News

Oliver Thomas

   
Hunger Games © Johan Persson

MDG: Please give us an outline of your career and what your work entails.

Production.Ltd was founded in 2025 after years of collaboration between Tom Johnson, Steve Payne and myself. At the time, we were all operating separate businesses, while Tom and Steve also ran a successful rental company. As our work increasingly overlapped, it became clear that bringing everything together under one roof would allow us to offer a far more joined-up service to clients and so Production.Ltd was created.

The company now operates two other specialist divisions: Production.Rentals, which supplies dry hire rental equipment, and the soon-to-launch Production.Shop, designed to give productions streamlined access to a wide range of sales items they may require. The overall aim is simple: to support productions with everything they need, all in one place.

MDG: What route have you taken to get here?

My passion for the technical side of theatre and live events began at school. I followed this with a course in Technical Theatre at college, before attending Mountview Academy of Theatre Arts where I completed my degree.

While at Mountview, I had the opportunity to work alongside a number of industry professionals who came in to collaborate with students. One of those was Rob Halliday, who was lighting their production of Titanic. I worked as his Production Electrician on the show, and as a result of that experience Rob recommended me for a role on the original touring production of Mary Poppins.

I left university early to join the tour as an Assistant Electrician, and it quickly confirmed how much I loved life on the road. Touring gave me the chance to constantly work in new venues, with different crews and equipment, while developing my technical and problem-solving skills in fast-paced environments.

Over the following ten years I progressed from Assistant Electrician to Deputy, and eventually Chief Electrician, working on major productions including The Lion King, Wicked, Cats, and Matilda. After a decade of touring, I decided it was the right time to move into freelance production electrics. Since then, I've worked on a range of large-scale productions including Starlight Express, The Great Gatsby, and & Juliet, as well as immersive projects such as The Hunger Games and Secret Cinema.

What I enjoy most about the industry is that every production brings its own unique challenges. No two shows are ever the same, and every project is an opportunity to keep learning, adapting, and building on the skills and experience gained throughout my career.
   

Starlight Express © Pamela Raith

MDG: Who has influenced you along the way?

I've been really lucky to work with some amazing people over the years. In my early touring days, I worked for Simon Sherriff, who was the Chief LX on the first shows I did. Simon has a fantastic attention to detail, something I've tried to carry through into my own role to this day.

I also learned a huge amount from the Production Electricians on the shows I toured with, including Pete Lambert, Fraser Hall, and Ian Moulds. They all brought buckets of experience, and it was fascinating working alongside people who each approached the job slightly differently. Over time, you naturally pick out the things you admire from each person and build those into your own style of working when you eventually move into the position of setting up shows yourself.

MDG: Tell us more about Production.Ltd and talk us through some of its processes

What really defines Production.Ltd is our approach. We pride ourselves on being a genuinely "can do" company, often taking on elements of a project that may traditionally sit outside the standard remit of production electrics. These can include items such as special FX, plant machinery, gas supply, bespoke fabrications and technical consultancy.

We have a core team of six full-time staff, supported by a highly experienced freelance network that works with us across productions throughout the year. Many of our projects are touring productions, which means consistency and efficiency are absolutely critical to the way we work.

A huge part of our design and workflow process is standardisation. Every production is set up using a consistent framework so that any member of our team, whether full-time or freelance, can move seamlessly between shows and immediately understand how systems have been implemented.

These processes allow us to maintain high technical standards while also creating efficient installs, smoother troubleshooting and better communication across departments. Ultimately, our goal is to remove friction from the production process so creative teams can focus on delivering the very best experience to the audience.

MDG: What are the signatures of your production work?

I think the signature of our work is adaptability. Every production and client has different requirements, so a big part of what we do is responding quickly to changes, finding cost-effective solutions, and supporting the designer however we can.
We're often brought into productions quite early, which allows us to work closely with the Lighting Designer and Production Manager from the outset. That collaboration helps ensure the creative vision is achievable technically and financially, and ultimately helps the whole process run smoothly.

MDG: You use a lot of haze and fog in your designs – what do you look for in this aspect?

Atmospheric effects have been a vital part of almost every production I've worked on over the years. I can probably count on one hand the shows that haven't used some form of haze or fog. They add depth, texture, and atmosphere in a way that lighting alone often can't achieve.
We are regularly asked to develop new solutions and creative applications for these effects, ranging from subtle details like smoke drifting from a log burner, through to highly technical integrations such as adding low fog to a revolving lift on Starlight Express.

When designing or selecting atmospheric effects, we consider several key factors. First, how closely can we achieve the intended creative concept and visual look? Then we look at the practicalities, what equipment can physically fit within the available space, how reliable the systems are under show conditions, and finally, as with any production decision, the balance between performance and cost.

MDG: How does MDG fit into this, and why do you like to work with MDG?

I think MDG can really be considered the gold standard when it comes to haze. I've been using MDG hazers since my very first tour, and to this day I still haven't found anything that matches the look. The ultra-fine particles create a beautiful, even haze that never feels cloudy or heavy.

It's also been great to see MDG's innovation over the years, from the ATMe hazer through to theONE™. We've seen more and more productions using theONE - in fact, Production.Rentals invested in two units last year, and they've been hard at work on The Hunger Games production in London. We've also used the Ice Fog Q on Starlight Express, and we have used the MDG Floor Pockets on a number of shows to deliver low fog directly to the stage seamlessly.

MDG: What tours and shows have you designed and taken MDG with you?

The question should really be what tours and shows haven't we used MDG on! We will always use MDG haze where we can, and so many of the West End productions we have worked on have run MDG haze, including The Hunger Games, Starlight Express, Just for One Day, The Great Gatsby, Clueless, &Juliet worldwide and All My Sons.

MDG: Which have been your favourite shows to work on and why?

Mary Poppins will always have a special place in my heart because it was the first professional commercial show I worked on. It felt like a huge milestone and really confirmed for me that this was the industry I wanted to be part of. Another favourite would be Starlight Express. It was an incredibly technically demanding production and definitely challenging at times, but that's also what made it so rewarding. Sitting in the audience on press night and watching everything come together felt like a massive achievement and was a real proud moment for me.

MDG: What does the future hold for you?

I love being on-site and supporting new productions — being at the heart of the show while it's being created is especially important to me, so I definitely have no plans to become office-based!
I'd love to see Production.Ltd continue to grow, particularly the rental and sales side, and become a real home base for designers and productions, not simply just a business.
   

Hunger Games © Johan Persson

Hunger Games © Johan Persson

Hunger Games © Johan Persson

Starlight Express © Pamela Raith

   

   
Philip Norfolk, Ambersphere Sales Director and Matt Wisemen MDG European Sales Manager

With this appointment, MDG looks forward to further strengthening its presence in the UK and Ireland, supported by Ambersphere's deep industry expertise and established customer relationships.
Ambersphere Solutions is one of the UK's most respected suppliers of premium technology for the live events industry, already serving as the exclusive UK distributor for leading brands including Astera, Ayrton, MA Lighting, ROXX and zactrack. Their appointment further reinforces MDG's commitment to partnering with best-in-class distributors who share its standards for quality, reliability and customer support.

"It is a pleasure to welcome Ambersphere Solutions as our new exclusive UK and Ireland distributor. This partnership will help us progress further into the UK and Ireland market with dedicated support for our current and future customers. We are excited to work alongside such a solid team with an outstanding reputation in the industry." Matt Wiseman, European Sales Manager, MDG
UK and Ireland customers will now benefit from Ambersphere's comprehensive service offering, including product demonstrations, technical support and after-sales care, providing a seamless experience for all MDG product needs.

This agreement also deepens an existing relationship: Ambersphere's parent company, ACT Entertainment, is MDG's established distributor for the United States, making this a natural extension of a trusted, proven partnership.

"We are thrilled to welcome MDG to the Ambersphere portfolio. This partnership perfectly aligns with our aim to provide the very best products in the entertainment industry, and as MDG sets the gold standard in atmospheric technology, this was a natural fit." Philip Norfolk, Sales Director, Ambersphere Solutions

Ambersphere Solutions Ltd
Unit 8 Western Avenue Business Park
Mansfield Road - Acton
London W3 0BZ
United Kingdom
https://www.ambersphere.com/
sales@ambersphere.com
+44 208 992 6369
   

   

Matt Wiseman and Nicolas Duhamel

   
Wiseman will be responsible for MDG’s European distribution network, driving business growth and supporting customers and distributors on a one-to-one basis through demo processes, product training, special projects and trade show support.

Wiseman brings with him over 30 years of industry experience, predominantly with rental companies and manufacturers in the lighting world, including Theatre Projects, Midnight Design, Essential Lighting, Vari-Lite, PRG and Rosco where he was European Sale Manager. Since 2014 he has been at the forefront of MDG sales in the UK. “This is where my background in rental really helped to understand the fast pace that you need to support the industry the best you can,” says Wiseman.

“I’m excited to bring my experience in sales, and customer and product support to MDG in this new role. I love a challenge and, having spent 11 years building the UK MDG market, the move to looking after Europe is a big but very exciting prospect. Every day I learn a little more about MDG, its products or the valued customers who have put their faith in us. I love to meet and understand customers’ needs, where they are using our products and how I can best support that. I can see a healthy future for MDG and can’t wait to continue our journey in this new capacity.”

Nicolas Duhamel, MDG’s Marketing Director and Business Development, comments, “I am delighted that Matt is stepping into the role of European Sales Manager. I have worked with him for nearly 12 years, and his commitment to our brand and his professionalism have never wavered.

“Having already been part of the MDG family for over 11 years, and with a long career in the entertainment and stage lighting industry, Matt brings to this new role a deep knowledge of our company, our sector and its key players. During this time he has successfully driven MDG product sales across the UK market, developed in-depth expertise of our solutions and built strong relationships with clients and partners throughout the entertainment industry. He is ideally placed to equip our distributors with the best tools to promote MDG, and will be the dedicated point of contact for all our European partners. We are very excited to have him on board.”
   

The LightNeq team with Nicolas Duhamel from MDG in the center

Founded in 2011 with the express purpose of providing top-class consultancy in the field of lighting and sound, LightNeq brings with it a team of employees with many years of experience in the industry.

The company's portfolio has expanded to include major manufacturers in tracking technology, video distribution, stage technology and more. Now with the adoption of MDG, LightNeq has added a professional range of fog, haze and low fog generators to its offering.

“We are proud to be able to expand our activities to include atmospheric effects, and to do so with the best products on the market,” says Pavel Lenoch, CEO of LightNeq. “Working with a premium brand like MDG is a natural way for us to expand our portfolio, get closer to the customer and provide them with the best options available. MDG is an obvious and complementary extension of the brands we represent in the Czech Republic.”

LightNeq’s main focus will be the distribution of the whole MDG range into in theatres, concert halls, film studios and rental companies, including consultation, planning and installation. They will also cover the military and firefighters sectors.

“We are delighted to welcome LightNeq to the MDG family,” says Nicolas Duhamel, Marketing Director and European Business Development for MDG. “Their premium brand portfolio and deep industry expertise are a perfect match with MDG’s professional range of atmospheric effects. Together, we look forward to expanding our presence not only in the entertainment market but also across military and industrial applications.”

LightNeq can be contacted on:

Ke Zlatému kopci 407/8
196 00 Praha 9 – Miškovice
Česká republika

Tel: +420 723 443 456
Email: info@lightneq.cz
Web: http://www.lightneq.cz

Reto Engler (CSO), Nicolas Duhamel (MDG), Marco Menzi (CEO), Andreas Stahl (COO)

menzi ebz is a company with a long pedigree, its origins stretching back to 1943 with the founding of Walter Eichenberger Theatre Lighting, and the creation in 1999 of MBelectronics by Marco Menzi, later to become Menzi Eventtechnik. The merger of these two companies in 2010 saw the advent of menzi ebz ag under the management of Marco Menzi and Andreas Stahl. Since 2024, menzi ebz ag has made the strategic step to focus exclusively on the sale of lighting, lighting control systems and rigging across the theatre, television event technology service provider and scenic architecture markets.

“This reorientation is a big step for the company and a good time to modernise,” says Marco Menzi. “When the opportunity arose to become MDG distributor it was a perfect time for us to apply for this great brand.

“MDG is a leading brand in the field of atmospheric effects and therefore fits perfectly into our portfolio. We were also encouraged by our customers to include MDG in our product range!”

menzi ebz will be distributing the entire MDG range exclusively in Switzerland and Liechtenstein and already have plans in place for broadening the market. “MDG, like us, specialises in the entertainment market. Nevertheless, we will study all products closely and also look for opportunities to sell the products outside our market,” says Menzi. “We also organise a major customer event every year which, this year, will take place on 2 September at the Théâtre Vidy-Lausanne.

“We are delighted and proud to represent the MDG brand in Switzerland and can hardly wait to realise exciting projects with our customers.”

Nicolas Duhamel, MDG’s Marketing Director & European Business Development comments: “We are thrilled to welcome menzi ebz to our distributor network. With a strong reputation in the entertainment market and a well-established presence throughout Switzerland, they are a perfect match for our atmospheric effect generators. Their portfolio already includes high-quality brands that align perfectly with our standards. What truly sets menzi apart is their passionate, founder-driven spirit — an energy that deeply resonates with our own values at MDG.”

menzi ebz ag can be contacted at:
Tel: +41 43 355 22 66
Email: info@menziebz.ch
Website: www.menziebz.ch
   

Starlight Express at the Troubadour Wembley Park Theatre - Photography by © Pamala Raith

With new orchestrations, choreography and songs, the story of a child’s train set that magically comes to life retains all its original wonder, with thrilling roller skate races around the auditorium and powerful performances from the 40-strong company of ‘rolling stock’ (engines and carriages) in an immersive production that begins from the moment the audience steps into the theatre. The audience is closely entwined in the action which takes place on a near in-the-round main stage with racing track ‘spokes’ leading off between sunken areas of seating and around the auditorium.

In anticipation of a long run, the show’s producers, Michael Harrison Entertainment Ltd, made an early decision to purchase 4 MDG ICEFOG Q low pressure generators directly from MDG UK to handle the show’s low fog requirements. Residue, noise levels and quality of low fog were all priorities when making the correct choice of generator, as well as flexibility to be able to fulfil any demand before the final artistic decisions had been put in place.

“With 40 roller skaters travelling at speed, it was vital we employed a top-class CO₂ system because it would not leave any slippery residue – water or vapour - on the track,” explains Oliver Thomas, Senior Production Electrician for Starlight Express.

“Noise levels were also a factor as the ICEFOG Q generators are located under the show floor very close to the audience. Although the show is loud, the experience is totally immersive, so the last thing we wanted was to have that magic broken by noisy technology, especially in the Starlight Express solo which is the most iconic in the show. I’ve used many low fog machines in theatre so know they are often noisy, but with the ICEFOG Qs, we can barely tell they are on! 

Two ICEFOG Q low pressure generators are located upstage left and right providing low fog across the centre stage area of the main floor. Two more ICEFOG Qs are embedded in the central stage lift where low fog is pumped through ducting that travels up with the lift and cascades down its sides to give the impression the lift – and the performer on it - is floating. “If we were to use smoke machines the atmosphere would become too ‘smoky’ with the movement of the skaters, but the ICEFOG has a really nice dense low fog that provides perfect wispiness but remains low enough for sight lines to remain uninterrupted when it is skated through,” confirms Thomas.

The decision process was helped along by the service provided by MDG UK, whose Matt Wiseman took along a demo unit to the show’s rehearsal studios in 3 Mills, East London. Here director Luke Sheppard and lighting designer Howard Hudson were able to see how the low fog reacted with the movement of the skaters, and also try out new ideas to explore what effects could be achieved. It also gave the skating team the chance to feel confident that the low fog option would be safe and to acclimatise to skating through it on different surfaces.

“Being able to do that weeks before delivery was really useful and gave us peace of mind,” says Thomas. “At the time of purchase we were still in the process of deciding what effects we would want and where to locate the generators, so we took the decision to go with MDG as offering the widest number of options going forward. We wanted the flexibility to put the machines anywhere we wanted to create the effects we would ultimately want if we moved or changed things.”

Starlight Express at the Troubadour Wembley Park Theatre - Photography by © Pamala Raith

The low pressure version of the ICEFOG Q was chosen for a multitude of reasons, and excels in long running shows in particular: “From the start we have been conscious of the environmental impact of using low fog, so we wanted the most efficient machines that used the least amount of CO₂ with the best effect,” says Thomas. “By choosing the low pressure ICEFOG Q we were able to dispense with individual CO₂ bottles and feed the four ICEFOG Q generators directly from two 230ltr CO₂ dewar tanks located within the theatre. These dewars have content gauges which make it easy to see how much CO₂ is left, so there is no wastage swapping out part-used bottles, and they are refilled directly (by BOC) on a weekly delivery. The dewars never leave the theatre, there’s no time wasted or manhandling in disconnecting bottles and hosing, and we only pay for what we use. They are much easier to manage, cost effective and there’s less wastage. From a cost and environmental point of view it’s a very efficient system for long running shows.”

Lighting designer, Howard Hudson agrees: “The ICEFOG Qs provided us with beautiful, even and dense low fog across our space and once again ticked all the boxes in terms of quiet operation and high reliability. Due to the nature of the show being staged on roller skates and all the complexities you’d expect that adding low fog into this environment creates, it was so important to choose a machine which could be cued to time so accurately with very little residue and I am so thrilled at the practical and artistic solution the ICEFOG Qs gave us.”

The haze for Starlight Express is supplied by two MDG theONE™ dual haze and fog generators from Christie Lites, the main technical provider for the show. “The new production of Starlight Express is performed in a large space (60m x 30m) with inconsistent and varied air flow so we knew using MDG’s theONE™ would be vital to provide a consistent and easily adjustable level of haze across the vast space,” says Hudson. “For such a fundamental part of the design, we needed machines which could be easily maintained and operate quietly due to their close proximity to the audience and theONEs™ really have excelled.”

theONE™ generators are rigged over the stage area and in the gantry over the auditorium seating, their travelling cradles, Thomas states, making them “easy to roll on stage and useful to hoist into position.”

“Tucked away in these positions they fill the room with really nice constant haze which is virtually undetectable by the audience,” says Thomas. “The haze is so fine it just travels through the natural air circulation of the venue and gives the same great haze we would get from an ATMe, which is the traditional ‘go-to’ hazer for theatre. theONE™ gives us the volume and large range of control to handle the huge space without the network of ducting and multiple CO₂ bottles that a large number of smaller generators would require. Instead we feed theONEs™ from the same dewar tanks as the ICEFOG Qs, theONEs™ using vaporous CO₂ and the ICEFOG Qs using liquid CO₂, and the fluid reservoirs on each of theONE™ holds 25ltrs so they last for ages!

“MDG was extremely helpful in providing us with all the information we needed to create our own pipework to be able to site the ICEFOG Qs and theONEs™ wherever we wanted. All of this ties together to form a very efficient, economical and environmentally conscious fog and haze system, and I would like to thank the team at MDG UK for their help in making this happen so quickly and efficiently.”

“MDG haze machines provide a type of haze completely unrivalled in the theatre world,” concludes Howard Hudson. “The lights and lasers on Starlight Express would be nothing without the fantastic MDG haze through which to see them!

Starlight Express began its journey in June 2024 and has recently extended its booking until October 2025.

Starlight Express at the Troubadour Wembley Park Theatre - Photography by © Pamala Raith

For Information on Starlight Express:

www.starlightexpresslondon.com

Facebook, Instgram and Tik Tok @starlightexpressldn

X – StarlightLondon

STARLIGHT EXPRESS has music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, is directed by Luke Sheppard, with set designer Tim Hatley, costume designer Gabriella Slade, lighting designer Howard Hudson, sound designer Gareth Owen, video designer Andrzej Goulding, new orchestrations by Matthew Brind with Andrew Lloyd Webber, Musical Supervision by Matthew Brind & David Wilson, Musical Direction by Laura Bangay and Casting by Pearson Casting.

With thrilling new choreography by Ashley Nottingham, STARLIGHT EXPRESS also sees the return of Arlene Phillips as creative dramaturg.

Tranceformations 2024 - Photo credit © Gromysz

The historic venue, built in 1913 to a design by architect Max Berg, holds 10,000 people beneath its 42m high x 67m diameter dome.

This was the location for the sixth edition of Tranceformations which hosted a stellar line up of international Trance music artists including Aly & Fila, Brinary Finary, Jordan Suckley, Nilsix, Thrill Seekers, Solarstone, Genix, Marcus Schulz, A.D.D.A, Roger Shah and Simon Paterson.

Lighting designer, Marcin Chrzanowski of CM Light, Poland, used over 500 moving lights and 55 very high-powered lasers to bring to life a stunning light show, transforming the mid-air into a huge colourful work of art, full of symmetry, colour and movement, with the DJs and artists as its focal point.

The canvas on which he painted was provided by 3 MDG ATMe haze generators, controlled directly via DMX from the MA Lighting GrandMA3 lighting console, and a fourth ‘older but, as always, reliable’ MDG Atmosphere haze generator, working manually at about 25% - 30% throughout the show.

Tranceformations 2024 - Photo credit © Gromysz

The deployment of the generators was a simple set up of a single ATMe generator in two corners of the stage, and a third ATMe placed centre stage, and used with a fan to avoid creating a wall of fog in front of the artists. The manually controlled Atmosphere meanwhile was located in the main entrance to the hall where the natural flow of air worked perfectly without the need of fans.

“The sheer cubic capacity of the room meant we had the generators working continuously for the first hours of event, with the following hours just a matter of maintaining them at a level to keep a consistent level of haze in the Hall,” explains Chrzanowski. “I had one of the largest number of lasers at any festival in Poland, and as you can see in the photos, the MDG haze copes perfectly with everything I could throw at it! There was never a danger of creating dense clouds in the air and it kept the images I created clear and transparent to both the human eye and to the cameras.”

Chrzanowski has favoured MDG haze generators for many years and continues to be an advocate of the quality of their haze and controllability of their generators: “I've been using MDG generators since they first came to Poland and I don't see anything that can replace them. MDG ATMe haze generators are one of best options available on market, and can be put to all uses in television productions, musical or theatrical events. I find them quiet, easy to use, trouble-free and with a reliable design that works in all conditions - from indoors to open large spaces.”

The lighting and haze solutions for Tranceformations 2024 were provided by one of the largest companies in Poland, TSE Group, in co-operation with Flash. The lasers were supplied by Visual Sensation.

Tranceformations 2024 - Photo credit © Gromysz

GDTF files are crucial for lighting professionals who seek to streamline and enhance their workflow. The General Device Type Format (GDTF) is an open standard used in the entertainment industry to describe the capabilities of lighting fixtures and other stage equipment in a standardized format. By using GDTF files, lighting designers and technicians can ensure seamless integration and accurate representation of MDG Fog’s products in their lighting control systems and 3D visualization software.

The addition of these GDTF files underscores MDG Fog’s commitment to supporting the industry with the latest technological advancements, enabling users to create more precise and dynamic lighting environments. 

Download the GDTF files directly from https://link.mdgfog.com/GDTF

Chauvin is a provider of laser equipment and advice services, and technical supervisor of the lasers, haze and other SFX he provides for a plethora of projects, headline DJs and artists.

MDG: Your work life covers many aspects as a laser manufacturer, designer, programmer and operator. Please give us an outline of what your work entails.

Chauvin: When people talk about laser shows they often think of big festivals. I like to call my lasers ‘special light effects’ since the applications vary a lot. There is a lot you can do with a laser, a beam of light. From mapping outlines onto a building to creating moving illustrations that combine with music. I provide gear and knowledge that, when combined with an artistic mind, can create a truly memorable experience.

Big Slap Festival Malmö

   
MDG: What route have you taken to get here?

Chauvin: There was no studying on my part, just hard work and passion. I began working with JSFrance (JSF) and always helped out on the laser side. Over the years, I built my own laser systems, and clients would often want someone to come with them on the trickier jobs. Gradually, what became an extra service is now a full-time job!

My big breakthrough came in 2019 when JSF was asked to do a show for the Amsterdam Danse Event 2019, and I went along to ‘help out’.

It was my first big show and the first time I felt I was going from a hobby laser guy to a massive show with lots of investment. It is an example of how something can unexpectedly take you to the next level.

There’s no straight route: you learn and discover on the field and people recognise your work, see that you are passionate and know what you are talking about… and one thing leads to another. I just started out by giving tips and it grew into what it is now.

MDG: Laser manufacturing is an important part of your work, but so is the practicality of making a show work. Tell us more.

Chauvin: That’s a very technical subject and I find it more interesting to talk about the shows, the creativity and the tools needed to meet the artists’ ideas. An early realisation for me was the importance of haze as a major factor in the artistic process. I think that has been the secret of my success from day one, and definitely helped me gain an advantage when I was first starting out. My background is in clubs where the atmosphere is dense, dark and hazy. I missed this when I moved to stages so I guess it helped me focus on it more. If you want to have an impactful show, buy more hazers! That will add a lot to what you already have.
Haze is often overlooked in many applications and my first question to my clients is ‘is your haze up to date?’. Lasers are sold by power – the more power, the bigger the application – but double the power costs a lot more than double the price! Investing in more haze instead of higher power lasers may save more power and money and have a greater effect at a fraction of the budget. It’s an important factor which will bring your show to the next level and needs to be discussed!

Because I specify really good haze, I don’t have to use really high-power lasers and can therefore offer a more cost-effective package. We carry more haze when we play outdoor dates with other artists so we can increase the effectiveness of the visuals by simply adding more haze than an artist/DJ might normally travel with. It’s the same show, but with more haze it looks so much more impressive.

I want people to read this and think: ‘Am I overlooking this subject? Is my haze up to the game? Should I buy more haze instead of more lasers? Maybe this guy has a point!’
   

Vladimir Cauchemar @ Main Square Festival   

   
MDG: Your touring work is very important to you. How is it to tour with artists?

Chauvin: I provide equipment and knowledge and am there to make sure that what I offer works smoothly and the show is the best it can be.

Some shows, I am positioned front-of-house, so I see the show from where the audience sees it; for other shows I am on stage.

On stage you have a more personal relationship with the artist. Artists are essentially alone on the stage and will look for eye contact with you in lieu of the mass audience. They are looking for your reaction. If you, who have seen the show multiple times, are still enjoying it, and they know you are having a good time, then they know they are doing a good job.

Being part of that creative atmosphere alongside the artist is a massive thing. I love the energy of that two-way feed.

MDG: What are the signatures of your laser, lighting and special FX style?

Chauvin: There is no one fixed style. I am very adaptable to each project. A medium install compared to Tomorrowland, for example, or a son-et-lumiere or an art installation – each will have very different approaches.
I hate solo projects – I love to work in a team. I like to listen, to work with artists who are open and who trust me; those who are curious and have an open mind with which to explore things. I like to learn and adapt, not copy and paste or make small adjustments to the same old things.
I create laser stuff but I’m more of a technician and I love that relationship between engineering and artistry. Artists come with crazy ideas and they love it when you don’t say it’s impossible. Sometimes you just need to find what they want and be creative with the tools you have.

I really enjoy that exchange between the artist and myself, working together to understand and create their vision and explore the directions in which to take it to make something cool.

Beautiful colours and a perfect haze

MDG: You use a lot of haze and fog in your designs – what do you look for in this aspect?

Chauvin: Haze is very important and the main element in what I do because, without it, my world doesn’t exist! As with any light beam, if you don’t have particles of haze, smoke or water screens, the light is invisible and you can’t see the results.

People think it is strange that we are a laser company and yet we deal with haze, but haze and fog allow me to do what I do. Without it I cannot create the effects that people want and look for. I think it is a big part of why what I do works and why I am successful in that area.

MDG: How does MDG fit into this, and why do you like to work with MDG? You know the whole MDG range very well!

Chauvin: I like the MDG range of products because they have everything from the smallest atmospheric machine to the largest power output, and I own almost all the range of hazers, foggers and low fog, because the applications are so different. If I could have more, I would! Sure, festivals need big machines with a lot of output, but sometimes haze has to be small, discreet, almost invisible to the eye until you shine light on it.
Using low fog with lasers is interesting. For example, I light an artistic ice skating show using lasers on the floor and low fog for people to skate through. MDG is the only manufacturer to make a low fog that works properly and doesn’t rise up with movement.

A newer application is for the many city centres that are looking away from firework displays to greener alternatives, so choose laser and light shows, which again call for good haze.

Marketing-wise that is really interesting: lasers are cheaper, don’t burn any materials, and there’s no post-show rubbish to clear. They can be run during high winds or heatwaves when traditionally you can’t use fireworks. For example, in last summer’s heatwave, all firework displays were cancelled because of the fire risks – but we could use lasers freely and were the only ones able to run our show.

Laser shows are faster to build and set up and, unlike fireworks, are not single use, so the show is repeatable. While some aspects, such as the explosions, can’t be replaced, the best shows are mixture of the two - plus you get more show for your money if you want to extend its length. It’s getting to be big business.

MDG fits all these scenarios. They are really convenient for touring and easy to use. Consumables like CO₂ and fluid-use is low, and sourcing CO₂ is not as inconvenient as some people believe. MDG uses the same CO₂ bottles as a beer machine, so are not tricky to find, and once you have the practical side sorted, it’s easy – and so reliable.

From the start I chose to invest in MDG and have always been happy to use it, sell it and specify it. It is the highest haze quality I can have and I know I can rely on it – which is the most important part of any gear – so it has become a standard part of my kit. When you find a product you like, you invest in it and stick with it, because you know you are going to keep it for ever. Where people happily change their other equipment every few years, they sometimes bring their 30-year-old MDG machines to me to repair as they still want to keep them!

MDG is the brand in the industry – Everyone knows it is the highest quality so don’t question it. They simply say: ‘OK, you bring the best!’

MDG: What is your outlook on your career?

Chauvin: I don’t have a need to do everything. The big shows are amazing experiences but I like to keep the smaller projects going too, and if I don’t ‘feel’ it or don’t have the manpower to do a job well, I would rather say no than disappoint. And if I said yes to everything, I’d have less time and energy to give to people who deserve the same dedication as everyone else.

You only live once, and I want to wake up every morning looking forward to my day. I work a lot and don’t want to work more than I do. I still want to give a good show and satisfy the artist. Too many people dream big and it becomes a chore to manage. It’s a really short vision and I really don’t want that. It’s too easy to get burnt out quickly if you are not careful, so I try to keep my energy and enthusiasm. The day I lose my passion will be the day I reconsider.

MDG: What does the future hold for you?

Chauvin: I hope I will be doing the same as I am doing right now. They say people changed after Covid, but not me. This is where I want to be. I don’t want to grow; I wish to keep creating; I never want to stop working; I love my job. I hope there will be a new generation after me who will enjoy doing the same. Have a good time and enjoy – that is the key element.
 

Emile Chauvin and Chantelle Woods-Dean

Vladimir Cauchemar @ Main Square Festival
   
   

Photo credit: Emile Chauvin @ Loïc, Clubbing Vision
Instagram : https://www.instagram.com/clubbing_vision/

Facebook : https://www.facebook.com/emile.chauvin

Instagram : https://www.instagram.com/livelasershow/

Web : www.LiveLaserShow.com

VEKTOR at Berlin’s Kraftwerk © Ralph Larmann

VEKTOR, Memories in Light & Sound, is Bauder’s third installation at Berlin’s Kraftwerk, an old power plant-turned-art gallery in Berlin that Bauder refers to as an ‘industrial cathedral’. The abstract work is a personal ‘memory chest’ using small audio snippets of memories from Bauder’s childhood through to present day: the sound of the sea from his childhood living on an island in the North Sea, church bells on a Sunday, laughter of loved ones, as well as samples recorded from the Kraftwerk building itself. The recordings can be precisely targeted throughout the building, transforming the building itself into a living, breathing work through sound and illumination. “The audience doesn’t need to understand the thoughts behind it, or be aware of the massive amount of technology behind it, but I hope they will catch glimpses of the references here and there,” says Bauder.

The new artwork consists of 50 lasers mounted on 10 evenly spaced, heavy-lift winches specifically developed by Kinetic Lights which synchronise movement of all the lasers. These enable Bauder to create a sculpture in mid-air that fills the whole volume of the enormous exhibition space.

“It’s important for me to start from symmetry that allows me to break from symmetry later,” explains Bauder. “By starting with a very symmetrical layout I am able to create completely random shapes and spacing in the second stage of the creative process. If your initial layout already creates a shape, then you are always bound to that shape and can never break away from it.

VEKTOR at Berlin’s Kraftwerk © Ralph Larmann

“I use the lasers to create three-dimensional shapes and textures that I hope will evoke a memory and an emotional response within the viewers. I like to play with these things, taking a step further to tell a story by very abstract means, and encourage the audience to create their own picture, rather than just showing shapes synchronised to music. For example, in VEKTOR, I have an ‘under water’ scene where I play sounds of the ocean with birds flying over, and have created a surface with the lasers in blue with bobbing lights reminiscent of floating buoys. This combination immediately makes everyone think about the sea and an underwater scene, but it is just technology triggering their memory of it. It’s an emotional and poetic show.”

As with any light show, a basis of good haze is of paramount importance to reveal the work of the artist to its full extent, and Bauder states that he uses MDG haze generators and fog machines whenever possible to create the ‘right’ atmosphere for his pieces.

“The visibility of the light is important as I use light in an architectural sense, like a material that I can shape and form in space into a tangible form that almost feels touchable. At the same time, of course, the light is intangible, not physical, so I need the haze as a basis to materialise the light in space.

“When looking for the perfect haze there are two aspects to take into consideration – translucence and visibility. If I have a lot of haze I have good visibility of the lasers in close proximity, but it obstructs the view of the lasers that are further away. So the quantity of the haze is extremely important, but also the quality: the quality needs to be translucent enough to keep the whole piece visible across the full 100m distance. I still need to be able to see the back of the space, but at the same time give enough texture in the air to create the visibility of those lasers.

“It’s a really fine balance between the two, and MDG haze delivers that balance. The key factor is the fineness of the droplets in the air which defines the visibility throughout the space. It mainly just reacts to, and refracts, the light without obstructing visibility. That’s why I always try to use MDG haze generators as they provide both these aspects.”

VEKTOR at Berlin’s Kraftwerk © Ralph Larmann

Kraftwerk’s exhibition space is a massive 100m x 60m x 25m high, naturally dark, indoor space on two levels. “The volume is huge,” says Bauder, “but we have just two MDG ATMe haze generators, and two Me2 fog machines running at intervals, to fill the whole space.”

The two ATMe are located at each end of the hall, and the two Me2 fog machines in opposite corners. “At the start of the day we run the Me2 fog machines for about 10-15 minutes to quickly fill the space and introduce enough texture. Then we have the two ATMe running on 100% for the rest of the day, with two of MDG theFAN™ to aid circulation, which keep the stability of the amount of haze for the rest of the day and maintain the visibility. Even running at 100% we only use about 20% of the fluid and gas compared to the systems we’ve used in the past.”

Each MDG ATMe, with theFAN™, is housed with gas and fluid in purpose-built MDG Vertical Flight Cases for convenience, storage and transportability. The supplier was cast C. Adolph & RST Distribution, MDG’s exclusive distributor for Germany. “Cast are super – we love them,” concludes Bauder. “They are always ready to demo products for us and quick to react when we need service or supplies. We have a great relationship with them.”

The Berlin art scene has a notably discerning audience but VEKTOR has received an overwhelming response. Four live shows are planned for 15 March and 5 April with music written by Bauder for the first time. “We didn’t know what to expect, but from the start it was crazy – 6500 people on the first weekend and 30,000 in the first four weeks!” says Bauder.

VEKTOR runs at Berlin’s Kraftwerk from 1 February – 7 April, with the first live show on 15 March 2024.

For more information on Christopher Bauder and Vektor visit https://www.vektor.art/en

VEKTOR at Berlin’s Kraftwerk © Ralph Larmann

Photo by Johan Persson. Lighting design by Paul Keogan.

Naylor explained his choice of MDG and this combination of equipment which was supplied by Robe/MDG UK. “We have been looking for a better consistency of coverage of haze for a long time, as the hazers we’ve used in the past have looked patchy and generally produced more haze in the wings than on stage! The MDG ATMe with flight case and fan not only gives us fantastic haze coverage on stage, it is a safe and efficient way to tour the equipment.”

The Vertical Flight Case is a bespoke design with fitted compartments that hold an ATMe haze generator (or any of the Me1, Me2 or MAX 3000 fog generators), theFAN™, two, 9kg (20lb) CO2 bottles, a 4L bottle of MDG Neutral fluid and a handy tool drawer - all in a plug-and-play unit of rugged construction that can be simply and safely used for transportation then rolled into position.

The ATMe, theFAN™ and Vertical Flight Case were purchased for WNO’s general inventory, rather than a specific production. “We do a lot of co-productions with other opera companies and we see MDG specified on many of the productions we work on. It’s also noticeable how, over the past five years, more and more lighting designers are asking for MDG products too.”

Naylor and his tech team have been very impressed with their neatly packaged and moveable new products, and with their ease of use on tour. “The ATMe and theFAN™ are very easy to use, and, being built into a single flight case, moving them from venue to venue is a dream. The maintenance is straight forward and having a spare gas bottle and all the spares in the flight case means we don’t have to worry about the gas running out, and its extra safe for touring.

“I can honestly say the ATMe is the best hazer we have ever used, in particular its consistency to produce and fill the space with smooth, even haze. It has surpassed our expectations and travelled well over this last tour. During this season the ATMe has gone from heavy, rock-style haze for our family concerts with lots of beams on show, to very little and subtle amounts of haze for our operas.”

Naylor concludes, “We continue to experiment with the product and where to position it in each venue, but we generally position it downstage in one of the wings and we’ve had no complaints in any of the venues we’ve toured to. It’s really working very well for us.”

For more information on Welsh National Opera, visit www.wno.org.uk

© Kjetil Tefke. Instagram @kjetiltefke. Postgirobygget perform at Norway’s Treungen Festival.

Since then, they have embarked on an annual summer tour, performing at festivals and venues in front of audiences ranging from 2000 to 18,000 people. The band is often rightly dubbed Norway's summer band!

Postgirobygget’s 28-date Summer 2023 tour began in May and will continue through until September, with set and lighting design by Petter Nilssen of LiteNordic, MDG’s exclusive distributor for Norway. Nilssen chose a single MDG Me2 fog generator as his source of fog and haze for the duration of the tour, complete with MDG’s digital theFAN™, both of which were neatly and conveniently housed with fluid and gas bottles in an MDG Vertical Flight Case as an instant ‘plug-in-and-play’ solution.

“I always chose to tour with an MDG machine,” states Nilssen. “I believe if you take your own lighting rig on tour, it's equally as important to bring your own fog/haze machines. It's crucial to me that the show looks consistent everywhere, and there's often a shortage of fog at both local concerts and festivals. Without a good haze/fog machine, the lighting setup you bring won't work optimally every time.

© Kjetil Tefke. Instagram @kjetiltefke. Postgirobygget perform at Norway’s Treungen Festival.

“For example, there are certain sections of the current show, often during guitar solos, where I remove all front light, lower the overhead, and use only 6 MAC Ultra lights positioned on the ground as backlight in a very wide zoom. In such cases, it's crucial to have a lot of fog on the stage to create an interplay between light, fog, and shadows.”

Nilssen was careful to install power and DMX on either side of the stage, as well as in the centre, so the Me2’s Vertical Flight Case can be moved easily as needed, or to counter significant changes in wind directions. “Since the Me2 uses the same neutral fluid as MDG’s ATMe machine, it has an extremely long hang time. So usually, I keep theFAN™ at 100% all the time, and the Me2 machine running continuously at its lowest output. This way, I can evenly spread the fog as a ‘haze’ across the entire stage,” explains Nilssen. “At other times there might be sections in the set that require more fog for dramatic reasons. In those cases, I naturally increase the fog for shorter periods to achieve the desired effect.”

Nilssen is very happy with the results he has achieved with the Me2 fog generator and the responses he has received on tour: “The Me2 machine has proved itself an excellent, truly outstanding device and has shown the technicians I work with what an awesome range the Me family is. There isn't a single machine that can produce such a fine and thick haze with such a long hang time as it does - except maybe its larger counterparts. I'm extremely satisfied with its performance and its fluid and gas consumption. We've completed 17 concerts, and during those shows, I haven't yet used up a 4 x 4 litre box of fluid. Furthermore, I'm still on my second CO2 tank!”
Equipment supplier for the Postgirobygget Summer 2023 tour is Norwegian rental company, Spectre.

© Kjetil Tefke. Instagram @kjetiltefke. Postgirobygget perform at Norway’s Treungen Festival.

© Kjetil Tefke. Instagram @kjetiltefke. Postgirobygget perform at Norway’s Treungen Festival.