Professional Lighting & Production - Spring 2018 - Page 46

46 PL&P The Robe-heavy lighting package for the first production of The Little Mermaid in Belgium was designed by Luc Peumans of Genk-based international design practice Painting with Light, with lighting, audio, and rigging equipment delivered by Phlippo Showlights. The RoboSpot system was operated by Ilse Witlox, who says precise follow-spotting was crucial to the complex and visually rich production. There were 11 BMFL Blades together with the 11 RoboSpot MotionCameras, which were positioned on a front truss, an advanced truss, and on two side trusses. The two side BMFLs were specifically utilized for spotting lead character Ariel as she flew out from the stage to FOH. The RoboSpot systems were used to control the pan/tilt, dimmer, and iris functionality of the BMFLs via the handles and two programmable faders. The operator’s movements were instantly transferred to the luminaire via DMX with no lag. The rest of the parameters were run from the MA Lighting grandMA2. 1 Inspired by the light show Illumination at the Morton Arboretum outside of Chicago, lighting and visual design group Lightswitch was asked to create a new winter nighttime experience at the historic Descanso Gardens in Southern California in 2017. This year marked the second year for the one-mile Enchanted Forest of Light, creating visually captivating and memorable experiences using a range of Elation Professional fixtures, including the company’s IP65-rated Proteus arc-source moving heads. 4Wall served as the preferred lighting vendor. “The fixtures were open to the elements so they had to be IP65,” says Lightswitch Principal Chris Medvitz. “It was also a long duration installation; the fixtures were outside for three months, so they had to be able to withstand the outdoors for a long period. The Proteus fixtures did that. It was a great benefit to use automated lights without having to use enclosures and they were a great addition to the installation.” 2 3 Colour Sound Experiment supplied lighting and crew to the most recent U.K. and European leg of synth pop duo Hurts’ Desire tour, which included shows in many less-common touring stops, such as Moldova, Siberia, Belarus, and Ukraine. The set and lighting rig were designed to be adaptable as the band played anything from 12,000-seat arenas to 600-capacity clubs. There was a chandelier made up of 36 Martin Sceptron LED battens attached to three concentric aluminium rings. It was flown on a truss with two Kinesys motors so it glided in and out to different positions, controlled by Kinesys Vector software. Six Robe BMFL Spots on the front truss were used primarily for front projection and downstage washes. The mid truss was rigged with four Robe BMFL Spots and four Chauvet Rogue R2 washes. 4 “For The Killers’ Wonderful Wonderful world tour, LD Steven Douglas has been exploring new dimensions and challenging perspectives by introducing GLP’s hybrid JDC1 strobe to his toolbox, along with the GLP X4 Bar 20 battens. “With the large amount of video surface in use, I went for a lot more beam orientated fixtures, so we built the pod structures and lined them with X4 Bars. They are extremely versatile so I knew I could get a full wash from them as well