Lighting for this hi-energy extravaganza was designed by André Beekmans of The Art of Light, working closely with scenic designers 250K for organisers Alda events.
Key to making the whole concept come alive as a live experience were nearly 400 Robe moving lights on Andre's plot - 101 x BMFL Spots, 94 x Pointes, 180 x LEDBeam 100s and 7 x BMFL Blades.
André has been involved since the first AMF. This third edition of the event was also recorded for future broadcast and live streamed over the internet, all of which needed to be taken into consideration when lighting the shows.
A big challenge - and the main objective - for the lighting design, was to make the vast barn-like arena packed with thousands of people feel like a small intimate club space.
Multiple trusses were flown in the roof, forming a loose grid infrastructure above the stage and audience, with lights rigged along all sides and at intervals down the length of the auditorium, so ravers could be caught up with the sweeping BMFL beams and pulled into the intense energy and pumping bass levels coming offstage, a bold hi-impact effect that worked exceptionally well.
It was also vital to have strong lighting coming into the picture from the back of the stage behind the DJ, shooting down the length of the arena skimming people's heads to ensure they were scooped into the action from all sides.
The 101 BMFL Spots were the main effects lightsource and as such, the workhorses of the show. They were positioned on various trusses above the stage and the arena, and played across the entire space, involving the audience in the fun as well as registering really well on camera.
The BMFL Blades were deployed as key lights and front lights for the Awards section of the show. André was impressed with the power and the focusability as they were throwing a good 27m to the stage. The Art of Light actually introduced the trend of key-lighting DJs after several years of them being left in the dark concealed behind a wall of visual overload!
The 94 x Pointes - chosen for their versatility - were primarily distributed around the stage area with 34 of them on the floor outlining the space. The rest were on four moving circular trusses contained within two scenic cylinder flying props, each made up of eight thin metal rings outlined with LED strips.
The main curved video screens - which also rotated - were in the centre of these two cylinders. The 180 LEDBeam 100s were mounted on the back of the LED panels, so as the arcs of LED panels rotated around to face upstage, they were revealed in a blistering wall of tight firing out super-punchy beams that completely transformed the room making a big accent to the amazement and delight of the crowds.
All lighting kit - including approximately 450 more lights - was supplied by Flashlight. The automation system was designed and supplied by engineering specialists WIcreations.
The challenge - as is often the case - was the tight get-in and technical time which could not commence until the Dutch soccer team finished their match on the Tuesday night.
Knowing this, André planned a week of pre-production at The Art of Light in Eindhoven with his lighting operators, Bas Scheij and Michael Seeverens, where they were able to visualize the building blocks of the show, pre-programme the grandMA 2 consoles used for control and arrive onsite well prepared.
(Jim Evans)
