CRUISE SHIP THEATRES
40 AUDITORIA 2020 VOLUME ONE
supply can be either 110V or 230V, but is
generally 60Hz, which particularly influences
the specification of video equipment.”
Environmental responsibility is a hot topic
in the cruise industry, and Harvey says energy
efficiency was an important factor on Spirit of
Discovery. “We worked to reduce fuel usage
to minimise the environmental and financial
impact of the entertainment systems,” he
explains. “For example, we used exclusively
LED technology for the stage lighting, worked
with manufacturers to reduce the weight of
systems, implemented digital power controls
so operators can easily shut down equipment
easily when not in use and specified equipment
that requires minimal consumables, for example
rechargeable battery packs.”
Staff changes are to be expected, so ease of
use is key. As well as advanced features, Spirit
of Discovery’s systems have presets that can be
recalled very easily. “These are often integrated
into a touch-panel control, so staff can adjust
the background music in their area with a
single action, while still giving an experienced
engineer a full suite of controls,” says Harvey.
Process differences
The design and installation processes involved
with ships also differ from land-based theatres.
Marcionek of Wilson Butler Architects says
designers are brought on after the intensive
masterplanning stage, and get into construction
administration much earlier than normal,
because outfitters are working on technical
drawings at the same time as designers are
working on the design.
The installation itself is expedited through a
lot of pre-manufacturing. “We have to coordinate
with numerous subcontractors,” says Schuch.
“It is extremely important to deliver just in time
as heavy constructions have to be delivered in
blocks, and if you miss the delivery date and the
block is closed, steel parts may have to be cut
up to be positioned through the ship to their
intended mounting places.”
There follows an extensive round of tests. For
Waagner-Biro Stage Systems’ stage equipment
this includes static and dynamic load tests by the
maritime classification society; a safety review of
mechanics and controls by TÜV; and functional
verification of the entire system by the shipyard
and end customer. Likewise, Harvey notes that
every cable, speaker, light, plug, socket and line
of programming is checked, tested and reported
on before the ship can sail. n
rather than shake itself apart internally,” he says.
“In the past, dry solder joints were very common
inside equipment used on board, however
nowadays this has largely been mitigated.”
Staging Concepts has also found that
operators are concerned with the equipment
being potentially exposed to natural elements,
even if it is set up below deck. “We often have
success offering our weatherproof staging
platforms – the aluminium SC97, Trex
and SC90 units with a black polyvinyl
surface,” says Jessica Ley, marketing and
communications coordinator.
Power and efficiency
Another factor is that a ship’s power supply
is often not the same as that used on land.
“Power conditioning and lots of uninterruptible
power supply units are used throughout the
entertainment system,” says Harvey. “The audio
system has its own power connection from the
ship’s generators and everything is monitored
from the control room. A ship’s general power
COMMUNICATIONS ON
ANTHEM OF THE SEAS
A key component in onboard entertainment is routing video,
audio and intercom signals between a central broadcast centre
and a ship’s entertainment spaces. Riedel says key challenges
in this task include the large size of ships, their lack of cabling
due to steel constructions, and that spares and other technical
resources are limited at sea.
Above: MSC’s new flagship,
Grandiosa, which launched
in November 2019
Norwegian Cruise Line
On Royal Caribbean’s Anthem of the Seas, which entered
service in 2015, these challenges are overcome using Riedel’s
fibre-based MediorNet real-time media network, Artist digital
matrix intercom system and Acrobat wireless intercom systems.
The Artist and Acrobat systems, the latter supported by 21
antennas across the ship, provide a hybrid wired/wireless
communications network, while ship-wide distribution is
handled by the MediorNet network. Eight fibre-optic cables
connect 10 MediorNet frames throughout the ship to one in
the broadcast control centre.