I first saw Cirque du Soleil's new theatre at the Bellagio Hotel in Las Vegas, NV, when it was nothing more than a steel skeleton etched against a sun-drenched sky. You could already picture the grandeur in its domed roof, and imagine the visual impact of a stage with a 1.5 million-gallon pool of water. The finished product does not disappoint. Both the Baroque-style 1,800-seat theatre and O, Cirque's newest production, directed by Franco Dragone, push the edges of entertainment technology into untapped areas of creativity and collaboration.
Cirque du Soleil reports that by the time O opened on October 19, 1998, nearly 500 people had devoted over 400,000 man-hours to the preproduction and production phases of the show alone, not counting the time spent on the construction of the theatre. The production process for O began in 1996 at Cirque's home base in Montreal, where both the performers and designers faced the daunting challenge of working with so much H20. In fact, the name of the show is a phonetic version of eau, the French word for water, and every prop and costume had to prove its resistance to the harshness of a liquid environment.
This is one instance where it is hard to separate the theatre design from the production itself, as the success of both revolves around the pool. The interior of the theatre was designed by Michel Crete of Cirque du Soleil in collaboration with architect Michel Aube of Sceno Plus, a Montreal-based firm. The design is like a European opera house, with arched loges and warm gold, red, and blue tones. The focal point of the theatre is its elliptical domed ceiling, which Crete describes as "translucent." To achieve this look, two layers of galvanized metal mesh are lit from behind with GAM 725 (turquoise), GAM 890 (deep indigo) and Lee 161 (steel blue) gels used with over 4000 MR16 zip strips and 192 Altman PAR-64s.
The result is a kinetic shimmer above the audience, with one layer of the mesh pulled taut and the second layer hand-crunched according to Crete's specifications. Different types of mesh were tested in advance to see how the light reacted, and a full-size mockup of about 20% of the ceiling surface was built in Montreal. The Las Vegas fire marshal, concerned about the use of such a ceiling, flew up to do some testing of his own and poured buckets of water through the mesh.
In the center of this ceiling is an opening for a chandelier, or curved aluminum truss structure, which descends at the top of the show bearing a trapeze artist bathed in fog and light, with cyan (Lee 116) and indigo (GAM 890) gel in the followspots as specified by lighting designer Luc Lafortune. Fisher Technical Services of Las Vegas designed and constructed a special braking system for the chandelier, as well a custom flying winch, which moves the performer up and down in sync with the raising and lowering of the chandelier.
Because the large pool of water has to be kept warm and is rather humid (the temperature in and around the water is approximately 84 degrees), a special HVAC system was developed by Cirque and Sceno Plus in conjunction with Dupras, Ledoux of Montreal to provide air-conditioned comfort for the audience. A temperature of 72 degrees is maintained in the seating area by way of a special ventilation system with silent air movement that brings cool air at 55 degrees directly under each seat. Special air cannons can be used to warm the air around the stage and control the movement of the ventilation. The mesh ceiling acts as a chimney and allows the warm air to escape the auditorium.
The pool itself, also designed by Crete in conjunction with Sceno Plus, is 25' deep and measures 150' from right to left by 100' from upstage to downstage. A slab of concrete 12" thick is used to hold the pool down. "The pool is below the water table and tries to float like a cup when there is no water in it," says Claude-Andre Roy of Sceno Plus. Another unusual design challenge that needed to be solved was the unwelcome sound of the water as it overflowed into a gutter around the edge of the pool, then into a surge tank, though the filtration system, and back into the pool. To get rid of the noise, various sizes of gravel were tried, until the correct size was found, and used with special Nomad matting from 3M. To avoid the smell of chlorine in the theatre, bromide (with just a touch of chlorine) is used in the water instead.
One of the people who worked on solving many of the trickier issues in the theatre is Rick Gray. Gray served as a project manager and was onsite throughout the entire construction period as a liaison between the construction company and Cirque. Gray, a tenured professor in theatre production at Penn State University in State College, PA, was brought in to make sure that the theatre was ready for the show's load-in in February 1998. "Everything in the theatre is 'out of the box' as far as conventional theatre practice, from the HVAC to the electrics," he says. "One of the most challenging things was doing the special electrics, sound, rigging, and water pumping, all in the same building with a giant pool, and making sure there was no water noise."
Gray credits Crete as the "philosophical center of what the theatre should be, from the colors to the mechanics, while Las Vegas-based Atlandia designs held the purse-strings and represented the owners in the design process." Gray points out that the members of the Cirque team are "more akin to easel artists in painting the grand picture. What we provided for Cirque is a toy box filled with the possibilities of design. They put various options together to make the show," he says, adding, "They work in a time-consuming, painstaking process, not in an American theatrical idiom."
This particular toy box is filled with some pretty sophisticated items, including the four main stage lifts engineered, built, and installed by Handling Specialty from Toronto. Each of these platforms measures approximately 1,000 sq. ft. and can travel from a depth of 17'3" below water level to 18" above water level, moving separately or together, to form various dry-stage configurations in an area measuring 53' x 90'. They can also stop at various heights, affording a wide variety of pool depths. Access platforms allow performers to get from upstage and from the sides of the pool onto the main lifts. The hydraulics use vegetable oil, which is biodegradable, in case it leaks into the pool. "Edible, and not dangerous," notes Gray.
A custom-designed floor covering was manufactured for the lifts. Both resilient and non-slippery, the rubber floor is specially perforated (with approximately 5,000 holes in each 4' x 8' panel) to allow water to go through while the lifts are moving. It is also resistant to bromide and chlorine to avoid discoloration and deterioration. Ten months of research went into the creation of this surface, under the supervision of Crete, who also designed the scenic elements for O.
"For me, the pool represents a pond; like a sanctuary protected by a garden--an intimate place where the sunlight shines through the forest, creating translucent, stained-glass colors as it shines through the leaves," says Crete. "The scenery depicts the coexistence between nature and man, between the elements and the obvious technology used to bring them together." To translate his vision into reality, Crete designed a vegetation curtain, or "Vege," which resembles a swamp-like maze of plant roots and serves as a backdrop for many of the acts in O.
Made of vapor-resistant, rigid plastic, the "Vege" curtain was made by thermoforming, a process in which Lexan is poured into a 45' x 60' mold and left to solidify, at which point paint and varnish are applied. To create visual contrast with the dark "Vege," Crete added two white rip-stop nylon curtains that look like sails and pivot from points on the grid. These were designed to add an airiness that does not get soggy when wet, especially in scenes with rain and mist.
The opening and closing curtains for O are also feats of technical wizardry. The opening curtain is made of thin red fabric, which virtually disappears up into the grid right before the eyes of the audience. The mechanism for this was worked out by Scott Fisher and Fisher Technical Services to pull the fabric up smoothly onto a large roller at the speed of 14' per second.
To keep this curtain from fluttering, Fisher worked with Cirque to develop an anti-blowback system with weights that hold the curtain in place until it begins to get pulled upward and reveals another red curtain that floats on top of the pool and is pulled aside to reveal the water. At the end of the show, a similar red curtain is used, but this one appears magically from a wicker basket that seems to float on the water. The curtain is pulled quickly into a closed position by a system of wires and traveling guides.
Fifty-five feet above the stage and the pool is the telepherique, a complicated system of trusses and catwalks with automated winches and a carousel that rotates while supporting performers and/or scenery. The telepherique was conceived by Crete and Johnny Boivin of Cirque's production staff, engineered by Olaf Soot Associates, a subcontractor to Hoffend & Sons, who manufactured and installed all of the rigging in the theatre. It consists of six tracks of box truss with open bottoms and catwalks on top, each of which contains two independent traveler winches that can move scenery and acrobatic devices up and down, or from side to side. Four of these are 70' long and run parallel to the proscenium. The other two measure 130' long and run upstage to downstage, and are placed 26' apart to support the central carousel.
The carousel travels on the inside of the upstage/downstage tracks. Measuring 24' in diameter, it is driven by a continuous-loop cable drive and is supported by four double-wheel trucks, designed to equalize the loads on the polyurethane-treaded wheels. The carousel, which can spin as fast as 180' per minute, is designed to provide horizontal, rotational, and vertical motion over the stage/pool area. Each of the four winches on the carousel can lift up to 1,000lbs each, at speeds of up to 240' per minute.
According to Olaf Soot, principal of Olaf Soot Associates, "One important design requirement for the winches was that the acrobats had to be able to swing below each winch in any direction and at any height at a fixed location with respect to the winch." All of the winches are designed with overspeed sensors and brakes, although the 18-ton carousel can actually run at full speed into the end bumpers without causing any damage. "The Bellagio carousel and traveler winch system represent a first-of-a-kind-design," says Soot, who points out that none of the elements used were off-the-shelf hardware. "All the sheaves, drums, drives, linkages, and other details had to be designed specifically for this project, so that they would all fit and work when assembled onsite more than 50' above the stage."
Lighting instruments mounted on the carousel include four ETC Source Fours and 16 PAR-64s, which are operated without DMX cables, using a wireless method, Interactive Technologies' RadioDMX technology, to transmit DMX. Since it operates on the 2.4GHz band, there is no interference from wireless microphone or intercom systems in the theatre. The cables for some of the other lighting fixtures in the theatre, including theHigh End Systems Studio Color(R) automated luminaires, which are hung on the carousel, and the underwater lighting built into the stage lifts, are carried in IGUS Chain, a modular plastic cable-management system. IGUS Chain is also used to carry water and air hoses to the underwater stage lifts for use with various special effects.
While the carousel sits 55' above the stage, additional rigging, also manufactured and installed by Hoffend, is perched at an elevation of 100' in the air on the high grid over the stage. This includes 41 scenery-related winches designed to move scenic and lighting elements, and to serve as general-purpose rigging for lighting ladders and pods. "The challenges this project presented were substantial," says Peter Hoffend, president of Hoffend & Sons Inc. "We brought a combination of sophisticated machinery together to satisfy the production designers' concerns, and consideration for user safety was paramount. We sought to ensure that this technological achievement would run every performance for at least the next 10 years."
Written and directed by Franco Dragone, O is the first Cirque production to be performed in a proscenium house, rather than under a big top or in a theatre inspired by a tent. Behind the proscenium is the pool, which serves as an aquatic canvas for Crete's scenic designs. The decor springs to life under Lafortune's simple yet expressive lighting gestures, with bold dichroic colors cutting through fog and mist or dancing on the water. The lighting rig includes over 500 ETC Source Four ellipsoidals, plus 72 automated luminaires: 42 High End System Studio Colors, and 30 Clay Paky Stage Scans. These are hung on short, articulated battens, referred to as scan sticks, over the stage, with additional positions on the telepherique trusses.
To light the water in the pool, a majority of the front lighting comes from a subterranean light tunnel (at the same level as the pool) which has eleven 4"-thick Plexiglas windows that open along the downstage perimeter of the pool. Located in the tunnel are 22 Altman single-cell far-cyc units, half with no color and half with GAM 890 blue, or one of each per window. There are also seven Juliat 2.5kW HMI profile spots and two 4kW Strand fresnels with Wybron Coloram scrollers, each with 24 color choices.
There are four dimmer locations for the 1,695 Strand CD80 Supervisor dimmers, including 288 GFCI (ground fault circuit interrupter) dimmers for wet-location lighting developed in conjunction with Bob Barbagallo of Sceno Plus. The four locations are: 1) in the lighting tunnel for 96 of the GFCI dimmers; 2) 192 GFCI dimmers at stage level for the pool and onstage circuits; 3) in the light booth for house lights and front-of-house; and 4) in the grid for the grid circuits over the stage. The goal was to localize the dimming as much as possible to reduce wire runs and avoid voltage drops.
A full reporting system identifies voltages, amp loads, burnouts, and other troubleshooting data for every individual dimmer module. A signal panel in the center of the auditorium (in front of the sound mixing board) has a second set of input jacks that echo the light booth for remote use of consoles for programming in the house. The lighting control system integration was assured by Production Arts/PRG, which also helped test the GFCI dimming system.
Technical director Phil Jordan points out that the daily running crew for O totals 77 people (25 carpenters, 12 on electrics, five for automation, 12 riggers, 10 wardrobe, five scuba divers/aquatics, four for audio, and four for fluid effects), with a full roster of 115 technicians, who rotate performances. "They all swim or are divers," says Jordan, who adds that it can be dangerous to dive into a dark pool with mechanical stage parts.
For additional safety for the performers, a team of 12 underwater technicians take care of the artists' needs in the pool. These include three of the riggers, four of the carpenters, and the five aquatics specialists. One of the tasks of the aquatics team is the refilling of the underwater air tanks used for the performers and stagehands who need to breathe under water. They also make sure the performers find their way in the pool in certain scenes when rain or fountains make the water seem milky, and the hum of pumps makes it hard to hear cues underwater.
The costumes for O were designed by Dominique Lemieux, and represent historic periods from the 15th to 20th centuries, with a special fondness for Venetian styles. Thirty people from the Montreal costume shop came to Bellagio to build the costumes onsite. From red frock coats to bodysuits painted to make the acrobats look like playful zebras, baggy clown suits, and delicate chiffon skirts, the costumes utilize a vibrant color palette.
The water provided an unusual challenge for the costumes, which are all made of materials that fit the performers like a second skin, and dry rapidly. Likewise, the makeup is all waterproof; even the shoes are made of leather that does not shrink when wet. In the wardrobe department, "heads" of the performers are lined up on shelves and used to fit custom head pieces by dipping the forms into latex and cutting off the excess pieces. There are 14 dryers there as well, but two sets of costumes are used, as they don't dry fast enough between shows to be used twice in one day.
Backstage, after the performance, the props for O stand silently in a line, with brightly-colored carousel horses, a floating bathtub, and a large white upside-down umbrella waiting for the next performance. Bathrobes and towels discarded by the performers, as well as a filling station for air tanks, are a reminder of the pool. Three years in the making, with a tech period of six months in the theatre, O represents a new level of production for Cirque du Soleil. "We pushed the machine as much as possible, yet I am sure there are still many options unexplored," says Dragone. If there are, I am sure he will find them as O continues to evolve.
It would be safe to say that sound designers Jonathan Deans and Francois Bergeron have contributed mightily to creating the unique "Cirque" sound. Between them, they've supplied the sound designs for all but two productions, and combined their talents on a spectacular surround design for O.
Acoustically, the Bellagio Theatre is a hybrid, designed to complement the subtlety and nuance of a specialized sound reinforcement system, yet live enough for the audience to feed off its own reactions to the performance.
"It's an acoustic paradox, or balance, if you will," explains Bergeron. "The audience members must hear each other applaud; it heightens their involvement. But at the same time, the room can't be too live, because we need it to be fairly tight to produce the type of music and sounds as they need to be heard. It's very difficult, but they've done a good job with this room in a general sense."
The room includes close to 30 surround loudspeakers alone, with others specially placed for effects. They are distributed behind the balcony, on the face of the balcony but firing forward to cover the main floor, and there are even some built (and completely concealed) into side walls. Meanwhile, the proscenium framing the stage/pool contains two loudspeaker clusters, with more loudspeakers along its sides. Finally, a series of compact loudspeakers contained in the stage lip bolster coverage to the first few seating rows not getting complete mid/high output from the clusters due to logistics.
The show's musical score, performed by a live orchestra (for each performance), is integrated with the sound design. Created by conductor Benoit Jutras, the score can change notably, literally overnight, during months of production rehearsals.
The orchestra includes standard instrumentation--keyboards, percussion, cello, guitar, saxophone, flute, and vocals--as well as offerings from rather exotic instruments like tiplet, African koras, an assortment of ancient English and French reed instruments, bagpipes, various Chinese two-stringed erhus, and even an accordion. It all contributes a mood and emotion rarely actualized in any other production. As a result, a traditional sound design doesn't work here.
"Fortunately, because of our history and relationship with this creative team, we're a part of their sound, in the sense that when you think of Cirque, the shows have a certain sound. It's surrounding, enveloping, ethereal," explains Bergeron. "Once the sound system is in place, you have a large matrix, and this is the starting point. You don't know where, exactly, it's all going from there. The sound design is an evolutionary process, just like everything else with the show." All microphones used by the orchestra and performers are first fed to Aphex Model 107 microphone pre-amps, located in a backstage equipment room. With a technology called Tubessence, the 107s supply an added level of warmth to these signals before they are sent to the Cadac F-type front-of-house mixer. During production rehearsals, a small recording studio was established at the house mix position, centrally located on the main floor. The key component in the studio, a DigiDesign ProTools digital audio workstation, facilitated creatio n of custom sound effects and more, loaded onto samplers.
The samplers, as well as reverb units, are MIDI-linked to the hub of the audio system, a network of LCS LD-88 digital mixers, which work in tandem with the Cadac automated mixing console. Each LD-88 digital mixer supplies eight channels of 20-bit audio I/O, as well as eight audio processing DSPs and a control DSP. Here, there are enough LD-88s to supply 80 inputs, 80 outputs, and 32 buses, forming a giant matrix where any input can be routed to any output.
The LD-88s were linked to a PC at the mix position. Loaded with LCS CueStation software, it allowed the designers to "paint" soundscapes, moving both the effects and live musical programming throughout the desired area or the entire soundstage. The SpaceMap technology in the software facilitates the design of custom panning curves to "fly sound" between any imaginable loudspeaker combination.
All actions and movements of sound facilitated by the digital matrix are programmed and saved as cues, which are then triggered by the show's master control system (via SMPTE timecode) at the appropriate point in the show. In addition to spatialization control, all signal processing functions such as equalization and delay are also accomplished in this portion of the system.
The Cadac gives the mix engineer the ability to feel and adjust sound during the show, while everything else is programmed as cues into the LD-88s for distribution to the power amplifiers and loudspeakers. The cues are automatically recalled at the appropriate moment by the show's master control system, and at certain times, by the Cadac.
"The cues are programmed into LCS, defining when a sound is triggered, how it sounds, and where it's going," explains Deans. "A lot of this work is done late at night, into the morning, when everyone is gone and we can then 'play around' with sounds for the entire room, getting each just right for each area."
All power amplifiers are Crest Professional Series, split between two equipment rooms. They are also linked to a PC at the mix position, where Crest NexSys control software lets the system operator monitor their status.
The main loudspeakers are Trap 42s from Renkus Heinz, with the company's Co-Entrant design offering a natural point-source and controlled directivity. Many of the surround loudspeakers, as well as near-field and fill loudspeakers, are also from Renkus. In addition, the company supplied a customized version of its SR-81 loudspeakers, with their size reduced to allow them to fit in extremely limited openings along the stage lip. Renkus C2 subwoofers are concealed within an upper level of the proscenium. An additional pair of subs are mounted in the ceiling for certain effects. Meanwhile, Sound Advance SA2 loudspeakers are mounted in the side walls, completely invisible, with the loudspeaker complement filled out by several small JBL surround loudspeakers distributed around the house.
"In an opera house, you have more reverb and spatial sense, so we send certain cues to the side loudspeakers to add a bit of liveness," says Bergeron. "The audience can't see the speakers, so they don't expect or anticipate that sound will be coming from their direction. One song may emanate primarily from the front loudspeakers, while in the next, we'll route it more to the side speakers for expanded perspective and added reverb. It creates the impression that you're in a much larger room made of marble. Then, the focus of the song will suddenly be shifted to the front, kind of 'in your face.' That's why there are so many cues established in the LCS, to take the audience up and down, left and right, back and forth, with the action onstage."
House sound engineer Mark Dennis notes that the system developed for O is extremely complex and powerful. Seven computers are used at front of house, to run Cadac cue control and backup, LCS CueStation software and backup, Crest NexSys amplifier control and monitoring and backup, JBL Smaart-Pro Acoustical Analysis software, and perform record-keeping and administrative tasks.
The Crest LMX monitor console, manned by Pascal Van Strydonck, affords monitor mixes for each of the 10 musicians. The mix stems provided by the outputs of the Crest console are fed to each band member's own Yamaha ProMix, giving each member control over their mixes, with presets that can be recalled on a song-to-song, or cue-to-cue basis as needed.
The aquatics department, with its many divers, and the performers, including synchronized swimmers, rely heavily on what they can hear underwater. To this end, what is termed the "Neptune system" was developed. It provides not only show music throughout the pool, but also the ability for stage management and aquatics safety officers to communicate directly to those beneath the surface.
Vocal cues and instructions can be given during the show. Also, a system of warning signals was established, where a unique sound is triggered by any movement of the lifts within the water. A click track used by the musicians is fed into the system as well, providing the cast with the timing and tempo they need. The system is mixed with a Soundcraft Spirit mixer, routed though various equalization, ducking and dynamics processing, and fed to Crest 1600 amplifiers.
Twelve underwater speakers in the pool, provided by Clark Synthesis, are bolted to custom mounts designed and installed by the Bellagio audio department. They supply increased frequency response underwater and increased energy transfer by acting as a sound board. Two of the mounted speakers can be moved closer to the cast, when necessary, by the in-water crew.
Underwater sound? Only in Las Vegas.
Dimming system and control integration: Production Arts
Lighting Equipment: Cinema Services
Spot chair custom fabrication: Fisher Technical
Cable mfr. and supplier: TMB Associates
Electrical contractor: Sturgeon Electric Co.
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panels (1) Middle Atlantic SLIM 5 5-8 8U equipment rack w/side panels (1) Proco IT-8A Octal balancing transformers (1) Renkus Heinz 81/9 speaker (1) Sony MDR-575 ear drivers (1) Sony MDR-V900 headset (1) SPL console table and support (1) Vega AN723 antenna (1) Vega M-724 multicoupler Vega R662 receivers (1) Vega T677H body transmitter (1) Vega T687H handheld transmitter (1) Yamaha Promix 01 mixer (1) AKG 414 (1) AKG 747 (1) AKG C408 AKG C414TLll tubes (1) AKG C547 BL (1) Beyer M380TG (1) Beyer M88 (1) BSS AR 416 (1) BSS AR116 DI box (1) BSS AR117 Phantom Power Modules (1) Countryman B3 mic w/Vega connector (1) Countryman Isomax headset mic w/ XLR (1) Crown PCC 160 (1) Electro-Voice N/D 757 (1) Sennheiser MD441 drum overhead (1) Sennheiser MKH40 (1) Shure 404 PTT mic (1) Shure 565 switch mic (1) Shure SM10A-CN (1) Shure SM58 AKG KM 259 short tripod stands w/boom arms AKG KM 270 regular tripod stands w/boom arms Atlas AD-11 female flanges and AD-12 male flanges, AD5 coupling, and 6" nipple (1) Anchor AN1000 self-powered monitor (1) JBL120 Control 23 Speaker (white) Renkus Heinz BPS 15-2 , C-2, CE 153/9, 40/6, 42/7, and Trap Jr./9, speaker s w/rigging points (1) Renkus Heinz SR 81-12/BEL speaker (2) Sound Advance CT12FH speakers w/baffles SPL custom rigging hardware (1) BGW BGWFSP10 rackmount computer (1) BGW ICHK-G801U rackmount keyboard (1) BGW RMME rackmount monitor enclosure (2) Bitree B48C-HNOST/EC patchbays (1) Crest CKS 1200-2 power amp (1) Crest CKS 200 power amp (1) Crest CKS 400 power amp (1) Crest CKS-1600-2 power amp (1) Crest NC-IPN programmable gain input (1) Crest NC-JTH Hub (1) Crest NC-MIDI MIDI interface Crest NC-NXS NEXSYS function controls and NC-SW-3.0 NEXSYS software (1) Crest NS-BUS-1 Server (1) NEC TBD PC-compatible 14" monitor (1) Renkus Heinz X24 controller (1) Clear-Com 501 single-channel beltpack (1) Clear-Com 502 dual-channel beltpack (1) Clear-Com CC-1022 self-powered rackmount speaker Clear-Com CC-250, CC-26, and CC-85 headsets (1) Clear-Com HS-6 handset (1) Clear-Com KB-111A speaker station (1) Clear-Com MS 812 12-channel master station (1) Clear-Com MX 840 assignment panel and PS 454multi-channel power supply (1) Clear-Com RM 220A two-channel remote station (1) Clear-Com RM 440 four-channel remote station (1) Clear-Com WP-2 wall panel (1) Clear-Com YC-36 "Y" adapter HME HS4-2 double-sided headsets SPL custom intercom fuse system and 15" headset extensions, required cable and "stupid" correction (1) Vega Q OLUS/6 wireless system (1) Yamaha MLA7mic-to-line amp Bitree video patchbay and patch cords Bi-Tronic rackmount and BNC to BNC patch cords (2) Blonder Tongue BIDA 450-50 remote distribution amplifiers (1) Blonder Tongue RMDA 450-50 distribution amplifier (1) Blonder Tongue XRS-2 two-input passive combiner (1) Blonder Tongue XRS-4 Low-Loss one-to-four passive splitter (1) Blonder Tongue XRS-8 Low-Loss one-to-eight passive splitter (1) Bogen 3028 camera mount w/C-Clamps (1) DX DHP-533II 16-input passive combiner (1) DX Communication DSM 140B+ (1) Ikegami ICD500 color camera (1) Leitch AMD-880 1x8 distribution amplifier (1) Leitch FR-883 four-slot card frame (1) Panasonic CT 20G12 19" color TV receiver/monitor Panasonic CT-1384VY and CT-1384Y 13" TV receiver/monitors (1) Panasonic WJ-220R video switcher (1) Panasonic WJ-B03 rack frame fill Panasonic WV7230D and WV-7330 pan and tilt (1) Panasonic WV-CP410 color camera Panasonic WV-LZ80/2, WV-LZ81/6A, and WV-LA2 lenses RMS 1090M-12, 1090M-16, 1090M-20, 1090M-24, 1090M-6, and 1090M-9 Taps w/RMS 2002/MM two-way splitter (1) Scopus IR-2000 infrared illuminator (1) Shure M367 mixer SPL custom housing for remote distro. amplifier and required cable for 75ohm terminators (1) Clark Synthesis 329F4 Underwater Speaker (1) Crest CKS 200 150W power amplifier (1) Sartek Industries custom submersible b/w camera w/ varifocal lens (1) Sartek Industries custom-submersible color camera w/ varifocal lens Sartek Industries accessory kits Neutrik speaker cable and barrels AC Cable cable and quad boxes Sescom IL-19s Furman PL Plus power conditioners Galaxy Cricket phase checker Loftech test equipment Motorola GP300 Walkie-Talkies w/ chargers Sennheiser RI-100 receivers and SI 1013 and SZI 1029 modulators (1) Shure FP 12 headphone amp SPL custom panels