Da Costa needed a lighting rig that would give him ultimate flexibility, and again chose Robe to be at the core of this, based on his past successful experiences with the brand.
The 98 ColorSpot 1200E ATs were the backbone of the system. These, together with 98 ColorSpot 2500E ATs, 31 ColorWash 1200E ATs and 16 ColorBeam 2500E ATs were all picked for their intensity and power.
"The reliability, light output and colour are excellent." he states, "The movement is also really quick and I really like the smooth dimming of the ColorSpots."
While the ColorSpots picked out the set architecture, the Washes functioned as audience back-lighters and for sweeping across the set. The ColorBeams were stationed at the back of the stage for maximum impact and funky in-the-face camera shots.
All these fixtures were arranged in over around 700m of trussing rigged in the ceiling which formed a pitched roof over the entire studio.
Upstage were 16 vertical truss towers at different heights, and rigged onto these were about 30 Robe ColorSpot 2500s along with other lights and LED fixtures.
The moving lights were operated by Michael Baganz using a grandMA console. The video visuals were programmed and played back by Stephan Flören and the white lights by Uli Weiss.
The lighting equipment for Voice of Germany was supplied by Cologne based rental company, Magic Light & Sound, and the show's production manager was Matthias Wolf.
(Jim Evans)
