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MEDIA BIZ Oktober 2018 #234

  • Text
  • Streaming
  • Krampus
  • Dokumentarfilm
  • Livemixing
  • Tonmeistertagung
  • Grading
  • Urheberrecht
  • Orchestra
  • Bitmovin
  • Dolby
  • Musik
  • Vacano
  • Menschen
Photo+Adventure + Film+Video Wien • Urheberrecht • Jost Vacano • Vegetable Orchestra • IBC • bitmovin • Dolby Atmos live im Kino • Gruß vom Krampus • Color Grading • Tonmeistertagung • Livemixing-Workshop • VR Days • Women film women •... Die nächste Ausgabe von MEDIA BIZ erscheint am 9. November 2018 mit einer weiteren Vorschau auf die Photo+Adventure + Film+Video in Wien, einem Ausblick auf die Tonmeistertagung in Köln, weiteren Nachberichten von der IBC in Amsterdam und der cinec in München, aktuellen Entwicklungen im Bereich Kameratechnik, Virtual und Augmented Reality, Beleuchtungs- und Beschallungstechnik, Storytelling, Datensicherung und -speicherung, Aus- und Einblicken vor und hinter die Kulissen beeindruckender Events, auf Produktionen und Projekte Made in Austria, dazu Testberichte, Interviews und mehr ... Redaktionsschluss: 24. Oktober 2018 https://www.mediabiz.at/mediadaten/termine.htm MEDIA BIZ Branchenführer: https://www.mediabiz.at/branchenfuehrer/branchenfuehrer.htm MEDIA BIZ Newsletter: http://www.mediabiz.at/daten/newsletter.htm MEDIA BIZ Abo: Print oder digital: 37 Euro (A) / 48 Euro (EU) Print + Digital: 44 Euro (A) / Euro 53 Euro (EU) https://www.mediabiz.at/abo/abomb.htm Branchentreff für Film+Video 2018 in Wien - Save the date - Photo+Adventure + Film+Video: 24. + 25. November, Messe Wien, Halle B + Messe Congress - eine Kooperation zwischen Photo+Adventure und MEDIA BIZ www.photoadventure.at/pa/film-video/ www.mediabiz.at/news/pa.htm www.mediabiz.at/P+A.htm www.photoadventure.at/netzwerken-und-netzwerker/

in a news nutshell

in a news nutshell zurück zum Inhalt Weatherproof moving heads at Nature One Nature One, Germany’s biggest and most diverse electronic music festival is attracting every year on the first weekend in August a crowd of tens of thousands of EDM fans on the former missile base of Pydna. This year, around 54,000 people came together to party on 23 “floors” along with 350 DJs and live acts. Since 2011, Thomas Gerdon (Gerdon design), and his team have been supporting the Open Air Floor, the largest floor of the festival, and for the first time this year also handled the visual design for Century Circus, the festival’s second largest floor. Although EDM festivals have grown massively in recent years, Nature One is something special for Gerdon. „At most EDM festivals today you find broad, high and massive stage setups. That‘s different with Nature One. The producers of the festival want to create the largest open-air club in the world and in clubs the lights usually hang above the dancefloor. That‘s an integral part of the design.” The pyramid-styled giant steel structure above the Open Air Floor had dimensions of 40 x 40 meter footprint and a height of approximately 26 meters. “We chose to do a pyramid again this year because it has been effective in the past,” Gerdon stated. “It’s also cost effective and from a rigging point of view you can hang 20 tons on the main construction. This year we wanted to give it a massive look.” Gerdon, who was familiar with the Proteus Hybrid, had recently seen it in a shootout and was impressed. “It was obvious how much more powerful the Proteus was,” he said. “The CMY was really good for a hybrid fixture and the speed of gobos and color was also good. It was really a ‘wow’ moment and an improvement compared to other fixtures.” The Proteus Hybrid moving lights were installed on a central truss element fixed at the middle of the pyramid. The truss element consisted of eight inter-hanging tapered circles, each of which held eight Proteus Hybrid fixtures and eight LED blinder lights. “This year we wanted a greater concentration of fixtures. This center effect with the Proteus Hybrid was the key design element,” Gerdon confirms. Each leg of the pyramid held 8 Proteus Hybrids with a further 32 Proteus Hybrid fixtures located on stage - 8 on side wings, 8 surrounding an LED screen, 8 on the floor and 8 on a back truss. Gerdon exploited the hybrid moving head’s versatility, using it as a spot, beam and wash light. “It was the only moving light in the rig so it was important that it delivers in all three modes.” The Open Air Floor, exposed to the weather and completely unprotected, is an ideal environment for the IP65-rated Proteus Hybrid. “With weatherproof lights you don’t need additional weather protection and manpower,” Gerdon explained. “In addition, there are no more weather-related limitations with the Proteus Hybrid. From a lighting perspective using protective domes is limiting - you can’t pan/tilt the fixture completely, there are focus problems, etc. It was the first time at Nature One that we were really able to use a fixture the way we wanted to, while during past shows we always had problems because of the protective shields.” Humidity at night at Nature One can also be a problem and, says Gerdon, there is no protection against humidity with protective covers. “In the past, we would have to keep the fixtures on all night so they wouldn’t get wet inside. That wasn’t necessary with the Proteus.” Since the lighting crew did not get any timecode or playlists from the artists, the operators had to react live to the music in real time. No problem, as Gerdon explains: „The rig made this type of spontaneous work possible. The crisp pan / tilt engine of the Proteus Hybrid was as much fun as their fast color and gobo changes.” Technical service provider was Schoko Pro who rented the Proteus fixtures from Motion Rental. Gerdon was thoroughly satisfied in his choice of fixture. “As a relative first mover with IP65 it is impressive that the fixtures work 100% from the beginning,” he said. “They operated for five days outdoors and held up really well and it’s not like they were just out of the box either. These fixtures had been on other shows and they worked great.” www.gerdon.tv www.elationlighting.eu © Elation Professional Fantasy Studies – Petra Stump-Linshalm orlando records, EAN: 9120040732349 The Austrian composer and clarinetist Petra Stump-Linshalm draws her inspirations from adventures and life experiences, travels, visual arts and finally from her fantasy. On her new CD she describes different whiskey aromas in sound in “A Guide to Flavors”. “Händelesen” for alto flute, bass clarinet and violoncello was inspired by a text from a book by Sudabeh Mohafez. “Cinnamon roses” for two clarinets focuses on the blossoms in spring. “Blanda”, composed for two tenor recorders is named after the longest river in Iceland and “Trotzig” for three bass clarinets is a reference to Wassily Kandinsky´s aesthetic and colours. Winning various awards she pays attention not only to the classical repertoire, but also of contemporary and improvised music. In addition to her own chamber music projects Petra Stump-Linshalm is a member of the ensemble XX. century. Since 2012 Petra Stump-Linshalm is a senior lecturer of chamber music at the Joseph Haydn Institute of Chamber Music and Special Ensembles at the University of Music and Performing Arts Vienna. www.youtube.com/watch?v=8wuEJI1zw00&frags=pl%2Cwn www.orlando-records.com www.stump-linshalm.com + + + + + Bruno Burtre Joins NOA Vienna based AV digitizing and archiving specialist NOA GmbH has named Bruno Burtre as director of business development. In his new role, Bruno is responsible for all strategic and operational marketing and customer relationship activities worldwide. Before joining NOA, Bruno held the position of executive director for the Education, Research and Training Department at the French National Audiovisual Institute (Ina) since 2012. At Ina, he was in charge of driving Ina EXPERT’s strategy and strengthening the organization’s leading place as educator and trainer in the audiovisual, digital and transmedia fields, reinforcing its expertise and encouraging the development of research as a source of innovation. Bruno Burtre, who has a technical and audiovisual background, also previously worked as sales director at specialized audiovisual laboratory, Vetracom, and earlier in his career at Sony Europe, where he contributed to the sector’s technological developments. Initially in charge of the Broadcast Customer Support Department for Europe, in 2002 he set up the first massive migration of audiovisual archives and established innovative ways of preserving magnetic tapes. Bruno Burtre and NOA began to collaborate in 2005 with the launch of a digital multithread audio channel using NOA Record system. www.noa-archive.com MEDIA BIZ

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