46 PL & P
Project Update
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Full Flood Inc . Lighting Designer Noah Mitz and Lighting Director Bryan Klunder used 40 IP65-rated Ayrton Perseo fixtures for Adele ’ s surprise CBS special , Adele One Night Only , at the Griffith Observatory in Los Angeles last November . Mitz had originally decided on Ayrton Diablo fixtures for the production , which he had often used before . However , late-stage changes were made due to the weather .
“ With the forecast showing a 100 % certainty of rain on the scheduled shoot day , we reviewed the entire plot and went with Perseo ,” Mitz explains . “ Even with compressing the schedule and losing our rehearsal day to try to beat the weather , it poured right after the taping wrapped .” Mitz arrayed the 40 Perseo fixtures in two lines on top of the observatory and on the floor in the off-stage wings .
Dutch DJ and producer Dr Peacock ’ s headline performance , Peacock in Concert – Illusion of Time , was lit using over 100 ADJ fixtures . The event was originally scheduled to take place in 2021 , but was postponed due to the pandemic and held in Amsterdam ’ s 6,200-capacity AFAS Live this spring . Dr Peacock performed a 90-minute set featuring a full live band , which involved a lighting rig predominantly focused on the stage , while enveloping the crowd on both sides
The lighting setup comprised almost exclusively ADJ luminaires , including beam , wash , and hybrid moving heads as well as static LED wash fixtures . ADJ ’ s Vizi Hybrid 16RX moving heads were used as the main on-stage fixtures . Sixteen of the luminaires were hung across two separate angled downstage trusses , while an additional 12 units stood on flight cases at either side of the stage , with six on each side . These four sets of fixtures framed the stage and were used to create a variety of sharp beam effects , as well as wider aerial gobo projections .
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Production designer Owen Pritchard-Smith used multiples of GLP ’ s impression X4 Bar 20 battens and JDC1 hybrid strobes for rescheduled U . K . shows on Dermot Kennedy ’ s Better Days tour . The shows contained no video elements , so Pritchard-Smith turned to the X4 Bars to create staggered pods doubling as an alternative for an upstage LED wall to fill the visual void .
“ The hard lines and edges of the X4 Bar pods , juxtaposed with their ability to create soft and even colour gradients , allowed for an extremely varied show ,” he says . “ The versatility of the Bars provided a wide range of looks , from narrowing Dermot down in glitching beams to full stage-wide effects . Zooming the Bars right out also gave them the opportunity to become ‘ content ,’ using pixel specific looks and effects to reinforce the music .”
Pritchard-Smith achieved his desired effect by deploying 45 X4 Bar 20s and 18 JDC1s for general touring and upgrading to 87 X4 Bar 20s and 40 JDC1s for the Ally Pally shows and expanded touring package . The bulk of the Bar 20s were used in the pods for the animation and effects , with a couple detailed for back , side , and foot lights around Dermot in some of his positions . The JDC1s were used as a combination of back wash and blinders , providing base colours and strobe effects .
A Robe moving light rig of over 350 fixtures was used for the brand new 20,000-capacity MVM Dome in Budapest , Hungary . The sports facility , designed by Hungarian architect Gyorgy Skardelli , is Europe ’ s largest handball arena and will also be used for concerts and other live entertainment shows . The Robe lights were specified by Visual Europe Group ( VEG ), the building ’ s technical management and services specialists , working with Budapest-based AVL Trade , who supplied the fixtures .
Most of the Robe luminaires , including 64 FORTES , 64 Tarrantulas , 64 MegaPointes , 120 Tetra2 moving LED battens , and four FORTE FollowSpots , together with four RoboSpot remote follow systems , are used in the main arena space . The package also includes 32 Robe LEDBeam 350s and 16 Robe ProMotion moving projectors , which are used in other parts of the building . The show rig was designed to be movable and adaptable within the arena , with enough dynamic units for all incoming concerts and other performance productions , so touring groups can use the house rig as often as possible .