Lighting and control designer Tupac Martir specified the flexible Clay Paky fixtures, which were supplied by Richard Martin Lighting, as an integral element of the set.
"The set is based on the concept of molecules, which I wanted to mirror in the lighting design through gobos," explains Martir. "When considering which fixtures I could use to give me that kind of look, the B-EYE was an easy choice."
The theme of the show evoked the forming of a human being, with the sound of a heartbeat kicking things off, followed by animated molecules slowly passing through the B-EYEs and building up to create the set.
"The ability to rotate the front lens of the B-EYEs was fantastic," continues Martir. "We rotated it really slowly, and with all the smoke we were able to get some really nice shapes."
As well as Martir directly controlling the B-EYEs, Heap also motion controlled the fixtures through wearable technology Mi.Mu gloves, which talked to a d3 Technologies media server.
"Her gloves could control the intensity of the colour, and the animations that we ran over the B-EYEs via d3," continues Martir. "It was truly beautiful."
(Jim Evans)
