In addition to its contents, the show has distinguished itself for the exquisite set assembled in Mediaset's studio 11, the result of intense teamwork between photography director Franco Buso and set designer Dario Cavalletti. It all takes place inside a studio that has been outfitted as a real night club down to the smallest details with mood lighting, dancers, show girls, piano players and an audience seated at cocktail tables.
Franco Buso comments on the light design, "The goal was to create a night club setting, for both atmosphere as well as characters, which in this context downplay the risqué elements in favor of a more farcical and playful tone. I used a strictly cinematographic and non-televisional photography, opting for contrasting shades, low lighting, little movement, frequent cuts and backlighting and intense colors between blue and red these places are known for."
The light system furnished by EleTekno included Alpha Profile 1200, Alpha Wash Halo, Alpha Beam 300, Stage Zoom 1200 and Stage Color 1200 - all Clay Paky, in addition to a number of Led Pars and Stage Bars.
Franco Buso and console operator Lorenzo Bassani explain how they were used: "The Profiles and colour changers help fill the scene and add colour to the stage and the backdrops, creating a soft atmosphere, whereas the Wash Halos cast a white light onto the audience and the scene's cast. The Alpha Beam 300s crisscrossed with other fixed ACLs were essential for highlighting the musical passages, the entrance of guests and any other cuts. They were assembled on the sides of the set and used mainly for backlighting and angle lighting. The result is a stunning radial effect, almost like a 'reverse spaceship.'"
Franco Buso's light design for this show was based mainly on an attentive use of base lighting and shadows: "I really like contrasting light and shadows because they add volume to the set, all the while highlighting the character and the set decoration. There is no true focal point in the studio. Each part assumes a leading role according to the director's indications and the appearance of guests."
In such an intimately lit and atmospheric scene, Beam lights have a massive impact: "They are, without a doubt, the best moving head ACL projectors I have ever used," continues Franco Buso. "They have incredible 'thrust' and stand out in any context, in and especially in crowded scenes and with led screens."
(Jim Evans)
