GLP's new Impression 120 RZ Zoom has made its touring debut this month on the Yeah Yeah Yeahs' high profile UK theatre tour.
The first ten fixtures (each combining 120 RGB LED's) were supplied to Lite Alternative by GLP dealers, AC Entertainment Technology. And with experienced LD Matt Arthur inheriting the pre-existing American stage set (which included the original GLP Impressions on the technical rider) he relished the opportunity to upgrade to the automated optical zoom function, with 10° - 26° light distribution angle, principally to accent the set design's unusual eyeball feature with minimum spillage of light.
Each show featured six Impression Zooms, suspended from the mid truss for maximum stage versatility, with a further two used selectively as ground effects.
Jon Greaves, hire director of the Lancashire-based rental company, said that GLP's Mark Ravenhill had been instrumental in them making the investment decision. “We respect Mark a lot and his arrival at GLP helped raise our awareness of the product.”
Ravenhill offered Jon's partner, lighting designer Paul Normandale, the opportunity to evaluate the popular range at an arts event with Antony & The Johnsons at the Manchester Opera House.
“This gave us a chance to get hands-on with the products for a week,” said Jon Greaves. “We liked the Impressions but we liked the Impression Zooms more. And since there were standard Impressions already on the Yeah Yeah Yeah's technical rider we saw the opportunity to supersize it.”
He acknowledges that the fixture takes the use and application of LED to another level. “We were delighted to have the first batch of ten into the UK and to find that we can fit five units into each of our Lite Alt custom flight cases.”
For Matt Arthur, who in addition to the New York trio also works with Mark Ronson, Supergrass and most recently Alesha Dixon — taking over the LD role from show designer Steve Abbiss — he was immediately impressed with the accuracy, speed of response, richness of colour and versatility of the Impression Zoom which enables him to use the fixture as a profile or wash light.
“The Zoom is especially great for the Yeah Yeah Yeahs because the set has five inflatable eyeballs — all in varying sizes. So the motorized zoom is working to fill the surface and shape of each eyeball independently. We can zoom in and line them up accurately without spilling light onto the backdrop, which is what you would have been faced with using the non-zoom.”
He also notes the brightness and speed of the fixture. “In fact you have to watch your time on the cues because it's just so responsive. They are also very precise in the pan and tilt mode — extremely accurate, even with a 50% zoom. It delivers a consistent backlight and the brightness is never compromised.”
He also remarked on the Impression Zoom's neat beam shape and intense, rich colours. “Suspending them from a mid truss position is perfect as the Zooms become multifunctional — there's a line on the mid truss for the backdrop and the eyeballs, and a backlight position for the downstage area. If you make the beam wide you will get a lot of wash out of it.”
“With a line of six Impression Zooms we achieved really good directional beaming, with brightness and zoomability throughout the tour,” Matt Arthur summarised. “LED will steadily become more apparent for stage shows, with its low power draw and the ability to run a show essentially from a 16-amp power source.
“I will definitely be looking at using them again in the future.”
Further information from:
Uli Steinle Jerry Gilbert,
GLP JGP Public Relations
Tel: +49 (0) 72 48 / 9 27 19-38 Tel: +44 (0)1707 258525
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