The ROH production of La Sonnambula - lit using ARRI HMIs.
Confronted with the need to increase their large-format fresnels, the Royal Opera House in Covent Garden have recently added ARRI high-grade theatre luminaires to their rig in two separate batches. These were supplied and installed by White Light.

The new lights comprise two fully automated 4K Compact ARRI HMI fresnels and a further three automated 5K tungsten ARRI Junior fresnels to add to the nine units supplied by White Light last year. The Junior 5Ks, in this case incorporating dichroic reflectors, are built into a moving yoke with scroller, while the ARRI Compact 4K HMIs have dimmer shutter and scroller incorporated into the moving yoke. The Royal Opera House are a long-standing client of White Light, who also service and maintain their moving lights, dimmers and control system. Account manager David Howe said: "The Royal Opera House rig has come on a lot since their initial refurbishment and at this point needed more focusable, large-format fresnels."

The issue with the Junior 5K’s was one of size, as David Harvey, the theatre’s co-lighting manager, explained. "We chose the Junior 5Ks because we only have 750mm of depth in our lighting battens. Furthermore, the colours we wanted to put in our scrollers needed to be looked after, and the dichroic filter will give extended life to the scrolls. Having the units motorised also cuts down on very tight rehearsal and changeover schedules, as well as giving designers more flexibility of multiple positioning during productions." The ROH specified the 4K HMIs to meet the lighting design for a show, La Sonnambula, which was lit by David’s co lighting manager, John Charlton, and required heavy usage of the HMIs. The 4Ks were supplied with an electronic ballast in a cradle with a remote strike, with shutters and scrollers.

The ROH lighting team had visited the Music Theatre in Amsterdam to review the moving yokes and to tackle the problem of logistics. "A lot of our decision making had to do with timing," said David Harvey, explaining that the motorisation was designed not only to expedite changeovers, but also the necessary lighting changes during the show. The Royal Opera House are now progressively specifying ARRI as their first choice in large format fresnels. "We opted for ARRI this time because of its superior light output, and the fact you can put accessories - scrollers and shutters - on the front.

(Ruth Rossington)


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