Lighting was designed by Hugh Turner, and programmed and operated by Tim Dunn using a grandMA full size console. Turner comments, "The power of the grandMA system lies in the total integration and ease of working between the desk and its peripherals like the visualiser and video server."
Time was extremely tight in the run up to the performance, and concerns about the state of the pitch allowed for just one dress rehearsal in Ellis Park before the show. This was also the first time Turner and Dunn actually saw the 16 minute performance - featuring a cast of 350 including a large choir, drummers, dancers and six soloists.
The rig utilised 150 moving lights and involved the lighting of a 60m circular performance area in the middle of the field of play, with colour grading throughout the outer extents of the playing field. The creative essence was based on being able to fill a stadium with drama, colour and emotion and make the huge expanse feel intimate and special for the occasion.
72 Martin Professional moving lights were rigged on custom brackets and trussing around the mid level balconies of the stadium on all four sides, with 36 Robe moving lights rigged at the higher levels from the stadium roof on two sides.
29 bars of 6 PARs were installed around the mid levels, used to skim the backs of the lower seating banks, adding ambience and colour. On the field itself were just four Maxi-brutes (a VNSP PAR 64 4-lite linear blinder), positioned in the centre of the eight solo drummers who started the show, casting striking corridors of light amidst the cast. The drummers themselves were each up-lit with a PAR 64 at the base of their clear skinned drums.
(Jim Evans)
