On the stage itself, part of the video wall is used as a sliding reveal for the artists' entrances while the TV dynamic is continued in the design of the stairs, the independent stage thrust and the hi-gloss flooring. Add to that a lighting rig that begins with fifty nine Clay Paky Sharpys just for starters and it is clear that a for a followspot to cut through and make its mark, it would have to be something powerful, very bright and with a clarity of focus to work with the camera work effectively.
Step forward, the Robert Juliat Lancelot, a 4000W Discharge unit that is fast becoming accepted as the long-throw followspot of choice for large live events and concerts. Now part of the family of manufacturers that are exclusively distributed and serviced by Ambersphere Solutions, Robert Juliat are much more than the company best known for architecture and theatre lighting.
Lighting director Jonathan Rouse explains their value: "This is a show where the light level on the performer is paramount - there is so much live IMAG going on and the X-Factor is all about the artists who have earned their place on the tour. The audience feel they know them as individuals and part of the X-Factor Live experience is seeing their favourites in the flesh. I have five Lancelots working FOH to make sure that happens. Their level of output is second to none and the beam created is always perfectly even and completely flicker free."
"The final followspot on this Pete Barnes designed show sits on the truss upstage centre. Once again it was a Robert Juliat followspot that was specified but this time in a smaller package. "The Manon is the perfect little weapon for an on-truss spot," continues Rouse. "Like the Lancelot, it is a beautifully balanced unit which is vital with any truss spot, the operator can dim, pan and tilt with one hand and retains its colour temperature perfectly during a dimming operation."
(Jim Evans)
