Lighting designer Roger Williams set out to differentiate this year's live broadcast from past shows by moving away from a studio feel and creating a much bigger 'arena experience'. Set in larger studios with weaving catwalks and an impressive but concealed lighting rig of over 90 Martin moving lamps, he achieved just this.
Joining at the concept stage, Williams was also able to integrate lighting directly into the set design and worked with Essential to include over 60 sq.m of Scenic LED screen. The curved stage, set and walkways were also lined with more LED set enhancements to enable Williams to create an almost individual set and atmosphere for each of the six acts. "I used MAC 500s in the air with MAC 700 Washes, and MAC 550s on the ground," Said Williams.
The lighting rig was flown high so the lights were largely out of camera shot and the focus was more on the video screens to the side. But even from 25 feet up, their effect was powerful and the set seemed awash with colour and atmosphere.
"As the set was almost entirely grey I automatically put a lot of colour in to liven it up, so I needed to make sure I had enough wash lamps for this. I had heard a lot about the MAC 700 Wash but hadn't ever used them, so I was pleased Essential Lighting had so many. The zoom was brilliant. Even from that height they worked well with either a very narrow beam or a wide and soft wash," adds Williams. The show was also the first time Roger worked with the MAC 550.
Martin Lubach from Essential Lighting commented, "It was a pleasure to work with Roger and to provide equipment that helped him create impressive and flexible effects through the live shows. This was an excellent and high profile test for our new Martin investments and they really shone on the night."
(Jim Evans)
