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Product Stories
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HSL
Buys new Kinesys
Stage
Product Stories Published: 12 January 2007 Lighting designer Dave Sherwin wanted to move some of his trusses, while video director Blue Leach's design was based on having 5 differently shaped moving high resolution video screens (supplied by XL Video) .... So HSL decided it was the right time to buy a system. "We'd been looking into this for some time" says HSL's Technical Director Howard Dean "We explored the options and reckoned that it’s the best automation system on the market, so It was really just a question of 'when?' ". Kinesys, complete with its proprietary PC-based Vector software, seemed to be the most flexible and user-friendly choice. The system was rigged and operated by HSL’s Rigging Manager Rupert Reynolds, who also took care of all the tour’s other visuals-related rigging aspects. He spent a day training with Kinesys's Dave Weatherhead, when he quickly learned the basics and felt confident with the system. "I got to grips with the software immediately ... It's extremely easy to set up and adjust each day according to the different stage and headroom dimensions" explains Reynolds, "It's just a question of setting the upper limits of the motors, and that's it!". He adds that it's a particularly simple system for anyone from a lighting background to use. Tweaking the motor positions each day is similar to updating preset focuses. Snow Patrol’s 3 moving trusses each measured 20 ft and were aligned in a row upstage. They had four default positions - high, mid, low and 'abstract'. The low position brought them right down to floor level, so the fixtures shot right through the transparent Chroma Q Color Web low res LED screen just downstage of the truss. Each moving truss was heavy on effects lighting, with three Robe ColorSpot 2500s, eight 4-cell moles and 12 Hungaro Quazar Strobes for the totally nihilistic moments The Kinesys system wasn't HSL's only new purchase for Snow Patrol ..... They also snapped up a substantial amount of Color Web LED screen, supplied by AC Lighting, with a 60 wide x 30 ft high section of it used by Sherwin as a 'live' upstage backdrop. Sherwin specified 33 Robe ColorSpot 2500ATs another recent HSL buy, and these were positioned across 3 trusses and on the floor. Other fixtures included over 90 ChromaQ DB4 LED fittings, scattered all over the rig, across the floor, backline and riser fronts …. for producing very cool 'liquid' blinding effects. The front truss featured 6 Source Four profiles - a small concession to 'conventionals' - plus 1200W Robert Juliat Manon spotlights, 8 8-lite Molefeys with scrollers and twenty-two 4-cell Moles. Sherwin ran the show from a WholeHog 3 console and a USB playback wing. In creative terms, his goal was to retain the small, intimate clubby vibes of the earlier parts of the tour – in the summer they toured festivals just with a floor rig - whilst simultaneously having the capacity to 'go large' and rock out when needed in the arenas. Sherwin and video director Blue Leach worked really closely to develop and integrate lighting and video effects, while Haddow continually straddles both lighting and video domains. He operated two Catalyst systems on this, one driving all the LED lighting fixtures and the other linked into Leach’s camera PPU, seeing the two departments effectively fuse into a single 'visual' platform. HSL's 6 person crew was chiefed by Johnny Gallagher, and included Tim Oliver on dimmers and Syncrolite tech Paul Elbreste plus Johnny Harper, Oli James, Color Web tech Donald Campbell and the aforementioned Kinesys and Lighting Rigger, Rupert Reynolds. Sherwin comments "HSL have been fantastic! They've really looked after us and the crew are top - they are always smiling, the gear flew in and out - and there was a lot of it - and nothing is ever too much trouble for them". Other Key Snow Patrol touring personnel are tour manager Neil Mather and production manager James Monkman, plus stage manager Tony Gittins and James Heath who was the production rigger.
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