Posts tagged Peter Barnes
Well … in reality …. It wasn’t quite that many ….. BUT leading Blackburn, UK based lighting and visuals rental specialists HSL did indeed supply lighting equipment and crew to Cheryl Cole’s first solo ‘A Million Lights’ arena tour, once again working for technical producers Production North.
The lighting design by Peter Barnes, directed / operated out on the road by Neil Trenell of Fix8, proved that imaginative and intelligent use of lighting and effects can bring serious layers of magic to a high-impact show.
The tour was project managed for HSL by Mike Oates who comments, “Production North under the technical direction of Iain Whitehead co-ordinated another superb looking and highly entertaining show, and we were really pleased to be involved”.
Barnes and Trenell worked closely with creative directors Fatima Robinson and Beth Honan, who commissioned the set design from Bruce Rogers. They also initiated the video and visuals concepts, bringing a lively mix of footage to the picture, played back across an upstage pyramid shaped set clad with LED panels and a set of stairs immediately in front of it.
The lighting which matched and contrasted this as Cheryl’s fast paced, More >
Leading UK lighting and visuals rental and solutions provider HSL continued a massively busy touring season supplying lighting, LED screen, rigging and a Kinesys automation system to Production North for street dance troupe sensation, Diversity’s first major arena tour.
HSL has worked with Production North on many different projects. Once again, Mike Oates project managed for the Blackburn based company, with set, visuals and lighting designed by Peter Barnes, working in close conjunction with Diversity’s creative director and leader, Ashley Banjo.
On the road, lighting was looked after and operated by Neil Trenell. An HSL crew of six took care of lighting and video and the Kinesys system, together with rigger John Ashton, who put in the 58 points each day.
Sarah Hollis, production manager for Production North, remarked that it was “Excellent” to deal with one company and a single HSL crew chief – Steve Major – covering lighting, video, staging, rigging and automation departments. They were extremely happy with the service and attention to detail for which HSL is renowned.
The futuristic Tron styled and shaped stage set was inspired by Banjo’s original narrative threads which set More >
HSL’s project manager Mike Oates says, “It’s good to be back on the road with the Production North team and working alongside production manager Karen Ringland on this. The design is straightforward and uncomplicated, well thought out and works perfectly for the band and the style of presentation”.
The lighting was designed by Peter Barnes. He and show producer Beth Honan – who have previously worked together on Blazing Squad and Girls Aloud – collaborated closely during production rehearsals at Rhyl Pavilion in Wales, together with lighting programmer/operator Dave Lee. Lee is overseeing lighting the show on tour, working alongside HSL technician Johnny Harper.
Barnes had to maximise an expediently sized rig in terms of effect, and says, “HSL as always were extremely helpful in cutting a great deal that allowed plenty of creative latitude”.
The basic visual style combines elements from the television environment that catapulted JLS to fame as runners up on the 2008 series of X-Factor, with a clean More >
Technical production was co-ordinated by Production North and the lighting design was by Peter Barnes.
The show united a galaxy of stars – including Tom Jones, Joss Stone, Robert Plant, Lulu, Hot Rats, Razorlight, David Gray, Ronan Keating, Gabriella Cilmi, Dan Gillespie Sells and others. It featured some amazing performances and unique collaborations that made it a very memorable and special evening.
Barnes’ rig consisted of 4 trusses – a straight one upstage and three chevron-shaped over-stage, staggered in length at 32, 20 and 12 ft a side, and raked at slightly different heights. This created an architecture for the space and a visually interesting view of the stage as well as increasing the scope and depth of the moving lights hung on the trusses, allowing them a really dynamic focus range.
It was a charity event, so the principal goal was to deliver a design that was cost effective and highly flexible, with enough latitude to allow a spectacular light-show for all the artists appearing in the two and a half hour performance.
The More >