Atlas Pyrovision Productions hit the Montreal
International fireworks competition,
with a secret weapon!
Aside from the help of David Lavoie and
Pyromate's new Smartfire Digital Wireless system,
seven floating rafts on the water known as "
The new ramp 5", were used to impress the crowd
and persuade judges.
Closer to the crowd than ever before, the seven docks
contained over 1000 pieces.
Precision fired 'close proximity' comets, gerbs, and
mines, complimented the other precision items on
ramp 4, and the rest of the show.
With the competition as tough as it is this year,
it is anybody's game, but we are hoping that our
added ramp will put us over the top and make difference.
Please read the review below, or visit ...
Le Mondial SAQ 2003
Montréal International Fireworks Competition
"The United States: A Pyrotechnic Symphony"
July 19th, 2003 Atlas PyroVision Producions.
Designed by Stephen Pelkey and Matt shea
Pyromate Wireless Firing System, Northeastern United States;
( pyrotechnics leader and one of the most well-regarded in the
American pyrotechnics industry).
Atlas PyroVision Producions is a successful company hailing from
New Hampshire that has reaped the rewards of more than 50
years of artistic and scientific innovations.
For their second appearance at this competition, Atlas PyroVision
Producions will present A Pyrotechnic Symphony, a majestic
pyromusical display that pays tribute to the Montréal International
Energy and excitement are on the menu with a dazzling array of
compelling music, including Alicia Key's Falling, Stravinsky's
Suite, Pink's Get The Party Started, Lord of the Dance's Warrior
John Travolta's Greased Lightning.
After an earlier threat of rain, a clear evening was the backdrop to a
capacity crowd for this highly anticipated display from Atlas. Creating
an extra launch site composed of seven small floating barges,
equipped with wireless digital firing systems, these were positioned
seemingly close to the audience and offered an extra dimension to what is
already a fantastic firing site.
Stephen Pelkey told me that he had worked very hard on the colour aspects of
this display, even consulting with a professor of art to set the appropriate
mood for each tableau. Stephen also told me that he always looked forward to
coming to Montreal and that it was fun to be given such a canvas to work
Pre-Introduction to the music American Symphony, theme from the film "Mr.
Holland's Opus". Fans of pastel headed comets with shells of silver
crossettes above were followed by silver kamuros which trailed to the lake.
Fans of glitter comets on ramp 5 with shells of comets above and then mine
fan blasts on ramp 5 were followed by shells of firefly charcoal comets and
the same on ramp 4. Then sequences of colour mines and comets with shells
above followed by colour mines to the left and right with shells of crackle
above, this introductory segment coming to a close with colour mines and
shells of bright colour comets above.
Narrative Introduction to the music Marrakesh Marketplace from the film
Gladiator. As the narrative introduction basically repeated the press
release, paying tribute to the Montréal International Fireworks Competition
for raising the bar in the quality of pyromusicals with such great designers
as Eric Tucker, Alberto Navarro, Georg Alef and Pierre Walder, flares lit up
at the back of the display area.
Part 1 to the music Warrior from Lord of The Dance The flares at the back
from the previous section turned into strobes as red nautical flares lit up
in the lake and turned into white strobes. Fans of glitter comets started up
on ramp 5 and pastel meteor comets on ramps 4 and 3 with perfect
synchronization. As the comet fans continued, shells of charcoal comets to
strobes fired above and then fans of pastel stars below and gold glitter
comets on ramp 5. Next, star shots angled to the left and right on ramp 3
with glitter comets on ramp 5 and willow bombettes behind which were a bit
too dim to see. Above these, colour star shells as fans of mines lit up on
ramp five and fronts of mines on ramp 3 with alternating colours between
adjacent mines. Above these, colour star shells followed by shells of
go-getters in stars and silver comets. The alternating colour mines
continued below with shells of crossing-stars above, bringing the segment to
Part 2 to the music At Last by Etta James A serene beginning to this segment
with double ascension girandolas in gold glitter and meteor-headed gold
glitter comets. Above these, shells of very vivid red and blue stars as the
girandolas came to an end. Then crossed pastel meteor-headed gold comets
with shells of purple stars and gold glitter comet pistils above. These
continued and were followed by shells of charcoal comets with fireflies and
then shells of willow stars turning to silver and then shells of beautiful
mixed strobing pastels. Sequences of comet fans on ramp five were augmented
by shells of pastel meteor-headed gold comets, the segment coming to a close
with brilliantly sequenced colour star shots below and glitter comet and
firefly kamuros above to cheers from the audience.
Part 3 to the music Lady Marmalade by Christina Aguilera, Pink, MYA.
Sequences bright colour star shots were followed by shells of colour-headed
crossette comets and more fan sequences of colour star shots below. Above
these, shells of bright go-getters and then gold glitter crossette shells
followed by huge shells of comets (which wiggled at the end) and colour
pistils. Sequences of colour star shots on ramp 5 were augmented by shells
of comets to colour stars above and fans of meteor comets on ramp 4 and then
more gold glitter crossettes above. The fans of pastel meteor comets
continued in the centre and then angled mine sequences, bright mine fans in
the centre and rhythmic glitter mine sequences bringing the segment to a
Part 4 to the music Get this Party Started by Pink. Big fans of colour
headed comets filled the sky and were followed by large shells of comets
with pistils above and then bright crossed comet shots below. Next, shells
of bright silver crossette comets and shells of rings of tourbillons (farfalle).
These continued and were augmented by shells of stars and tourbillons and
added emphasis to the lyric which was saying "dancing". More barrages of
shells of silver crossette comets were followed by shells of comets and
pistils and then shells of electric comets with star pistils, shells of
go-getters and fast mine sequences below, bringing the segment to a close.
Part 5 to the music Fallin' by Alicia Keys. A serene start with kamuro
shells, fitting perfectly with the lyric "fallin'", and pastel meteor headed
gold glitter comet fans. These were followed by bombettes of strobes with
large shells of bright colour pistils turning to strobes above. The comet
sequences and strobe bombettes continued with more of the large shells of
bright colour pistils turning to strobes above. Very well synchronized
sequences of fans of comets exactly on the notes were followed by shells of
purple with gold glitter comet pistils and then shells of comets with red
pistils as gold glitter comet fans continued below. Next, shells of white
waterfall comets, trailing down gently followed by shells of falling leaves,
again emphasizing the music. These falling leave shells continued, serenely
filling the sky as pastel meteor gold glitter comet fans fired below with
shells of weeping willows ending in colour stars above brought the segment
to a close.
Part 6 to the music Greased Lightning by John Travolta. After the serenity
of the previous segment, blasts of angled mines on ramp five and fronts of
mines on ramp 3 raised the tempo. Then shells of colour stars and comets
followed by shells of bright star crossettes which fast sequences of colour
stars fired below. Then shells of crackling comet pistils and multiple
crackling petals fired above with bursts of mines below. These were followed
by shells of stars and whistling wiggling comets and then a fabulous
sequence of very fast photoflash bursts exactly on the very fast percussion
sequence in the music, to gasps from the audience. Shells of serpents and
colour stars above with big comet fans below were followed by mines angled
to the left and right on the notes and then very thick rising glitter comets
one by one exactly in sync, the segment coming to a close with a fantastic
moving sequence of bright colour star shots.
Part 7 to the music Compliant De La Butte by Rufus Wainwright. Short
duration low bright star shots in sync with the piano notes of music on ramp
5 somewhat hid the fans on trailing glitter comets on ramps 3 and 4 and were
then augmented by shells of comets above. These were followed by very large
brocade shells ending in colour stars, fitting well with the music. These
were followed by shells of beautiful mixed pastel strobes, filling the sky.
Next very large shells of comets and pistils, exploding one by one exactly
on the notes. Then barrages of white strobe shells followed by shells of
go-getters and more strobes. The segment came to a close with a line of
short duration fountains in Vs on ramp 5.
Part 8 to the music Firebird Suite Finale by Stravinski. Rotating wheels lit
up one by one on ramp five and after they burned out, a fast sequence of
pastel comets and then fans of fountains on ramp 5. Shots of charcoal
firefly comets were fired on ramps 3 and 4 with shells of charcoal comets
turning to strobes above. These then lead into very high firing silver
kamuros which continued for a time. Next, shells of rings with comet pistils
and shells of rings of crossettes with strobe pistils at a medium height and
more silver kamuros high above these. The silver kamuros continued exactly
firing on the notes and were followed by popping brocades clusters ending in
colour stars and shells of falling leaves with comet shots below, the
segment coming to a close with a barrage of titanium salutes and very bright
colour comet shells, to cheers from the crowd.
Part 9 to the music Victory from Lord of the dance. This began with mines of
firefly comets with shells of silver kamuros above, trailing to the lake.
Then colour star shells and shells of silver go-getter comets and shells of
blue stars which turned into go-getters. These were followed by sequences of
shells of crossing stars (shuttle shells) and then shells of colour stars
with starfish comets. Next, colour shots left and right followed by gold
brocade shells above with pistils and then back to the sequences of crossing
star shells. Sequences of angled comet and star shots below on ramps 3, 4
and 5 were followed by more sequences of crossing star shells. The segment
came to a close with sequences of mines and a barrage of bright coloured
comet shells above.
Part 10 to the music Sandstorm by Darude. The lyric asked if people were
"feeling good", to cheers of approval from the crowd as fans of glitter
comets and mines of stars and bees fired at an enticingly slow rate. The
techno rhythm of the music became apparent but still the mine and comet
sequences were intriguingly slow, teasing at what was to come. Then the fun
began as very fast sequences of comets met the tempo of the music and
barrages of shells began to fire above in warm colours. The shells barrages
continued with mine sequences below in bright orange and yellow and then a
sudden and very dramatic colour change to blues and purples, to gasps of
astonishment from the crowd. The intense barrages continued but the smoke
made it a bit hard to see the details of the shells, but mine and comet
sequences continued below with huge shells with pistils above. Finally, an
enormous number of simultaneous launches were heard and a massive barrage of
titanium salutes which, after they'd finished, revealed a barrage of kamuros
had been fired and could now be seen filling the sky and trailing to the
lake. The crowd roared their approval for this display and rose to their
feet to give a standing ovation.
Stephen Pelkey's consultation with the art professor paid off. The colour
changes, particularly in the finale, were an extra source of drama and
spectacle. The display was a very interesting mix of intense music and more
serene pieces with a very well handled variation in rhythm and pace. The new
firing position - ramp 5 - floating close to the audience added a dramatic
new dimension and was employed very successfully, save for early on when
bright glitter comets close up hid willow bombettes further back.
The comet and star chase sequences were very well done and actually fit well
with the music, which is sometimes not the case when these type of effects
are used. The shells used were of a very high quality throughout and the
lack of use of cakes was refreshing.
I also appreciated that there wasn't temptation to deploy too huge an
arsenal which can sometimes lead to a lack of dynamic range in a display.
This display had a very good range from serene moments to well proportioned
intense sequences and the finale fit well with the scale of the rest of the
The colour changes in the finale were very dramatic and lead to gasps of
amazement from the audience. It would have been nice to see more nautical
shells, though the use of the new ramp 5 did make up for this to an extent.
Overall, a very impressive performance from the US team which means that it
is very very close at the top. I have a feeling that it will be the choice
of music which is the final determinant of the order of the Jupiters.
The competition, amongst the contenders, is at a very high level this year.
Thanks to the public relations people of La Ronde for the official press
release material, shown in white.