Fineline Supplies Glasto Fest

Bristol-based lighting and visuals rental company Fineline Lighting supplied lighting and rigging at the 2014 Glastonbury Festival of Contemporary Performing Arts.

The project this year involved over 130 moving heads and over 350 conventional lighting fixtures from Fineline – using moving light products from Martin, Robe and High End Systems, plus Avolites and ChamSys control and Martin LED products, together with 38 crew.
Fineline has been involved with supplying lighting to Glastonbury for over 20 years. MD Rob Sangwell says: "We all love working at Glasto. It’s grown enormously in recent years but still retains a very special and unique atmosphere. While it is a challenging environment for staging the high levels of production required, as a locally based company, for us there is an additional resonance, all of which makes us very proud to be involved."
Lighting for the Acoustic Stage was designed by Stuart England. The chosen fixtures included Martin MAC Viper Profiles, MAC Aura and MAC 101 LED wash lights, together with Robe LEDBeam 100s and PARs, all controlled from an Avolites Sapphire Touch console operated by Simon Johnson. They were joined by Fineline technician Calum Ostel.
Circus
For Glasto’s Circus Stage a combination of wash lights and specials – Primarily Robe 600E Spots, LEDWash 600s and CycFx 8s - was installed on the deck and across four flown trusses. These were joined by a heterogeneity of PARs, ETC Source Fours and fresnels.
Fineline supplied some of their new CycFX 8 fixtures from Robe. These were positioned on the floor around the stage and used as kickers, and due to the motorized tilt and zoom could also be used to light the aerial work.
For the Astrolabe area, Fineline supplied a 'house' lighting rig designed by Hal Himsworth that had to meet the different technical riders and allow these performances to happen in a field just the same as they would in an arts centre or city centre theatre.
A temporary four-legged ground support structure was built in place of a traditional black-box flying system and this was populated with a mix of moving lights and conventionals.
In addition to a large selection of conventional theatrical fixtures, the kit included SGM Spot moving lights and Palco LED floods, Showtec Sunstrips and a plethora of LED PARs for specific acts.
Fineline’s rigger was Chris Randall and the techs were Bruno Carr, Lee Stone and Ben Motz.
Over in the cabaret stage, Fineline’s Wingnut created the lighting design and worked with Chief LX Rachael Moule and technicians Croat Henniger and Adam McNally.
Equipment included Robe LEDWash 600s, High End Spots, PARs and Source Fours, and Fineline also supplied Martin LC Plus Series video panels and a Martin Maxedia media server which ran all the video content. All Lighting and Pixel-mapped LED décor elements, also supplied by Fineline were run via an Avolites Tiger Touch console and powered by Avolites Art2000 dimmers.

www.finelinelighting.com

(IT/CD)