O'Brien and Lightfactor originally collaborated on designing, supplying and installing an overhead lighting rig in this temporary exhibition space in Tussauds for the 'Feel The Goal' world cup project. This also involved video playback, surround sound, floor tremblers and 39 fibre optic light heads sunk into the floor. The idea with the initial lighting install was to be able to change the look and feel of the space instantly, simply by varying the colours and textures of the lighting. Lighting therefore had to be versatile enough for any environment - be it a football pitch or a disco.
O'Brien's brief for 'Fever' was to create a new and different look in the space, which he achieved by using warmer colours and specials to illuminate the adjacent pole dancing areas. The video wall at the rear of the exhibit shows playback footage of Kylie, as her hit 'Can't get you out of my Head' thumps out through the PA.
The space is lit using ETC Source Four profiles with 50° lenses, some with custom glass gobos for a break-up effect on the floor and as additional texturing. 26° Source Four units were utilized as Kylie's key lighting, and 650W Fresnels were used for general area specials. Four MADScans were used for movement, and as specials for two large mirror balls also supplied by Lightfactor. O'Brien used these sparingly and to great effect.
'Kylie' is positioned centrally in the space, so people can circumvent the exhibit. O'Brien had to be aware of shadows cast by people getting close - which naturally they do! However, the relatively generous ceiling height (for an exhibition) helped minimize shadows. It was also vital that her eyes were lit tightly from a very shallow angle, some distance away - and it was this feature that specifically energized the figure with life.
All lighting equipment was supplied by Lightfactor, and the project was overseen for them by Paul de Ville, a self-confessed Kylie addict, he even turned out personally during programming - determined not to pass up the opportunity of being able to get that close to his heroine. O'Brien admits, "It was a total buzz lighting the Kylie figure, especially with all the press interest kicking off. I didn't use any special lighting for her bottom because I didn't need to - it looked just great with the general lighting!"
(Lee Baldock)
