Poker Dome Challenge
Show Partners, the company responsible for engineering and operations in collaboration with its lighting vendor, CYM Lighting, of Palm Springs, CA, chose to use Element Labs’ Versa TUBEs. Both Artistic Director Chris Runnells and Assistant Artistic Director Justin Garrone thought that the Versa TUBES would work well as one of the main design elements of the new shows set. They then passed the idea on to scenic designer Tim Saunders of Broadcast Design International, who incorporated the TUBEs into the design concept.
Over 500 Versa® TUBEs are built in a semicircular array in 13 bays with the TUBEs stacked horizontally. “Twelve of the bays work together as one large video wall,” Garrone explains. “It serves as a background during play to help anchor each round using color as well as texture to heighten the dramatic intensity of game play.”
For example, when a player chooses to bet all their money, they are said to have gone ‘All In.’ “When that happens, we’ve designed red textured moving content for the wall that swoops into the wall to punctuate the tension of that moment,” Garrone explains. “The thirteenth bay stands alone, so we use it to backlight a large Mansion logoed column in the upstage right center.” read more at project page
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Coldplay’s “Speed of Sound”
Austin, Texas – 23 May 2005 – Coldplay’s video for its newest single, “Speed of Sound” debuted today—backed up by Versa™ TUBE units from Element Labs. In an unprecedented application, nearly the entire video shoot was done with LED lights from a total of 700 Versa TUBEs. Filmed on a massive sound stage, the video features a delicate, half crescent back wall composed of 640 Versa TUBEs placed on approximately 6” centers. Since the TUBEs were used without diffusion sleeves and the surrounding structure is quite minimal, the lights appear to be suspended in midair.
Production designer Mike Keeling of Project X and director Mark Romanek put together this singular look. “The idea here is having the band on this raw stage and everything is done in silhouette with lighting and key lighting,” Keeling explains. “Once we embarked on it, Mark and I just decided to do the entire video in LED lighting. That was the criterion. I got chills just thinking about it.”
“One of the things that Mark wanted to do was make sure the transition of the LED lighting on the background also replicated what was going on in front,” Keeling adds. “So everything in the front turned out to be a gorgeous, soft front light from the LED source. So we could go no color, we could change it to any color and we could also change it to video feed in the front, which was replicating what we were putting up in the background. Every close-up shot that you see in the video was done with an LED front light. It’s just mind-boggling.”
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