As a multi-disciplinary house, the performance venue hosts a wide variety of different types of productions, and Marc acknowledges that initially some touring companies were hesitant to perform under LED lights. Experience, however, taught them otherwise.

“Some companies came in with preconceived notions – concerns about coluor rendering, intensity, or beam quality,” said Marc. “But once they saw what the Rêve units could do, most of those doubts disappeared. LED technology has come a long way, and today we’re able to get excellent results across a wide range of applications.”

“An example is how the Rêve F-3s offer us all the flexibility we had with traditional fixtures, but with far better colour control, consistency, and energy efficiency,” continued Marc. “They’ve made our setups faster and more precise. Honestly, they’re a great replacement.”

Purchasing the Rêve fixtures was one of the steps Marc has taken to convert the venue to an all LED system. This year, l’Eden added six Maverick Storm 2 Profile fixtures and two Rogue Outcast 2X Washes to its house rig.

“The potential is already clear,” Marc said of the new fixtures. “Having motorized LED fixtures in the venue gives us a lot of creative flexibility. I’m glad that Chauvet offers IP20 fixtures, because IP65 is often unnecessary in venues like ours.”

Prior to embarking on his journey to an all LED system, Marc upgraded the theatre’s lighting capabilities by acquiring a ChamSys MagicQ MQ250M Stadium console. “We needed more universes to control our fixtures, and this console offered the right combination of features and price,” he said. “I had a solid introduction to the system via Rémy Rouvoy, while Victor Faré familiarized us with the lighting fixtures.

“Prisme Éclairage, who handled the integration and provided excellent support throughout the project also deserves a lot of credit,” continued Marc. “And of course, a big thank you to the Ville de Saint-Jean-d’Angély, since as a municipal performance venue, this kind of investment depends heavily on the City’s support.”

The investment is already paying dividends in a multitude of ways. One of which can be felt in the comfort level inside the theatre. Marc notes that there has seen a drop of about 7°C in the venue during the summer, which makes a real difference for both the artists and the audience.

“The space feels less stuffy and more pleasant overall,” he said.  “On top of that, the lighting quality is better, and the response from visiting productions has been encouraging… even from those who were initially hesitant about using LED!”

The post L’Eden goes LED with CHAUVET Professional appeared first on A1 Lighting Magazine.

For its 2025 season, ETO presents The Elixir of Love and The Rape of Lucretia in repertory, touring a diverse range of venues across the UK. Supporting this ambitious tour is White Light (WL), providing technical expertise and equipment to realise the creative vision of Lighting Designer Jamie Platt and Production Electrician Joe Kirk.

Jamie’s approach to lighting opera is deeply rooted in musical storytelling. “In opera, the narrative unfolds as much through musical leitmotifs as through sung text,” he explains. “Lighting becomes a second layer of narrative. I can shift the look of the stage simply because of an oboe or a violin.” This sensitivity is vividly expressed in The Elixir of Love, where a pivotal aria sees the lighting transform to reflect Nemorino’s emotional world. “We leave reality behind and enter his head and heart,” says Jamie. “The scenic practicals begin reacting to the music, shifting from naturalistic tones to colours that lift with the love and angst he’s feeling.”

In Lucretia, Jamie’s lighting takes on a more stylised role, shaping atmosphere and symbolism. “We use deep orange tones on white muslin drapes to visually disrupt a feminine space, reflecting the antagonist’s intrusion and the opera’s thematic tension.”

Touring presents unique challenges, particularly when moving between traditional theatres and concert halls. Jamie designs with adaptability in mind, favouring booms over overhead fixtures to streamline rigging. “My job is to make it as easy as possible for Joe when the shows are in-and-up in a single day,” he says.

Joe Kirk, ETO’s Lead Production Electrician, ensures Jamie’s design is faithfully executed in every venue. “ETO is all about making opera accessible,” Joe notes. “That means transforming non-traditional spaces into fully realised theatrical environments.” His work begins with detailed venue assessments and continues through close collaboration with Jamie to maintain consistency across the tour.

To meet the demands of varied infrastructure, the lighting rig is designed to be largely self-contained. “Using LED fixtures not only supports ETO’s environmental goals but also reduces the infrastructure we need to tour,” says Joe. The rig includes ETC Halcyon Titanium, Ayrton Diablo, and ETC Lustr 2 fixtures—selected for their reliability, versatility, and quality of light.

Jamie praises the Halcyon units for their punchy output and excellent diffusion options, whilst Joe highlights the importance of thorough prep and clear build methods to support local crews. “Some venues may only host one large touring production a year,” he explains. “It’s vital that everyone understands how the show goes together, regardless of experience.”

Joe adds, “From prep to performance, the team at WL have supported us every step of the way. I’d especially like to thank Dom for being so easy to work with.” Reflecting on his six years with ETO, Joe shares: “The most rewarding part has been bringing full-scale opera to communities that rarely experience it. Overcoming the challenges of each unique venue makes every performance deeply worthwhile.”

Dom Yates, WL’s Head of Lighting, comments: “Working with ETO over the past two years has been a joy. This collaboration demonstrates how technical excellence and creative partnership can bring world-class opera to communities across the UK – making every venue, no matter its limitations, a stage for powerful storytelling.”

As The Elixir of Love and The Rape of Lucretia continue their tour, ETO remains committed to its founding principle: “Opera that moves.”

Lighting Designer: Jamie Platt.

Lead Production Electrician: Joe Kirk.

Programmer: Stephen Settle.

Production Electricians: Graeme Smith, Ciaran Lillis.

Placement Student: Luis Callender (Production LX), Thea Bulgin (Design).

Image: Courtesy of Richard Hubert Smith.

The post White Light supports English Touring Opera’s 2025 season appeared first on A1 Lighting Magazine.

It was the first time that Robe iFORTE LTX Follow Spots – running on RoboSpot remote following systems – were used for a live music show in India.

The RoboSpot system – six iFORTE LTXs and four BaseStations – was supplied to Anirudh’s production and the show’s main lighting contractor, Bangalore-based Reynolds, by SSL Media from Mumbai. Guru and Vinod were hugely excited to be using the system for the first time in this context and to be trailblazing such technology in India.

They had pushed to get the iFORTES and the RoboSpot system on to the show, as they really needed a super powerful follow spotting solution to cover the long throws around the site, as well as fixtures that could hit the main stage and the B-stage with ease. The flexibility of RoboSpot made it a perfect choice.

Wrapping up the “Hukum” tour – which started in February 2024 at Dubai’s Coca-Cola Dome – in Chennai (also his hometown) meant expectations were sky high for a memorable and magical production, and everyone on the crew and creative team worked tirelessly and diligently to ensure that Anirudh fans were treated to a night to remember.

Vinod has worked as the artist’s LD since 2020, and for this tour, 369 Design Lab’s Albin Biju was the assistant LD, also running and integrating lasers into the show. In addition to co-ordinating all the lighting, Vinod and Guru liaised with the various other visual disciplines involved, including Pixadoo who took care of all things video, the centerpiece of which was a large 144 ft wide LED screen filled with cool bespoke content.

This massive screen was also a starting point for the lighting design, explained Guru, stating that all three of them at 369 Design Lab like specifying Robe products whenever possible. MegaPointes, Spiiders, BMFLs, Tetra2s and TetraXs are frequently on their designs, and they think the brand is “reliable and solid”.

They had been wanting to use iFORTE LTXs for a while and jumped at the chance to get them in for this show with its demanding long-throw follow spotting requirements.

The six iFORTE LTX fixtures were deployed on four delay towers left and right of the stage, one each on the outer pair of towers and two each on the inner towers.

These effortlessly beamed across the substantial throw distances to stage B, which was right in the middle of the concert ground, and they were also highly effective despite the brightness of the LED screen.

“The power, focus and sharpness of the zoom even when very tight is really impressive,” notes Vinod, with Guru adding, “It was fantastic to be able to hit that B stage from almost 200 ft away and for the beams to keep a super-sharp focus, even when tightly zoomed in!”

One song – “Pathikichu” – was lit completely in red, and even with this concentration of deeply saturated colour, the iFORTE LTXs shone through and picked up the artist with no issues.

Albin – who was calling the spots while Vinod ran the console – highlighted that they wanted to have the four spot ops nearby at FOH so they could audibly hear the cues if necessary… without him having to try and make himself heard over the cans – which can be noisy and mushy, especially for a highly animated show.

This close proximity also allowed Albin to develop a semaphore (hand signal) system for the follow spot ops as backup – a great testament to the practicality of Indian can-do thinking.

Guru and Vinod were delighted with the results. “The organisers and producers could also clearly see the difference in quality of the light in the artist, and they appreciated why we insisted on having them for this epic show,” Guru concluded.

Five manual follow spots were on standby to also cover the stage if needed, but only one was utilised as the RoboSpots proved so efficient.

The biggest overall challenge for the show was the rain – it was still Monsoon season in India – and 24 valuable hours of on-site prep and programming time were lost due to torrential downpours… but everyone pulled together in a superlative team effort to ensure that Anirudh’s end-of-tour show was filled with a host of visual surprises and sent the audience away with long-lasting memories of a brilliant performance and an unforgettable night out.

Photo credit: Irshad Pookollathur.

The post Anirudh in the RoboSpot light in Chennai appeared first on A1 Lighting Magazine.

The 13-digit UMSUG (or charge) codes are assigned to individual solutions, and enable the Unmetered Supplies Operator (UMSO) and Meter Administrator (MO) to accurately calculate the electricity usage for each unique luminaire.

The codes allow for accurate billing when unmetered supplies are being used, and the usage has to therefore be calculated by the network operators. The use of the codes enables the accurate calculation of energy consumption, which in turn reduces the risk of over or under payments for the amount of electricity used.

Using charge codes also supports improved operational efficiency. Not only does it save time and resources when compared to metered applications, it also allows for better auditing of equipment and forward planning with regard to energy consumption and maintenance.

LEDVANCE’s range of streetlighting solutions have the ability to save significant levels of energy – up to 60 percent – when used instead of conventional HID (High-Intensity Discharge) lamps. LEDVANCE offers within the UMSUG Program 17 different LED replacement products for HID conventional Lamps, like HQL (High-Intensity Quantum Dots) LED and NAV LED, in different sizes, light colours and wattages, with a light output up to 11 700 lumen.

Nelo Neves, Managing Director from LEDVANCE said: “By adopting UMSUG codes for a wide range of our streetlights, we are simplifying billing for many of our clients. There are many reasons to switch to LED streetlights for energy efficiency and improved lighting; and the addition of UMSUG codes makes the LEDVANCE solutions even more appealing.”

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Vietnam is a key location for the company in the Asian market, thanks to its strategic position and the sector’s rapid growth. In recent years, Luce&Light has taken part in several significant projects in hospitality, retail and contemporary architecture, including Lim Tower 3 and Park Hyatt Saigon in Ho Chi Minh City, the Salvatore Ferragamo flagship store in Tokyo, and the Rosewood Hotel in Bangkok.

“We were eager to open this showroom,” says Marco Celsan, CEO of L&L Luce&Light, “because it marks a key step in consolidating our presence in this area. This milestone was made possible through our collaboration with LK Technology, a partner with whom we share a vision of innovation, quality and the integration of light, architecture and smart technologies.”

The new Luce&Light Hub has been conceived as a permanent space dedicated to exchange, learning and dialogue. Intended for local lighting designers, architects and professionals, it offers the opportunity to explore LED lighting solutions for indoor, outdoor and underwater applications up close, and to directly put their performance and potential to the test. This meeting point will foster collaborative design and provide tailored support, with direct assistance from the Luce&Light team.

The Vietnam Luce&Light Hub confirms the company’s vision: to develop high-quality lighting systems designed to integrate harmoniously with architecture and landscape – delivering flexibility, control and creative value to projects worldwide.

The post Luce&Light open their first Asian showroom in Vietnam appeared first on A1 Lighting Magazine.

LUMENAURA offers an otherworldly experience that merges art exhibition and nighttime adventure. The festival’s theme this year is “Convergence” and explores the intersection of art, technology, and community. It features interactive displays designed to inspire exploration and self-expression – from enchanted fountains and participatory video walls to sound-reactive lightscapes and immersive projections. Highlights also include an interactive LED “Bonfire,” laser graffiti walls that let guests paint with light, and even a fully interactive light sculpture installed on a Metra train car running from Chicago to Aurora.

“LUMENAURA represents the next chapter of public art. As technology becomes more accessible, artists are transforming ordinary spaces into immersive worlds,” said Iryna Kanishcheva, Founder of Monochronicle. “We create shared experiences and invite visitors to be part of the artwork, connect with it through touch, sound, and movement.”

The free festival runs nightly through October 26, 2025, welcoming guests of all ages to stroll through Aurora’s Water Street Mall and historic downtown district.

“For the city, this is a wonderful opportunity to bring people downtown, support our local businesses, and celebrate creativity on a global scale,” said Jon Zaghloul, Communications Manager for the City of Aurora. “This year’s installations are spread throughout downtown, making it even more exciting for visitors to explore. It’s a chance to experience extraordinary art from around the world right here in Aurora.”

For more information on the festival and full line-up of artists, visit: https://experiencelumenaura.com.

 Image credit: Monochronicle. 

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Featuring a lighting design by Paule Constable, Swan Lake continues to captivate audiences with its visual storytelling. WL is honoured to support the tour, ensuring the lighting design is delivered with precision and consistency across every venue.

As the production continues to travel to theatres across the UK, WL caught up with production electrician Rich Mence to explore the technical elements behind the scenes. His expertise ensures that each performance, whether in Aberdeen or Shanghai, delivers the same breathtaking impact envisioned by Paule.

“Touring a show of this scale is complex,” says Rich. “No two days are the same for a production electrician, but the setup follows a precise rhythm. We’re moving seven trailers of gear weekly, adapting to vastly different venues, and still delivering a consistent, beautiful show night after night. That’s only possible through meticulous planning, flexible design, and a team that works as one.”

From the outset, WL collaborated closely with Rich and the creative team to translate Paule’s design into a practical, tour-ready system. From developing a detailed shop order to prepping the rig at WL’s warehouse, every fixture – from ETC’s Gio @5 console to Luminex’s Luminode 12 DMX nodes—is tested, addressed, and ready to perform.

“WL’s infrastructure kit; especially the Prolyte S36 pre-rig truss and Luminex nodes, has been instrumental in streamlining our load-ins and maintaining system integrity across venues,” Rich explains. “It’s about working smarter, without compromising the artistic vision.”

Each venue presents its own spatial challenges, particularly in terms of auditorium size and proscenium width. These variations require constant adaptation of front-of-house lighting positions to preserve the integrity of the original design. Once optimal positions are identified, Chief Electrician Yoshi leads the relight process, ensuring the show maintains its visual consistency regardless of the venue.

One of the production’s most rewarding technical achievements is a subtle yet sophisticated lighting transition during a nightclub scene. A flown lighting position reveals a hidden bank of ColorForce II LED battens, replacing a previously cumbersome LED wall.

“It’s a cleaner, more efficient solution that enhances the scene whilst simplifying the rig,” Rich notes. “That’s the kind of innovation that makes touring sustainable and satisfying.”

WL’s Business Development Manager Stuart Porter adds: “It’s been incredible to work once again with Rich and continue supporting Swan Lake’s tour. We’ve partnered with New Adventures for many years and are proud to supply lighting for such a ground-breaking British dance-theatre company.”

Beyond the technical, the tour is a celebration of community and collaboration. From local crews to international venues, the production thrives on shared expertise and mutual respect.

“We’re lucky to work with incredible people across the UK, Europe, and Asia,” says Rich. “It’s a privilege to share this show with so many audiences, and to do it with a team that values excellence, creativity, and care.”

As Swan Lake continues its journey, WL remains committed to supporting productions that inspire, challenge, and connect – on stage and behind the scenes.

Photography by Johan Persson.

The post New Adventures with White Light for Matthew Bourne’s Swan Lake appeared first on A1 Lighting Magazine.

Hinckley House School is an independent day school designed specifically for students with special educational needs. It serves children aged 5 to 11 with Social, Emotional and Mental Health (SEMH) needs, alongside a range of other associated conditions.

The school is housed in a Grade II-listed Old Rectory within a conservation area. During its renovation, careful effort was made to preserve and enhance its historic character while protecting local wildlife.

“In 2018, a bat detection study identified five distinct bat species and indicated a thriving bat community with a variety of roosting and foraging sites,” said Jake Smith, Senior Electrical Engineer at Crookes Walter Consulting, the electrical design consultant on the Hinckley House School renovation project. “For lighting the school perimeter, we specified lighting that was durable, energy efficient, and which would provide sufficient illumination for the safety of pupils and staff whilst minimising light spillage that could affect nocturnal species. Our goal was to preserve the nighttime environment as best we could.”

Glamox provided the DarkSky-approved version of its O21-W wall light for lighting the perimeter of the school building. The tough luminaire emits light only where it is needed – in a downward direction – minimising light spill into the night sky.

“Artificial light can adversely affect wildlife and plants, interfering with their perception of day and night and disrupting their natural behaviour. The lighting for this project has a warm colour temperature of 3000 K and uses special optics to restrict light spillage,” said David Hunt, Managing Director of Glamox’s business in the United Kingdom & Ireland.

“The wall light also supports a circular economy, which is the opposite of a throwaway society. It’s been designed to be disassembled, enabling parts to be replaced to extend its lifespan. Additionally, parts can be reused or recycled at the end of their life. Around 45 per cent of the wall light’s housing is made from recycled aluminium,” added Hunt.

The wall lights are manufactured by Glamox in Basingstoke, Hampshire, in the United Kingdom, and exported across Europe. Glamox’s customer for the project is Crookes Walker Consulting, which provides sustainable mechanical, electrical, and plumbing design and professional services to property and construction industries. Simcott Projects Ltd undertook the lighting installation.

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For the 2025 edition, held from 3^rd – 7^th September 2025, light quality played a decisive role. As the official service partner of Messe Friedrichshafen, Organissimo worked with Elation to upgrade the arena’s lighting, illuminating it with seventy KL PANEL XL LED soft lights to ensure reliable, flexible, broadcast-quality performance.

Lighting the Americana Show Arena presented several unique challenges. Activities began as early as six in the morning and ran until midnight, with rehearsals often stretching into the early hours. This meant the lighting system had to perform under near-constant use. The arena was also captured on eight to nine cameras for both broadcast and livestream, requiring lighting that would look natural and flicker-free on screen.

At the same time, the welfare of the horses was paramount. Traditional halogen fixtures had not only failed frequently, requiring constant bulb changes, but they also projected blinding light that could distract riders and animals. With fixtures mounted high on trusses above sensitive arena sand, there was no opportunity for quick maintenance if something went wrong, so reliability and performance were essential.

The venue knew they wanted to upgrade to LED, and the solution was Elation’s KL PANEL XL, a powerful LED soft light known for its even light distribution, high output and excellent color rendering. Organissimo mounted seventy units across three long trusses running the length of the hall, along with additional trusses at each end to achieve full coverage. Organissimo’s Martin Knauer chose the KL PANELs for the arena lighting and created the overall lighting design.

The KL PANEL XL adapts easily to the needs of live events, camera productions, and large-scale shows, and its features proved decisive for Americana: its 544W RGBWLC LED array produces up to 44,000 lumens with a CRI of 95, ensuring natural, high-quality color reproduction. With a color temperature range from 2,000 to 10,000K and flexible DMX control, the lights could quickly adapt from the bright white wash required for horse competitions to smooth pastels and softer tones for demonstrations and shows. The fixtures also include barndoors, which allowed the team to direct light precisely while avoiding unwanted spill.

“For an arena of this size, homogeneous and reliable lighting is crucial,” says Daniel Geiger, Managing Director of Organissimo. “The KL PANEL XL provided us with the perfect combination of performance, flexibility, and energy efficiency. It was an ideal light for this type of show.” The KL lights were integrated into the overall production by Organissimo, which not only managed lighting, sound, and video but also oversaw some construction and provided behind-the-scenes support.

Organissimo collaborated with camera teams, who specifically requested LED panel softlights, something that would not project blinding light but could cover the entire arena in a uniform wash. The LED panels enhanced video capture without distracting riders or animals, while the RGBWLC engine provided the softer color tones requested by the client. Engineered for both live and broadcast environments, the KL Panel XL ensures flicker-free performance through a 900–25,000 Hz LED refresh rate and maintains near-silent operation.

The KL PANEL XL units worked in conjunction with moving head fixtures, enabling Organissimo to combine uniform soft washes with dynamic spotlighting for specific scenes and performances.

The results exceeded expectations. For the first time, the Americana arena could transition seamlessly between crisp competition lighting and immersive colored scenes, something previously impossible with the halogen system. Riders, audiences, and online viewers alike benefited from improved visibility, natural colors, and dynamic effects. The system performed reliably under heavy use, even with near round-the-clock operation, and no failures were reported. “We were very excited but also a bit nervous as we had not used these types of lights for a horse show before,” Geiger commented, “but they performed excellently.”

By all accounts, Americana 2025 was a resounding success, drawing more visitors than ever before and raising production quality to new heights. The collaboration between Organissimo and Elation underlined their shared ability to deliver tailored event technology at the highest level while the KL PANEL XL proved to be an effective solution for equestrian event lighting.

Photo courtesy of Organissimo.

The post Organissimo and Elation deliver premium lighting at Americana Trade Fair 2025 appeared first on A1 Lighting Magazine.

In total, Glamox is providing 3,220 energy-efficient LED luminaires that will be installed under the forecourt canopies and used to illuminate the EV charging bays and station perimeters. The luminaires feature a light sensor, enabling them to switch on and off automatically based on daylight levels (see Notes to Editors for lighting details).

St1’s replacement of old fluorescent lighting with LED luminaires will improve light quality and reduce the electricity used for lighting the forecourts by up to 60 per cent.

“Through this refurbishment, we aim to reduce the amount of electricity used for lighting the forecourts at many of our retail sites across Norway,” says Erlend Føleide, Marketing Director at St1. “Importantly, the project will also align our forecourts with the EU directive that phases out fluorescent lighting.”

In August 2023, the Restriction of Hazardous Substances (RoHS) directive began the phase-out of the most popular types of fluorescent lighting, including the most common linear (T5 and T8) fluorescent tubes. The goal is to reduce harmful substances in electronic waste, like mercury in fluorescent tubes. In Norway alone, more than 10 million fluorescent luminaires need to be replaced.

“Customers across the country are taking steps to align with the directive, as once current stocks run out, that is the end of the road for fluorescent lighting. With the added upside in light quality and energy savings, switching to LED, like St1 is doing, is an all-around great investment,” says Toril Bache Jenssen, Sales Director for Glamox in Norway.

To ensure consistent deliveries to St1 across Norway, Glamox established a stockpile of LED luminaires. Its contract for the project is with installer OneCo, which delivers services and projects within electrical engineering, automation, telecoms, mobile, security, electrical power and technical infrastructure.

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