Media kit

Transcription

Media kit

PLSN 07-19-2016
PROJECTION, LIGHTS AND STAGING NEWS
2016 MEDIA KIT
100%
Visual Presentation Editorial
Visual Presentation Audience
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PROJECTION, LIGHTS AND STAGING NEWS
PROJEC
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ma
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of PLSN
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suubs
indicate a future
spending llevel
evel oonn eentertainment
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markets. PLSN is one of very few
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PLSN 07-19-2016
• 22,481 Qualified Subscribers*
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PROJECTION, LIGHTS & STAGING NEWS
Nook Schoenfeld, Editor of PLSN Magazine
Upon finishing school, I ventured down this audio
path and accidentally became a lighting guy. I had
learned some things in theater and stagecraft classes,
but nothing schooled me quite like doing shows in
the live entertainment business. I ended up touring
with bands and witnessed the birth of the moving
light personally. Through hours of painstaking trial
and error with these new lights (and hanging from
my ankles from trusses all day), it did not take long to
realize I would rather be a designer than a technician.
So I learned computers before most and was in
the right place at the right time, to be a lighting
programmer. Thirty years later, I still am in the game,
but found myself fancying a way out. After gigging in
80 different countries, I was finally bored with travel.
I have been writing for over ten years now. I enjoy
reading the trade mags and seeing articles of mine
published. I’m proud of the column I have occupied as
the LD-at-Large, located on the back page of PLSN for
the last eight years. I certainly fantasized to myself, that
wouldn’t it be great if one day, I could combine my early
education with what I had learned by touring the globe
for 30 years. But I never expected to be an editor. When I
was presented an offer to pursue this opportunity, I was
taken aback. I’ve always done things a little different than
the norm. In this case, one door opened, allowing me to
close another. So into the proverbial fire again I dove.
Stepping into some pretty tall shoes left vacated by my
predecessors was actually a bigger step than leaving the
road behind.
I have added my own touch to the last year’s
editions of this magazine, but by no means did I ever
think of changing the format that has worked so
well for so long. I hope to add some fresh views from
contributing writers and some new angles on the way
we all look at the amazing talent out there. My history
of personally using so much of the gear displayed
in PLSN gives me a keen eye for anything new and
exciting in this whacky entertainment business we
are all in. I look forward to entertaining you with
some fine reading over the years.
PLSN 07-19-2016
T
aking over as editor for PLSN seems to be part
of the natural path in life that I have chosen.
Like many teenagers, I entered college without
a clue of what I would do with my life. But I liked music
and I liked reading. So I took a bunch of journalism,
English lit and theater classes, while figuring out
what to do. Liberal arts they called it. Along the way,
I joined a group of stagehands and local audio folks
doing shows in my spare time. Changing majors,
I found myself more interested in audio. While
pursuing that path, all my knowledge of writing was
placed on a back burner.
2016 EDITORIAL CALENDAR
Year
SALES CONTACTS
2
0
1
6
Issue
Focus
Special Feature
Buyer’s Guide
Bonus
Distribution
Ad Due Dates
January
New Year - New Gear
What type of gear is missing from your inventory?
LED Pars
Winter NAMM
December 23, 2015
February
Focus on Nashville Edition
We look at several Nashville companies
Production and Stage Managers
for hire in Nashville
March
Theatre Issue
Theatrical productions and technology.
Dimmers
USITT, PL+S Frankfurt
February 25, 2016
April
TV and Film issue
Interviews with top DPs and LDs in the film world.
Fresnels and Soft Lights
NAB
March 25, 2016
May
Corporate Events
New gear from overseas - Report from PL+S Frankfurt.
Wireless DMX
June
AV Issue
Concert video directors and the latest video gear.
Media Servers
July
Festival Issue
So many festivals, so many types. An intro to all of them.
Lasers
June 25, 2016
August
Houses of Worship
The latest technology hits your local church.
Automated Lighting Consoles
July 25, 2016
September
Nightclubs
Coming up with a new club design - from soup to nuts.
LED Pancake - Wash Lights
August 25, 2016
October
Concert Touring
In-depth report on the summer touring season.
Foggers
November
Trade Show Lighting
LDI wrapup on all the latest new gear.
Hard Edge Moving Arc Lights
October 25, 2016
December
Holiday Issue
Coverage of holiday productions.
Followspots
November 25, 2016
Greg Gallardo - Publisher
Entertainment Division
Tel: 702.454.8550
Fax: 702.898.2942
gregg@timelesscom.com
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
tlowe@timelesscom.com
Judy Wang
The Greater China
Worldwide Focus Media
Tel: 0086-13810325171
judy@timelesscom.com
January 25, 2016
April 25, 2016
InfoComm
LDI
May 25, 2016
September 25, 2016
In-Depth and Comprehensive Editorial
Every issue of Projection, Lights & Staging News is packed with the news, features and columns that subscribers turn to for information and insights they can’t get anywhere else.
IN MEMORIAM
Remembering Troels Volver, Page13
NEWS
Showtime
PLSN readers get a chance to see their
own work in print. They send us gig
shots, crew credits and details about the
gear they used.
NEW YORK — New technologies added
to the festivities shared by auld acquaintances for 2013’s New Years Eve celebrations, from
Manhattan’s Times Square to the beaches of
Brazil, with an equally wide range of production companies and manufacturers supporting the spectacles.
NYE performances on Times Square’s
Nivea Kiss and Countdown stages for ABC’s
Dick Clark’s New Years Rockin’ Eve and NBC’s
New Years Eve with Carson Daly included Taylor Swift, Train, Neon Trees, Carly Rae Jepsen,
Psy, Yuri, The Voice winner Cassadee Pope,
USO’s Liberty Bells and the Broadway cast of
Million Dollar Quartet.
LD Paul Miller and programmer Paul Sonnleitner used Martin MAC Auras and Clay Paky
Sharpys provided by 4Wall NY to light the
Kiss and Countdown Stages, which also featured appearances by NYC mayor Michael
Bloomberg and hosts including CNN’s Anderson Cooper and Mario and Courtney Lopez.
“We were able to get more variety across
the performances and have a little more
flash,” Miller said, crediting the gear for helping overcome obstacles ranging from power,
site access and time constraints to inclement
weather and the need to compete with Times
Square’s sensory overload. “Everyone was really happy with the new look.” More details at
http://plsn.me/VsRLIh.
Also in New York’s celebratory epicenter
was AWB Design, providing a visual assist for
MTV’s Times Square performances by Ke$ha,
Sean Kingston, Ne-Yo and Conor Maynard,
among others. The LMG Nashville-supplied
gear included 22 Elation EPV762 MH moving
head LED video panels.
Production designer Anthony Bishop
of AWB collaborated with LMG’s Ken Gay
to create the environment that worked for
the live audience as well as for the cameras,
Woodroffe, lighting director Mac Mosier, crew
chief Oli James and lighting crew Tom James,
Dave Evans, Mike Coryell, Richard Krohne, Brian Reed, Robert Starksfield and John Flynn.
For a corrected Lady Gaga crew and gear list,
go to plsn.me/LadyGaga2012fix.
In the same Showtime feature, the gear list
for the Jay-Z/Kanye West tour listing should
have included 90 Elements Krypton 25 and
110 Elements Krypton 10 fixtures, and the video company supporting Bruce Springsteen’s
tour, Pete’s Big TVs, should have been credited.
PROJE
CT
I
AN
NIVERSARY
By JustinLang
News Spotlight
5
Chris Lamb Named
2015 Parnelli Lifetime
Achievement Honoree
8
In Memoriam:
Lenore Travis, 67;
Lyle Centola, 59
45
LONDON —British pop star Robbie Williams performed at London’s O2 Arena for
three nights of concerts Nov 22-Nov 24. The
final night was broadcast across England’s
Sky1 network. PRG supplied the lighting
package, including its Best Boy 4000 Spot
luminaire, for creative director Willie Williams
and set designer Mark Fisher. Willie Williams
brought in LD Allen Branton to consult on the
lighting for the televised show.
With an arsenal of bright lighting and
Danish Fixtures
Light Leningrad in
St. Petersburg
ST. PETERSBURG, Russia — Leningrad, a
Russian band that performed at the Yubileyny
sports complex here last fall, was lit by LD
Elena Morozova, who incorporated 10 Martin MAC Vipers into the rig. Rental company
Euroshow supplied the Vipers, which made
their first appearance in the country, along
with the rest of the lighting gear.
Morozova used the Vipers for a variety
of new lighting looks, including hard-edged
beam effects. Euroshow owner Aleksandr Blednykh also credited the fixture for its
brightness, speed and versatility.
Along with the Vipers, Morozova’s design
included eight automated pods of MAC 101s,
each with 16 of the compact LED fixtures.
Martin LC 2140 LED video screens fed by a
media server complemented the pod visuals.
Sixteen MAC 2000 Wash XB moving heads
and 20 MAC 250 Beam fixtures rounded out
the Martin fixtures used for the shows.
More details at plsn.me/TulXoB
video effects flashing in synch with the music
for the in-the-round production, revealing —
and then concealing — both the stage and
surrounding audiences served as a key design
objective. To pull that off, Willie Williams and
Branton needed bright, long-range fixtures
with strategically shaped shutter positions
and beams. The 40-plus Best Boys proved up
to the task.
“One of the challenges is that you don’t
always want to see all the audience and the
architectural elements in all the shots,” Branton said. “We knew that we would need a
high output, shutter-able light that allowed
us accurate control to cut in to just the audience at the barricades and not show security
or crew, as well as controlling spill. The Best
Boy is a great light, which gave us the fine
control that we needed, and with its clever
optics, gave us far more output than I would
have expected.”
More details at plsn.me/Tum0k8
Compact LED Fixtures Fit Well with
Miss Venezuela Pageant’s Petite Stage
Doug Fleenor Design
Doug Fleenor Design has been manufacturing DMX512
distribution and interface equipment for the entertainment
industry since 1990. A long and growing list of standard products is supplemented by a custom design service that provides solutions to unique problems. Products range from opto
splitters, mergers and DMX over Ethernet devices.
dfd.com
E:cue
e:cue lighting control develops control and automation
solutions to deliver sustainable and dynamic lighting experiences. e:cue provides software and hardware products to
provide the right lighting control solution together with lighting professionals and partners around the world. Products
include network lighting control engines, DIN-rail devices,
mergers and network hubs.
ecue.com
protocols using a network-native environment for greater flexibility and a more efficient system. ETC’s NET3 products include network, 5-pin and terminal gateways for DMX and Show Control.
etcconnect.com
Enttec
Enttec has developed a number of DMX distribution devices for every level of the entertainment and architectural markets, from entry level to professional. Products include DMX
over USB, DMX over Ethernet, show recording and playback,
along with splitters and mergers.
enttec.om
Goddard Design
Goddard Design is known for their DMX testing and distribution devices. They have a wide range of products in the distribution market, including mergers, splitters, decoders, hubs
and processors that feature RDM protocol.
goddarddesign.com
Luminex
Luminex Lighting Control Equipment, launched in early
2002, specializes in DMX network distribution devices for the
entertainment industry that work over Ethernet. Products include splitters, boosters, nodes and network switches.
luminex.be
Pathway Connectivity
Founded in 1985, Pathway Connectivity provides data
communications solutions for the entertainment lighting industry. They design, manufacture and support products that
enable the operation of sophisticated stage and architectural
lighting systems. Pathway Connectivity offers DMX-over Ethernet nodes, switches, hubs, relays and convertors.
pathwayconnect.com
Philips Strand Lighting
Strand Lighting offers a range of luminaires, dimming
equipment, control systems and software for use with theatre, television, film, themed environments and architectural
applications. Philips Strand offers networking devices such as
splitters, mergers, DMX-over-Ethernet nodes and relays.
strandlighting.com
PRG
PRG serves a range of markets, including concert touring, corporate events, trade shows, special events, theatre,
television and film. PRG provides integrated services and
equipment for video, lighting, rigging, staging, scenery and
automation systems. Their networking products include DMX
nodes, DMX-over-Ethernet devices, switches and consoles.
prg.com
Swisson
Elation Lighting
MA Lighting
Elation Lighting provides a wide range of products for the
entertainment lighting industry. They offer a number of cost
effective products with features and functions installations
and tours require. Networking products include DMX recorders, mergers, splitters and wireless devices.
elationlighting.com
PROJECTION CONNECTION p. 45
CUT THE CABLES
Founded in 1983, MA Lighting offers a variety of networking components, digital dimming systems, DMX nodes and
processors along with their grandMA and grandMA2 computer-controlled lighting consoles.
malighting.com
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mega-lite.com I sales@mega-lite.com
866-460-MEGA (6342) I San Antonio, TX
ETC is committed to interoperability of different manufacturers’ products. ETC helped to develop Ethernet-based networking in entertainment lighting systems. Their Net3 devices offer
streamlined system control, and higher performance than legacy
22
30
Swisson provides DMX and RMD networking and testing products including DMX testing, splitters, boosters and
mergers. They are available in hardwire or wireless options.
swisson.com
ure, you know iWeiss.
Or do you?
Don’t confuse it with I. Weiss, the century-old supplier of soft goods to Broadway
productions. Building on that legacy, the company continues to embrace that market while
expanding into others. This includes putting
their rigging expertise to work on different
projects, and their foray into products like the
ViaWinch.
“We felt that ‘I. Weiss’ did not fully express all
we do today, or the idea that we look forward
to applying our expertise to custom work that
requires especially creative solutions,” says president David Rosenberg on their 2011 name
change to iWeiss Theatrical Solutions. “We want
to apply what we’ve learned through our extensive theater work to other areas. For example,
when a museum asks if we can rig an 80-foot
whale skeleton, we don’t hesitate to say yes.”
“A lot of companies view us as a drapery
company, as a company that does high end
theater soft goods,” says Jennifer Tankleff, vice
president. “But we want more of them to know
of our extensive experience in rigging and automation.”
Rosenberg adds that iWeiss has developed
partnerships with companies like Stage Technologies, J.R. Clancy and Serapid. “It’s great to
work with respected companies like them, and
we want to do more of that,” he says. “We want
to focus on what we do best with a wider range
of clients in a larger live entertainment sphere.”
The design team included SGM gear in the rig.
Qlimax Hardstyle
Revelers Immersed
in Sound, Visuals
40
42
Inside Theatre
Wide Angle
Venue Design
Derek McLane’s Scenic Designs
Bob Seger's Ride Out Tour
China's Han Show Theatre
Where They’ve Been
The company’s history is one of the oldest
and most esteemed in the live event industry,
with roots going back to 1900. By the late 1970s,
the company’s reputation for quality continued to thrive, but the owners faced business
challenges that were overwhelming. I. Weiss
enjoyed a rebirth in 1981 when it was reincorporated, and Rosenberg assumed the helm in
1985.
When the economic downturn hit in 2008,
at first the company didn’t experience too great
a change, as many projects they participate in
are of the big, long-term variety. “But money for
nonprofit and school projects dried up, and Jennifer [Tankleff] and I looked at things and said,
‘Okay, hard times are coming, how can we plan
for it?’” Rosenberg is proud they didn’t have to
let anyone go, and that’s because of what they
did in terms of planning and budgeting.
But it’s equally important what they didn’t do:
“We concentrate hard on keeping the focus on
what we do best, rather than getting our hands
in every nook and cranny of the entertainment
business,” he explains. “We are really good at
anything soft goods related, rigging, and design
and build. We solve problems with that special
custom job. So the mission now is to apply more
of those skills for a greater array of clients.”
In May of 2010, after 28 Years, iWeiss
moved from Long Island City across the Hudson to swankier, larger facility in Fairview, NJ
measuring 30,000 square feet. The new site is
home to the company’s sales team, drapery
fabrication and rigging shop along with its
production and project management staff.
It features a large layout, hanging space, and
room for efficient levels of inventory. “We
have a steel shop that handles all the fabrication of our ViaLift and ViaWinch plus other
projects,” Rosenberg says. “It’s wonderful because we can be better, faster, and more competitive than ever.”
LD Roberto Penso specified
Q-Wash 560Z-LEDs and other
CARACAS, Venezuela — LD Roberto Penso incorporated 54 fixtures from Chauvet
fixtures from Chauvet.
Professional within his design for the Miss Venezuela Pageant, which was televised from
the Hotel Intercontinental here. Chauvet’s Q-Wash 560Z-LED fixtures, provided by VLPS,
proved a good fit for the challenges posed by the production, including a small stage and
low ceiling within the hotel ballroom. For audience lighting, Penso used 36 COLORado 1 Tour wash
lights.
“A little while ago, LEDs didn’t look too good on TV,” Penso noted. “But since the Q-Wash 560Z-LED
lights use Cree LEDs with high CRI value, color rendering is no longer a negative issue, especially with
the HDTV technology, which perceives colors more accurately. These LED fixtures performed amazingly well.”
More details at plsn.me/TulXox
The 10 Martin MAC Vipers in Leningrad’s rig served as the
fixtures’ debut in Russia.
40
11
From left, iWeiss’ David Rosenberg,
Jennifer Tankleff and Richard Parks
petitive field. In 2001, Richard
Parks joined the company.
The longtime member of IATSE local 635 quickly rose to
the senior project manager
position and is responsible for
all of their historical renovation projects in addition to the
many custom rigging related
projects. “He has really grown
our installation design rigging
department,” Rosenberg says
of Parks. “And then, two years
ago, Paul [Kelm], previously a
head of automation at Cirque
du Soleil, joined and began
to design machinery for us.”
Today Kelm, often referred to
as the “mad scientist” of the
company, has created a lot
of custom line shafts; batten
iWeiss’ ViaWinch was nominated for a Parnelli “IT” award in 2011
hoists; curtain machines; controls; and other integral parts
for theaters, colleges, and big PACs. (For a closer
The Theatrical Twist
While rigging has always been part of the look at one recent project, the Capitol Theatre in
iWeiss repertoire, the company has made an Port Chester, NY, see PLSN, Oct. 2012, page 68).
“It’s important that lighting, staging and proeffort to become more dominant in that com-
duction companies understand that we provide
a different area of rigging expertise,” Rosenberg
says. “There are plenty out there who are good
with truss and chain motors, but we bring a theatrical twist to the arena that others just don’t
have.”
iWeiss played a key role in the renovation of
the David H. Koch Theater at Lincoln Center in
New York City. Parks led a team that put in a firstof-its-kind acoustic fire curtain. It’s the traditional
fire safety curtain for use in an emergency, but
it’s also a reflective orchestra performance shell
that’s so soundproof an orchestra can practice in
the pit while a ballet troupe practices on stage
to a piano without one hearing the other. The
66-foot wide by 43-foot high steel frame weighs
23,000 pounds and the winch that operates it
was, as just one example of their partnerships,
engineered and fabricated by J.R. Clancy. The
custom arbor is 30 feet high and contains 290
counterweight bricks weighing 73 pounds each.
Motorized light ladders are mounted with trolleys to 11-foot I-beam sections for lateral movement, and each I-beam is motorized with a dual
drum line shaft for vertical movement. “The project was finished on time and on budget, and it’s
something we’re very proud of,” Rosenberg says.
0$5&+plsn.com
GLOBAL NEWS
COMPANY 411
PRODUCTIONPROFILE
ONTHEMOVE
Alcorn McBride named Wincomn Technology Development Co. Ltd., with headquarters in Beijing and offices in Hong Kong,
Shenzhen and Shanghai, as its distributor in
China. The company also recently named distributors including Electori for Japan, Sovico
for Korea and several companies in Singapore. Alcorn McBride also named Tejix as its
distributor in France. Tejix was founded by
Henry Corrado, who had served as head of
Alcorn McBride’s Paris-based office.
More details at plsn.me/W7TQfw
Barco named Baranday as its distributor in
Switzerland. Baranday will handle Barco’s projection and image processing products.
More details at plsn.me/W7TQvY
Bandit Lites
named
Andy
Reese technical
assistant for the
company’s technical
services
department in
Nashville,
TN.
» ANDY REESE
Broadcast Pix named Steve Ellis as its president and CEO. Ellis’ AV career includes AT&T,
Merrill Lynch and the U.S. Air Force. Prior to
Broadcast Pix, he served as vice president of Telestream since 2008.
More details at plsn.me/W7TQwc
Creative
Stage Lighting
announced that
George B. Studnicky IV, who
joined the company in 2000 and
served as rentals
» GEORGE B. STUDNICKY IV
and production
department
manager since
2007, has been
promoted to vice
president.
Creative Stage
Lighting
also
named Michael
» MICHAEL CARATTINI
Carattini director
of sales. Prior to CSL, where he will also serve as
sales manager for the central US, Carattini held
leadership roles with Coemar, Robe, Strong
and DTS Lighting.
More details at plsn.me/W7TQfs
Electrosonic
named
Rob
Smith
sales
manager of its
Cultural Entertainment
and
Leisure
(CEL)
division
serv» ROB SMITH
ing markets in
Europe, the Middle East and Africa (EMEA).
Smith, a 20-year AV industry veteran, joined
Electrosonic’s CEL in 2010 as client account
manager.
ETC
(Electronic Theatre
Controls)
announced
that
Harvey Sweet,
who has spent
the last four
years as senior
» HARVEY SWEET
product
manager of ETC Rigging, has retired. Sweet’s
career in theatrical production spanned 59
years. He played a key role on ESTA’s E1.6-1
Rigging Task Group, which developed motorized rigging standards. He also served on
many industry committees. Sweet, the author of three theater-technology textbooks,
has also taught college-level courses in
theater technology, scenic design and
theater aesthetics for more than 30 years.
More details at plsn.me/W7TQfI
Gallagher Staging, based in La Mirada,
CA, opened a location 30 minutes from
Orlando and named Eddie Kercher as its
East Coast director of operations. Kercher
has been in the touring and production
industry for 35 years as a producer of festivals, corporate events and industrial
shows around the world. The new location
is at 722-724 South Industry Rd., Cocoa, FL,
32926.
More details at plsn.me/WK9xIg.
LED Source named Dorel Baila director of entertainment sales. Baila will oversee the company’s entertainment division
and its distribution of Coemar LED products.
More details at plsn.me/W7TTIn
Morpheus Lights named Barbara Brennan vice-president of business develop-
16
ment. Brennan, a
35-year industry
veteran,
most
recently served
Western U.S. regional manager
for PRG Integrated Solutions. She
» BARBARA BRENNAN
will be based in
Las Vegas.
More details at plsn.me/W7TTIr
Shockwave
Cargo
announced
that
independent
production manager Chris Gratton, who has 20
years of industry
» CHRIS GRATTON
experience, will
be working on Shockwave Cargo’s behalf,
helping its clients and prospects with their
shipping and touring needs.
More details at plsn.me/W7TQMv
Tait Technologies
named
Jeremy Lloyd as
its spectaculars
director. Lloyd,
who has 22 years
of live event
experience,
is
» JEREMY LLOYD
based at Tait’s
U.K. location. Among other big events, Lloyd
led the technical design and staging teams
for the 2012 Olympic and Paralympic Ceremonies in London.
More details at plsn.me/W7TRQA
Sapsis Rigging
added
Patrick
Finn to its team.
Finn is ETCP certified (Rigger-Theatre). Prior to
Sapsis Rigging,
Finn worked with
» PATRICK FINN
J. R. Clancy as a
dealer project manager and also as a product
developer.
More details at plsn.me/W7TTIb
Vol. 16.02
March, 2015
HTS & STA
, LIG
GI
ON
S
NEW
NG
Barbizon Lighting hired Carl Spaulding
to handle sales of products and expendables
in Boston. Spaulding previously worked at
ENTTEC, BMI Supply, and also as a lighting designer, scenic designer, technical director and
master electrician.
More details at plsn.me/W7TQMH
Prior to Bandit, Reese worked as an event
and operations coordinator for the BOK
Center in Tulsa, OK and as the changeover
manager for the Ted Constant Convocation
Center.
More details at plsn.me/W7TPZ6
NIVERSARY
Battle Born Tour
LD Steven Douglas Goes Bold and Stark
with New Design, Gear
By WillRomano
News Spotlight
5
Super Bowl Halftime
Show Sets Record for
U.S. TV Viewership
5
Two Killed, Four Injured
in Accident at Alabama
Pyro Factory
6
Stanley Miller Joins
Parnelli Awards'
Board of Advisors
White Light named Sarah Cox as its European divisional sales manager. Cox most recently worked as business development manager for Stage Electrics. Before that, she held
positions with Roland Hemming and TMB.
More details at plsn.me/W7TTIf
LD Steven Douglas
F
or more than a decade, The Killers
have been pumping out hard-driving,
danceable and emotionally-charged
rock music, with glimmers of techno pop.
Through his eight years (and counting) as
a member of the band’s production team,
lighting designer/director Steven Douglas
has kept the visuals as fresh as the music.
)(%58$5<plsn.com
64
Yo u s p i n m e
LED
BREAKTHROUGH
ON THE MOVE
The
YEAR
AN
An “Uncluttered” Edict
For their 2012/2013 tour, in support of
their album, Battle Born, the Killers issued
an edict to Douglas: to keep the live show
design “uncluttered” with a bold and stark
approach. “The band “wanted to keep this
tour really simple, visually,” he notes.
That approach also ties in, visually, with
the Battle Born album art showing “mountains, big sky, and the Las Vegas desert,”
adds Douglas. (The album title is the same
as Nevada’s state motto.)
Douglas got an advanced look at the album about three weeks prior to its Sept.
2012 release, and noted how its graphics
tie in with the music as well, which leans
away from techno and more toward “the
Bruce Springsteen end of the musical
spectrum.”
“Ironically, even though this is more of
a stripped back design, it probably has the
most gear we’ve worked with,” Douglas
continues. “Last time when we went out,
it was much smaller. We had really low-res
video and not a lot of fixtures. We were
playing arenas, using maybe 40 or 50 fixtures.
“For this tour, we are not using every
light for every song,” Douglas notes. “Some
songs are lit by spots, others by LED fixtures. Some songs are lit by wash lights
and others by Sharpys. This time out, it’s
about using gear sparingly.”
Along with the combination of a paradoxically bigger fixture count for the lean32
er visual design, Douglas faced the
challenge of “drastically different”
set lists with “a lot of re-programming” as the tour kicked off in U.S.
and U.K. arenas last fall. The Killers have
since whittled down their nightly performances to a total closer to 20 tunes.
“I’ve been with these guys a long time
now — this is the fourth album I’ve done
with them,” Douglas notes. “With each
new tour that comes around, it’s a case of
learning new songs and re-imagining the
old ones, because you have already done
three or four different tour versions of
them.”
New Fixtures, New Looks
One way to ensure that your design
won’t be able to slouch toward complacency is to use new gear. “I’ve used the
same combination of fixtures for the last
three or four tours, and I was getting a little too comfortable with them,” Douglas
says. “It all started to look the same.”
A visit to Martin Professional headquarters in Denmark opened his eyes to some
new visual possibilities, and he ended up
adding 22 of the new 1000W Martin MAC
Viper Profiles into the Battle Born touring
rig. “I saw them when they were in production — I was very impressed.”
The Viper’s virtues, Douglas says, include the “flatness” of its beam, distinctive
gobos, fast zoom function, compact size,
and the fixture’s ability to hold its own
against powerful washes and vibrant video. “I can wash a whole stage with three
Vipers,” he says, adding that “they really
come in handy, because we really need
something to stand up against the video
screen.”
Along with the Viper Profiles, other
fixtures framing the main video screen’s
6,000 NITs of potential light output include Martin’s MAC Auras, MAC 2000 Wash
XBs, Atomic 3000 DMX strobes with Atomic Colors heads, Thomas 2-Lite DWEs and
Clay Paky Sharpys.
Split Screen, Straight Truss
The screen itself, an XL Video-supplied
semi-transparent (15.6mm pixel pitch) Pixled F-15 screen measuring 48 by 22 feet in
size (WxH), splits horizontally during the
course of the show. The upper 16-foot section flies up, separating from the six-foothigh floor-mounted portion.
The screen split reveals a straight truss
with “Vipers top-rigged,” says Douglas,
“and 14 MAC Auras outrigged from the
scaffolding piping. This wall of moving
lights gives the video screens dimension.”
The design evolved from earlier legs of
the tour, where the split screen revealed
seven Vipers mounted atop seven, threemeter-high upstage truss towers, which
also secured the 14 MAC Auras. “The move
toward straight trussing was done to allow
for more crossover space upstage, behind
the stage,” Douglas notes.
Video content reflects the band’s collaboration with top talents including Tim
Burton, whose video for the song “Bones,”
flashes on the upstage screen. Other content creators include Warren Fu and Chris
Callister.
“Having a number of artists generating
content takes a little bit of the burden off,”
notes Douglas. “They’ll turn up with files
that you can just drop into a media server.
That helps, so I can concentrate my energy
on other things. I don’t have much involvement with video creation, but I do get
shown the rough cuts, just to make sure
they all tie in color-wise with what we’re
doing on stage.”
Show Control and Video
Douglas uses an MA Lighting grandMA2
Light console, with a second as backup,
to control the lighting, video, live camera
feeds and lasers. The console is using 2.6.8
software and is connected to an ArKaos
MediaMaster Pro 3 server via ArtNet protocol.
APRIL 2013 • plsn.com
Road Test
PRODUCTION PROFILE
Cla Pak
Clay
Paky
Mythos
40 Designer Insights
XRLED 1200 SPOT
The endless pan• 800-Watt
& tilt makes
RGB the
LED
XLED 2007 Beam
go right
round.
• Adjustable
Color
Temp
LD-AT-LARGE
Set in a Bag
By
NookSchoenfeld
» Ready to Soar
So I download the music and was
pleasantly surprised. Not only had I heard
these songs on the radio, they were popping up in advertisements from banks to
insurance companies. They were played
as background music for football games.
They were Imagine Dragons, and I realized right away they were going to be
huge. Only problem was, I was booked
solid for the next two months with putting together other shows. It was time
to call in the cavalry again. First call goes
out to Lightswitch veteran John Featherstone. John always finds time to help a
brother out when he is swamped. I forwarded him the email with the music link.
He listened. He was sold. We would need
to tag team the project. I called the manager up and explained how thrilled I was
with the band’s music. I asked for a week
to come up with some renderings of my
ideas. He in turn emailed me some paper bag sketches of trees with lanterns in
them and some ideas the band had been
bouncing off him. The following Friday,
he was meeting with a couple other designers and would talk to us afterwards.
There was only one stipulation. Whatever
I designed, it had to fit in a 16-foot trailer
towed behind a bus.
NEXT MONTH
Inside Theatre
Vanya and Sonia and
Masha and Spike
Buyers Guide
Automated Rigging
The Biz
Corporate Branding
Strategies
60
ILLUSTRATION BY ANDY AU
E
ach year I
get a few
calls from
bands looking for a set or lighting design
for their tour. It’s always an exciting process as I let my imagination run for a few
days before I start putting pencil to paper.
Last month, I got a call from a booking
agent looking to hook me up with one
of her new acts. So I contacted the management company and they emailed me
a response. “Before we chat, take a listen
to this music and let us know if this is
something you would be interested in.”
Nobody has ever approached me in this
manner before. I had not thought I heard
the band’s name previously.
SECTIONHEADLINE
PROJECTION
CONNECTION
Headline
• Adjustable Zoom
» The Lighting Rig
I wanted a lighting package that was
self-contained. Something that was big
enough to light the band without any
other help from a venue’s in house lighting, But I did ask each venue to supply
me with 4 x 6 lamps bars and a handful
of Lekos to help with basic keylighting.
Christie Lites was the vendor of choice
for this act, as they have offices right
there in Vegas. They knew they were not
going to make money off this two-month
swing, but it got their foot in the door
with a band that will probably go big,
rather soon. I knew that they owned tons
of Martin gear, and for this tour I spec’d
all of their fixtures. I used a single Martin
Stagebar as a footlight for the front faces of each band member. Six Auras were
utilized for their wide beams, to illuminate the sails and uplight the trees. Then
I chose five MAC Vipers — two from the
sides and three from the back — to light
the act. The wide beam, fast response of
the yokes, and the incredible gobo selection these lights provide made them
the most important tool for the show.
Because of money concerns, I chose the
economical Martin M1 console.
I had one week of open
time in January to spend at
Normally this would
home. Thank God for Heroic
have been a huge turnoff
When I got called to design a
Lighting. Heroic is the prefor us. Instead, it became
compact set, I thought about
mier lighting/video/audio
a challenge. I told John
rental house in Minneapolis.
some of my ideas, and
something my friend Jonathan
Last month, I stopped down
we devised a preliminary
Smeeton
described
on
Facebook.
at their shop on a request.
plan. I called my artist
He developed a “set in the bag”
They were toying with the
Chris Tousey in Las Vegas.
idea of getting an ESP sysI discussed some ideas
concept for one of his artists.
tem and a pre-viz studio in
with him, and he starttheir complex. I gave them
ed devising preliminary
a few words of advice, since I
sketches. Since Mac (the
band’s manager) was located in
like material that one attaches to a skel- spend a lot of time in these joints. In return
the same town as him, it would
eton frame of aluminum. I was thinking they offered for me to be their first client,
make it easy to have Chris walk into his tent pole style nylon sails. But once I for free, to work out the bugs. There really
office with a thumb drive full of nice pics drew my idea on paper and sent them to weren’t any, as these guys built a stateand a conversation that explains every- my artist, I realized they were a lot big- of-the-art room that was the perfect setthing. I had a team of good talent, will- ger than what I originally thought of. I ting for me to work. And it was only a few
ing to work cheap because we just all had envisioned a little freestanding half miles outside of my downtown home. My
liked what we were hearing. Sometimes moon shape behind the drummer. Once director Justin flew in to meet me. After a
you have to offer your services afford- drawn, it turned out to be 15 feet high by 30-minute lesson in how the M1 console
ably and grow with the band. Two hours 32 feet wide. Then I asked for two small- works, he was programming like an old
after Chris met with Mac, I got the email. er shapes that could go downstage on pro. This console is just that easy. The six“You guys nailed it. You got us exactly the sides of the half moon. Chris came foot-wide plasma screen at Heroic made it
what we wanted, plus so much more. up with some shark fin-shaped sails that all simple. We knocked out 14 songs in two
But can we project stuff on the sails?” added to the depth of the stage. In front days, with a third spent running the cues
Of course we can. With that said, I im- of these sails I designed four aluminum back in the visualizer.
Two weeks later, we all met up at S.I.R.
mediately got one of my trusty young trees. Fourteen feet tall by about eight
Lighting Directors to come on board for feet wide. Complete with faux leaves. in Vegas for rehearsals. Warren Flynn, the
the same financial considerations. Justin The trees looked totally 3D and curved account rep from Christie Lites, came
Shaw completed the line up. He was now like old fruit trees. I hung three Martin through for us with a couple of trusses
the tour’s carpenter, video engineer and MAC 101 LED movers and three home- and some ground support for this square
lighting designer.
made lanterns from each tree. Joe Gal- box of rehearsal space. I flew in for a day
lagher built the entire set for a fair price, to do a quick grip and grin with the band,
and it fit on top of lighting cases. The felt their excitement, then left it up to the
Bag of Tricks
When I got called to design a com- whole set was huge, but took up four rest of the team to polish the rough gem
pact set, I thought about something my feet of truck space. I knew that this set of a show I left them with. Now on to defriend Jonathan Smeeton described on would be playing large outdoor venues signing the arena tour later this spring.
Facebook. He developed a “set in the by summer, so I needed to have the sails
bag” concept for one of his artists. Some made with beefy construction as opsimple cloth sails made of stretchy silk- posed to tent poles.
Reach Nook Schoenfeld at nook@plsn.com.
PRLIGHTING.US
www.MegaSystemsInc.com
Will Potts Lights the 2015 Tour
LDATLARGE
Inside Theatre
Topical discussions with the leading lights in the world of
theatre, on and off Broadway.
Production Profile
Lighting, video and set designers share their challenges,
triumphs and insights about trend-setting touring productions.
Inside. . .
Deck
Ai Media Servers
Company 411
Every manufacturer that has risen to prominence in our
industry has done so against huge odds. Here are their
stories.
Buyers Guide
A no-hype-allowed zone for industry professionals making
critical buying decisions.
Road Test
Sizing up a piece of gear on a trade show floor is one
thing. Actually putting it to work on a real-world production is another. Here’s where industry pros put the rubber
to the road.
Interviews and Chats
PLSN speaks with the Legends behind the scenes as
they chat about life and the productions they have been
involved in.
37
COVER PHOTO BY STEVE JENNINGS
IR Cameras
By LineHere
WHAT’S HOT
38
Robbie Williams’ O2 Arena Shows Put New
Video Technologies to the Test
Pete’s Big TVs Supply Donny
& Marie Christmas Shows
XL Video provided Pixled FX-200 LED
spheres and Barco HDQ-2K40 projectors.
36
48
68
Designer Insights
3URGXFWLRQ3URÀOH
LD-at-Large
Eric Church's The Outsiders Tour
Red Bull's Crashed Ice Tour
Jess Baker: From Rock to Corporate Gigs
LONDON — Robbie Williams packed the cavernous O2 Arena here
recently for three solo performances. But the former Take That band
member wasn’t alone in the big room. Along with backup performers,
the concert featured a constantly changing array of brightly flashing
visuals using some of the latest technologies adopted by XL Video.
XL’s project manager, Phil Mercer, worked with Robbie Williams’
long-term production manager Wob Roberts. The set and stage architecture was designed by production designer Mark Fisher together
with creative director Willie Williams and overseen by executive producer Lee Lodge.
More than 2,000 of XL’s new Pixled FX-200 LED spheres were fash-
ioned into a series of oval shapes varying in diameter between 2.5 and
4 feet, then rigged onto a set of hand-rails built by Tait Technologies,
descending during the in-the-round show from the ceiling.
The LED spheres and four of XL’s new Barco HDQ-2K40 40K projectors, each with 40,000 lumens output with a 2K resolution, worked in
tandem with automated gauze projection surfaces arranged in landscape and portrait orientations to fill the void above the stage with
dynamic imagery. Two additional HDQ-2K40s beamed visuals across
the stage and into the audience at times.
Sam Pattinson and Luke Halls from Treatment Studio produced
playback material to Willie Williams’ creative
continued on page 35
Electrosonic Acquires Global Immersion
LOS ANGELES — Electrosonic completed its acquisition of Global Immersion, a designer and integrator of digital immersive theater
attractions for the planetarium, institutional theater and giant screen markets Dec. 10, 2012.
“As a single operation, we will service an even broader range of markets, bringing further innovation and an expanded offering to our
customers,” said Jim Bowie, president of Electrosonic Group. “Our goal to attract and develop the best industry talent has been one of the
drivers of the acquisition. Together we will lead by consolidating our strengths and delivering the best visual systems in the world,” he
added.
“I am delighted with this transaction with Electrosonic,” said Martin Howe, CEO of Global Immersion. “It allows us to further expand our activities and develop our product and service offering,
opening up new doors and bringing with it many synergies. The planetarium and giant screen markets are undergoing significant change as the digital revolution pace quickens.”
Founded in 2007, Global Immersion’s projects have drawn notice at the California Academy of
Sciences, Adler Planetarium, Moscow Planetarium, Swedish Museum of Natural History, Peoria Riverfront Museum and Reuben H. Fleet Science Center.
From left, Global Immersion’s Martin Howe and
More details at plsn.me/Tum83j
Electrosonic’s Jim Bowie
Three digiLED MC7 screens served as a backdrop.
LOS ANGELES — Pete’s Big TVs
provided video support for the Donny & Marie: Christmas in Los Angeles
shows that ran from Dec. 4-23 at the
Pantages Theatre in Hollywood.
The Newcastle, DE-based video
equipment rental company provided a full HD production system that
included three digiLED MC7 LED
screens, three Sony HDC1500 cameras and two robotic cameras for the
series of two-hour holiday performances.
“The design is similar to their past
Christmas shows last year in Chicago
and Detroit, which we worked on as
well,” noted Guy Benjamin of Pete’s
Big TVs.
Benjamin worked with video engineer Brian Brinckman and LED tech
Brent Jones on the variety-format
shows, which also featured a Christmas tree, fireplace, dancers and a live
orchestra.
The digiLED MC7 screens were
chosen for their high resolution and
lack of radio frequency interference
with audio elements in the produc-
»
APRIL 2013 • plsn.com
SCHEDULED ISSUE EDITORIAL
Installations
The artistry and engineering embodied within the venues
themselves, and the people who make them happen.
COMPANY411
By Kevin M. Mitchell
S
WHAT’S HOT
plsn.com2013 JANUARY
TMB offers products and services to professionals in the
entertainment production and architectural lighting industries. Formed in 1983, TMB provides a number of DMX networking products that function over Ethernet and fiber optics
from splitters, mergers, switches and hubs.
tmb.com
BUYERS GUIDE
Buyers
Guide
Seven Design Works Transforms the "V" Tour
26
Aarhus, Denmark-based Martin Professional, founded in
1987, now offers networking products that range from entry level
USB to DMX devices and include network switches, hubs and Ethernet-to-DMX products for their lighting control consoles for the
entertainment, architectural and commercial lighting sectors.
martin.com
FEBRUARY 2013 SOVQFRP
28
Production Profile
COVER PHOTO BY TODD KAPLAN
ARNHEM, The Netherlands —
Qlimax, a Q-dance hardstyle event
that drew more than 30,000 revelers
to the GelreDome soccer stadium
here Nov. 24, provided an immersive
visual environment that relied heavily on circular truss and projection
screens. The lighting and production
design team, comprised of Jonas
Smith, Tamil van Draanen and Marcel
Binnenmarsch, also included SGM
fixtures in the rig. There were 24 SGM
Six Pack (SP-6) blinders operated from
the VIP decks along with 28 SGM P-5
washlights and 25 X-5 white strobes
flooding the stage.
More details at plsn.me/Tum0kc
Martin Professional
Electronic Theatre Controls
With the
Mega Air PRO DMX
White Light Supplies The Bodyguard on Stage
Robbie Williams Returns to U.K. Stage in Style with Strategic Lighting, Video
Artistic Licence
Since 1988, Artistic Licence has specialized in the design,
development and manufacture of products for the architectural lighting and entertainment technology industries.
The product range includes products designed for use with
DMX512-A, RDM, Ethernet, Art-Net, DALI and MIDI. The range
extends from test equipment to data distribution and motion
control to LED lighting.
artisticlicence.com
Production Resource
Group Makes Plans to
Acquire XL Video
GLOBALNEWS
LONDON —White Light supplied lighting gear to The Bodyguard, a new musical based on
the popular 1992 film featuring Whitney Houston and Kevin Costner.
The show, which opened recently, is directed by Thea Sharrock and produced by David Ian
and Michael Harrison, with scenic design by Tim Hatley and lighting by Mark Henderson.
White Light has collaborated regularly with Henderson over his 30-year career, supplying
gear for such long-running shows as Grease and Chitty Chitty Bang Bang. For The Bodyguard,
Henderson is using gear including Martin MAC 2000 Performance, MAC III Profile and MAC
700 Profile spots, MAC700 and MAC TW1 Washes, Vari-Lite VL1000TS Spots and VL3000 Washes, Coemar Infinity ACL-M beamlights, Clay Paky Sharpys, Martin MAC Aura and i-Pix BB4 LED
washlights, Philips ColorKinetics ColorGraze Powercore LED battens and a Chroma-Q ColorWeb. In addition, the rig features ETC Source Fours, PAR cans, Rainbow scrollers, Robert Juliat
Cyrano followspots plus Unique haze machines, Viper smoke machines and Le Maitre Freeze
Fog low smoke effects. The rig is controlled from an ETC Eos control system.
Working with Henderson on the show is a lighting team led by production electrician Fraser Hall and programmer Stuart Cross. The show’s production manager is Matt Towell.
More details at plsn.me/Tum0AG
DMX Distribution Companies
etting control signal from point A to B used to mean just
running a DMX cable. A hardline DMX is still the standard for
connecting devices to a control surface, although that often
means daisy chaining to get multiple devices on the same run, and
opto splitters for multiple runs.
In today’s computer-based lighting control world, networks
are becoming the norm, with Ethernet cables replacing long runs
of DMX cable. Running DMX signal over a network is a bit trickier
and involves some computer networking knowledge. Lucky for us,
there are some forward thinking companies out there putting long
hours and vast amounts of resources into devices that can make
our jobs a bit easier.
This month’s Buyers Guide focuses on those companies that
keep our DMX signal going down the line without interruption.
TMB
Also, PLSN’s new “On the Road” feature
(page 8) on Demfis Fyssicopulos included an
outdated Maroon 5 graphic element; it does
not reflect his design for the band.
PLSN regrets the errors.
INDUSTRY NEWS
Designer Insights
Marilyn Manson
FEATURED PRODUCTS
Christie Lites and LMG supplied lighting and video for
Bassnectar in Nashville.
that included eight production numbers,
a DJ, 14-piece band and 48 dancers. More
details at http://plsn.me/Xt7sR4.
Also in Vegas, Chaos Visual Productions
rang in 2013 with video support for big-name
acts on the Las Vegas Strip including The Killers and Red Hot Chili Peppers at The Chelsea
Ballroom in The Cosmopolitan Hotel and by
Beyoncé at the Wynn Hotel. Chaos also gave
an assist to Dick Clark Productions’ Rockin’
New Year’s Eve. See related story, page 34.
plsn.com )(%58$5<
Feeding the Machines
A veteran lighting programmer shares
practical tips leavened with humorous
observations of the joys and tribulations
of life on the road.
LD-at-Large
Humor and wisdom at the end of the day
— on each issue’s last page.
4Wall provided lighting for Train in Times Square.
In Las Vegas, PLSN columnist Vickie Claiborne, who is also a product specialist at PRG,
used Avolites’ Ai media server to map projected content onto set elements spanning a
total 230 feet in width within the Aria hotel’s
Bristlecone Ballroom for a big NYE 2013 bash
CORRECTIONS
PLSN’s Showtime Top 10 Tours of 2012 feature (Jan. 2013, page 14-16) included the incorrect lighting company, an outdated crew
list and other errors for Lady Gaga’s 2012 tour.
The correct lighting company was Upstaging, with crew members including LD Patrick
The Biz
Emphasizing the “biz” side of show biz —
the all-important bottom line.
Designer Watch
Debi Moen checks in with designers
throughout the world to report on their
latest projects and where they are, helping readers keep up-to-date with their
friends and peers in the industry.
shoe-horning the gear within a set that offered only 11.5 feet of headroom. More details
at http://plsn.me/XND8ir.
On Rio’s not-quite-as-frosty Copacabana
Beach in Brazil, new technologies animating
live music performances included some of
the 70,500 Pixel Tablets that Tait Technologies
provided for the London Olympics — in this
case, 11,000 — that were flanking the stage
on a series of nets. See related story, page 15.
More details at plsn.me/TlR86M.
For a Widespread Panic show in Charlotte,
NC’s Time Warner Arena, LD Paul Hoffman
used new gear including Bandit Lites-supplied GLP impression X4s along with auld
“workhorses,” Vari*Lite VL3000 spots.
Hoffman kept the panic to a minimum
despite a perfect recipe for angst: the band
has a 350-song repertoire; there was no set
list in advance; Hoffman was learning the
ropes on a console new to him (grandMA2);
the band was making its first foray into video;
and, since the band was on hiatus for most of
2012, Hoffman needed lots of new looks from
scratch.
Along with the console and Martin Maxedia media server to feed content to Mirage
video panels, Bandit provided GRN LED Pars,
GRN LED Battens and Clay Paky Sharpys for
the event. More details at http://plsn.me/
W7TjcE.
In Nashville, Bassnectar returned to
Bridgestone Arena, with Michael Smalley’s
visuals making the most of a new in-theround stage setup. Christie Lites once again
supplied the lighting, with a rig centered on
Martin MAC III Profiles, the newer MAC III AirFX and Clay Paky Sharpys. LMG’s video assist
included the 11.25mm LED panels surrounding the DJ table on the circular stage and a
dozen 18.75mm LED screens extending out
from the center scoreboard screen.
SANTA MARIA, Brazil — Authorities have detained four people in
connection with a fire that ripped
through the packed Kiss nightclub
in this southern Brazil city in the
early morning hours of Sunday,
Jan. 27, killing 237. Pyro ignited
acoustic foam, and the revelers,
most of whom were college age,
stampeded and were suffocated
within minutes by the resulting
smoke and fumes.
Five of the six members of the
band performing at the time, Gurizada Fandangueira, survived and
were able to relay the details about
how the fire started to officials, but
one band member died after attempting to re-enter the
nightclub to retrieve an
accordion, according to
press reports.
There were also reports of security personnel blocking exits temporarily, and of bodies
blocking the entrance,
preventing emergency
personnel from reaching victims. 232 were
reported to have died
at the scene, with more
victims succumbing after being hospitalized.
The four detainees included two
band members and two co-owners
of the club.
Similar tragedies include the
2003 fire that killed 100
people at the Station
nightclub in West Warwick, RI, where pyro ignited foam insulation
in the walls and ceiling
near the stage. It took
less than six minutes
for that blaze to engulf
the club, with a stampede-blocked exit adding to the death toll.
A 2009 fire at the
Lame Horse nightclub
in Perm, Russia, was
caused by fireworks designed for
outdoor use igniting plastic decorations on the ceiling; 152 died as
a result. Another celebration where
fireworks ignited ceiling décor occurred in Buenos Aires, Argentina’s
República Cromagnon nightclub in
2004; the death toll there was 194.
More details at plsn.me/1257Yuk
BUYERSGUIDE
G
TOREY MUNDKOWSKY.
On the Move
Who’s who in the industry, and where
they’re heading, plus the latest information of companies in transition.
Auld Acquaintances
Meet New Technology
for NYE 2013
Vol. 16.04
May, 2015
HTS & STA
, LIG
GI
ON
YEAR
PROJE
CT
I
Global News
Concert touring, theatre and architectural
lighting news from around the world.
Joshua Timmermans
Industry News
PLSN provides the industry with an independent editorial voice, covering the
industry like no other news source.
Pyro Ignites Acoustic
Foam in Brazil
Nightclub; 237 Killed,
120+ Hospitalized
Drew Ressler/rukes.com
Bandit Lites gear lit Widespread Panic in Charlotte, NC.
plsn.com2013 JANUARY
33
PROJECTION CONNECTION
Product Focus
A new look at technological innovation within select groups of products. Product Focus will cover product developments with more depth and
breadth than ever before.
Projection Connection
A unique magazine-within-a-magazine format covering
video projection and the latest LED video display elements within touring productions and fixed installations.
Video Digerati
Observations and insights from a working video programmer.
Focus on Fundamentals
A must-read for industry newcomers, and a refresher for
industry pros.
PLSN 07-19-2016
APP OF THE MONTH
PRG’s iView ArtNet, Page 10
,1'8675<*/2%$/NEWS
S
NEW
NG
MONTHLY EDITORIAL
SPECS
13x
$6,475
$3,915
$3,525
$3,200
$2,400
$1,935
1x
$3,680
$2,750
$2,295
$1,890
$1,420
$ 985
3x
$3,520
$2,695
$2,185
$1,845
$1,380
$ 950
6x
$3,355
$2,625
$2,090
$1,755
$1,305
$ 845
13x
$3,260
$2,550
$1,935
$1,685
$1,245
$805
1x
3x
6x
13x
$5,000
$4,800
$4,610
$4,430
$5,000
$4,800
$5,400
$4,800
$4,610
$5,180
$4,610
$4,430
$4,980
$4,430
$4,260
$4,780
Full Tab Spread
w/21.75 x h/14.5
w/bleed
w/22 x h/14.75
1/2 TAB VERTICAL
3/4 TAB VERTICAL
Full Page Tab
w/10.875 x h/14.5
w/bleed
w/11.125 x h/14.75
3/4 Tab Vertical
w/7.365 x h/13.5
w/bleed
w/7.9896 x h/14.75
1/2 TAB
HORIZONTAL
1/3 TAB HORZ
1/2 Tab Horz.
1/3 Tab Horz.
w/9.9375 x h/6.65
w/bleed
w/ 11.125 x h/7.275
2/3 Jr. Vertical
4.85 x 9.75
1/4 TAB HORIZONTAL
1/4 Tab Vertical
w/9.9375 x h/4.325 w/2.375 x h/13.5
w/bleed
w/bleed
w/11.125 x h/4.95
w/2.9688 x h/14.75
1/2
Jr. HORZ
1/3 Jr.
SQUARE
2/3
Jr. HORZ
1/2
Jr. VERT
1/2 Jr. Horz.
7.375 x 4.875
2/3 Jr. Horz.
7.375 x 6.5
1/3 Jr. Square
4.85 x 4.85
1/2 Jr. Vertical
4.85 x 7.5
6X
$1,020
$750
$445
$330
12X
1 Col x 4”
$460
$420
$335
1 Col x 3”
1 Col x 2”
1 Col x 1”
Ad Size
$345
$230
$115
Rate
$315
$210
$105
$280
$190
$95
2 Col x 6”
$1,385
2 Col x 5”
2 Col x 4”
2 Col x 3”
2 Col x 2”
2 Col x 1”
$1,155
$925
$695
$460
$230
9X
$905
$665
$335
$295
12X
$820
$605
$360
$265
1/4 Horz
1/4 Page Horz
4.85 W x 3.5 H
1/4 Page Vert
2.375 W x 7.0 H
1/6 Horz
1/6 Vert
3X
$1,075
$815
$470
$345
6X
1/4 Vert
1X
$1,130
$830
$500
$370
1X
1/6 PageHorz
4.85 W x 2.5 H
1/6 PageVert
2.375 W x 4.75 H
1/4 Tab Horz.
w/9.9375 X h/3.5
w/bleed
w/11.125 x h/4.125
Junior Full Page
w/7.375 x h/9.75
w/bleed
w/7.9896 x h/10.375
1/6
Jr. HORZ
1/4 Jr. Vertical
2.375 x 7.0
1/3 Jr. Vertical
2.375 x 9.75
1/4
Jr. HORZ
1/4 Jr. Horizontal
4.85 x 3.5
1/6 Jr. Vertical
2.375 x 4.75
1/6 Jr. Horizontal
4.85 x 2.5
All ads must be submitted in digital
format. Preferred file submission: CMYK or
grayscale, high resolution (300dpi or greater)
Photoshop-compatible EPS, TIFF, JPEG
or PDF files. If supplying layered files, all
support images and fonts must be included
with all fonts converted to outlines.
Other acceptable file formats are: Maccompatible InDesign CS6 or Illustrator EPS
files, collected with all working files and
Postscript fonts (screen and printer) included.
Publisher is not liable for inferior outcome if
guidelines are not followed.
This publication prints in a web offset, CMYK
format and to SWOP standards. For color
critical ads two digital color proofs must be
provided, created from the supplied digital
file on a contract-quality, digital halftone
proofing system in accordance with SWOP
standards (Imation Digital Matchprint, Kodak
Approval, Iris, Rainbow, etc.)
Laser or inkjet proofs are not considered accurate in color and will be used for content confirmation only.
Publisher is not liable for color inaccuracy if guidelines are not followed and color proofs not supplied.
If you have questions or concerns regarding ad or insert specifications, please contact the production
manager at 702.932.5585. For ad sales information, please contact your account manager.
Preferred method of ad file delivery—please upload digital files to:
www.plsn.com/submissions (100 MB Max)
Send color proofs to:
Timeless Communications • Attn: (Publication Name/Issue Date)
6000 S. Eastern Ave., Suite 14-J • Las Vegas, NV 89119 • Tel: 702.932.5585 Fax: 702.554.5340
SALES CONTACTS
Tel: 702.454.8550
Fax: 702.898.2942
PRODUCTION MARKETPLACE CLASSIFIEDS
Special advertising section for: Backline Rental, Case
Companies Coach Companies, Communications,
Freight Forwarding, Generator Rentals, Insurance
Tour Supplies, Tour Pass / Itinerary Books, and
Trucking. Free 4-color for all 1/6 and 1/4 page ads.
Free Spot Color for 1/12 and 1/24 pg ads.
w/4.85 x h/13.5
w/bleed
w/5.475 x h/14.75
JUNIOR
FULL PAGE
Market Place Advertising
4-Color Only
1/4 Page
1/6 Page
1/12 Page
1/24 Page
Ad Size
1/2 Tab Vertical
All bleed Ads must have 0.125” past
the trim edge. Fractional ads, use
the non-bleed dimensions as your
live area. Do not allow any essential
type or art to fall outside this area.
For spread ads, do not place any
essential type or images across the
gutter (center line) without adding
.125” space on each side of the fold
for safety (total .25”).
1/12 Page
2.375 W x 2.0 H
1/24 Page
2.375 W x 1.5 H
Payment: All ads must be prepaid. A check, money
order, Visa, MasterCard, or American Express payment must accompany all new advertisements.
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
Judy Wang
The Greater China
Tel: 0086-13810325171
PLSN 07-19-2016
6x
$6,800
$4,100
$3,715
$3,305
$2,475
$2,090
1/6
Jr. VERT
3x
$7,180
$4,295
$3,870
$3,450
$2,545
$2,185
1/4 TAB VERTICAL
1x
$7,370
$4,500
$3,985
$3,595
$2,700
$2,295
2/3 Jr. VERTICAL
TABLOID PAGE SIZES
4-Color
Tab Spread
Full Page Tab
3/4 Tab
1/2 Tab
1/3 Tab
1/4 Tab
JUNIOR PAGE SIZES
4-Color
Jr. Full Page
2/3 Jr. Page
1/2 Jr. Page
1/3 Jr. Page
1/4 Jr. Page
1/6 Jr. Page
PREMIUM AD POSITIONS
4-Color Only
Front Cover
Showcase Ad
Inside Front Cover
Inside Back Cover
Back Cover
FULL PAGE TAB
FULL TABSPREAD
1/3 Jr. VERT
PRINT RATES
1/4 Jr. VERT
RATE CARD
WEB SITE BANNER ADVERTISING
SPECS
HIGH VISIBILITY
WEB BANNERS SPECS
www.plsn.com/
468x60 Rotating PAGE HEAD
Acceptable Formats: .jpg, .gif, .swf
Size requirements: around 40K
Flash requirements: If you submit a .swf file you must include the EDITABLE
.fla version as well. Do not embed links and do not send locked files. We do
not allow audio. Flash files need to have a clickTAG tracking script embedded in them. See this website for details: http://www.flashclicktag.com/
468X60 ROTATING PAGE HEAD
234X60
This ad appears on ALL pages in the site and is SHARED. Limited availability.
$650/month
EXCLUSIVE
468X60 EXCLUSIVE PAGE FOLD
This ad appears on ALL pages in the site and is EXCLUSIVE to the client.
160X160
Exclusive
SIDEBAR
Tile
468x60 Exclusive PAGE FOLD
120x90
Exclusive
SIDEBAR
Button
$1,250/month
234X60 EXCLUSIVE SIDEBAR
This ad appears on ALL pages in the site and is EXCLUSIVE to the client.
$1,100/month
SIDEBARS
These ads are all EXCLUSIVE to the client. The Left side banners appear on
ALL pages in the site and Right side banners appear on most pages WITHOUT articles. Placement may vary and there are multiple sizes available:
120x90 Button
$350/month
125x125 Square
$400/month
160X160 Tile
120x240
Exclusive
SIDEBAR
Vertical
125x125
Exclusive
SIDEBAR
Square
PRICE
SIDEBAR
160x600
Rotating
Banner Ad
SIDEBAR
Skyscraper
120X240 Vertical
160X600 Skyscraper
$450/month
$550/month
$1,000/month
RICH MEDIA
If you are interested in Rich Media advertisement, we will consider
it on an individual basis.
SALES CONTACTS
Tel: 702.454.8550
Fax: 702.898.2942
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
Judy Wang
The Greater China
Tel: 0086-13810325171
PLSN 07-19-2016
SIDEBAR
NEWSLETTER ADVERTISING
SPECS
HIGH VISIBILITY
NEWSLETTER SPECS
Acceptable Formats: .jpg, .gif, .swf
Size requirements: around 200K
No Flash
All newsletter spots are EXCLUSIVE.
www.plsn.com/newsletter/
PROJECTION, LIGHTS &
STAGING NEWSLETTER
LETTER
468x60 Header Exclusive
HEADLINES
PREMIUM
DIGITAL NEWS
STREAM FOR
VISUAL
PRESENTATION
PROFESSIONALS
468x60 HEADER EXCLUSIVE
Subject to availability.
$1,100/month
468x60 EXCLUSIVE PAGEFOLD
Subject to availability.
Chauvet Opens Mexico Subsidiary
SUNRISE, FL — Chauvet, based here, opened a
full-service subsidiary in Mexico, Chauvet And
Sons De Mexico S De Rl De CV, following the
acquisition of the assets of long-time Chauvet
distributor in Mexico, Novelties. Chauvet and
Sons De Mexico S De Rl De CV is a full-service branch office and distribution center for the Chauvet Professional, Chauvet DJ, and Trusst
brands. Click here for more...
Big Rig for 2013 MTV VMAs Included Martin,
Robe Moving Lights
BROOKLYN, NY — For the muchdiscussed and tweeted-about 2013 MTV
Video Music Awards, held at Barclays
Center here Aug. 25, the lighting rig was
hardly at the center of attention, but was
nevertheless an integral part of the show. LD Tom Kenny’s big rig
included fixtures from Robe and Harman’s Martin supplied by VER.
Click here for more...
468x60 Exclusive Pagefold
160x160
Exclusive
Sidebar
$800/month
160X160 EXCLUSIVE SIDEBAR
Stacking order may alternate.
$750/month
CUSTOM EMAIL BLASTS
160x160
Exclusive
Sidebar
160x160
Exclusive
Sidebar
160x160
Exclusive
Sidebar
“PLSN has been an invaluable partner in helping us
deliver our client’s message
to lighting professionals.
At the end of the day, it’s
all about content; quality
content is what attracts
readers and ensures that
your marketing message
will be seen by more
people. PLSN has not only
delivered consistently high
quality, it’s also kept pace
with all of the changes that
are redefining media; its
weekly enewsletter is an
essential marketing tool in
this digital age.”
— Joe Fucini
Fucini Productions, Advertising and Marketing Agency
For Chauvet.
$1,500/per email blast
Set your sights on sales with a targeted customized e-mail blast. PLSN can deliver
your message to more than 17,000 current e-mail addresses from our database.
HTML or plain text with an attachment formats available. This is the best way to deliver your personalized message straight to the desks of decision-makers throughout
the industry. Custom e-mail blasts are only available to advertisers in Projection, Lights
and Staging News Magazine who have reached a spending level of at least $15,000 in
2015/2016, or are contracted for a minimum of $15,000 for the calendar year of 2016.
SALES CONTACTS
Tel: 702.454.8550
Fax: 702.898.2942
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
Judy Wang
The Greater China
Tel: 0086-13810325171
6000 S. Eastern Ave. Ste. 14-J • Las Vegas, NV 89119
Tel: 702.932.5585 • Fax: 702.554.5340 • www.plsn.com
PLSN 07-19-2016
Parnelli Hometown Hero Lighting Company
Finalists Announced!
LAS VEGAS — PLSN readers have
chosen the six regional winners of the 2013
Hometown Hero Award competition. These
top vote getters from each of five U.S. regions
plus all of Canada will be automatically entered
on the Parnelli Awards ballot. PLSN readers will then get a chance
to vote on which regional company will be awarded the coveted
honor of Parnelli Hometown Hero Lighting Company of the Year.
Click here for more...
www.plsn.com/
BUY ONE • RECEIVE VISIBILITY ON ALL SITES
86,082 Monthly Visitors – 230,715 monthly page views
NEWS, PRODUCT INFO & MONTHLY ISSUES
ENTERTAINMENT TECHNOLOGY ADVERTISING
www.etan.com
www.plsn.com
Reach 8 different Web sites with one buy!
E-MEDIA
PLSN.COM
SALES CONTACTS
57,786 Visitors monthly average**
35,827 Unique visitors average**
107,481 page views**
Tel: 702.454.8550
Fax: 702.898.2942
INDUSTRY SEARCH ENGINE
www.epdweb.com
INDUSTRY BOOKS
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
www.plsnbookshelf.com
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
Judy Wang
The Greater China
Tel: 0086-13810325171
# of Impressions
50k
51k-150k
151k-250k
251k-350k
351k-500k
600k +
** Publisher’s Own Data
EPDWEB.COM
PLSNBOOKSHELF/BENJOBS
8,746 Visitors per month**
4,913 Unique visitors**
40,643 page views**
13,875 Visitors monthly average**
9,786 Unique visitors**
38,530 Page views **
PLSN 07-19-2016
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Price per K
$30.00
$27.50
$25.00
$22.50
$20.00
$17.50
www.plsn.com/
CUSTOM EMAIL BLASTS
CUSTOM E-MAIL BLASTS
www.yourcompaniespromo
CUSTOM E-MAIL BLAST: reaches more than 17,000 opt-in subscribers of PLSN
This is the best way to deliver your “personalized message” straight to the desks of the decisionmakers throughout the entire visual presentation industry. You have total control over the information in the message (text, photos, etc.)…everything is focused on you! This is sent in a HTML format
and will link directly to any where on your website that you want.
• This is great for a new product introduction, special programs, clients you have done work
for or any other important information you want the market to know about your company.
• Drive traffic to your web site
SALES CONTACTS
Tel: 702.454.8550
Fax: 702.898.2942
Matt Huber
Account Manager
Tel: 702.932.5585
Fax: 702.554.5340
mh@timelesscom.com
Great for New Product Roll-Outs
17,000 + e-mails
TARGETED, FOCUSED & EFFECTIVE
• You can also use it before a trade show to inform attendees what you will be exhibiting at
your booth along with your booth number. You can invite attendees to contact you before
the show to arrange a specific time (set an appointment) that works with their schedule to
stop by your booth to discuss ways you can help them. When someone calls you before a
show you can get detailed information on what they do and what their needs are so you are
well prepared when they come to your booth for the arranged appointment…and that much
closer to making a sale!
Examples of Custom E-Blasts that other clients have done are available upon request
CUSTOM DESIGNED
EMAIL BLASTS
Michael Devine
Account Manager
Tel: 702.478.8112
Fax: 702.554.5340
md@timelesscom.com
Judy Wang
The Greater China
Tel: 0086-13810325171
PLSN 07-19-2016
Terry Lowe
President
Tel: 702.932.5585
Fax: 702.554.5340
TOTAL MARKET • TOTAL REACH
EVENT PRODUCTION DIRECTORY
Vol. 16.05
June, 2015
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& CONSTRUCTION
LASERS
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Inserts
FOGGERS / HAZERS
Barco HDX-W20 Flex
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LABOR COMPANIES
GENERATORS
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SOFT GOODS
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COVER PHOTO COURTESY CREATIVE TECHNOLOGY
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Belly Bands
RADIO / INTERCOM
COMMUNICATIONS
News Spotlight
WHAT’S HOT
Advertorials
CASES
30
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Inside Theatre
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PLSN Interview
Kenny Chesney's Big Revival Tour
Neil Diamond's 2015 Tour
Lighting the Rockettes
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BACKLINE
FREIGHT
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COACHES
TRUCKING
Poly-Bag
PIPES & DRAPE / TENTS
TICKETING &
CREDENTIALS
PLSN MAGAZINE
EVENT PRODUCTION DIRECTORY
2 & 4 PAGE ADVERTORIAL
• 22,481 Qualified Subscribers*
• 48,463 Total Readership **
• 55.8% Presidents, Owners
& Managers*
40,000 Printed**
Advertorial Opportunities
Poly-bagged in March Issue
Professionally Written & Designed
1,000 Reprint Choices
Digital File for Your Website
Gate Folds
Belly Band Deluxe Spreads
*June 2016 Verified Audit Circulation Statement **Publisher’s Own Data
IN PERSON
• FFive months of visibility in print and online
CREATIVE SERVICES
• Logo
L on all materials related to the
PParnelli Awards in print and online
• Photography
• Art Direction
• Press
P
release in PLSN about your company’s participation
• Copy Writing
• Campaign Concepts
• Invitation Design
• Ad Design
• Custom Promotion
• Spec Work
• Editorial Design
• Web Design
• Online,
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your company’s logo with a link to your website will
be
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• Logo
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• Thanks
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from the stage for sponsorship participation
• A FP 4/C ad in the Parnelli Awards program book
• A reserved table for 10
Other levels of sponsorship available, ask your rep. for details
PLSN 07-19-2016
GOLD SPONSORSHIP INCLUDES:
GO
CREDIT APPLICATION
GENERAL CONDITIONS
No conditions, printed or otherwise,
appearing on the space order, billing instructions, or copy instructions
which conflict with the Publisher’s stated
policies will be binding on the Publisher.
1
All advertising orders are accepted
subject to the terms and provisions of
the current rate card. Orders accepted
are subject to change in rates upon notice
from the Publisher. However, orders may
be cancelled at the time the change in rates
becomes effective without incurring a shortrate adjustment, provided the rate has been
earned up to the date of cancellation.
Publisher shall have no liability for
7 The
errors in key numbers or advertisers
index.
Publisher’s liability for any error
8 The
will not exceed the charge for the
advertisement in question.
2
A contract year, or twelve-month period, starts from the date of the first
insertion. Twelve-month periods do
not overlap; in other words, space counted
in one contract period to determine the rate
for that period cannot be counted again
towards determining the rate for the subsequent or past periods.
3
Verbal instructions regarding the
insertions, contracts, changes, and
copy must be immediately confirmed
in writing.
4
5
The forwarding of an order is construed as acceptance of all rates and
conditions which apply at the time of sale.
Publisher assumes no liability if,
9 The
for any reason, it becomes necessary
to omit an advertisement.
Cancellation or change in orders may
not be made by the advertiser or its
agency after the 5th of the month prior to
cover date.
10
The Publisher is not liable for delays
in delivery and/or nondelivery in the
event of an Act of God, action by any government or quasi-government entity, fire,
flood, insurrection, riot, explosion, embargo,
strike, whether legal or illegal, labor or material shortage, transportation interruption of
any kind, work slow-down, or any condition
beyond the control of the Publisher affecting production or delivery in any manner.
11
Requests for specific position are given
consideration, but no guarantee is
made unless the position premium has been
provided in the contract.
12
The Publisher reserves the right to
hold the advertiser and/or its agency
jointly and severally liable for such monies as
are due and payable to the Publisher.
13
Advertisers and their agencies assume
liability for all content of advertisements printed, and for any claims arising
therefrom made against the Publisher.
14
SPECIAL POSITIONS
Specified pages or proximity to monthly
columns, add 15% to applicable rates. Only
for 1/2 page or larger. Specify on insertion
order. Position not guaranteed if material
is late. Continuous page placements. 15%
extra after first page.
COMMISSIONS & BILLING
Agency Commissions: 15% of gross billing
allowed to recognized advertising agencies on space, color, and position, provided
account is paid within 30 days of invoice
date.
Commission is not allowed on other charges such as backing up inserts, trimming,
printing of inserts, etc. No cash discounts.
Cancellations and changes should be considered executed unless acknowledged in
writing by publisher.
PREPAYMENT
Accounts with no previous credit history
with Timeless Communications, Corp. are
required to make prepayment by space
order deadline. Publisher reserves the right
to decline acceptance of any advertisements for which prepayment has not been
received on or before the material deadline.
2% DISCOUNT
On pre-paid insertion orders paid prior to
closing date. No other discounts allowed.
BILLING
Invoices are issued approximately the same
time as the book is mailed. Payment to be
rendered in U.S. dollars within 30 days.
CORPORATE FREQUENCY
Corporate frequency discounts between
School Band & Orchestra and other Timeless
Communications, Corp. publications or
properties are available. Contact your
School Band & Orchestra sales representative for details.
INSERTS
Prices on request.
Send sample or dummy for precise quote.
No order cancellations will be accepted
after closing date. Publisher reserves the
right to reject any advertising deemed
unsuitable. Publisher must be given 60 days
written notice to cancel existing contracts.
6000 S. Eastern Ave. Ste. 14-J • Las Vegas, NV 89119 • Tel: (702) 479-1879 • eFax: (702) 554-5340
PLSN 07-19-2016
All advertising is subject to Publisher’s
approval. The Publisher reserves the
right to reject advertising which he or she
feels is not keeping with the publication’s
standards.
6
CREDIT APPLICATION
FORM
COMPANY INFORMATION
NAME:
TYPE OF BUSINESS:
STREET ADDRESS:
CITY:
MAILING ADDRESS:
CITY:
PHONE:
YEARS IN BUSINESS:
FEDERAL ID#:
STATE:
ZIP:
STATE:
ZIP:
AMOUNT OF CREDIT DESIRED:
PERSONNEL
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FACILITY MANAGMENT
M36 Facility Management
SPECIAL EFFECTS
F27 Pyrotechnics
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P32 Other
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Please indicate the level at which you are involved in the selection/purchasing process for visual presentation products:
Please check all boxes that currently apply to where
your business activities in lighting & staging take place:
2.
LIGHTING
L01 Lighting Designer
L02 Lighting Programmer
L03 Lighting Operator
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L05 Lighting Crew
L06 Lighting Consultant
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L08 Lighting Sales/rental
L09 Lighting Mfg. Rep.
STAGING
S10 Staging Designer
S11 Scenic Designer
S12 Set/Stage Technician
S13 Electrician
S14 Carpenter
S15 Rigger
S16 Gaffer
S17 Staging Manufacturer
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H. Theme Parks
J. Casinos
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