ENCORE MELAKA (II) | A Look into Our Lighting System + A Look into Our Video System

ENCORE MELAKA (II) | A Look into Our Lighting System + A Look into Our Video System

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  • Time of issue:2018-07-09 11:06
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(Summary description)

ENCORE MELAKA (II) | A Look into Our Lighting System + A Look into Our Video System

(Summary description)

  • Categories:Company News
  • Author:
  • Origin:
  • Time of issue:2018-07-09 11:06
  • Views:
Series #2: A Look into Our Lighting System
The complexity of positions

We have the same issues recurring in recent interior lighting designs for the Impression Series. The buildings where the shows are scheduled are so huge that it is impossible to provide rigging under the top steel structure. We have to do everything on catwalks. And we must position lights in a way that tailors to specific plots and sceneries within these colossal spaces.



Problems with positioning arise when we apply theatrical lighting, which is primarily focal, to the Impression Series across the super-sized stage in a matching stage design. This “randomizes” lighting distributions given the fact that the positions will be very much likely to change with onstage synchronization. Had a rigging system (all-covered with steel grid) been available, we could have used hoist holders as a truss to hang lights. However, the Melaka Theatre is furnished only with catwalks, which makes our task more difficult to some extent. Frequent visits up there adjusting lighting booms make it tremendously difficult for us to position, reposition, and repair the lights.
Needless to say, on-site construction, frequent adjustment and maintenance all will be huge burdens in terms of labor and time, even though the basic needs have been met and some building costs saved. The floor height under this project is greater than that of Encore Mount Wutai and Encore Dunhuang. What bravery our staff must summon to hang lights on those steel plates 18 meters high!



Almost all the top moving lights have been installed in such hard way. Our workers like to joke that they feel like they are part of a bomb disposal squad. From this one can imagine how dangerous their work is and how hard it will be to carry out maintenance later. Here we would like to thank Pang Junzhi's team from Beijing Macro State and Industry Technology Co., LTD. for their great support in the whole process.
The complexity of circuit layouts

Considering the complexity of the power supply circuits and the signal circuits as a result of the complexity of the lamp positions, we laid cable supporting system all-covered along catwalks to distribute the routes – laying the circuits at where the lamp positioned. Learned from the Dunhuang project, we have laid the cable supporting system on catwalks and the lightings were distributed relatively evenly. We also used lower power lighting fixtures in this project and most of them were no more than 1kW. Additional lighting can be parallel connected to the nearest circuit. Almost no additional cables were used for the lighting system, and the actual usage amount of cables is nearly equal to the estimated amount based on the drawings. It demonstrates in a sense that the routing was set reasonably, and the usage amount of cable won’t increase too much even if there are some changes. Differing from the theatres with full-field circuit distribution, maximum flexibility and smooth routing are essential for this type of projects. Thereby we can adjust circuit distribution based on the lighting position at any time, and leave some capacity for adding lightings when necessary.
The most reliable control system

In the implementation of many large-scale projects, we have accumulated considerable experiences in network systems, and come to a conclusion that the signal circuits are easier handled than the power distribution circuits. In this project, we used optical fiber slip ring in the control system to ensure the gigabit network bandwidth transmitted beyond the turntable, and then transmitted to the terminal computer rooms through linear network topology structures. All devices are gigabit level therefore the network bandwidth has been greatly guaranteed. However, there still have risks in the linear structures. And the security of the system can be further improved if we use the first base station after the turntable as the core of star topology structures.
As for the processor, we used MA2 2Port Node to support the two-way communications with the console. In addition, it is very convenience that we can monitor the online numbers and status of processors constantly, also can set and modify the processors at any time. 
The entire system consisted of 15 processors, 2 NPU extenders and 2 grandMA2 Light consoles.




MA2 Light console is the most frequently used device in our projects these years. It is compact, powerful and robust, almost being the most reliable part of the entire system. We also deployed masterMain + Standby Consoles this time. The backupstandby console was used as the programming console to adjust onsite lighting positions, and the mastermain console was put in the control room to receive time code, connect MA3D and monitor the lighting fixtures. Many users set up the programming consoles group serving as the main console. However, this does not conform to the specifications. The good practice is using the backupstandby console for programming when it is connected, because the main console is responsible for communication with the devices of MA Session and receiving time code. One example of this configuration is two MA2 Full Size consoles for everyone in Eurovision Song Contest. The programming console facing against the stage is backupStandby Console, while the spare console side facing the stage is masterMain Console.



Goodbye, Yellow Ball, we won’t see you again in MA3.
 Recalling the classic feature which will be removed soon (actually most people rub it just for fun, it is absolutely a good stuff for relaxing).
Series #3: A Look into Our Video System
As for video equipment, we used two Barco HDF-W30LP laser projectors. Main parameters of this model: brightness 30000 lumens, resolution 1920x1200, TLD 2.0-2.8 lens, main projection size 44mx14m, picture resolution 3000x980, White illumination up to 100Lux (position of Zone R Baffle). This illumination has been tested many times. We were assured it can meet the onsite needs taking into account all factors such as actors, props, stage arts and lighting. At present, major large projectors all use laser light source. The proven Barco projector provided maximum guarantee in color, brightness, resolution and reliability.




At the beginning we planned to place the projectors on the top of the control room on both sides to lower the noise. However, in the discussion of onsite visual effects before entering construction site, the client required to project onto four performing areas (Zone ABCD) in addition to the confirmed Zone R (including the ring baffle and the veil). In order to minimize the edge of auditorium covering the projectors, we decided to move two projectors to the middle and top of the control room. Another advantage of this center projection is to increase the brightness reflected to the middle of the auditorium. The audience will feel pictures are brighter compare to projection from two sides. While using the wide-angle focus of TLD 2.0-2.8 lens, the fusion area is only 4m and less than 10%, maximizing the projection brightness and projected area.



To keep the audience of VIP area in front of the control room from noise affected, we tried to place a tempered glass plate in front of the projection room, though it was removed finally because of light reflection and lower brightness issues. Then we made two light outlets for the projectors, and sleeved them to reduce dazzle light and noise. The actual effects have been improved significantly. 



Two Barco HDF-W30LP Laser projector, placed side by side in the dedicated loft directly above the control room. The two devices behind them are radiators. Ambient temperature in the theater does not exceed 25℃ with sufficient air conditioning. At the beginning when air conditioning did not come into use, the ambient temperature was 30℃, we had to add an axial flow fan to help dissipate the heat. After the air conditioning went into service, those two fans were enough for heat dissipation. Heating of HDF-W30LP is much lower than Barco HDF series xenon projector. 



The projectors use DVI Optical-fiber Extender. The network cables are used for D3 server and Projector Toolset management software to control the projectors. 



In order to reduce dazzle light and noise, we made sleeves covering the projector lens sections. The effect is very good.


The most powerful feature of D3 Server is mapping on model. We needed to mapping on 6 models (Baffle, Veil, Zone C, A, B, D) in total with only 2 projectors. Image projection would be continued in the show. Therefore we added a Lightware DVI matrix switcher for quick switch. This system has been supported by Beijing Redline Technology.




In this show, Director Wang arranged an interactive game "in the Mirror" for the audience. One DV staff went into auditorium to capture images, and the audiences were extremely excited when they saw themselves on big screens. And the stage scenes were changed in that time. Equipped with auxiliary light and wireless video transmission device, a simple Sony FDR-AX40 camera became much powerful. F&VZ96 LED lights can adjust brightness manually, and the wireless transmission device MOMA 300H can output SDI signal, therefore it can transfer the scene picture wireless (hundreds meters level) and convert to high-definition SDI signal to the D3 server. It is remarkable and cost-effective.



Many kinds of “screen” were used in this show, such as projection veil, projection screen, baffle and water fog. The screen gain of each medium is very different. It made lighting adjustment more difficult, because the only 2 projectors had to work in full light mode at all time. Through lighting adjustment, Lighting Designer Professor Wang Yugang did a great job in image adjustment, taking into account the costume color and the actor's performance details, the sharpness and brightness of front projection images, as well as trade-offs and precise controls of light angle and ratio, to cover the projection brightness with the light illumination.


  ➢ Prelude: Project Background
  ➢ Series #1: A Look into Our Audio System
  ➢ Series #2: A Look into Our Lighting System
  ➢ Series #3: A Look into Our Video System
  ➢ Series #4: Post Production
  ➢ Peroration

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