: “These Bars offer low power, high output, flexibility and great colouring — essentially everything you want from a lighting fixture!”
   Currently in use on four shows (with Follies to come), the National’s lighting supremo sees the demand for the battens only increasing. Paul summarises: “ I know they are going to be snapped up for any future show we have in any of the spaces here”.
   The sale marks another example of WL supplying a venue with the latest technology, specific to their requirements. Jonathan Haynes, WL’s Business Development Manager, comments: “As a company, we have strong relationships with leading manufacturers such as GLP meaning we have immediate access to state-of-the-art equipment. In turn, this means that venues are able to approach us, regardless of their size or location, and we are able to provide them with the exact technical solutions they require”.

9. White Light Returns to PLASA Focus Leeds

   4 May 2017 09:47 Comments Off on White Light Returns to PLASA Focus Leeds

   

   Mark Morley and Jonathan Haynes who will be on the stand for WL

   
   Taking place from 9 – 10^th May, PLASA Focus Leeds has established itself as the essential event for entertainment technology in the North of England. This year, the exhibition will once again take place at the Royal Armouries Museum where companies from across the globe will showcase the very latest technology. One of these is White Light, with the complete technical solution specialist exhibiting on stand N-C24 with a range of revolutionary technology.
   Since its formation in 1971, WL has forged a reputation for supplying technical solutions including lighting, audio, video and rigging to projects of all sizes across the UK, Europe and worldwide. At PLASA Focus Leeds, the equipment on display will showcase the full range of what the company can offer its customers. WL’s Business Development Manager Mark Morley comments: “We’re really excited to be back in Leeds, meeting up with old friends and potential new customers. It’s been a fantastic year for WL in which we’ve added to our expertise staff and continued to invest heavily in the latest technology – an example of which we intend to showcase at PLASA Focus”.
    
   

   

   Wireless Solution’s W-DMX G5 will be on the WL stand.

   
   WL will display a range of lighting products on its stand including the CORE Lighting Mini Uplighters. A smaller version of the well-established ColourPoint Wireless LED Uplighter, the Mini has a powerful reach, able to light up to two storeys. Retaining an IP65 rating for outdoor usage, the slick design and discrete size means it can help transform any event, from small parties, to corporate functions, to weddings and even stage lighting. The product is made truly portable thanks to the combination of battery power and wireless DMX.
   As the importance of wireless DMX continues to grow within the world of entertainment technology, WL will be displaying the brand-new W-DMX G5. A result of more than 18 months-worth of customer research, G5 allows users to run multiple DMX universes concurrently. It also features an optional Wi-Fi module meaning users are now able to link their smartphone or tablet to a BlackBox and send DMX data directly to fixtures.
   WL will also be display its LED technology, with both a purpose-built LED wall and LED transparent screen. Mark adds: “Our LED wall in particular has proven very popular with a lot of clients so PLASA Focus offers us a great opportunity to showcase this in the flesh as it were and highlight the potential this has to transform a space”.
   

   

   The WL Stand at PLASA London 2016

   
   Following its recent appoint as the company’s official reseller, WL will display a range of d3 technology at PLASA Focus. Being the world’s first integrated video production suite, d3 is the ultimate software to visualise, design and sequence any project. WL has already used it on the construction of the ITV Sport studios along with an AV installation at the Victoria and Albert Museum. Similarly, as its exclusive UK distributor, WL will be displaying ImageCue – the compact, easy-to-use server that provides control of high definition still images and videos with only twelve channels of DMX512. A previous winner of the PLASA Member’s Choice Award for Best Gadget, ImageCue allows users to access over 65,000 image and video files, all of which can be played back in less than a quarter of a second.
   The company will also display a range of its audio products, including k-array and Yamaha speakers. There will also be the Sparkular Fireworks Simulator Machine; a phenomenal indoor fireworks display without the fireworks risk.
   Mark adds: “We’re displaying a whole host of innovative products that highlight what we are able to offer our customers. A lot of this equipment is not only state-of-the-art but exclusive to WL, reaffirming the fact that we are dedicated to providing our customers with the very best technology possible”.
   Photos courtesy of Entertainment Technology Press and White Light.