Bogotá’s Movistar Arena staged the 2023 Red Bull Batalla World Final, celebrating the creativity, importance, and popularity of freestyle rap culture in Spanish-speaking communities. The event was fully loaded with energy and excitement and lit by Madrid, Spain-based lighting designer Edu Valverde from design studio Experiencias Visuales.

Venue of the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Gianfranco Tripodo / Red Bull Content Pool // SI202312030011 // Usage for editorial use only //

Edu utilized over 200 Robe moving lights to realise an eye-catching show design for the tournament which was attended live by a lively 14,000-capacity audience and streamed worldwide. On Edu’s lighting plot were 105 x Robe MegaPointes, 66 x Spiiders and 53 x BMFL WashBeams, all delivered by Bogota-based rental company, Linea Estratégica, who also take care of all things technical for the venue and were picked to deliver specific results for this spectacular show.

Edu has previously lit Red Bull Batalla tournament finals in Spain, the Dominican Republic, Mexico and the previous one in Madrid, in addition to several national finals in Spain, so he knows the brief, and was very excited to be working with a great team in Colombia on this one.
The 2022 event featured an LED screen and video heavy design, so in 2023, he wanted to turn this around and produce an equally dazzling environment but this time with “light being the main protagonist”.

The set design was similar to 2022, a collaboration between producers Babbla Studio, the Redbull Batalla team and Experiencias Visuales. A long and slightly quirky shaped runway stage allowed contestants to strut their stuff and connect with fans in the audience.

The objective was to create an atmosphere that reflected the intensity and energy of freestyle rap, explained Edu, and one of his methods was to have different lighting zones, some which were high contrast areas reinforcing the drama of stage entrances, others where the battles took place which were perfectly illuminated.”

Apart from the demands of live show lighting, the multicamera shoot, directed by Paulí Subirá and global telecast meant he had to light efficiently and effectively for camera, all the time not losing that critical connection with the audience that is so fundamental to rap shows and live broadcasts.
The distinctive runway design was fundamental to Edu’s lighting strategy. His aesthetic involved two types of ‘base’ light, one covering access to the runways filled with harder, more dramatic key light, achieved using overhead BMFLs cutting across the runway, working in conjunction with the second, a perimeter of MegaPointes creating a ‘beam corridor’ matching the movement of artists as they entered the battle arena.

Robe MegaPointe

The 105 MegaPointes were located around the stage and the runway, and used for a myriad of dynamic effects and to emphasize key moments. In beam mode, some defined the outline of the runway, both on the deck and from the overhead trusses creating those special kinetic effects in unison with the artists.
The balance of the MegaPointes were rigged on the perimeter trusses running in spot mode, utilized to create beams with gobos and aerial movements.

The 66 Spiiders were used to enhance ambience across the bleacher seating areas and on the arena floor as well as providing general room lighting, while the BMFL WashBeams were the event’s primary key lighting.
They were positioned perfectly to light the front section of the battleground and also cover the talent waiting area in addition to the runway overhead lighitng.

Robe Spiider

BMFL WashBeam

Edu wanted these three different types of Robe fixtures for multiple reasons. He likes BMFLs for their “uniform output and shutter system”. MegaPointes he selected for their sheer versatility, adaptability, and effectiveness as both beam and spot fixtures for creating effects and textures. The high performance of the Spiiders in saturated colors and their zoom capabilities were ideal for illuminating the audience. Before drawing up the design, he ensured that all these fixtures would be available for the show.

Linea Estratégica is well known for its quality and service for the Balatta. They supplied all the lights plus trussing / rigging, audio and a full show video package. Also being technical supplier at the Movistar Arena and very familiar with all its nuances, “everything went wonderfully smoothly,” noted Edu. Robe is one of Edu’s go-to brands that he regularly requests “for its innovation, reliability, and the exceptional quality of the optics and light coming out of the fixtures, all aspects that are crucial in live events.”

Fat N and Chuty perform during the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Maximiliano Blanco / Red Bull Content Pool // SI202312030013 // Usage for editorial use only //

Among the biggest challenges of lighting this event was adapting the rig to the unique design of the stage and synchronizing with all the fully improvised performances which kept everyone on the edge, proving a great test of their imaginative agility, rhythmic and technical skills!
On top of that, creating an atmosphere suitable for both broadcast and live performance was a “significant challenge,” recalls Edu.

The get-in and set up time was tight, with only two overnight onsite programming sessions which were intense. However, good advance planning and the magic and convenience of visualization using WYSIWYG and Depence3 enabled Edu to leave Madrid with the building blocks already programmed, so on site in Bogota, the focus was on tidying up and finessing.

For him, the most interesting part of the project was creating a unique atmosphere to complement the vibe, vibrance and spontaneity of freestyle, keeping the focus on the artists.
“You use both organization and flexibility to tune in to the performances unfolding onstage in front of you,” said Edu, adding that a “harmony and understanding of freestyle culture also helps this process.”
Audience LED wristbands were also integral to the overall illuminated effects, providing a very homogeneous yet dynamic and constantly changing background.

Chuty wins the Red Bull Batalla World Final 2023 in Bogota, Colombia, on December 2 2023. // Maximiliano Blanco / Red Bull Content Pool // SI202312030014 // Usage for editorial use only //

Edu worked alongside a highly talented team including three production managers, Javier Svietozar (Red Bull), Enrique Garcia (Babbla Studio) and Yalesa Echevarría from local company Duir, plus Fabio Cuellar from Linea Estratégica; lighting operator David Carrasquillas, lighting programmer Juan Manuel Lazaro, sound engineer Felipe Lara and video content director Jaime Dusan from Nativo.

“The team was amazing! The local production and technical crews worked tirelessly and were super professional, throughout all the months planning and leading up to the setup and show. AND, the passion and enthusiasm of the Colombian audience added another fantastic and very memorable dimension to the event.”

The Batalla World Final 2023 was enjoyed by peak audiences of over 850,000 people tuning in to the livestream broadcast to share the action-packed series of thrills happening in the Movistar Arena. The tournament’s many highs included a rap-off between the then reining, and only three times, champion Aczino and popular challenger Chuty who emerged as the eventual Red Bull Batalla 2023 winner after a final battle with Fat N that saw both artists delivering incendiary performances!

For more info about robe Lighting, you can visit www.robe.cz

Ayrton lighting performs for John Summit and Metro Boomin at LIV Las Vegas

With its expansion to the famed Strip, Fontainebleau Las Vegas has launched LIV Las Vegas, the city’s newest nightlife destination, which Lighting Designer Stephen Lieberman has illuminated with an array of Ayrton fixtures controlled by a grandMA3 light console. ACT Entertainment is the exclusive distributor of Ayrton and MA Lighting products in North America.

Fontainebleau Las Vegas brings a new era of luxury hospitality to the Strip and promises a night like no other at its LIV Las Vegas nightclub. The LIV brand from Groot Hospitality was born at the iconic Fontainebleau Miami in 2008. Now, its 50,000 square-foot counterpart in Las Vegas delivers high-energy, A-list entertainment to that city’s clubgoers making its 2,000 guests feel in the middle of the EDM action.

Lieberman, who is President of LA-area SJ Lighting, which specializes in production systems for nightlife and hospitality, already had designed the lighting for LIV Miami when his firm was hired to design and develop the theatrical system for LIV Las Vegas.
His team worked in collaboration with BWA Architects, Rockwell Group interior designers and Sound Investment AV audio designers.

“One of the challenges was having all the designers come together from different cities and make everything look coordinated, that’s as daunting a task as the actual design work,” Lieberman explains. “The theatrical lighting needed to include hybrid fixtures, wash lights to balance the look, strobes, LED strip lights, lasers and LED video panels with a high level of automation.

“The space is very fluid with a very clean layout and great sight lines: You’re able to do a lap around the first floor and second-level mezzanine and not get stuck in a dead end,” he says.
“Whether you are at a table or a bar, you’re an active participant in the show, and we did our best to make the experience as immersive as possible.”

The interior has soft, curved radial lines with an hourglass-shaped ceiling feature composed of two connected ellipses that move up and down. Another ellipse encloses six-part LED video panels, which also move up and down.
“There’s a lot of motion over the dance floor for a very animated environment,” Lieberman notes. Tables surround the dance floor and the mezzanine with bars left and right. The central DJ booth has enough counter space in front to serve as a performance stage, while coveted VIP tables are inside the booth.

Having had “good success with Ayrton Diablos in the past” Lieberman decided to use them at LIV Las Vegas. “We love their clean optics and nice aesthetic, and they have the right feature set,” he reports.

Ayrton Diablo

Forty-four Diablos do the heavy lifting throughout the space providing clean, even coverage from positions in the automated ellipses and under the mezzanine where they create layers of light.
The Diablos are supported by 48 Ayrton MagicDot SX luminaires. “We wanted to stay with the same manufacturer for the moving lights for ease of coordination,” says Lieberman.

“The MagicDots are compact, bright washes with zoom capabilities. Their 360º pan and tilt is an added feature for the rig.”

Six Ayrton Levantes are mounted near the stage for special looks and key lighting for the DJs and performers. “The Levantes were new to us, but when you build spaces like this having the right equipment for specials is critical.
Sometimes you have to allocate fixtures that are already part of the show. But here we didn’t have to sacrifice part of the big rig to light other positions. The Levantes have enough firepower, even when they’re throttled back, to cut through video and other lighting. They do exactly what we need them to do.”

He notes that his company’s close relationship with ACT Entertainment was a big factor in his use of Ayrton fixtures for LIV Las Vegas. “It’s important to us to not only choose quality equipment but also to have people who stand behind it supporting the gear. Having ACT behind the Ayrton line meant a lot to us.”

A grandMA3 light console controls lighting from a position in the DJ booth. It is interconnected with the video and automation control systems. “I’ve been using grandMA since the original version back in 2001, and we’re running grandMA3 in clubs now,” Lieberman reports.

“The light’s smaller footprint is key where space is at a premium. We programmed the system and trained the staff. We like to think we have a good philosophy of how to lay out the console intuitively in terms of what’s important to the operator. Within 48 hours the in-house operators felt very comfortable with the system.”

“Everything is performing fantastically,” he says. “The support we got from ACT was paramount to the success of the venue.”

More information on the full portfolio of innovative Ayrton LED and laser-sourced products can be found at www.ayrton.eu

Sixty82 is excited to welcome Avenion GmbH to its growing network of resellers in Germany. This addition aims to strengthen Sixty82’s presence in the German market and ensures that customers have wider access to its innovative products.

Avenion GmbH is making waves in the AV solutions sector with its fresh approach. Under the guidance of Matthias Matthes, Avenion has quickly become known for its innovative ideas and commitment to quality. Furthermore, the team has extensive experience in the areas of rigging and trussing.
As they continue to develop, Avenion is evolving into a full-service provider, broadening its range of offerings to meet the diverse needs of their clients. This collaboration between Sixty82 and Avenion GmbH is not just a business partnership; it’s a meeting of minds that share the same enthusiasm for the future of entertainment technology.

“We’re really excited to have Avenion GmbH join our team,” said Fokko Smeding, CEO of Sixty82. “Matthias Matthes and his crew are exactly what we look for in partners, they’re young, they’re innovative, and they’re all about pushing the limits of what’s possible.
We’re not just adding a reseller; we’re gaining a partner that shares our vision and energy. This is going to bring some great things to the German market, and we can’t wait to see where this partnership will lead.”

Matthias Matthes, leader of Avenion GmbH, shared his excitement about the collaboration, “Joining Sixty82’s reseller network is a big deal for us. It’s recognition of the hard work the Avenion team has put in and a chance to bring something new to the German entertainment scene. We’re all about innovation and pushing boundaries, so pairing up with Sixty82, a company that values those same things, is perfect for us. We’re ready to roll up our sleeves and get started.”

This partnership is more than just business, it’s a commitment to innovation and quality in the German market. Avenion GmbH will now be part of the extended family of Sixty82 resellers, ensuring that customers in Germany have access to the latest and greatest in trussing and staging solutions.

For more information about:

• Avenion
• Sixty82

Lighting designer Mikael Kratt was super happy to be among the first visiting creatives to use the Royal Danish Opera’s new Robe Forte moving lights in a recent production at the Copenhagen Opera House.
This was for Som I Himlen (As It Is in Heaven) a lively and heartwarming musical adaptation directed by Edward af Sillén of a 2004 Swedish movie telling the story of a famous conductor who returns to his small Swedish hometown in the North of the country to retire … and is asked to help with mentoring the school choir.

It was Mikael’s first time using Fortes, 80 of which arrived at the Copenhagen Opera House in summer via Robe’s Danish distributor Light Partner. The package features 32 x Forte Profiles, 34 x Forte Fresnels, 4 x Forte FSs (follow spots) and 10 x iFortes, all part of a technical upgrade that was installed just in time for the restart of the high-profile venue’s winter programme.

Som I Himlen is a co-production with Malmo Opera and was first produced there in 2021. Mikael has worked with the director Edward before and was asked to collaborate on this production by him. There were no Robe moving lights involved in that production as Mikael utilised Malmo Opera’s repertory rig. The entire creative team from the popular Malmo show helped to deliver the production in Copenhagen.

When the first discussions started with the Copenhagen Opera House chief LX Sune Schou, he mentioned that the move to having LED fixtures in the rig was imminent, and Mikael was also delighted to see Robe LEDBeam 150s on the kit list, which he has used before together with several other Robe products on his various projects.

With many intimate moments in the show, the set, designed by Kim Witzel, was pushed as far downstage and as close to the audience possible, where there were fewer rigging points for lights, and the orchestra, who figures prominently in the narrative, was upstage on a podium.

This was slightly tricky to manage in terms of lighting coverage, but with the Fortes in the rig, Mikael was able to light the action both efficiently and elegantly using both the profile and fresnel versions of Forte which he thinks are “brilliant!”

“The punch is great as is the quality of light,” he confirmed, explaining that the show is a pacey mix of classic musical production numbers and operatic drama for which the general style of lighting is realistic and lifelike.

“We wanted to present a series of relatable scenarios for the audience, as the story is about everyday people dealing with normal situations that can have a dramatic impact on their lives,” he explained. Much of the set was woody in colour and texture, so he also wanted to retain this natural warmth and emphasise the subtleties of different seasons and times of the day with lighting.

He loved working with the Forte fresnels which replaced the 5K HMIs he had used for the same roles in Malmo, commenting that he didn’t need to go above 60% most of the time due to the brightness. With approximately 10 metres of trim height, and some older hard-edged moving lights to augment, he noted “they are extremely powerful!”

Robe Forte

Fifty-seven Fortes are used in total for Som I Himlen, all rigged on house bars in the top rig lighting above the stage and the orchestra, with a couple more behind the scrim in front of the orchestra riser, which flies out to reveal the orchestra, and the full lighting rig in a spectacular moment, towards the conclusion of the story.
Other features he likes include the zoom range, which he says is “amazing” enabling wide shots to even be covered with one fixture in some cases, and no loss of output when zoomed out.

“Overall working with these Fortes made a massive difference to the scope and latitude I had to light the show and the detail that could be added,” he stated, saying that the colour rendition is “beautiful” all the way from the subtle pastels and intricate cold areas of the spectrum to the deep, rich blues and reds which were “gorgeous”.

The density and texture of the reds really surprised him, as LED luminaires can strain in these areas, but the Fortes retained their power and punch even in the darker colours.

For contrast, there was just one number “Fråga Arne” (“Ring til Arne” in Danish) in the show that broke from the realistic lighting aesthetic into a more traditional all-singing-all-dancing musical showstopper, and Mikael was even wondering at one point if the impact of a FORTE colour chasing might have been a bit over-the-top for this, but the treatment worked out perfectly. The Fortes also assisted in creating different rooms onstage.

The shutters were really helpful here, and some scenes were quite short and rapidly flipped to different places, so he was able to go from the naturalistic looks to harsher more abstract environments just with nuances in the light.

Mikael had initially been worried about the ‘banana effect’, light beam edge aberrations when zoomed in or out, as all his pools of light needed to be super sharp, “but even with fixtures zoomed out 100%, the edges are clean precise which is very impressive”.
He also appreciated the dimming curve which he describes as “excellent” for some of the very long and slow fade ins/ outs and crosses.

Four of the Opera House’s LEDBeam 150s were used for side fill light, rigged at low FOH positions, and these were cloned from Source Fours on the Malmo plot. Mikael has used LEDBeam 150s as side lighting before as the dimming, zoom and colours are “all great”, and has 8 on another show, Änglagård”(House of Angels), which is also based on a Swedish cult movie and is running to sold-out houses in Stockholm, and he spec’d 16 for Tootsie last year running at the same theatre, Oscarsteatern, where they were used as front and effects lights.

Mikael concluded, “It was great coming to the Royal Opera in Copenhagen, I had a terrific time. It was a delight working with Sune and his team of skilled lighting technicians and also my lead programmer Mikkel Bedsted who did a fantastic job. I had a total blast revisiting this musical once again and everything fell into place enabling us to create a production of which we are all very proud.”

For more info about Robe Lighting, you can visit www.robe.cz

When Theatro Marrakech opened its doors in 2003, it was the very first nightclub in Morocco, and today, the 2,000-capacity venue still stages one of the most unique nightlife experiences in the world. Its consistent ranking as the best nightclub in Morocco, the best in Africa and one of the globe’s Top 50 has cemented the venue on the bucket list of travellers and artists alike.

Before becoming a nightlife hotspot, Theatro was Africa’s first music hall, inaugurated over 60 years ago, and from this past, the club has kept both its unique décor – a mix of dramatic theatrical and dynamic Moroccan themes – and an immoderate taste for show.

Upgrading to a professional sound system to defend world-ranking status

Defending a competitive and coveted spot on the world’s nightlife ranking means keeping up with the best technology and for that reason, Theatro Marrakech recently upgraded to a premium L-Acoustics K2 sound system to attract leading international artists who know and appreciate the brand.

The DJ Booth with the new L-Acoustics “Power Headphone” based on a pair of A15 Focus atop of a KS21. Per side. Groovy !

Inspired by a visit to Omnia Las Vegas and its L-Acoustics professional sound system, Theatro management worked with renowned Paris-based nightclub consultant Timothée Renard of the Fox Agency and L-Acoustics Certified Provider Integrator Potar Hurlant for the upgrade.
“Our main objective was to integrate a rider-ready sound system to attract internationally acclaimed artists and provide a unique experience for all of our clubbers, from the main floor to the intimate VIP areas,” commented Renard.

Timothée Renard and the POTAR team, with the support of L-Acoustics Application Engineer Pascal Charousset, created a unique sound design for each section of the space: the central dance floor, a mezzanine, an ultra-VIP lounge facing the dance floor, and a mini-VIP zone just behind the DJ booth.
The main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang, while three flown A15 Wide per side provide in-fill to the main dance floor while two A15 Focus per side are used for side-fill to a podium for performers and dancers.

Theatro Marrakech’s main dance floor and an upper balcony are covered by an L/R system of six K2 per side with four KS28 in cardioid configuration flown behind each hang while three L-Acoustics A15 Wide per side provide in-fill to the main dance floor.

The DJ booth is flanked with one KS21 per side, topped by two A15 Focus for monitoring. A tiered mini-VIP area behind the DJ booth has an LCR system of three A15 Wide for the upper tier while the lower tier is served by five X8 coaxials. A single KS28 and LR hangs of three A15 Wide cover the dance floor from this area. Fourteen LA12X and three LA4X amplified controllers drive the entire system over Milan-AVB networking.

Transforming a VIP Lounge

An ultra-VIP lounge below the balcony has a system of two hangs of one A15 Wide and one A15 Focus in front, with two additional hangs of one A15 Wide in the back corners and a ground-stacked KS28 topped by two KS21 subwoofers.

Three L-Acoustics A15 Wide per side provide in-fill to the main dance floor, and two A15 Focus per side are used for side-fill to a podium for performers and dancers

“We wanted to offer an unparalleled experience in the VIP area, creating a profound impact in the low frequency range. Our most esteemed guests deserve nothing less than to feel the music as much as they hear it,” comments Julien Antinoff, Communications Manager at Theatro Marrakech.

“The audio upgrade has received positive feedback from our patrons and artists. Experiencing the new L-Acoustics concert sound system is like stepping into a new dimension of clubbing. The VIP Area, specifically, is a testament to this transformative journey,” concludes Renard.

To get more about:

– Theatro Marrakech
– L-Acoustics
– “Screamin’ Pot” POTAR

Ambersphere Solutions Ltd, a leading provider of professional lighting solutions in the UK, has officially become a part of ACT Entertainment, one of North America’s leading supplier of entertainment technology.
This acquisition is a testament to the shared values and long-standing relationship between the two entities, especially in their distribution of MA Lighting and Ayrton products.

From left to right: Glyn O’Donoghue, Philip Norfolk, Lee House (Ambersphere) and Ben Saltzman d’ACT Entertainment.

ACT Entertainment, renowned for its comprehensive offering across professional lighting, audio, video, and more, serves a broad spectrum of the entertainment industry’s needs. This exciting development promises to leverage the strengths of both companies to deliver products, technical service, and support to entertainment professionals worldwide.

“We are excited to bring together ACT and Ambersphere and continue to build on our mission of providing technology for our customers to realize their creative vision,” says Ben Saltzman, CEO of ACT Entertainment. “Just like ACT, Ambersphere prides themselves on offering industry-leading products with an accomplished staff of experts in sales, service, support and training.
I have tremendous respect for Lee (House) and Philip (Norfolk) and am excited to work alongside them as a valuable partner to our customers, extending our reach and continuing the strong tradition of excellence Glyn (O’Donoghue) created at Ambersphere.”

The transition sees the departure of Glyn O’Donoghue and Ken Sewell, with Lee House stepping up as Managing Director, alongside Philip Norfolk, who continues in his role as Sales Director. The focus remains on preserving the company’s core values while leveraging ACT Entertainment’s resources and capabilities.

Lee House concludes, “It’s business as usual at Ambersphere. Our collaboration with ACT has always been strong, and this move is a natural progression of our ongoing relationship.” This sentiment echoes the closer ties and shared values of both companies, emphasizing continuity and the mutual goal of maintaining the highest standards of quality and service.

About ACT Entertainment

ACT Entertainment, headquartered in Jackson, Missouri, is one of the world’s largest manufacturers and distributors of industry leading brands of audio, video, and lighting products, services, and education. ACT Entertainment is the choice of industry professionals reaching across six distinct markets; Concert Touring and Live Experiences, Retail Music and e-Commerce, ProA/V – Installation – Broadcast, House of Worship, Film and Television, and Industrial Wire and OEM.

More informations on the ACT entertainment website and the Ambersphere website

German light artist, Christopher Bauder, has chosen MDG ATMe haze generators and Me2 fog machines as the foundation of his latest installation, Vektor, a personal piece loosely based on his life experiences.

Vektor, Memories in Light & Sound, is Bauder’s third installation at Berlin’s Kraftwerk, an old power plant-turned-art gallery in Berlin that Bauder refers to as an ‘industrial cathedral’.
The abstract work is a personal ‘memory chest’ using small audio snippets of memories from Bauder’s childhood through to present day: the sound of the sea from his childhood living on an island in the North Sea, church bells on a Sunday, laughter of loved ones, as well as samples recorded from the Kraftwerk building itself.

The recordings can be precisely targeted throughout the building, transforming the building itself into a living, breathing work through sound and illumination. “The audience doesn’t need to understand the thoughts behind it, or be aware of the massive amount of technology behind it, but I hope they will catch glimpses of the references here and there,” says Bauder.

The new artwork consists of 50 lasers mounted on 10 evenly spaced, heavy-lift winches specifically developed by Kinetic Lights which synchronise movement of all the lasers. These enable Bauder to create a sculpture in mid air that fills the whole volume of the enormous exhibition space.

“It’s important for me to start from symmetry that allows me to break it later,” he explains. “By starting with a very symmetrical layout I am able to create completely random shapes and spacing in the second stage of the creative process. If your initial layout already creates a shape, then you are always bound to that shape and can never break away from it.

“I use the lasers to create three-dimensional shapes and textures that I hope will evoke a memory and an emotional response within the viewers. I like to play with these things, taking a step further to tell a story by very abstract means, and encourage the audience to create their own picture, rather than just showing shapes synchronised to music.

For example, in Vektor, I have an ‘under water’ scene where I play sounds of the ocean with birds flying over, and have created a surface with the lasers in blue with bobbing lights reminiscent of floating buoys. This combination immediately makes everyone think about the sea and an underwater scene, but it is just technology triggering their memory of it. It’s an emotional and poetic show.”
As with any light show, a basis of good haze is of paramount importance to reveal the work of the artist to its full extent, and Bauder states that he uses MDG hazer generators and fog machines whenever possible to create the ‘right’ atmosphere for his pieces.

“The visibility of the light is important as I use light in an architectural sense, like a material that I can shape and form in space into a tangible form that almost feels touchable. At the same time, of course, the light is intangible, not physical, so I need the haze as a basis to materialise the light in space.
“When looking for the perfect haze there are two aspects to take into consideration, translucence and visibility. If I have a lot of haze I have good visibility of the lasers in close proximity, but it obstructs the view of the lasers that are further away.

So the quantity of the haze is extremely important, but also the quality: the quality needs to be translucent enough to keep the whole piece visible across the full 100m distance. I still need to be able to see the back of the space, but at the same time give enough texture in the air to create the visibility of those lasers.

“It’s a really fine balance between the two, and MDG haze delivers that balance. The key factor is the fineness of the droplets in the air which defines the visibility throughout the space. It mainly just reacts to, and refracts, the light without obstructing visibility. That’s why I always try to use MDG haze generators as they provide both these aspects.”

Kraftwerk’s exhibition space is a massive 100m x 60m x 25m high, naturally dark, indoor space on two levels. “The volume is huge,” says Bauder, “but we have just 2 MDG ATMe hazer generators, and 2 Me2 fog machines running at intervals, to fill the whole space.”
The two ATMes are located at each end of the hall, and the two Me2 fog machines in opposite corners. “At the start of the day we run the Me2 fog machines for about 10-15 minutes to quickly fill the space and introduce enough texture.

Then we have the ATMes running on 100% for the rest of the day, with two of MDG theFAN™ to aid circulation, which keep the stability of the amount of haze for the rest of the day and maintain the visibility. Even running at 100% we only use about 20% of the fluid and gas compared to the systems we’ve used in the past.”

Each MDG ATMe, with theFAN™, is housed with gas and fluid in purpose-built MDG Vertical Flight Cases for convenience, storage and transportability. The supplier was cast C. Adolph & RST Distribution, MDG’s exclusive distributor for Germany. “Cast are super, we love them,” concludes Bauder. “They are always ready to demo products for us and quick to react when we need service or supplies. We have a great relationship with them.”

The Berlin art scene has a notably discerning audience but VEKTOR has received an overwhelming response. Four live shows are planned for 15 March and 5 April with music written by Bauder for the first time. “We didn’t know what to expect, but from the start it was crazy – 6500 people on the first weekend and 30,000 in the first four weeks!” says Bauder.

Vektor runs at Berlin’s Kraftwerk from 1 February – 7 April, with the first live show on 15 March 2024.

For more information on MDG haze, fog and low fog products, visit www.mdgfog.com

For more information on Christopher Bauder and Vektor visit the Vektor Art website

The Helsinki Music Center (Musiikkitalo Helsinki) in Finland has just invested in its first Robert Juliat followspots – 4 long-throw 800W LED Arthur LT – for its main concert hall. The followspots were sourced through Intersonic, Robert Juliat’s exclusive distributor for Finland.

Konserttisali_Arno_de_la_Chapelle-Courtesy-of-Helsinki-Music-Center

The team at Musiikkitalo had a specific list of criteria when looking for their new followspots. The fixtures needed to be very quiet, bright enough for serious television productions from distances over 30m, in both daylight- and tungsten colour temperatures; have a narrow zoom so no light would be lost by using an iris; be easy to operate, have good DMX control and, crucially, an LED light source. “Put simply, we wanted to have the best followspots available!” says the venue´s Head of Light, Valo Virtanen.

Virtanen spent a long time comparing followspots and, as soon as he saw it, requested the brand new 800W LED Robert Juliat spot for testing from local distributor, Intersonic. “We made some serious tests together with sound engineers and camera teams; our second Head of Light, Tuukka Aimasmäki, made a DMX profile for our lighting console and took light quality measurements,” says Virtanen.
“We also knew Robert Juliat´s reputation as the most specified followspots in the world and have experienced of them from hiring them for previous shows. The tests went very well so we ordered spots. Intersonic has done very good job with testing and delivering, and with supporting us throughout.”

AUF-concert ©Tuukka Aimasmäki

Musiikkitalo’s audience is seated in-the-round so good 360° coverage is needed. The four Arthurs are therefore positioned evenly around the lighting gallery that surrounds hall high above audience. “We also bought tripods as a safety measure but installed the Arthurs on the gallery´s rail pipes with followspot rail mount adapters to get a bit better coverage in the tight locations,” says Virtanen. “The adapters are excellent and work perfectly.”

The throw distances vary from 20m-50m but with Arthur LT’s output of 2000 lux at a distance of 50m exceeding that of an HMI 2500W Aramis, and a zoom range of 4°-10°, the range was no problem.

Arthur’s sound level is much quieter than any of its discharge rivals, and offers a choice of ventilation modes. “We found the spots to be silent!” confirms Virtanen.
“We use them in Silent mode which reduces the brightness by about 20%, but they are still absolutely bright enough.”

The ergonomics of the new Arthur LTs proved very popular with Musiikkitalo’s followspot operators and technicians who had a wealth of feedback: “The controls are well thought out with the zoom/focus and dimmer handles, and iris, frost and CTO filter knobs well positioned and very easy to use from whatever position the operator favours. The DMX operation is very well considered with dimming and output levels controlled locally or direct from the console.

Telrad Reflex Sight Finders were also purchased for each Arthur LT: “This is an excellent operator aid and such a simple, cheap and perfect add-on.”

Scène principale du Centre musical d’Helsinki avec l’aimable autorisation de Musiikkitalo

“The Arthurs are excellent!” confirms Virtanen. “The operators love them and the TV teams like their quality of light (Arthur LT has a high CRI of >94), and brightness, and they are SO quiet. The build quality is strong and are so well made that – aside from cleaning the optics – we do not expect any need for service in the following years.”

The first production for the new Arthur LTs was the Aurora Orchestra’s opera The Rite of Spring lit by television lighting designer, David Bishop, and broadcast live using 18 television cameras. Classical television broadcasts with a variety of soloists from Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Helsinki Baroq Orchestra, followed along with pop concerts from artists like Pandora, Samuli Edelmann and Rajaton, and galas from the RSO Christmas special to many special themed concerts by Vantaa Pops.

Samuli Putro Musiikkitalo © Leif Vare

“Robert Juliat is the only manufacturer concentrated on making serious followspots for professional users,” concludes Virtanen. “Even before we bought the Arthurs, we knew what to expect. Robert Juliat followspots are specifically designed from the outset as followspots, not modified profile spots. The design team has listened to end-users and made tools for serious professionals. And that makes them the best tools for professionals.”

More information on the Robert Juliat Arthur LT and the full range of followspots and lighting fixtures can be found at www.robertjuliat.com

For more information on Musiikkitalo contact Musiikkitalo

Popular Slovenian vocal group, Perpetuum Jazzile, celebrated their 40th anniversary with a series of high-profile shows at Ljubljana’s Cankarjev Dom, the country’s biggest theatre venue, asking Crt Birsa from design studio Blackout to create lighting suitable for the occasion.

Lighting designer Crt Birsa from design studio Blackout.

With typical enthusiasm and imaginative zeal – plus the assistance of substantial quantities of Robe moving lights, Crt created an impressive visual showcase, working closely with Mark Pirc, brought in as video content creator and co-show director with Aljaz Bastic for these special performances.

Crt has lit the group several times over the last 10 years, and specifically more regularly in the last two after as Blackout has become their permanent lighting design provider. In fact, Crt’s first proper arena design was 10 years ago with Perpetuum Jazzile for their 30th anniversary.

For this show, the basic elements of his programming from the last two years were taken as the starting point. Initial ideas for the 40th included a stage at 45% to the audience with a shallow thrust protruding in an arrow shape, and above that they wanted a circular truss, which Crt morphed into a triangular shape that more harmoniously mimics the shape of the deck below.

He then filled the 8-metre equilateral triangular truss above the performance space with lights rigged on sub trusses, creating a slightly Floydesque ‘monumental chandelier’ effect that provided multiple layers of lighting that could be stripped right back or fattened out, depending on the vibe of the song.

The concept worked brilliantly and dovetailed beautifully with the other visual aspects including the angled stage and an upstage 16 x 6 metre LED screen. The lighting kit was mostly supplied by Ljubljana-based rental company, Intralite, with some pulled from the Cankerjev Dom’s house rig, which also features a lot of Robe fixtures.

The numbers added up to 8 x Robe BMFLs, 24 x LEDBeam 150s, 16 x FORTES, part of a recent investment by Intralite, 10 x MegaPointes, 34 x Spiiders and 20 x ParFect 150s.
These luminaires constituted the majority of the lighting rig, together with 32 x LED strobes, 12 more LED PARs plus six of the venue’s own genuine Svobodas which were rigged on the triangle and created an ambience of their own.

Robe FORTE

Twelve of the FORTES were used for the primary back lights in a line upstage. While they looked like they were on a single truss, they were flown on a combination of house LX bars which are arranged in rows left, centre and right of the stage.

The other four FORTES were utilised for side keys. Their accurate shuttering allowed Crt to cut the beams in tight to the stage and the artists. He also used them to project gobos over the singers during the song “Mesto Sanj” (Dream City).

Crt has been using FORTES throughout the year for different projects and loves them for the brightness, multiple features and excellent quality of light.

The eight BMFLs were positioned upstage on the floor and were the only rear lights from this low-level position. They were also a highly effective counterbalance to the power of the FORTE beams coming in from above.
The 10 x MegaPointes were placed inside the triangle, arranged in four rows in a 4-3-2-1 pattern, and they were used as high impact blocky light sources to complement and contrast with the Svobodas, a technique that worked well and dramatically.

BMFL Spot

Robe MegaPointe

The LEDBeam 150s outlined the structure of the triangular truss, eight fixtures on each of the three structural truss pieces creating the shape. From these positions they could produce an all-enveloping stage wash as well as be utilised as a show and effects light.

Crt describes them as “exceptionally handy” little fixtures. The LEDBeam 150s were also used for audience lighting, a task they achieved efficiently and subtly without blinding people! An ongoing nuance of the venue to make this work is dealing with the high balconies, and the LEDBeam 150s assisted in finding an elegant solution.

The 18 x Spiiders formed the main stage wash looks, with six doubling up as the principal key lighting for the soloists and guest singers.

Robe Spiider

The six key lighting Spiiders were from the house rig and positioned on the lighting bridge together with all the house profiles. They allowed Crt to match the colour temperatures of the TV lighting as one of the shows was recorded for Slovenian national TV.

Six ParFect 150s toned the triangle with another four boosting the side lighting positions for the solo singers when standing on their downstage marks. Another ten augmented the audience lighting, so plenty of colour and energy could be added to the audience looks for the broadcast wide shots.

Overall challenges included Crt persuading everyone on the merits of going with a triangular shape (rather than a circle) above the stage and getting the whole rig together with the LED screens at the right trim heights, because theatres do not have unlimited clearance. And, as always, time on site was tight!

The get-in for the first show started at midnight … and Crt finished finessing the focusing of audience ParFect 150s one minute before doors.
The visually assertive style of the show was a big hit with everyone, and Crt even found himself during programming paring some lighting back to ensure the artists stayed central to the picture and being reinforced proportionately by lighting and video.

He enjoyed the collaborative process of working with Mark on the content, show directors Mark Pirc and Aljaz Bastic – Aljaz was also multi-cam director. Crt benefitted from receiving the video content before the show which gave him some valuable prep time to think about matching lighting looks, scenes, and texturing to what would be appearing onscreen, which enabled a more integrated and mood-aligned visual picture to evolve to frame the performance.

Crt and his team at Blackout regularly specify Robe fixtures for their projects. The brand has a very strong presence in the Slovenian market thanks to the proactivity of Ljubljana-based distributor, MK Light Sound.

For more info about robe lighting, you can visit www.robe.cz