With such an eclectic array of performers, the lighting rig needed to be equally diverse and able to adapt to each unique show. Putting it all together again this year was lighting designer Paul Normandale, who laid out a spectacular rig on the main stages for the various guest LDs who came and lit individual shows. With so many artists and so many LDs in such a short period of time, once again flexibility was the order of the day.
Paul explains the brief: "The lighting had to be suitable for a live, multi-band event which has a constant BBC/TV broadcast element. So a balance between the live show of the artists and the needs of the BBC to gain usable footage was key. The event is a Radio 1 event so the branding and overall live appeal is also important".
"Lighting-wise both stages featured Martin products; the LC 2140 screens, Stagebars, Media Servers, and a host of fixtures including MAC 2000s, 700s and 250s as well as the flexible MAC TW1. The acceptance of MAC products as industry standards means that the visiting LDs are happy to see and use their products. The TW1 is ideal when band turnarounds are quick, allowing remote positioning as opposed to crew focusing."
"The LC screens were also a real advantage this year with a 9-minute changeover when we removed the festival led wall for the headline artist switch. This would be almost impossible without the 2m x 1m modular design and quick fix nature of the units."
The rig was supplied by Lite Alternative with XL Video supplying the LC Panels. The key programmer on Stage Two this year was Tupac Martir who brought an edgy feel to set. He comments: "I had some freedom to play a little more, but at the same time was very careful with the key light. At the end of the day, the show was being shown live in some instances, and if not just being recorded for later use for broadcast."
"Since we were using a lot of products, it gave me some different options to approach the show. While also allowing the visiting LDs to work and let their ideas flow. The TW1 were very helpful since they were my base for the key light. By having them in the front truss, I was able to light the artist while at the same time allowing the other fixtures to create the effects for the songs. This came especially handy when we had visiting LDs. They only had to worry about their show, while I was in another console worrying about the TV lights."
"Another fixture that was great for the wide shots was the MAC 2000 Wash XB. With two cameras by the front of house and a crane on the side of the stage, we knew we would get a lot of open shots. By using the XBs we were able to magnify and especially create depth within the tent. Being used above the crowd, they created a great effect."
"In regards to the 700s wash and spot, they are great fixtures. The CMY colour mix allowed us to not loose key light when the light was spieled to the crowd, while at the same time create clean cut scenes."
"The lights held out perfectly, especially since they worked for almost 14 straight hours, they had little rest. Since we would have visiting LDs arriving early or in between shows they were programming their show, the lights didn't have much time to rest."
(Lee Baldock)
