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.

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.

The post Glamox lights up energy-efficient forecourts for St1 appeared first on A1 Lighting Magazine.

The artist’s long-term LD, Jason Baeri, had been an early adopter of the powerful fat-beam LED fixture, with its massive 750mm beam diameter, when he specified a pair of heads for the Canadian artist’s grand walk-on at this year’s Grammy Awards back in February. “But this time, the deployment was very different,” he states. “For the Grammys we just needed something that had an awesome amount of power behind it, without having to deploy 20 different fixtures – like one big ‘Fat Light of God’. The MAD MAXX was the most effective tool for the Grammys, whereas this time we are taking advantage of the considerable throw, and the nature of this being a giant sky -tracking object.”

The MAD MAXX CW houses 19 90W white light LEDs (delivering up to 68,000 lm). And while it is in the spirit of the classic 3K and 7K xenon arc-sourced searchlights of old, the MAD MAXX carries many advantages, as Baeri points out. “There was a hole left by that generation of space cannons, and this has now been filled by MAD MAXX. It was always tough touring with [the older fixtures] because they required so much infrastructure. But these can run pretty much through the whole show without needing a break. Also, while it’s one of the most potent effect lights you will come across, you still need to justify it in terms of truck space and crew. So to have something like this that doesn’t require its own special power and separate team is a really big deal.” Furthermore, being designated ‘No Laser’, it doesn’t require a separate operator licence or permissions.

Recently reclassified with an IP66 rating, Jason knew he would need all of MAD MAXX CW’s muscularity, delivered by 12 heads firing up from the stage front, simply to compete with all the other heavy-duty ordnance built into the scenography – including a massive 150ft × 60ft videowall. The fat beams themselves criss-cross against a composite city skyline backdrop that has been resonating with the fans. “We put them at the base of the skyline to emulate big skytrackers. Their scale, next to that of the scenery, changes them into something huge, making the city feel like it’s alive. Their throw covers the full length of a stadium which is really excellent.”

The new IP66 classification is an important feature. “The fixtures have held up well, including a few torrential downpours,” he says. “We didn’t lose any to the weather.”

Rather than using the colour wheel, Jason Baeri has opted largely for the fixture’s intense white light, to cut through the space. He and programmer Manny Conde are running the MAD MAXX CWs in three segment mode (centre pixel plus inner and outer rings): “The three-ring mode worked great and delivers everything that we intended without the need for the additional channels in this instance.”

The MAD MAXX CWs were supplied by Solotech, with Rob Kennedy as the account manager. “Solotech are family,” reasons Baeri. “Rob and the whole team are solutions providers from another age.”

Thus the combination of visual impact and ease of management has again proven a winning formula while maintaining engagement with the audience. “The MAD MAXX is definitely doing what was intended,” says the lighting designer in summary. “It’s an important statement piece as a tool, designed for power, that cuts right through all the other stuff that’s going on. It is an incredible fixture and I will certainly be using it again.”

Photo credit: Steve Jennings.

The post GLP MAD MAXX creates high visual impact over The Weeknd’s touring city skyline appeared first on A1 Lighting Magazine.

Lighting is very important for Sarah who lives and works from the house and attached studio.

In the living areas she specified Collingwood’s 1901 spotlights, which she can rotate and tilt to direct light where she wants it. The fittings have a contemporary black cylindrical design and produce a warm light of 2700K for a relaxing atmosphere.

To create an intimate but modern feel around the eating area, the company also supplied its Linear Prism fitting in black which is suspended above the table. With colour switchable options to choose what light source she wanted, Sarah opted for a warm light of 3,000K.

And for the gallery hall Sarah chose the company’s OKTO 4 architectural lights. They have a similar sleek black cylindrical design as the 1901 spotlights and provide ambient lighting for large areas with their 85^o beam angle.

Commenting on the installation, Sarah explains: “I wanted energy efficient LED lighting with a modern contemporary design. The black, sleek design of all the fittings really work as a visual statement, especially when set against the textured grey Hempcrete walls.”

In the studio, where she works, Sarah specified industrial looking lights with Collingwood’s Caiman Versa anticorrosive fitting. The two fittings are suspended from the steel ridge beams, and their steel bodies work well set against the bare hempcrete walls and this exposed metal girder. With plenty of glazing facing north, the studio has an abundance of natural diffuse light for her work, which the light fittings supplement as it gets dark with a cool white light of 5700K that is similar to natural light.

Modern LED fittings not only offer adaptable lighting solutions but are extremely energy efficient, something that is vital to Sarah who wanted a sustainable solution.

The timber frame building uses Hempcrete for insulation. This bio-based product is carbon negative because it uses material from the hemp plant which absorbs carbon dioxide from the atmosphere. Sarah chose to leave the Hempcrete exposed on the internal walls.

The building has also got an air source heat pump and solar panels to provide power for the lighting and sockets, and the heating and hot water. In addition, the ceiling is clad in plywood, and Sarah sourced the kitchen units from freecycle and used plywood offcuts for the kitchen unit doors.

Commenting on her new home and studio she says: “I have shown that you can build a sustainable zero carbon building that is very individual and good looking. My emphasis has been on energy saving solutions, but that does not mean that you must sacrifice style.

As an artist light is very important to me and Collingwood’s fittings allow me to achieve what I believe in and create and showcase a space that is visually stunning.”

The post Collingwood lights up Grand Designs carbon zero house appeared first on A1 Lighting Magazine.

This move represents the evolution of a powerful partnership. As Helvar’s Premier Partner in Poland for nearly a decade, HC Center has successfully built the Helvar brand into a recognised leader. This expertise has been proven across thousands of projects across Poland, enhancing wellbeing and sustainability by futureproofing key facilities in the commercial, educational, and healthcare sectors.

The acquisition of HC Center was set in motion by its CEO, Mr Dariusz Prekurat, following his decision to sell the lighting control operations of HC Center. He made the decision dreaming of a long-awaited retirement and the free time to pursue his passions, such as playing the guitar. It was with great sadness that the Helvar team learned of Dariusz’s passing in September, prior to the completion of this transition. Helvar is fully committed to continuing his life’s work and fulfilling his vision to establish the business as the undisputed leader in Polish lighting control. Helvar is dedicated to upholding his legacy and ensuring the smooth continuation of the business he devoted himself to building. This decision guarantees operational stability and reinforces the commitment to all customers, clients, and stakeholders.

The partnership with HC Center is a story of evolution that began in 1991. That year, Prekurat signed his first contract with Helvar through a lighting fixtures import company, DJP Sp. z o.o. The founding of HC Center in 2017 marked the natural culmination of a relationship that had adapted and deepened through decades of market and technological change.

New leadership and outlook

Helvar’s Polish operations will be led by Mr Przemysław Skorupa, who brings extensive experience and vision to the role. As a respected Helvar veteran with 20 years in the lighting industry, he has spent 11 years overseeing the Polish market at Helvar and was pivotal in the establishment of HC Center. Przemysław takes over the reins of a strong team of professionals, which has been successfully built and developed since 2018 under the leadership of Ms Katarzyna Siuchnińska, who doubled the team’s size during this time.

“This exciting transition underscores our long-term commitment to the Polish market. Having worked closely alongside Dariusz and his team for many years, I have tremendous respect for their passion and expertise – what they have built and accomplished in Poland is truly remarkable. In honouring his memory, our immediate focus is to ensure a seamless transition for our team and our customers”, said Mr Przemysław Skorupa.

“By officially bringing the Polish operations into the Helvar family, we are poised to build upon the incredible foundation they have established. Our customers can expect the same excellent level of service, now enhanced by the direct support and innovation of a global industry leader. On behalf of the Helvar team, I would also like to extend our sincere gratitude to Katarzyna Siuchnińska for her integral leadership of the HC Center sales team in recent years, and for her invaluable contributions in helping to shape this new chapter. It is a profound privilege to lead this exceptional team as we deliver on our promise of outstanding value and pursue our mission to become the leader in lighting control in Poland.”

Benefits for customers

“This is a true ‘back to our roots’ story for Helvar,” said Mr Kim Långström, CEO at Helvar. “The very name of our company, Helvar, is a portmanteau of Helsinki and Warsaw (Varsova), a nod to the deep-seated trade history that connected these two cities over a century ago. This next step in our journey brings us home in a profound way. We are incredibly grateful to Dariusz and his exceptional team for the robust foundations they have built over the last nine years, and we are committed to continuing this heritage of excellence and customer-centricity in Poland. We are honoured to unite the HC Center team into the Helvar family and begin this exciting new chapter together.”

This transition is designed to provide an enhanced experience and more comprehensive service to all customers. By establishing a direct relationship with Helvar, customers will benefit from a closer connection to our global expertise, which will bring greater insight and faster support. This closer relationship not only streamlines the delivery of new technologies to the region but, crucially, streamlines insights from Polish customers to impact future Helvar developments.

The official establishment of Helvar Poland is a direct reflection of Helvar’s long-term commitment to the region. This move ensures customers the peace of mind that the solutions and support they rely on are backed by a growing, global entity dedicated to building a more sustainable and intelligent future in Poland.

The post Helvar acquires lighting control operations of long-standing partner, HC Center Sp. z.o.o. Sp.j., in Poland appeared first on A1 Lighting Magazine.

The Summit promises a dynamic agenda featuring a range of topics surrounding sustainability, smart buildings, DALI-2 certification, D4i use, and the integration of DALI with building management systems.

Attendees will benefit from expert-led presentations, interactive workshops, and panel discussions designed to address the current challenges and opportunities within the lighting industry.

Key Highlights:

• Discover the Latest DALI Innovations – From controlled lighting to whole-building intelligence.
• Network with Industry Leaders – Meet experts and peers shaping the future of lighting technology.
• Earn Continuing Education Units (CEUs) – Available in select sessions to amplify your credentials.

To ensure the opportunity is both inclusive and accessible, three levels of tickets are available for the event:

• Lighting and Control Designers, Specifiers, and End Users
• Manufacturers and Industry Stakeholders
• Students and Faculty

Paul Drosihn, General Manager for DALI Alliance, said: “Following the success of our inaugural DALI North America Summit in October 2024, we are once again excited to connect with our peers and friends in the industry to share knowledge and best practices. We have listened to the feedback from those who attended last year, and we are committed to continuing the sharing of our knowledge base and expertise on DALI technology. The summit is one key part in our efforts to expand the educational opportunities available to our members and other stakeholders, along with the recent and continued launches of DALI informative guides. We are looking forward to sharing this special event with members of the lighting industry.”

To learn more and to register, please visit: DALI North America Summit 2025 – Digital Illumination Interface Alliance

The post DALI Alliance invite you to the DALI North America Summit at Parsons School of Design, New York City appeared first on A1 Lighting Magazine.

Peter’s approach was rooted in delivering quality and consistency across a technically demanding schedule. With productions rehearsing and performing in rapid succession, the lighting design had to be both flexible and precise. This consistency came from the team Peter works with regularly and had specifically assembled for this season. Each production presented unique challenges, and Peter had to creatively adapt each one using the same rig, while customising his design. Working with a brilliant LX team meant they were able to look at requirements for all the productions and find holistic ways to execute the lighting design, saving materials and time.

Pelléas et Mélisande, described by Peter as “entirely driven by light,” featured dancers manipulating practical light sources live on stage, with integrated LED lighting hidden within scenery and wireless fixtures creating ethereal effects. Working with Director Jenny Ogilvie, the lighting R&D phase was paramount to the success of the show, and WL was also key in recommending fixtures that would enable the overall creative look and feel. Peter comments: “The onsite LX team including James, Charlie and Ben did a fantastic job too and contributed massively to the success and smooth running of the show.”

One of the season’s most memorable lighting moments came during Pelléas et Mélisande, when Mélisande, dressed in white, drifted across the stage on a swing under a soft golden-grey glow from a hidden light source. In a striking final scene, Peter used rare sodium lights, borrowed from the Barbican, to bathe the stage in monochromatic orange, rendering the surrounding colours black and white. Mélisande, illuminated in full colour by tungsten light, appeared to radiate life as the characters around her shifted from grey to vibrant hues. This bold, poetic use of light transformed the atmosphere and underscored the emotional climax of the opera. The result was a visually rich experience that earned critical acclaim, including praise from The Guardian.

Meanwhile, Wahnfried demanded a dramatic, shadowed palette and rich earthy tones to match its intense themes, while Dido and Aeneas, and Il Barbiere di Siviglia leaned into warmth and naturalism, supported by a carefully curated mix of tungsten, LED and arc sources. Across all four productions, WL’s equipment enabled rapid changeovers, high-fidelity lighting, and creative flexibility, crucial in a repertory season where operas transitioned with minimal turnaround time.

WL supported this vision by providing a wide range of equipment, from tungsten TW1s and Svobodas to Martin Mac Viper DX washes, ETC ColorSource Cyc, Elation SixPAR 200IP,  enabling Peter and his team to craft distinct atmospheres for each opera while maintaining a cohesive technical infrastructure.

“WL’s support was platinum standard,” said Peter Small. “Their extensive inventory, from specialist tools to vintage fixtures, enabled me to fully realise my creative vision. Whether it was beam benders, bespoke rigging, or seamless logistics and budget management, their expertise helped us deliver a technically complex season with confidence and flair.”

Stuart Porter, WL’s Business Development Manager, comments: “We’re proud to add Longborough Festival Opera to the growing list of prestigious opera festivals we support across the country. It’s always a pleasure collaborating with Peter, as his creative vision and ability to blend vintage and modern equipment make each project uniquely inspiring. Working closely with Peter allows us to tailor our support to meet both artistic and technical demands seamlessly.”

As Longborough continues to push boundaries in opera production, WL is proud to be a trusted partner by bringing technical excellence, creative collaboration, and storytelling to the stage.

Lighting Designer: Peter Small.

Production Electrician: James Smellie.

Programmer: Rohan McDermott.

Senior Technician Lighting: Charlie Mann.

Technician: Ben Oakley.

Image credit: Barber (Bright crowd scene) – Clive Barda.

The post White Light hits a dramatic crescendo at Longborough Festival Opera appeared first on A1 Lighting Magazine.

At night, rows of palm trees lining Anaheim’s streets glow with custom RGBW LED uplights, while nearby monuments are brought to life with internal LEDs. Previously, the city relied on a basic control system that offered only limited functionality such as RGB-only control across entire banks of palm trees, with sections run on independent cell modems that frequently dropped offline. The result was a fragmented and unreliable experience that lacked cohesion.

Seeking a more robust and creative solution, Anaheim requested a solution from Pharos Architectural Controls. California-based automation and connectivity specialists Wired Media Solutions (WMS) were commissioned to deliver the upgrade using Pharos technology.

WMS was tasked with designing a system that was not only reliable but also powerful and flexible enough to deliver different aesthetics through actual creative intention. Together with Pharos they selected the Pharos Designer LPC (Lighting Playback Controller) as the central control solution to fulfil the needs of the upgrade, connected to Pharos Cloud for simple, secure remote lighting control and management.

A key part of the upgrade project was the lighting design itself. The city provided a schedule of holiday-themed and special-event shows, with the intention of frequently updating the scenes to keep the displays fresh and engaging. Ensuring smooth, seamless transitions across miles of trees was essential – especially since residents never view the entire installation at once. With palm trees planted in pairs, many looks were designed with symmetry in mind, further enhancing the overall aesthetic.

The Designer LPC provided the perfect solution for the project. Featuring individually controllable and independently running timelines and scenes, it allows Anaheim to change their light shows at any time, while also offering real-time manual overrides for maximum flexibility.

In total, eight LPCs are in operation across the city. Designed by WMS, the network integrates fibre, cellular and 60 GHz point-to-point links – no small feat in an incredibly dense RF environment. Accuracy in distance and line-of-sight calculations was critical, as was ensuring the DMX devices met strict specifications for long-term, maintenance-free operation.

The system runs on several topologies and VPN links to create a transparent, centralised network, accessible through a portal that gives city officials straightforward control.

Michael Grosse (MG), Regional Sales Manager for the Americas at Pharos Architectural Controls, commented: “Anaheim has embarked on a fantastic project to improve its night-time aesthetics, and the illuminated palm trees do look incredible. It’s rewarding to know Pharos could offer a solution that delivers reliability, durability and full autonomy for the city’s lighting scenes and shows.”

Ryan Wilkinson, President/CEO of Wired Media Solutions, added: “It was a pleasure to be brought into this project in our home state and be part of the team to modernise and greatly improve the control and connectivity of Anaheim’s night-time illuminations. The Pharos Designer LPC gave us everything we needed, including putting creative control directly into the hands of the City of Anaheim so they can frequently change the lighting scenes. Working with the LPC provided a fantastic insight into the ease of integrating Pharos technology into a lighting system and network, and we will be sure to look for opportunities to specify this solution in the future.”

Lighting Controls: Pharos Architectural Controls.

Systems Integrator & Lighting Designer: Wired Media Solutions (WMS).

Electrical Contractor: Energy Management Solutions, Frank Kourtis.

Photography: Wired Media Solutions (WMS).

The post Anaheim’s night-time illuminations enhanced with Pharos upgrade appeared first on A1 Lighting Magazine.