Jands Stage

History

Cost-Effective Lighting Control for The Fellowship Church

Fellowship Church 1

Photo © Wayne_Terrell

North America – Lighting designer C. Andrew Dunning of Landru Design specified the award-winning Jands Vista system to provide simple yet powerful control for Worship services at The Fellowship Ministries’ Two Rivers Campus in Nashville, Tennessee.

In addition to being the owner of Landru Design – which offers lighting design and consulting services for Houses of Worship, corporate events, conferences, and festivals – Andrew is the LD and part of the production team for the main 400-seat Worship Center space at the Two Rivers Campus. Beyond programming and running services, he also maintains the lighting system and supports the team of production volunteers.

Andrew worked closely with Josh Holowicki of lighting sales and production company, E2i Design – who also passionately support a number of Houses of Worship and education centers in the region – to supply the Jands Vista system.

The Church wanted a lighting control solution that could be easily picked up by non-lighting professionals, so that volunteers of all ages could experience real ‘ownership’ for services without months of training,” says Andrew. “A typical volunteer will have hands-on experience running a service after less than an hour of Vista training.

These Church members are commenting on how easy Vista is to use – the ability to navigate cue lists so easily – without having to learn ‘lighting’ syntax or to press a bunch of buttons. Simply hit the ‘go’ icon in the cue list next to the cue you want.

The Two Rivers Campus are using the very affordable PC-based Jands Vista control solution, connected to two 22-inch touchscreen monitors. By utilizing existing computers onsite, the Vista PC system only requires installation of the v2 control software, a USB to DMX interface cable, and an upgradeable DMX dongle – in the Church’s system, their dongle provides 2 universes of DMX channels.

All Vista products run the exact same software and offer the full feature set as found in the range’s largest consoles – enabling the Campus to use the affordable Vista PC solution without compromising on power, features or performance.

The Church also required a control platform that offered a range of compatible hardware options to suit different shows and budgets, to allow them to standardize control across multiple campuses, and at a cost-effective price.

Our entire lighting budget was less than what many larger Churches might spend on 4 or 5 moving lights,” adds Andrew.

Fellowship Church 2

Photo © Wayne_Terrell


The Vista PC system is controlling a batten-based lighting rig at the Two Rivers Campus, utilizing both repurposed conventional fixtures from its previous facility and nearly 40 LED PAR fixtures.

Data is distributed throughout the room using Pathway’s Pathport nodes.

 

 

Vista suits the Worship environment beautifully,” concludes Andrew. “With a high reliance on volunteers to provide production services, it lets the lighting ministry be very ‘inclusionary’.

Equally at home on tour or as a venue’s house console, Jands Vista is ideal for shows and special events, arena touring, lighting companies, AV companies, venues and rental, not to mention a fantastic investment for a designer.

Jands’ award-winning Vista lighting & media control system has been embraced by leading designers, companies and venues all over the world on a wide range of shows. Covering entertainment, education & drama, installations, corporate, events and Worship, there’s a Vista system to suit all levels of user and almost any scale of show.

Other Houses of Worship to utilize lighting or media control by Vista include Elevation Church in North Carolina, Tomoka Christian Church and Celebration Church in Florida, Willow Creek Community Church in Chicago, White’s Chapel in Dallas, Lifechurch.tv in Oklahoma, Westover Church in North Carolina, and Grace Community Church in Indiana.

Get your demonstration of the Jands Vista range at the upcoming Worship Facilities Expo 2015 show in Nashville, Tennessee, 18th – 19th November, on the Booth (607) of Jands Vista North American distributor, A.C. Lighting Inc.

Fall Out Boy’s International Tour

Fall Out Boy Tour 3

Photo © Jack Edinger

A Jands Vista S3 console and two Jands D1 Playback Processors are being used by designer, Robb Jibson of So Midwest, Inc. to provide lighting and media control for American rockers, Fall Out Boy’s current 2015 / 2016 international tour.

The high-profile US rock band are touring in support of their 2015 album American Beauty / American Psycho, currently undertaking UK and European Arena shows throughout October, following a series of US dates over the Summer.

A long-time Jands Vista user, Robb is taking the S3 and D1 combination on the entire tour. The custom setup consists of the S3 control surface, which is connected to an Apple i7 Mac Mini running the award-winning Vista v2 software, and a Wacom Cintiq Multi Touch pen tablet surface built into a custom case. The system runs with an identical back up and two Vista D1 Playback Processors, which are rack-mounted in a road-case.

There are a total of 15,496 parameters on the tour, ” says Robb. “The Vista controls all the lighting fixtures and elements of the mBox media server that are Art-Net merged within the Time Code Controller. The D1 processors are needed due to the parameter counts, and I have to say they are performing amazingly well. They simply sit on the network and work – that is the beauty of them!

Fall Out Boy Tour 2

Photo © Jack Edinger

In addition to the massive effects lighting rig, which includes dozens of Aryton Magic Panels, Magic Rings and Clay Paky B-Eye in full parameter count modes, the show set includes a large LED screen situated high above the front of the action, a huge LED wall at the back, and LED screen strips on the three staircases centre-stage. A variety of media content appears throughout the show, including live camera feeds and striking visuals designed by Robb in his capacity as production designer, in collaboration with a creative team of animators.

The set is custom made and faced with 6mm magnetic video tiles,” says Robb. “Being able to control all the intensity levels of the mBox map surfaces in a matrix (using Vista’s pixel mapper) gives some really cool looks and functionality!

The Jands Vista D1 expands the DMX processing capabilities of the entire Vista range and connects via Ethernet to any Vista system – providing an additional 8192 channels (16 DMX universes) per unit.

Inside the D1 there’s a high performance Intel processor, 16GB of RAM, a Solid State Drive and dual gigabit Ethernet connections to maximise playback performance and minimise latency. Fixtures can either be connected to the D1 over a network using Art-Net or sACN, or directly via the D1’s eight DMX outputs.

Fall Out Boy Tour 1

Photo © Jack Edinger

The Jands Eco system allows me to control the show with the most respect to the timings of things,” Robb continues. “It allows me to quickly dial in timings that are accurate to the musical notations, and get them right. Constraining all the parameters into timing blocks and being able to adjust them without losing the timings is a joy! I also really love the fixture selection and sorting, being able to think less of fixture numbers and ordering, and more about the overall show goal!

Jands continues to innovate – the Vista system really is designed beautifully.

Following the October Fall Out Boy shows, which include dates in the UK, Belgium, Germany, France, the Netherlands, and Russia, the band will return to North America for a series of dates through December, February and March.

Equally at home on tour or as a venue’s house console, Jands Vista is ideal for shows and special events, arena touring, lighting companies, AV companies, venues and rental, not to mention a fantastic investment for a designer.

Jands’ award-winning Vista lighting & media control system has been embraced by leading designers, production & rental companies, and venues all over the world on a wide range of shows. Covering entertainment, education & drama, installations, corporate, events and worship, there’s a Vista system to suit all levels of user and almost any scale of show.

Recent shows featuring lighting or media control by Vista include international concert tours by Florence + The Machine, Bring Me The Horizon, Kylie Minogue, Queen + Adam Lambert, and Dierks Bentley.

Buckinghamshire New University’s High Wycombe Campus.

Bucks Uni Drama Studio 1

A.C. Special Projects Ltd. (ACSP) have specified, supplied and installed cutting-edge performance lighting systems for two separate drama studios at Buckinghamshire New University’s High Wycombe Campus.

Having previously supplied lighting systems for several other performance areas on the Campus, the University approached ACSP to deliver solutions to meet their latest studio technical needs.

For the campus’s main Drama Studio 1, which is utilised by a variety of Performing Arts courses, the brief was to enhance the existing conventional tungsten lighting system with a range of the very latest LED solutions, as well as upgrading the existing lighting console to cope with the new rig.

Bucks Uni Drama Studio 1The University were keen to invest in LED technology, to help improve the campus’s overall lighting and heating energy efficiency rating, and thus reduce their carbon footprint. In addition, they wanted to minimise the requirement for students or technical staff to work at height in order to change fixtures’ coloured gels or lamps.

Another consideration was to provide the students that would be operating the equipment, with the opportunity to get hands-on experience using brands whose products were widely adopted in the Performing Arts industry.

ACSP chose options from the ProLights lighting range, to deliver outstanding results from the available budget. These included ProLights StudioCob full colour LED Pars, offering an extremely bright, consistent and wide 60° beam; ProLights Evo 160F Fresnels and Evo 190E Profiles to deliver tungsten-style theatrical performance from an LED source, both featuring excellent optics and smooth dimming; and finally, ProLights Reflex moving washlights, for adding the flexibility of its extensive zoom and vibrant colour range.

In the Studio’s control room, the University needed a lighting console that was easy to use but still capable of controlling the latest lighting technologies, along with being flexible enough to suit the individual show performance needs of students.

ACSP specified the award-winning Jands Vista v2 control solution due to its intuitive, graphical user interface, and the versatility of programming and playback methods it offers. Vista allows students and teachers to concentrate on the creativity and design of their show lighting, rather than complicated lighting programming, by letting the Vista v2 software handle the technical details and simply deliver the target stage look they require.

With limited space to accommodate a large lighting console, ACSP recommended the compact Vista S1 wing. All Vista products run the exact same software and offer the full feature set as found in the range’s largest consoles, therefore the S1 connected to a Mac mini provided this small footprint solution without compromising on power, features or performance.

For the campus’s Drama Studio 2, which is utilised as a rehearsal space for dance performances and other drama-related applications, ACSP provided a whole new lighting system – also featuring ProLights StudioCob full colour Pars and Evo 160F Fresnels fitted with barndoors.

Bucks Uni Drama Studio 2This second studio is also controlled by Jands Vista combined with an even smaller, ultra-portable M1 wing connected to a laptop. With both studios running the same control software, and taking advantage of Vista’s modular wings, this allows students and teachers to freely transition between the two spaces without having to learn differences between two products. Show files can also be seamlessly transferred from one studio to the other, and in addition, the S1 and M1 can be combined to offer a physically larger console for those one-off productions which may require more hands-on control.

In both studios, Jands Vista provides flexible lighting control to suit a variety of Drama productions, ranging from simple Plays to highly animated Dance Shows featuring lighting choreographed to musical numbers.

ACSP provided comprehensive Jands Vista training for the University’s technical staff at their office in High Wycombe.

Frazer Mackenzie, Head of School – Media Production & Performance at the University, commented:

We are very pleased with the tailored solutions that ACSP delivered. The systems are state of the art and yet very simple to operate by both our Performing Arts staff and their students – some of whom may be considering a technical production role within the industry in future. As has been our experience working with ACSP, they again provided a high level of service, and no job was too big or small for them.

More information:

www.acspecialprojects.com

Gallery

Vista at the LEGOLAND® Windsor Resort

Legoland UK

UK – Jands Vista v2 has been specified to provide control for all lighting aspects of ‘LEGO® Friends to the Rescue’, an all-new live show spectacular which recently opened at the LEGOLAND® Windsor Resort.

LEGO® Friends to the Rescue’ is set in the Resort’ s brand new land, Heartlake City, which recreates the fun and colourful world of the popular LEGO® Friends toy range.

During the show, guests join Heartlake City’ s five female characters on an action packed adventure which is full of music, dance and special effects. Dominating the effects is the harbour’ s lighthouse, which is pixel mapped with over 700 RGB LED emitters using a Traxon Dot media string wrapped around the structure.

Lighting contractor, A.C. Special Projects Ltd. (ACSP) specified the Jands Vista S1 console to control the lighthouse LEDs in addition to the stage lighting. ACSP Director, Lance Bromhead, commented: “Vista was ideal for this project – primarily as it has an incredibly powerful FX engine capable of pixel mapping stunning shapes and animations with ease. This meant that there was no need for additional products such as a dedicated media server, which kept production costs down whilst still delivering on the client’ s requirement for striking visuals.

legoland2Secondly, to reflect the energy and vibrancy of the action on stage, the show required complex lighting sequences played back through 100s of cues. These cues needed to be recalled accurately, without the use of external triggers such as timecode. Vista again had the answer to this. The show is utilising a feature called Learn Timing, which recorded the exact timing between cues the first time they were played back. As a result of this, the operators only have to press a single button and the sequences play back exactly as intended, allowing the technicians to concentrate on other show aspects such as the sound and stage automation.

Finally, ACSP had to take into account the limited amount of space available within the control booth. They needed a small console that didn’ t compromise on power, features or performance. All Jands Vista products run the exact same software and offer the full feature set as found in the range’s largest consoles, so the S1 connected to a laptop provided this small footprint solution.

Laura Jackson, Project Manager for the Resort’s chief production contractor, SGA, commented: “Jands Vista is really proving to be a great choice for the show’ s control requirements. Not only has it exceeded everyone’s expectations in making the lighthouse and stage area look fantastic, it actually proved just as useful during the show pre-production process – because Vista is so visual, it was possible to program part of the show ‘blind’ before some fixtures arrived on-site, saving valuable time in production rehearsals.

LEGO® Friends to the Rescue’ runs several times daily and has been attracting packed out audiences.

CPM reviews Stage CL

CPM cover

Reviewer / Jim Kumorek

 

LED lighting has come into its own over the past few years, becoming a viable replacement across the board for traditional incandescent theatrical and house lighting fixtures. Their lower power requirements and reduced heat make them ideal for converting retail/warehouse spaces into worship space, as well as retrofitting older traditional church facilities with more modern lighting capabilities. However, not all of these spaces need the complexity of a moving light console to achieve user-friendly control of the color capabilities of LED fixtures. A church may simply want to add the capabilities of setting a mood through changing the color of the lighting, and may not need functionality more sophisticated than basic scene presets or simple cueing.

For these churches, CPM takes a look at the Jands Stage CL lighting console (MSRP $1,495). This is a fully self-contained console designed to operate up to 24 fixture groups (512 channels) of LED lighting (or standard theatrical lighting, as well). Shortly after receipt of the review unit, it was upgraded to the latest version 1.3 firmware from Jands’ website for this evaluation.

LAYOUT

The Stage CL has an attractive form factor: large enough so that the controls aren’t packed in too tightly, but small enough to not take up a lot of precious tech booth real estate. Its built-in touch screen monitor provides all the visual feedback you need, as well as control to system functions, so no external monitor is needed.

Twelve faders are used to control two pages of channel faders and four pages of scene controls. Each fader has a bump button for flashing a channel or scene to full intensity. And each channel also has a selection button, saturation knob and hue knob for controlling color.

At the center of the console is the master fader and buttons for scene activation, snapshot activation, selecting the page currently mapped to the faders, shift, and clear.

In three sections on the right side of the console are the scene control section with its master fader, four scene buttons, and a scene fade timing knob. Next to that is the cue list control section, with release, back, pause, and play buttons, as well as the cue master fader. And to the far right is the chase master section, with controls for four chase activation buttons, a timing knob, tempo tap button, and chase master fader. And lastly, at the top-right of the console is the record and undo buttons

“The Stage CL has a number of very interesting features, including ease-of-use. The scene preset section is exceptionally well thought out.”

Stage CL front panel

OPERATION

The Stage CL is very simple to operate, which is the main point of this console. Patching fixtures is as simple as using the touch screen to select one of the 24 ‘slots’ that a fixture can be assigned to and setting its type and address. Most major fixtures are represented, and with LED fixtures, their DMX profiles are pretty standard, so if the fixture you are using is either not found in the library or is simply unknown, one of the generic fixture types will probably work for you.

You can patch up to 24 fixtures into the console, which are presented as two pages of 12 to the user through the fader section. If you have more than 24 fixtures, you’ll need to start making some grouping decisions. For example, if you have six fixtures that you use for backlighting, and you can live with always setting those fixtures at the same color and intensity, then you can give them all the same DMX address and treat them as if they are one fixture in the console.

Once patched, each fader strip works as a hue, saturation and intensity (HSI) system, with the fader controlling intensity, and the two knobs controlling hue and saturation. You can also influence the color via the touch screen’s color mode, where you can pick specific color squares, use a color-mixing pallet, or adjust RGB values.

To access channels 13-24, you turn on the page button, and the faders and knobs now work with those channels. However, the console does not have motorized faders that ‘snap’ to the current setting for the new page. Therefore, to have the fader take effect, you need to move it through the point where that channel was previously set for that channel. For example, if you set channel one to be at 50%, then press the page button to use the same fader to work with channel 13, you need to move the fader down to zero (the current value of channel 13) before the fader starts to change the value of channel 13. If you then switch back to page one, you need to move the fader through 50% for the fader to start changing the value of channel one again. This support for 24 channels was recently added in this latest firmware upgrade. As with any con¬sole that tries to ‘double up’ on controls like this, it’s a little clunky, and I’d prefer not to run an event manually this way. But for program¬ming scenes or a cue list, it’s not bad.

There’s a colored LED right below the select button for each channel that reflects the intensity and color of the fader, so you can get an idea of what the output of the console is without looking at the stage. You can also see this on the touchscreen using the mimic setting of the monitor window, where the current output value for all 24 channels is displayed.

If you use the select buttons to select multiple channels, the hue and saturation knobs for one channel in the selection affects all selected channels, which is rather handy.

There are several different ways you can run lighting for a service with the Stage CL. First, you can simply set levels for each channel via the faders. If you want to do a smooth transition to a second look like you might do with a two-scene preset console, you can press the ‘Snapshot’ button and the output of the console is frozen. You then adjust the faders and color knobs to the new values you desire using the LED for each channel to see a close approximation of the color you’ll get, and press the Snapshot button again. The console output now crossfades to the new settings.

For a small church stepping up to color-changing led lighting in their facility, the stage cl is well worth consideration

Cue programming was equally straightforward. Set the output levels via the faders, press record and then the Play button in the cue list section, and a new cue is recorded. You can also insert new cues in the middle of the cue list, delete cues and edit cues—the functionality is pretty robust for this level of console.

There are also two ways of programming scenes with the console. First, you can set up a look or scene with the channel section, press Record and then one of the four scene buttons. To activate a scene, you simply press the scene button. To release it, you press that scene button again. Sort of. More on this later.

Alternatively, you can program scenes into one of the scene pages for the fader controls. When you switch into Scene mode for the fader section, the faders then control up to six pages of 12 scenes each.

The Chase feature is pretty cool and sophisticated. You can select a set of channels and easily program in a nice chase by selecting one of the pre-defined chase patterns in the console. Or if none of those will suit your purpose, you can program your own sequence manually. Chases affect both intensity and color.

When running cues, chases and/or scene buttons, you can monitor what’s affecting your lights through the touch screen and select specific items to release—or release all if desired.

USER EXPERIENCE

The Stage CL has some very interesting features, and is quite simple to use. The Scene preset section is well thought out, and its behavior in different situations is rather logical. If you happen to have a scene activated, and instead of activating another scene button like you intended you accidentally press the current scene button causing your lights to start fading out, you can press that same button again before the fade is completed and it will immediately jump back to that scene’s full intensity instead of fading, providing a quick recovery to an ‘oops’ situation.

When a scene is up, pressing its button again causes it to fade out. But, if you bring up another scene whose recorded channels overlap the first scene, and then you press the button for that first scene again, it replays that scene again instead of fading it out, to reassert its overridden attributes. I could see a user preferring for it to just fade out, but I think this makes the most sense. The Scene mode of the faders also worked great.

There are options in the color palette for applying a pattern effect to the currently selected lights, and this is pretty cool to get some nice color chases with almost no effort. The selection of options here are very nice and useful.

Bottom line, the Stage CL console offers a full-featured, reasonably priced option for a church wanting simple control over LED lighting for their facility.

The console was clearly originally designed for controlling just 12 channels. I can see Jands getting requests to be able to control more than that, and thus their work to add in an additional page of fixtures. It does work well, but I think I’d prefer to go with the Vista software solution over the Stage CL if I needed more than 12 channels. But that’s just me—I’ve never been a huge fan of doubling-up on controls if it can be avoided.

For a small church stepping up to color-changing LED lighting in their facility, the Stage CL is well worth consideration.

JIM KUMOREK is owner of Spreading Flames Media, providing video production, photography and writing services. He has also been an editor at Church Production Magazine and a church technical director responsible for audio, video and lighting systems. He can be contacted at james@spreadingflamesmedia.com

© Church Production Magazine

Celebration Church, Florida

Celebration Church 1

Florida’s fast-growing Celebration Church is utilising Jands’ flagship Vista L5 console to control state of the art lighting and video productions during worship services for its 12,000-strong congregation.

The services held at the Jacksonville-based Church’s newly constructed worship Arena are often broadcast internationally via web stream. They are renowned for being an energetic, immersive next generation praise and worship experience that infuses diverse genres and styles.

Celebration Church’s Lead Lighting Designer and AVL Technician, Trey Smith, specified the Jands Vista L5.

The Jands Vista L5 is so user-friendly and easy to grasp that it’s a hit not only with us tech guys, but also with the church’s volunteers, who often operate the lighting and media during shows,” says Trey. “The L5’s Timeline feature was a key factor in us specifying it, making it easy to control media via timecode, and to make changes on the fly.

In the Arena alone, around 700 fixtures are controlled by the Vista L5. For the entire building, there are 2,200 fixtures, including 93 Chroma-Q® Inspire™ LED house lights. Only 140 of these 2,200 are not LED, and all the fixtures are controlled by the L5 via Pathway’s Pathport Connectivity system, which we use to link together the lighting throughout our building.

Currently, our L5 is connected via Ethernet and Fiber to our Pathport nodes onstage and in the catwalk – two nodes for onstage, and two for catwalk that run all of the house lighting and wall lights around the seating,” says Trey. “We also have Pathport throughout the rest of the building, to control lobby lighting, kids’ lighting, nursery hallways, and the Loft Cafe.

Everything is on one large network, but data is managed using VLANS so that lighting data doesn’t cross into the Arena. However, we have made it possible for the L5 to control the rest of the building if the situation calls for it.

Trey and his team are currently using more than 30 universes for the entire building.

In addition to the L5, the Church uses 2x Jands Vista M1s in the Kids’ Ministry rooms, 1x Jands Vista S1 at its nearby Orange Park Campus, 1x Jands Vista I3 for tracking backup in the Main Arena, 2x M1s at the Midtown Location, and 2x M1s at its nearby St. Johns Campus.

In the Main Arena, the L5 is used to trigger media content as well as lighting, which is designed in-house and loaded onto a Coolux Pandora’s Box media server. The Vista range is also compatible with other media server solutions.

The L5 is able to send Art-Net data to the Pandora’s Box Media Manager,” says Trey. “Pandora controls our stage 60’ x 20’ projection wall (15x 8,000 lumen Titan Projectors edge blended) as well as our 32x Sony LCD TVs that surround the projection wall.

We set up Jands to be able to control 6 video layers in Pandora through Art-Net. During regular Sunday services, Jands triggers almost all graphics and videos that go up on the projection wall and TVs. During special events and video elements, Pandora runs the visuals and sends LTC Timecode back to Jands Vista to trigger lighting cues.

Trey adds that the Celebration Church had been using their Vista I3, M1 and S1 consoles for four years before upgrading to the L5 for the new Arena. “Vista has always worked well for us, and moving up to the L5 meant more power and features – but without a steep learning curve, as it uses exactly the same v2 software as our other Vista consoles.

The L5 comes with the world-renowned Vista v2 software, a program that has been embraced by its growing number of users for being innovative, intuitive, powerful and easy to use, all at once.

The Church’s show planning is very precise. Songs are often planned a month in advance, with lighting and media programming happening weeks before the service.

Using the L5 to control so many fixtures and demanding media, we are putting a lot of responsibilities on the console, but it works beautifully,” says Trey. “And due to the L5’s integration with Pathport, it’s a seamless operation.

Featuring a massive 21-inch High-Definition TFT screen, the L5 offers a lot of space to add and re-arrange windows, making data easy to view and respond to.

The Jands Vista was supplied to the Celebration Church by design firm WAVE, which was contracted to design, supervise and install the new lighting and sound system.

Gallery – click to enlarge



The Vista range includes a choice of portable, flexible control surfaces and self contained consoles all running the same Vista v2 software.

Jands’ award-winning Vista lighting & media control system has been embraced by leading designers, companies and venues all over the world on
a wide range of shows. Covering entertainment, education & drama, installations, corporate, events and worship, there’s a Vista system to suit all levels of user and almost any scale of show.

Recent shows featuring lighting or media control by Vista include international concert tours by Fall Out Boy, Bloc Party, Deftones, Dierks Bentley and Little Big Town.

To arrange a Jands Vista demo or discuss your requirements contact your nearest distributor.

Or for more information and a list of international Vista users, visit jands.com/vista/users.

Stage CL awarded two WFX New Technology Awards

WFX Award winner

Fred Mikeska, VP of US Sales & Marketing for Jands’ distributor, A.C. Lighting Inc., receives the WFX award on behalf of Jands from Brian Blackmore, Editor of Church Production Magazine.

Jands Stage CL lighting control console has been awarded two Worship Facilities Expo (WFX) 2013 New Technology Awards for innovation in Dallas, Texas.

The WFX New Product Technology Awards are an integral element of the high profile annual WFX show, and are designed to honor the most innovative and pioneering entertainment technology products for the House of Worship market.

A panel of distinguished members of the WFX Advisory Board and WFX Management, and Editors from the industry’s leading specialist Worship magazines, selected Jands Stage CL as Winner – Best Conventional Lighting Console; and Winner – Best Overall Lighting Product.

The response from the market to the needs of churches over the past few years has been astounding,” says Jim Wagner, Managing Director of WFX. “As a result, the competition to be recognized as best in category in the WFX New Product Technology Awards is more fierce each year. The Jands Stage CL Lighting Console entry was evaluated by our panel of judges, who selected it as the winning entrant and a worthy recipient of the 2013 WFX New Product Technology Awards. Congratulations.

New tech product awards 2013 winnerDesigned to get the most out of LED fixtures for smaller lighting rigs, the Jands Stage CL offers simple, intuitive manual controls and easy storing of looks. Each of its twelve channels has a Saturation encoder and a Hue encoder that LDs can adjust to set the desired color. As the dials are turned, an LED on the channel shows the color being created. And of course, each channel has the traditional fader and flash button to set the intensity of the light. The Stage CL also offers a wide selection of quick, easy to use pre-set colors and effects via its touch screen interface and can control up to 512 DMX channels, connecting either through the DMX-512 output or the Ethernet output (if the fixtures support Art-net).

The two WFX new Technology Awards follow the Jands Stage CL’s win at the SIEL Show in Paris, France. One of the premier international tradeshows for the live shows and events industry, the Stage CL was recognized with the prestigious “Les Etoiles du SIEL 2013” Lighting Product Award after impressing the expert judging panel with its easy operation and innovative design.

The Jands Stage CL continues to be a major success for us,” says Fred Mikeska from A.C. Lighting Inc., which is the exclusive North American dealer for Jands. “We’re thrilled that the Jands Stage CL is being recognised with so many awards and that it’s making a real difference to lighting control and design in so many venues globally. It offers the flexibility to be a powerful control for experienced LDs, and intuitive enough so that users with little experience of lighting can achieve great results – making it ideal for the Worship market.

Although designed specifically for LED fixtures, the Jands Stage CL is just as suitable for conventional lights and is incredibly easy to use.

Previous WFX New Technology Awards Winners include the Jands Vista lighting and media control system and Chroma-Q® Inspire™ LED house light – both exclusively available from A.C. Lighting Inc. in North America.

For more information or to arrange your demo of the Jands Stage CL, please contact:

North American Sales:

A.C. Lighting Inc.
Tel: +1 (416) 255 9494
Email northamerica@aclighting.com
Web www.aclighting.com

European Sales:

Jands Europe
Tel: +44 (0)1494 838 365
Email info@jands-europe.com

PLSN Magazine reviews Stage CL

StageCL_hero
The October 2013 issue of PLSN magazine features a ‘Road Test’ of the Stage CL Console by Justin Lang

Twelve sliders directly control 12 fixtures — or up to 24 with a recent software update that allows for two pages of fixtures. The two knobs above each slider are for Hue and Saturation control — and the CL also makes it easy for users to record their looks for small LED and conventional rigs. The Jands Stage CL might not be the go-to console for an Olympic opening ceremony, but for a wedding or small church outreach function, it’s simple, portable and ready to travel.

Read the full review >>

AC-ET Hosts ‘LED for Theatres’ UK Workshop

Les Miserables

Photo © Thomas Juul

A.C. Entertainment Technologies (AC-ET) Ltd, one of the industry‘s leading suppliers of specialist LED lighting and control solutions, is hosting a one day ‘LED for Theatres’ UK Workshop on Saturday, 17th August 2013 in the idyllic production environment of The Kings Theatre in Portsmouth.

With huge technical advances being made in LED lighting and control in recent years, more and more theatres are taking advantage of the latest generation of LED solutions when upgrading their lighting systems.

The ‘LED for Theatres’ Workshop has been organised in response to customer interest and follows a number of high-profile theatres and touring productions utilising LED technologies supplied by AC-ET.

The informal event will enable attendees to get ‘hands-on’ with the very latest in LED solutions designed for theatres – chosen from AC-ET’s impressive portfolio of over 200 technology brands – and
compare like-for-like LED and conventional lighting fixtures in the perfect production environment.

Brands showcased include various LED fixtures from Chroma-Q™, Spotlight, ETC and Philips Selecon, along with lighting and media control solutions from the Jands Vista range.

Although the event is geared towards LED technologies, AC-ET staff will be happy to discuss the company‘s complete ’one stop shop‘ of theatrical technology products, accessories and consumables.

Anyone involved in production for a venue, an amateur theatre group, a hire company, or that’s a freelancer, is invited to pop in at any point on the day between 10am – 5pm, and then join the AC-ET staff for a drink afterwards.

To register your interest, please visit:
www.ac-et.com/lighting/events/led-for-theatres-uk-workshop.asp

Alternatively, please contact the event organiser, Bob Allen of the AC-ET Southern UK Sales team, on Tel: 01494 838378 / email: bob.allen@ac-et.com

Scene Change boost their lighting inventory

Scene Change

Scene Change in Sydney has given their lighting inventory a boost with the addition of more ETC Source Four Profiles, Jands 4PAK-D four Channel Dimmer/Controllers and the new Jands Stage CL lighting console.

Vicken Hekimian, director of Scene Change Sydney, says that the Jands Stage CL is a smart entry-level console and ideal for controlling LEDs.

“It’s really easy to set up, simple to use and has a lot of features for the price point,” he said. “The menu structure is very good so it’s intuitive and easy to operate. It’s a great little LED control surface that simply just works.”

Vicken describes the ETC Source Four Profile as a particularly good value item saying that the cost for what you get is amazing.

“It’s a good, even light source and is very reliable,” he added. “We own many ETC Source Four Profiles and we’ve never had a problem with any of them. It’s a good robust light that just keeps on giving.”

Vicken states that the Jands 4PAK-D is handy due to its compact size and it has DMX so if needed, they can set the Jands 4PAK-D up remotely.