Tag Archive: Lighting Solutions

1. ITV Sport Wins Best Sports Coverage at BAFTA TV Awards

   14 May 2018 10:22 Leave a Comment

   The British Academy Television Awards celebrate the very best television broadcast in 2017. The categories include drama, comedy entertainment, documentaries and sport. The winner of Best Sports Coverage this year was ITV Racing for their coverage of last year’s Grand National. For this particular race, along with the rest of the racing season, WL supported the lighting of both the studios and presentation areas.

   The other three nominations in the sport category were Sky for its coverage of Anthony Joshua v Wladimir Klitschko; the BBC for its Six Nations rugby union clash between Wales and England; and Channel 4 for the women’s Euro semi-final between England and Holland.

   Lead presenter Ed Chamberlin had credited director Paul McNamara, a previous Bafta winner, for the nomination, while also identifying Richard Willoughby, Paul Cooper, Tim Williams and Rachael Jackson as other key members of the team behind the cameras.

   On collecting the Award, Paul McNamara commented: “Thank you firstly so much to everybody who worked on the programme behind the screens.  There were 60 cameras and over 600 people on site. So, thank you for all their professionalism and their dedication. Thank you so much to all of our wonderful talent on screen led by the brilliant Ed Chamberlain.  It’s been a real privilege working with you”.

   The Grand National 2017 was the 170^th official running of the Grand National Horse Race. It took place at the Aintree Racecourse near Liverpool with the final being held on 8^th April. The winner was One for Arthur, making it only the second horse to be trained in Scotland to win the Grand National.

   WL’s team was led by Lighting Director Chris Hollier and the company oversaw the installation of the sets along with supplying the lighting equipment. WL’s other work with ITV Sport includes the Rugby World Cup coverage along with the EURO 2016 Championships, for which Lighting Designers Chris Hollier and Andy Cottey won The Altman Lighting Television Award for Small Production at the Knight of Illumination Awards.

   WL’s Technical Solutions Director Andy Hook comments: “We are delighted that Paul McNamara and the team have been recognised by what many consider to be the highest accolade in television. Their coverage of the Grand National, along with their coverage of the racing season throughout, has been impeccable and we’re delighted to have been involved on the technical side”.

2. It’s Game On for White Light at Gfinity Esports Arena

   13 February 2018 11:41 Comments Off on It’s Game On for White Light at Gfinity Esports Arena

   White Light has helped to create the ultimate interactive and dynamic gaming experience with the Gfinity Esports Arena in London.

   Gfinity is a world-leading esports entertainment group with a reputation for delivering the best live experiences with the highest production values. The organisation recently created the Gfinity Esports Arena at Vue Cinema in Fulham to allow fans to watch head-to-head competition as gamers battle in the Gfinity Elite Series before their very eyes.

   WL worked closely with Production Designer Paul Sudlow and Stage Builder Scott Fleary to create an unforgettable gaming experience. WL’s Project Manager Tom Cass comments: “We needed to turn an empty space into an immersive gaming environment that featured three custom-built stages and would house a sold-out arena of gaming fanatics. We saw the 3D model so were aware of how Paul envisaged the space. We then had to supply the technical equipment and expertise to make this a reality”.

   The turn-key solutions that WL supplied included the lighting, video and truss structure. Tom states: “When the players enter the gaming arena, they walk through a hexagon tunnel. We lined the walls with LED video tubes and positioned LED tape on the exterior. Similarly, as the players walked to their gaming booths, we installed pixel flex on the staircase in order to perpetuate the mesmerising effect created by the tunnel”.

   The gaming action is live-streamed on two LED video walls which are situated behind the presenter desks. The content is run using disguise 4x4pro media server. Tom states: “We used the disguise 4x4pro as it is one of the few servers powerful enough for a project like this. The gamers are positioned in ten individual units on the stage above and, for each booth, WL supplied Philips ePar 180 LED lights”.

   With the Gfinity Elite Series shown on linear TV and streamed online, WL had to draw on lighting that would be suitable for broadcast. The Phoenix Profile was used to light both the gamers and broadcasters whereas the Galaxia LED Soft Lights were used for studio lighting. Tom adds: “Having worked on high-profile broadcasts such as the Rugby World Cup, Euro 2016 and the ITV Racing season, we were able to draw on our experience and offer a suitable solution”.

   

   The main lighting rig within the arena consisted of ROBE 300s and Spikies to provide even coverage. This was controlled by a LX300 LSC lighting console.

   For the build itself, WL had two weeks to work with the designers and acquire the necessary equipment. The company then had just over a week on site to install all of the technology; ensuring the arena was ready for the launch.

   Tom adds: “Gfinity is a great example of us working on a high-profile project with a very tight deadline. We were able to enter a space, work closely with the creative team and deliver the exact technical solutions required”.

   Photos courtesy of Joe Brady Photography.

3. White Light Brings Young Frankenstein to Life

   11 October 2017 08:57 Comments Off on White Light Brings Young Frankenstein to Life

   Written by legendary comedian Mel Brooks, Young Frankenstein is the musical comedy based on the Oscar-nominated smash hit film of the same name. Following a run on Broadway in 2007, this hilarious show has now made its way to London and opened last night at the Garrick Theatre. As one of the leading lighting suppliers to the West End, White Light was called upon to provide the lighting equipment.

   The lighting designer for the show is Ben Cracknell, who comments: “I have always been a huge fan of Mel Brooks’ films so was thrilled when I was approached to light this. Both Susan Stroman, the Director and Choreographer, and Mel felt that the humour of the show would work much better in a more intimate Vaudeville style so the show was designed around this concept”.

   Young Frankenstein features a set design by Beowulf Boritt that is centred around a series of painted cloths depicting the locations from a Medical School to a Deserted Railway Station. I wanted my lighting style to pick out the beauty in what, in essence, is a series of paintings. I also wanted to flavour my lighting style with the zaniness that seems to pervade throughout all of Mel’s work!”.

   To achieve this, Ben visited WL in order to draw on the company’s extensive hire inventory. He comments: “The Vaudeville style of the show with its four portals and painted cloths shaped my design significantly. On stage, the biggest challenge was to light the numerous painted cloths in what is a very small amount of space. The cloths have both opaque sections to front light (such as solid buildings and ships) and translucent sections to back light (windows, water, the sky). As a result, I visited WL HQ where I spent a lot of time experimenting with different types of cloth lighting battens”.

   Ben eventually decided to draw on the Robert Juliat DALIS 860. He comments: “I was extremely impressed with the colour and even intensity output from these units, when lighting cloth as close as 50cm and as far away as 2m”. To ensure that all of the intricate details of the cloths were highlighted, Ben drew on four Philips VL 3500s. He explains: “I loaded these with a series of custom ‘mask’ gobos which picked out scenic detail from trees to windows to signs; meaning I could be incredibly selective in how the cloths were lit”.

   Ben also drew on a row of Martin MAC Aura XBs to backlight the cloths along with ColourForce 72s for the furthest upstage and downstage cloths. Ben adds: “The stage layout of portals and cloths meant I divided the stage into horizontal bays of lighting. These were cross-lit by ladders of ETC Source Four Lustr 2s then top-lit by Viper DXs and VL3500 Spots. And, of course, a show like this would not be complete without a fine array of strobes for lighting effects – hence the Martin Atomic 3000s!”.

   The show has now opened to rave reviews and will run in the capital until next February. Ben adds: “This was a fantastic show to work on. I really enjoyed my time at the Garrick, especially working with the Chief Electrician Matt Watling and his team. I would also like to thank my own team, Chris Winn (Programmer), Charlotte Burton (Assistant LD) and Theo Chadha (Production Electrician), along with the team at WL”.

   WL’s Managing Director, Bryan Raven, comments: “We are delighted to supply Young Frankenstein as it embarks on its first ever West End run. We have also supplied Heisenberg which opened on Monday at the Wyndham’s, Ink which recently opened at the Duke of York’s and Venus in Fur which opens at Theatre Royal Haymarket later this month. Our constant investment in the very latest technology, coupled with our renowned customer service, means we are able to provide lighting designers with the support they need on any show”.

   Photos courtesy of Manuel Harlan.