Guide to Shop Concert Lighting in TORY Stage Light

Guide to Shop Concert Lighting in TORY Stage Light

2021-07-16
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London 2012 Basketball Arena / Wilkinson Eyre Architects
Edmund Sumner Architects: Wilkinson Eyre Architects Location: Olympic Park North (Stop M), London Borough of Hackney, London E9, UK Project Team: SKM with Wilkinson Eyre Architects and KSS Project Year: 2011 Project Area: 11500.0 sqm Photographs: Edmund Sumner The Basketball Arena by Wilkinson Eyre Architects is one of the biggest temporary venues ever erected for any Olympic and Paralympic Games and the third largest venue in the Olympic Park. Located on high ground at the north end of the site, and clearly visible from various vantage points in the Olympic Park, the Arena will provide 12,000 seats for the basketball heats and handball finals, as well as 10,000 seats for the wheelchair basketball and wheelchair rugby competitions. Despite a tight budget, the Arena is set to be one of the most iconic and visually dramatic buildings of the 2012 Games. Edmund Sumner The brief called for a structure that was simple to erect but also provided a worldclass sporting venue for some of the most popular Olympic events. Alongside these factors, sustainability was a key driver in the buildings design: the arena has been made out of robust individual components that can be easily dismantled and subdivided for reuse, with over twothirds of the materials and components used on the project identified for reuse or for recycle. Section 03 Wilkinson Eyre has used an architectural language that remains distinct from the surrounding permanent venues, overtly celebrating both the best of British engineering and the temporary nature of the structure through innovative and economic structural and cladding solutions. Lightweight, simple building components have been used instead of a concrete structure usually found in stadia architecture, allowing the Basketball Arenas steel frame and cladding to be constructed in just six weeks. Edmund Sumner The 30mhigh rectangular volume (the equivalent of a sevenstorey building) is made out of a steel portal frame and wrapped in 20,000 sqm of lightweight phthalatefree and recyclable PVC. This translucent bespoke cladding is stretched across minimal steel framing modules that push the fabric out and create an elegant and threedimensional undulating pattern across the facades. The roof fabric includes an interwoven blackout layer that eliminates daylight during game sessions and maintains fully controllable artificial lighting for the media. The external walls are translucent, allowing daylight to filter through during the day and artificial lighting to be visible in the evening. Edmund Sumner The variation of surface qualities used throughout the structure help animate the buildings exterior, with the expression of the building being derived from the play of sunlight and nighttime theatrical lighting across the fabric surface. Wilkinson Eyre worked with United Visual Artists, specialists in concert lighting and installations, to create lighting and colourchanging effects for the evening games. The result is a dynamic illumination which, at night, transforms the white surface into a variety of saturated colours and strong silhouettes of the substructure, creating the biggest light installation on the Olympic park. Edmund Sumner Modular accommodation units that serve as the back of house areas are located outside the Arena volume, which also shares LOCOG overlay facilities with the Velodrome and BMX Track. These will include warmup courts and areas for catering, security, waste management and the media. Diagrams 01 Wilkinson Eyre worked Sinclair Knight Mertz (project management, structural and MEP consulting) and sports consultants KSS on the project. London 2012 Basketball Arena / Wilkinson Eyre Architects originally appeared on ArchDaily, the most visited architecture website on 22 Jul 2012. send to Twitter | Share on Facebook | What do you think about this?
Three Musketeers at Synetic Goes Full Throttle on the Senses
Nearly everything Synetic Theater does could be called Fast and Furious, and the movement-based troupes relentless new The Three Musketeers opens with a tiger pounce as four actors leap out of the darkness toward the audience. Explosive music accompanies the frenzied sword fight; it looks and sounds like a movie trailer for a summer blockbuster.Who are these characters? Doesnt matter. Whirl. Clang. Spin. Punch. Zow! This is how Synetic rolls: The playwright, Ben Cunis (who adapted the famed Alexandre Dumas novel with his brother Peter), not only plays the dashing musketeer Athos, he also does the fight choreography. Thats not vanity. It simply describes the skill set, and the company mind-set. How, they ask, can the story move? Unlike the silent Shakespeare productions (all motion, no speaking) that have won Synetic so much acclaim, Musketeers features plenty of talking, and the Cunis brothers dialogue sometimes manages a kind of cornball charm. Ben Cunis delivers a wry, Kevin Kline-ish performance as the suave but drunken Athos, and Hector Reynosos blustery turn as the plus-sized musketeer Porthos is part of why this light-spirited Musketeers occasionally puts you in mind of The Princess Bride. Director Paata Tsikurishvilis plus-sized production has 16 actors creating crisscrossing mayhem on Synetics Crystal City stage. (Dont even think of going if youre not in the mood for more than two hours of almost manic adventure.) The first swashbuckling act comes off like half-popped popcorn, but you have to giggle at the unapologetic hamminess served up after intermission. If Cunis infectiously enjoys himself as a comic hero, Dan Istrate performs with no less relish as the dastardly, power-grabbing Cardinal Richelieu. The red leather robes and kinky black corset by designer Anastasia R. Simes (who also did the multilevel set thats so ripe for chase scenes) gives Istrate something wicked to live up to, and the actor responds with a creepy turn that pushes the show toward a pulpy edge. But wait theres another villain, and this one dances! Irina Tsikurishvili, as the spidery Milady, tangos with Istrate (Miladys in cahoots with the Cardinal), spins with Cunis (Milady and Athos used to be married long story) and drop-kicks rivals with the aggression of a ticked-off Angelina Jolie. Silly? Yes, but then we havent even come to Robert Bowen Smiths gaudy, low comic vamp as the mincing menace King Louis XIII, resplendent in an all-white, open-collar getup that slightly recalls a latter-day Elvis. None of this is simple, and it rarely looks easy. The actors are in a full sweat mere moments into the show, and while the athleticism is part of what typically impresses with Synetic, so is the discipline. The punches and swordplay are quick, and the tumbling is fearless. Dallas Tolentino is winningly cheerful as the young musketeer-in-training DArtagnan, but the hallmark of his performance and of the show is soaring jumps and nailed landings. The production revs with sensory appeal, from Brittany Dilibertos rock concert lighting design to the sinister/bombastic music by Konstantine Lortkipanidze. This is Synetic at full throttle, although fueled far more by energy than wit. This Musketeers isnt stupid, but its exhausting; while some audiences will be thrilled by the restless propulsion, its fair to wonder if this one-of-a-kind troupe is in danger of getting stuck with its foot on the gas pedal. by Alexandre Dumas. Adapted by Ben and Peter Cunis. Directed by Paata Tsikurishvili. Choreography, Irina Tsikurishvili; sound design, Thomas Sowers. With Matthew Ward, Brittany OGrady, Brynn Tucker, Peter Pereyra, Mitchell Grant, Vato Tsikurishvili, Zana Gankhuyag, Rebecca Hausman, Kathy Gordon and Kathryn Elizabeth Kelly. About 2 1 / 2 hours. Through June 9 at 1800 S. Bell St., Crystal City. Call 800-494-8497 or visit synetictheater.org.
Overview of Concert Stage Lighting - Music
A concert lighting designer's job is to plan and execute lighting effects that convey a specific mood or concept, illuminate the performer, and engage an audience. With access to the best lighting equipment and knowledge of advanced lighting techniques, today's concert lighting design has become very sophisticated. Concert lighting designers must be familiar with a variety of lighting equipment and often take years to master the art of lighting a large production. Below is an overview of some of the lights most commonly used by concert lighting designers. Floodlights & spotlights are the two primary types of stage lights. Floodlights generally produce a wide beam of light that can illuminate large stage areas while spotlights produce and narrow, more focused beam of light. There are several sub-categories of both floodlights and spotlights as well as some lighting equipment that falls in between the two categories. PAR (Parabolic Aluminized Reflector) lights are a type of floodlight often used for rock concerts. This lamp produces a large amount of flat light that comes from a unit that resembles an empty paint can. PAR lights are often used in conjunction with smoke or haze effects. The benefits of these lights are that they are lightweight, portable, and low cost. Strip lights are strips of lighting housing containing many lamps. Typically, strip lights are used to illuminate wide areas of a stage, such as a back curtain. While colors for lighting are often achieved by "gels" or colored plastic that go over a light, strip lights use glass gels, or "roundels" to produce colored light. One of the main advantages of strip lights is that a separate electrical dimmer circuit can control each lamp. LED Lights are another popular concert lighting element. Because this type of light uses light emitting diodes, or LEDs, rather than halogen lamps, they can produce lots of light while consuming less power than traditional stage lights. Popular with concert designers, these lights are able to produce a wide range of vibrant colors to create interesting lighting effects. Spotlights are also essential to concert lighting equipment. They produce an intense beam of light that can illuminate an entire stage. These lights come in several varieties, each with unique properties. Fresnels are smaller light fixtures that produce a pool of light or a concentrated, but soft edged spot. Profile lights are most similar to what people associate with traditional spotlights. Their convex lenses produce a sharp light beam that can be formed into different shapes of an insert called a gobos. Finally, PC's, or Pebble Convex lanterns use convex lenses with a pebbled effect that produce a concentrated spot of light with little "spill" outside the target. An excellent concert lighting designer is familiar all of lighting equipment mentioned here in addition to much more advanced equipment. More importantly, they know how to plan and execute lighting for a 2-3 hour concert with the utmost precision and creativity. Those who excel in the art of concert lighting have the privilege of working with top touring artists such as Motley Crue and Maroon 5. One example of a live concert video production company that is putting their name on the map is Daddy Van Productions, based out of Austin, Texas.
Teen Angst Is Everywhere in Keegans Spring Awakening and Cuchullain
The Mrs. Grundys of this world might want to give a wide berth to the Church Street Theater for a few weeks: The two spirited and affecting productions running in that venue, courtesy of the Keegan Theatre, present visions of youthful ids running wild.In a taut and stirringly acted version of the Steven Sater-Duncan Sheik musical Spring Awakening, based on Frank Wedekinds 1891 drama, adolescent characters grapple with sexuality and rage at the repressive adult world. And in Rosemary Jenkinsons world-premiere play Cuchullain, an endearingly impulsive and foul-mouthed modern 19-year-old ingests drugs and alcohol as if hed worked out a personal immunity deal with mortality.If the theme of teenage rebellion unites both works, it has a more profound edge in Spring Awakening. Co-directors Mark A. Rhea and Susan Marie Rheas production of the Tony-winning musical (whose touring incarnation hit the Kennedy Center in 2009) features a cast of gifted young actors who turn in eloquent portraits of passion, frustration and vulnerability. In the shows opening sequence, the heroine Wendla (Ali Hoxie) cuts a wistful figure as she stands on a terrace, unleashing the yearning in the number Mama Who Bore Me. (As is the case with other performers in the production, Hoxie has a melodious voice that will no doubt gain strength later in her career. Music director and pianist Jake Null leads the fine 10-person orchestra, which sits onstage, beneath the terrace. Mark Rhea designed the set.)Minutes later, on the stages main level, schoolboy characters in gray uniforms storm through the song The B---- of Living, stomping on the floor, brandishing chairs like shields and, in the case of one performer, bouncing soles of the feet making contact, body horizontal off the theaters side wall. (Assistant director Kurt Boehm is choreographer.) The energy that surges through this number and through Allan Sean Weekss rock-concert lighting design courses, subtly or obviously, through the entire production.Some aspects of the staging that stomping sequence, for instance, or the wintry tree-branch pattern on part of the stages surface carry strong echoes of the Broadway version. And actors Charlotte Akin and Jon Townson sometimes fold a little too much caricature into their interpretations of adult figures. But its hard to quibble when the package as a whole is so effective. Vincent Kempski is particularly charismatic as the smart, mutinous hero Melchior: The scene in which Melchior first strikes up a conversation with Wendla is a triumph of adolescent awkwardness, all pauses and averted gazes and simmering chemistry. The vocally gifted Paul Scanlan brings a persuasive desperation and restlessness to the misfit Moritz, Nora Palka is poignantly scarred and waifish as the outcast Ilsa, and Sarah Chapin radiates trauma as an abused girl named Martha.Teenage disaffection has a more upbeat tone in Cuchullain, a one-actor show that as Jenkinsons Basra Boy did last year careens through a seedy Belfast cityscape populated by vibrant eccentrics. Performer Josh Sticklin, who infused Basra Boy with humor and zest, is equally irresistible as the hedonistic 19-year-old Aaron, whose idea of gainful employment is doing drugs in the park and then convincing a social services office that he is mentally ill (and thus deserving of generous welfare support).Aarons sordid tale should, by rights, be a downer. But, as embodied by Sticklin jeans, T-shirt, red sneakers, spiky hair, animated body language the character is so exuberant and oddly innocent that to share his company is to be caught up in an exhilarating whirl of adventure, impish defiance and consoling camaraderie. (Basra Boy director Abigail Isaac repeats her staging duties here.)Jenkinsons script brims with slangy poetry and infectious rhythms. Aaron describes a nurses eyes as spinnin around like two fruits in a slot machine, and he hears sea gulls cryin high like banshees as he escapes a crime scene in a car thats a rave-on-wheels. (A handout supplies a helpful glossary to Belfast idioms.) Shimmying up a flagpole to steal an Irish tricolor, skidding down a park slope while high on pills whatever hes doing, Aaron seems to experience life in a rush of intensity. Watching him, we do, too. Wren is a freelance writer. based on the play by Frank Wedekind; book and lyrics, Steven Sater; music, Duncan Sheik; string orchestrations, Simon Hale; vocal arrangements, AnnMarie Milazzo. Directed by Mark A. Rhea and Susan Marie Rhea; assistant choreographer, Katie McManus; costume design, Kelly Peacock and Shadia Hafiz; hair and makeup, Craig Miller. With Nick Lehan, Stephen Murray, Gannon OBrien and others. About 2 hours, 15 minutes. Through July 8.by Rosemary Jenkinson. Direction and sound design by Abigail Isaac; costume design, Emily Riehl-Bedford; lighting, Michael Innocenti; fight choreography, Kyle Encinas. 75 minutes. Through July 1. Both productions are at the Church Street Theater, 1742 Church St. NW. Call 703-892-0202 or visit
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