The production design was created by Mathias Kuhn and included 80 x Robe moving lights and LED fixtures – 36 x MegaPointes, 30 x BMFL Spots, 4 x BMFL FollowSpots, 10 x FOOTSIE2 LED footlights and four RoboSpot remote follow systems – all supplied by rental company, Bandit Lites out of Nashville.

The initial summer tour played a mix of arenas, theatres and amphitheaters with 10K to 36K capacities and the most recent leg stepped up to arenas, including Madison Square Garden, which were all completely sold out, ramping up the already great vibes and energy surrounding the tour, which is always a brilliant backdrop to any nationwide touring campaign.

Mathias is based in Hamburg, Germany and brings his style and aesthetic to a lot of rock and metal bands, a genre he loves, and that offers plenty of scope for imagination and dramatic lighting.

Mathias talked to the band after being asked onboard, who revealed that they liked the idea of a circular halo-like shape being associated with the stage look.

He took this as a stylistic starting point, basing the essential trussing architecture around two circles, a main 41ft diameter sphere that defined the space, in conjunction with a smaller 21ft diameter ‘supporting’ circle flown inside the big one. Both were scalable to deal with different sized venues.

The concept evolved rapidly, he drew it up, they loved it, and everything else, including the screen design … developed from there.

Naturally, ensuring everyone’s visual expectations could be met whilst fitting into the available budget was a challenge, and Mathias spent considerable time choosing the right fixtures and positioning them where he knew meticulous programming could help maximize the looks.

The fragmented LED screens were part of the look he crafted to avoid the “big TV” syndrome, complete with ladder trusses loaded with fixtures in between to further break it up and enhance the depth of the performance area.

He controlled the screen outputs via his Resolume video server, triggered by the lighting desk, which ensured there could be a carefully blended mix of playback content and IMAG footage from 7 cameras. Having control of all the visual entities is a great way to ensure continuity and a harmonious integrated look.

Robe MegaPointes are consistently Mathias’s first choice of moving light. “They are the first piece of kit that goes on the plot,” he confirmed when chatting about the design. This is because of their “compact size, big output, excellent gobo selection and quality beams” and the fact that “they look amazing even in the largest arenas!”

Eighteen of the 36 x MegaPointes were rigged on ladders in between LED screens at the left and right upstage corners of the rig, hung vertically in a line of nine each side, with the other 18 deployed on the floor on rolling Tyler GT truss, located directly underneath the LED screens.

BMFLs were chosen for their incredible power and punch and their status as “a great workhorse fixture,” noted Mathias, who has used these luminaires on numerous projects. He loves the brightness, the gobos and the zoom functionality.

Eighteen BMFLs were rigged on the downstage half of the large circle, with 4 on each side of the stage on subs to extend the overall stage look.

Four standard BMFL Spots were also part of the follow spotting system together with 4 x BMFL FollowSpots (with the integral camera).

Fixture placement was key to optimizing the look and ‘virtual’ size of the rig, so much diligence went into this aspect of the design.

It was Mathias’ first time out with the FOOTSIES, which he thought were “Great! A nice flat field beam that really assists key lighting”. Especially so when running in combination with the  4-way RoboSpot system controlling the eight BMFLs as described above. These were rigged four per side on two small truss sections flown downstage left and right.

Having the follow spots at this very steep angle to the stage ensured they had an extremely neat trajectory and minimized unsightly spillage.

Also on the rig were some other hard-edged fixtures, strobes, blinders and FX units with LED floodlights on the large halo, plus a few wash lights on the floor – Mathias is not a fan of wash lights in conventional contexts!

Different shades, textures and variations of white dominated the show making it a lot more interesting, raw and contrasty, with color mainly introduced via the video content, and Mathias’ personal presence is generally to avoid distracting gawdy or ‘candy colored’ scenes and keep it stark with the focus on the band and music.

The principal idea was always to keep the band front and center of the action and at the epicenter of the picture. “It’s a live rock show, not a YouTube stream,” he reminds everyone.

Video content was commissioned by Creed and delivered by Wayne Joyner and Dave Letelier with a lot of discussion between them and Mathias as it was imperative for the two medias to dovetail. “They did a great job,” commented Mathias. Content was shaped for each song, leaving enough black and dark spaces for him to mix and apply IMAG feeds and effects as he felt appropriate.

Mathias set up, programmed lighting and ran the show for half of the first leg of the “Summer of 99” tour before leaving due to other commitments, with lighting crew member Brian Bogovic operating for the remaining dates.

Bandit’s lighting crew chief was Cheyan DeBrower who was joined by Haley Elliott and Lucas Gamez making up a brilliant touring team, with Kenneth Ackermann working as video crew chief for this department which had equipment supplied by PRG.

The post Arms Wide Open for Robe on Creed Tour appeared first on A1 Lighting Magazine.

During the inaugural ceremony, the expo witnessed presence of esteemed dignitaries from the industry:

• Shri S.K. Marwaha, Group Coordinator, Scientist ‘G’, Ministry of Electronics and Information Technology
• Shri Milind Deore, Secretary, Bureau of Energy Efficiency (BEE) Ministry of Power
• Mr Jaspal Singh Aujla, Chief General Manager – Technical, Energy Efficiency Services Limited Mr Parag Bhatnagar, President, Electric Lamp and Component Manufacturers Association of India
• Mr Chinmay Debnath, President, Indian Building Congress
• Mr Gajanand Ram, Vice President, Council of Architecture
• Ms Surbhi Jindal, Ambassador, Women in Lighting
• Dr Amardeep Dugar, Director at Large, Illuminating Engineering Society IES
• Mr Asish Agarwal, President, Calcutta Electric Traders Association
• Mr B S Parveen, Managinf Director, Uniglobus
• Mr Praful Pathak, President, Solar Energy Society of India
• Mr Raj Manek, Executive Director & Board Member, Messe Frankfurt Asia Holdings Ltd

Sharing his experience at the expo, Shri S.K. Marwaha, Group Coordinator, Scientist ‘G’, Ministry of Electronics and Information Technology, Government of India stated that: “As far as Ministry of Electronics and Information Technology (MeitY) is concerned, we had put in several schemes like the compulsory registration order where the LED products have to meet the specified safety standards and we also provide the CAPEX subsidy under the modified Special Incentive Scheme for the product manufacturers, we also have Public Procurement Preference to Make In India order where in the government procurement –  subject to specified domestic value addition is done by the indigenous manufacturers.” He also stated that Bureau of Energy Efficiency (BEE) and Energy Efficiency Services Limited (EESL) actually played a key role in proliferation of the LED lighting by consolidating the requirements and that actually brought down the price of LED bulbs and over the years we have rationalized the tariff structure so that the cost of LED production comes down including taking advantage of the subsidy offered. This market is expected to grow in a big way particularly, in the new segments like architectural lighting. The industries are catering to the needs and architects and building experts, are all promoting the use of LED in the residential and commercial segment and this will definitely lead to a lot of power saving which naturally comes with a usage of LED. I wish LED expo a grand success and greater heights in the years to come.”

Expressing his views on the current and the future of LED lighting industry in India, Shri Milind Deore, Secretary, Bureau of Energy Efficiency (BEE) – Ministry of Power, Government of India, stated: “In 2024 from what I am observing at the expo I see that the market is now shifting towards the aesthetic LED lamps as per consumer demands, the technology is evolving with more aesthetic orientation, different fixtures are coming in , smart lighting and more, have been coming in so this is a very radical and a great change in the sector. Also, today LED bulbs are not only in cities but are easily available in the rural areas and”. He also added: “The government needs focus on how we can be 100% indigenous in this sector. They are already focusing on semi-conductor manufacturing in India, once that is done, I think we can be fully indigenous in manufacturing LED and also export to the world. After China, I think India could be one of the best places to manufacturer at the cheaper rate and provide to other countries.

Emphasising on sustainability in power, Shri Amal Sinha, Director, BSES Rajdhani Power Limited & BSES Yamuna Power Limited, said: “At BSES, our mission extends beyond providing reliable power, it is about creating a brighter and a more sustainable future. As a leading power discom in the national capital, we play a vital role in balancing growth with environmental responsibility. With ambitious goals, we are on the path to achieving a green power portfolio comprising over half of our energy sources-making BSES one of India’s greenest power discoms.”

Mr Raj Manek, Executive Director & Board Member, Messe Frankfurt Asia Holdings Ltd, shared: “India is in a prime position today, with the much evident infrastructure development across various sectors. The Lighting and LED industry, in particular, has benefited from timely and effective government support, accelerating its growth along with infrastructure boom in India. Since the launch of the Ujala Scheme, we have witnessed technological advancements and the industry’s swift alignment with global trends. It is encouraging to see new exhibitors joining us every year, reflecting our upward trajectory. I feel delighted that this year the participation from lighting automation companies has grown and it aligns with the future of intelligent lighting solutions. We anticipate that with innovations and manufacturing growth in India our dependency on the imported components for LED and light will reduce, powered by the schemes like PLI, which strengthens the industry.”

India is witnessing a fast-track growth of products and technologies in automations and tech-based solutions with support from Internet of things (IoT), Artificial Intelligence (AI), sensors, wireless controls and more. The opportunities to customise and innovate in manufacturing coupled with the momentum of Make in India and Atmanirbhar Bharat are boosting the industry. The need for intelligent lighting solutions and energy efficiency features are seeing an uptick in architecture, interior design, construction, quality control and safety solutions, hospitality, automotive, commercial spaces, events and entertainment, industrial and electronics, among many more and are here to stay.

The three-day event, Light India + LED Expo India will conclude on 23^rd November 2024. Light + LED Expo India is part of Messe Frankfurt’s Light + Building Technology fair portfolio, which is headlined by the biennial Light + Building event in Frankfurt, Germany.

Image credit: Messe Frankfurt/Light + LED Expo India edition.

The post Light + LED Expo India opens today with future oriented intelligent solutions in lighting appeared first on A1 Lighting Magazine.

A Yorkshire hospice is helping patients to shine a little brighter, after winning clinical lighting solutions worth £10,000.

Wakefield Hospice has brought the outside inside with a series of LED panels from Visualite, transforming the look and feel of corridors and rooms across the building.

The hospice won a £10,000 Visualite healthcare sector competition and had the panels installed free of charge by a local contractor.

Visualite solutions are sensory lighting panels that create the effect of natural lighting indoors, projecting high-definition natural images illuminated by LEDs.

The panels, sold through nationwide wholesalers YESSS Electrical, allow patients to experience the warmth and familiarity of outdoor scenes in spaces without external windows.

The LED wall and ceiling panels create a relaxing ambience, helping to calm anxiety, reduce claustrophobia and enhance wellbeing.

Wakefield Hospice won the Visualite competition after demonstrating their knowledge of the impact of the environment on people who have advanced active, progressive and life-threatening illness, describing their vision for their internal environment and illustrating how staff, patients, families and visitors would benefit from the installation of the lighting.

The competition was open to all UK healthcare organisations and was judged by a panel of healthcare experts.

After their win, hospice staff worked with YESSS Electrical’s Wakefield branch and took on board patient feedback to curate the most appropriate images for each panel location, as different scenes, colours and details suit different applications and elicit different emotional responses.

Calming natural scenes

All of the panels have now been installed at the hospice, which has been providing expert care to local people with life-limiting illnesses for more than 30 years.

Hospice communications officer Ryan Colliar-Grint said: “The Visualite panels offer a great way to brighten up spaces throughout Wakefield Hospice.

A number of our corridors are central in the building so do not have windows, and these light boxes on our walls and ceilings provide a great alternative to mimic the experience of natural light and beautiful scenery.”

A member of the clinical team said: “Having the Visualite boxes around Wakefield Hospice is such a wonderful feature as they brighten up the space.

The majority of our images are of nature which is so calming to be around for our patients, their families and our staff.”

Visualite panels have been installed in healthcare locations across the country, including major sites such as University Hospital Southampton, Sheffield Children’s Hospital and the Royal Free and Barnet hospitals in London.

The Visualite system can have a powerful impact in hospitals and medical environments but is equally valuable in educational spaces and sensory rooms, retail and leisure facilities, as well as offices and boardrooms.

Visualite have a wide range of high-definition images to select from, but clients can also incorporate their own images and artwork to create bespoke panels.

Built with a tough outer protective coating, the Visualite system offers fully wipeable surfaces for ease of maintenance and longevity.

Visualite creator Steve Nelson commented: “Many environments lend themselves to Visualite, but at Wakefield Hospice we can really see how our system will have an amazing impact on patients, staff and visitors.”

Wakefield-based electrical and mechanical contractor E2M generously installed the Visualite panels free of charge at the hospice.

The firm’s managing director Mark Gibson said: “E2M have worked with Wakefield Hospice in the past and feel it’s a brilliant organisation that’s deserving of great things for all the help and care they provide to others.

Being involved in this project, installing aesthetic lighting to spaces that bring a feeling of the outside in, was our way of contributing to the hospice and the community which it serves.”

The post Hospice brings the outside inside for patients after £10,000 competition win appeared first on A1 Lighting Magazine.

The Kunstsilo (Art Silo) is on the small island of Odderøya in Kristiansand, Norway, and opened its doors in May this year.

The stunning concrete building is a former grain store that has been ingeniously transformed into an impressive minimalist-style art museum housing more than 7,500 unique works, including the Tangen collection, the world’s largest collection of Nordic modernism.

The architects made a feature of the building’s cathedral-like silos, which are 38 metres high. Illumination from such high ceilings presented a challenge but lighting designer Kathrine Hjelmeset of Henning Larsen Architects took inspiration from industrial lighting, specifying 26 Glamox i90 industrial LED luminaires. These powerful lights are more at home in lighting high-ceiling warehouses and industrial plants and were installed by OneCo.

The industrial luminaires are suspended from the ceiling in each silo, providing a narrow beam and controlled using a DALI control system. Only around 40 percent of each luminaire’s 60,000-lumen illumination capacity is used, and the luminaires have a long 100,000-hour lifetime. They provide a neutral white light (at 4000K with 90 CRI).

The overall project of lighting the Kunstsilo, of which the silo lighting is the part provided by Glamox, has been nominated for the Norwegian Lighting Award.

Photo credit: Halvor Gudim.

The post Lighting transforms giant grain silos into works of art appeared first on A1 Lighting Magazine.

The fluorescent luminaires in the hospital’s emergency ward will be replaced with 1,200 new connected LED luminaires that are controllable remotely and can dim down when people are not about, saving even more energy. Expanding on the environmentally friendly theme, the life of 67 bespoke luminaires in the unit’s central corridor will be extended by innovative LED Kit technology that replaces the original light source and electronics while retaining the body of each fixture.

The refurbishment is part of a major expansion of the Rikshospitalet. The hospital corridors have a distinctive curved ceiling, and the aim was to preserve this architectural feature while modernising the lighting. Glamox, in collaboration with Tom Rune Antonsen, Head of Property Operations at Rikshospitalet, developed a LED kit that reuses the existing material of the fixtures supplied by Glamox 25 years ago. This approach reduces waste and lowers the environmental impact when converting the building’s lighting to LED. Additionally, the LED kit solution is quick and easy to install.

“It’s only fitting that one of the world’s leading hospitals has 21^st Century lighting to match – lighting that reduces its carbon footprint and supports a circular economy,” said Toril Bache Jenssen, Director of Sales for Glamox in Norway. “Compared with the older fixtures, the new smart lighting will enable the hospital to cut its electricity use for lighting by 60-80 percent, which is significant given that most of the lighting is on 24×7. It is also long-lasting, so it will free up the time of maintenance staff as the previous T8 fluorescent tubes had to be replaced frequently. They had an 8,000-hour life compared to 100,000 hours for the new LED lighting.”

Also, the new lighting ensures that the Rikshospitalet complies with the Restriction of Hazardous Substances directive that phases out fluorescent lighting across Europe.

Oslo-based Datek Installasjon will install the lighting led by its project manager, Marius Bakke Gjørven. The lighting project is expected to be completed later this year.

The post Oslo University Hospital Rikshospitalet gets 21st-century smart lighting makeover appeared first on A1 Lighting Magazine.

With a capacity of 5,900, the Sun Princess boasts brand-new entertainment venues and innovative concepts. The ship has recently been equipped with a comprehensive Robe Lighting package, including 4 FORTE FSs, 4 RoboSpot systems, 27 ESPRITES, 76 PAINTES, 22 Spiider LED wash beams, 24 LEDBeam 350s, 43 LEDBeam 150s, 57 Spikie+s and 14 T11 Profiles with gobo modules, plus 21 ParFect 150s, 42 Tetra1s, 30 iPAINTES, 13 iSpiiders, 17 iBeam 350s, 5 iTetra2s and 19 iBar 15s.

The Sun Princess, the most impressive and luxurious “Love Boat” ever created, introduces an innovative ship platform designed exclusively for the world’s most iconic cruise brand. Mesmerising shows and engaging activities abound across the ship, highlighted by transformational entertainment venues. The Princess Arena, the most technologically advanced Princess Theater design, offers three configurations to maximise sightlines and deliver a truly captivating experience. The Dome, featuring a pool by sunlight and a stage for shows by starlight, is a glass-enclosed space inspired by the hills of Santorini. It showcases acrobatic performances created in partnership with the renowned Cirque Éloize. Princess Live!, an intimate lounge, offers non-stop entertainment throughout the day and night with trivia, game shows, the daily Wake Show, live concerts, and late-night comedy. The Piazza, the ship’s hub, spans three decks and features outward-facing suspended spheres that transport guests to new dimensions with expansive ocean views, complemented by world-class entertainment supported by moving stages, performer flying, and a 3-story LED wall. Additionally, O’Mally’s Irish Pub offers good food, good drinks, and lively music from a resident Irish folk band. Robe Lighting plays a vital role in bringing these spaces to life and more.

Built at Fincantieri in Monfalcone, Italy, the Sun Princess is the largest cruise ship ever constructed in Italy, weighing in at 178,000 gross tons and featuring a total guest and crew capacity of 5,900. As part of Carnival Corporation’s green cruising initiative, the Sun Princess is one of 11 new ships in the corporate fleet powered by LNG (liquefied natural gas) fuel technology, reducing greenhouse gas emissions. The ship also features ingenious energy recovery systems for eco-conscious cruising.

The lighting design for the Sun Princess was selected and coordinated by Princess Cruises’ Fleet Supervisor for Lighting/Video & SFX, Matt DeJong, who explained that Robe was the clear solution for this new build project.

In coordinating the lighting systems, including lighting positions and fixture selection, Matt DeJong noted that multiple rounds of reviews were necessary to finalise the system design for the venues. As the Sun Princess is a concept ship, creating the venues from scratch required careful planning with venue architects, LES Integrators, and the shipyard. On a cruise ship, overhead availability is always a concern, and since trim heights are often lower than in traditional venues, selecting fixtures with the right size, zoom range, and features was key.

Robe’s TE (TRANSFERABLE ENGINE) family of fixtures emerged as the perfect solution for the Sun Princess. Additionally, the ship is entirely LED, with both entertainment and public area lighting. This decision aligns with Princess’s commitment to eco-friendly cruising. Robe’s TE series provided various light engine options, allowing for a balanced lighting rig that still delivers powerful performance. “We could select the most recent fixtures, and ones that best served the needs of our productions and designers. Not being locked into the shipyard supply, which is often defined years and years in advance, allowed us to stay relevant and up to date with the latest and greatest lighting technologies that matched exactly what we needed,” said Matt when explaining the process and benefits of the option to “owner-supply” the main moving light package for this new build project.

The lighting rigs on a new ship are expected to last about 8-10 years from delivery. The onboard production staff manage the day-to-day maintenance and operation of the lighting systems. The TE family was an ideal choice for Matt because the easy swapability of the light engine extends the lifespan of the fixture beyond the rated hours of the light engine. The future-proof TE series, along with fantastic support from Robe, made it the ideal choice for Sun Princess. The TE family includes a range of fixtures with varying sizes, light engines, and feature sets, enabling Matt to select fixtures with reliable feature sets based on the available overhead space and venue requirements. The Dome also required IP-rated fixtures as it serves both indoor and outdoor functions since humidity plays a factor with the venue containing a pool and open-air opening. Having the option to use the same type of fixtures, such as the PAINTE, Spiider, and LEDBeam 350 in both IP20 and IP65 with iSeries fixtures was a significant advantage for streamlining onboard storage of spare parts and maintenance items.

Matt and the Princess Production Resource team, led by Denise Saviss and Mark Simons, have had great success with Robe in the past for main lounge refits. A combination of an impressive feature set, light output, size, weight, and strong support presence made the selection of Robe fixtures an easy decision. Tony Perez, Robe’s global maritime sales director, played a key role in supporting Matt and the Princess team by coordinating shootouts prior to the specification phase.

Tony’s support and ability to coordinate special requests, such as custom factory gobo loads, made the entire process very smooth and ensured that Princess received exactly what they needed and wanted. Tony’s assistance was also crucial in ensuring the on-time delivery of lighting fixtures to the shipyard for installation onboard, meeting the deadlines of both the shipyard and the creative teams.

The Robe Lighting fixtures are the primary workhorses for the production shows and entertainment on board this next-generation ship.

The Arena Theatre production shows include Vallora, A Pirates Quest (lighting by Ben Cracknell, programming by Matt Davis), Fiera! (lighting by Mat Stoval & Trevor Burke for Visual Noise, programming by Zach Matusow), Viva La Musica (lighting by Ignacio “Iggy” Rosenburg, programming by Max McDougall), and Stage Struck (lighting by James Whiteside, programming by Michael Fox). The Dome and The Piazza feature Princess Cirque shows with Montreal-based Cirque Éloize: Art Beat, Blue, and Come Fly Away (lighting by Laurent Routhier, programming by Hunter McCune). The Piazza events were designed and programmed by Nathaniel Cromwell and Michael Gionfriddo for EMF Lighting, with additional lighting design and programming by Matt DeJong, Sandee Roque, and Octavio Ahumada.

The numerous creative teams appreciated the Robe fixtures for their impressive output and consistent color mixing between the TE range and the LEDBeam/Spiider range. Lighting designer Laurent Routhier from Cirque Éloize, who utilised the iPAINTE, iBeam 350, iTetra2, and iSpiider in the Dome, remarked,

“Robe is my favourite brand so I knew it would work. The design of the dome being quite special with no top lights and few backlights meant we needed some moving lights we could rely on, and as usual Robe delivered. And the small size vs the brightness of the lamps was perfect for that venue.” The Princess Cirque shows from Cirque Éloize play in The Dome and feature three full shows that run 2-3 times a night during a voyage. Laurent also had the pleasure of using the Robe fixtures in the Piazza for a special Champagne Toast event featuring a trapeze act performance with the circus artists.

Nathaniel Cromwell and Michael Gionfriddo, working with EMF Lighting, were responsible for the design and programming of all shows and events in the Piazza, the ship’s heart. This venue, which runs all day and features anything from daytime washes to game shows and full production shows, needed dynamic and reliable fixtures. Michael remarked, “I think that the selection of fixtures from Robe in the Sun Princess Atrium was a perfect fit for the space. The PAINTE as a hard edge with an LED engine provides great color clarity and low maintenance considering the location of the fixtures. The Spiiders and Tetra1s live up to their reputation, providing vibrant looks and endless FX possibilities.” The Piazza also serves as one of the two nightlife spaces, featuring late-night discos in the center of the ship. Nathaniel added, “Robe lights consistently proved themselves to be the right job for the role. The Piazza is an important centerpiece to the Sun Princess. Having fixtures that are vibrant, quiet, and reliable is essential to the space, and Robe excelled in all categories.”

The Arena Theatre presented several challenges due to its multi-configurable nature. Matt explained, “The lighting rig needed to function for proscenium mode, in-the-round mode, and thrust mode, all without re-hanging the rig and without placing fixtures where they were only useful in one mode.” One key challenge was determining the follow spot locations. “From the start, it was clear we needed four or more fixtures to support the venue,” explained Matt. In the end, four FORTE fixtures were carefully placed to be functional in all modes. Four RoboSpot base stations were selected to run the FORTE fixtures from a backstage loft area. The ultimate architectural design of the venue prevented traditional follow spot locations and systems. “The ability to use the Base Stations and fixtures like a matrix selection was the most impressive feature, as it allowed us to be more flexible in our user needs, and the setup was easy enough to change as needed for the different configurations,” said Matt. The FORTE fixture’s large zoom range also contributed to its selection for this venue. The long throws combined with the 5.5-degree minimum zoom meant that a more traditional follow spot system was no longer required.

In the Arena Theatre, four full production shows are installed. Each show will run twice each night during a voyage, featuring fully produced performances with the production cast, scenery, media, and lighting. Lighting designer Ignacio Rosenburg shared his experience: “I absolutely loved designing a show on Princess’ new vessel. It’s certainly a departure from my usual haunts, but walking into a theater as impeccably beautiful and modern as this was breathtaking. We have a long history of using Robe products, and we often turn to them for their light quality, feature sets, and dependability. It really speaks to the attention Princess pays to their entertainment division that this theater was stocked full of the latest and greatest from Robe’s catalog. Having access to both entertainment-style fixtures like Spikie and PAINTE, as well as powerhouse theatrical ones like ESPRITE and FORTE, and the fantastic RoboSpot system, meant I could thread the needle between my more rock-and-roll style lighting and the needs of a theater environment.”

The Arena Theatre features a large LED wall at the back that runs for all shows. The impressive engine output from the TE fixtures like FORTE, ESPRITE, and PAINTE, along with the Osram engine from the Spiider and LEDBeam fixtures, was crucial to allow the lighting to cut through the video content.

The Dome and the Piazza lighting were installed in just two days by Videlio HMS. The lighting rigs in the Arena, Princess Live, and all other venues were installed by Matt DeJong, Karen Hii, and the supernumerary install and setup team, including Sandee Roque, Dusan Milosavljevic, Octavio Ahumada, and Sabiniano (Buboy) Martinez. Across all venues, over 400 individual fixtures were delivered across Europe, stored in a warehouse, and then loaded into the Monfalcone shipyard using various shipping and handling options. Matt and the Princess team were impressed that each unit worked right out of the box. Matt explained, “Normally, with the volume of fixtures for this project, you would expect a few issues or small problems with one of the units. However, there was a 100 percent out-of-the-box working rate, which proves the quality control and care that goes into production from the factory in the Czech Republic.” The on-time delivery and 100 percent working rate were instrumental in keeping the installation and creative phases on track during the new build process.

The Sun Princess Robe lighting rig continues to perform exceptionally. The availability of service documents and ongoing support from Robe North America and the global support team, along with the dedicated communication and support from Tony Perez, positions the Sun Princess for long-term success. The entire Princess Entertainment technical team, show creation team, and onboard technicians are delighted with the performance, reliability, and features of the Robe fixtures onboard Sun Princess. The Robe moving light rig is complemented by other conventional units, and additional moving lights were provided by Videlio HMS for select venues.

Sun Princess is the first in the Sphere Class for Princess Cruises.

Photos by Matt DeJong.

The post Princess Cruises chooses Robe for ground-breaking Sun Princess ship appeared first on A1 Lighting Magazine.

Covent Garden is delighted to announce the unveiling of brand-new Christmas lights for Seven Dials, designed by renowned creative design studio, Sculptivate. This year’s lighting installation seamlessly illuminates Covent Garden and Seven Dials, creating a warm and cohesive atmosphere across the destination that blends tradition with modernity, enhancing the historic charm of the neighbourhood. Starting at the iconic Seven Dials monument, encircling the famous sundial, canopies of lights cascade down each adjoining street, moving in wave like patterns that offer the perfect background to your Christmas experiences in Seven Dials.

The brief: sustainability meets design excellence

Sculptivate is a global design and production agency who deliver projects from ideation through to activation with both creativity and technical rigour. Having previously worked with global luxury brands, Sculptivate has an eye for translating retail experiences into memorable moments. At the start of the year, Covent Garden briefed Sculptivatewith creating Christmas lights that not only unified the diverse streetscapes of Seven Dials and Covent Garden but created a cosy atmosphere and were environmentally conscious.

“We’ve collaborated with Covent Garden for years on various installations. Our challenge was to honour its rich history while capturing the area’s unique creativity in an immersive design that complements the broader lighting and Bells in The Market Building and importantly, was environmentally conscious and not wasteful,” said Rebecca Menzies, Creative Director, Sculptivate.

The new design needed to prioritise longevity and energy efficiency. With 80 percent of CO2 emissions from use of lighting products occurring during production, both parties wanted to find a way to minimise this. Using innovative materials, Covent Garden and Sculptivate worked with a lighting product supplier who was able to make significant reductions to its carbon footprint by introducing a low-carbon aluminium option to their production, meaning a 75 percent reduction in emissions when compared to standard aluminium. The lighting products are not only designed to last for years to come but designed for recyclability too, with components that can be easily disassembled and recycled at the end of their lifespan.

Sculptivate drew design inspiration from European cities, where in historic market streets you’ll find canopies of organic illumination breathing life into the area. After months of design sessions, sketches and renders, and extensive research including the mapping of each street and its buildings, the result is a magnificent combination of technology and design, cascading tunnels of lights creating a warm winter glow.

Inspiration and process: Design that celebrates architectural integrity

Extensive on-street research was carried out, mapping Seven Dials at varying times of day to understand how light naturally flows through the area. The design evolved to ensure that the lights accentuate the architecture without overpowering it, and the team landed on utilising both horizontal and vertical elements to work with the varied street widths, those with and without trees and different building heights.

“We wanted to create spaces that people would want to spend time in this winter, thinking about how we bring the streets alive at night in a way that immerses you in the area, with the decoration becoming almost a backdrop to your experience. Given the challenge of each street being slightly different in width, height and structure, we landed on the canopy concept, with curtain-like waves of light that combine intimate, low lighting moments with high-impact displays that celebrate the unique architecture of Seven Dials,” added Rebecca Menzies, Creative Director, Sculptivate.

Once the design was signed off, then begins the process of production. Taking 20 weeks, the canopy nets are handmade and woven into curtain like sections to allow for ease and speed of installation. Each section is made of twisted cord, similarly, woven to that of a tapestry, with the bulbs then placed within the twists, each facing a different direction to avoid a too linear lighting experience and allowing a more textured lighting quality. The cords create an organic glow, with warm, golden LED lights ensuring the intricate design enhances, rather than overwhelms, the cobbled streets and stone buildings.

Installation: Protecting one of London’s ‘great public ornaments’

Sculptivate’s teams will tackle installation in pairs, with one team working at street level preparing the decorations and another working at height installing each cable and curtain. At the start of install, cables will be attached and tensioned to rigs on certain buildings, and the curtains of light will be hooked and attached to the cables. With lighting tests and safety checks, the whole process can take up to a week. One of the most striking features of the lights is the way the lights encircle the iconic Seven Dials monument and dial without touching it, coming away from and cascading down each adjoining street, either moving in the wave-like or zig zag pattern suitable for a particular street’s structure.

The dial was a hugely important consideration throughout the whole process, due to its protection as cared for by the Seven Dials Trust. Seven Dials as an area was originally laid out by Thomas Neale MP in the early 1690s, who commissioned leading stonemason, Edward Pierce, to design and construct the Sundial Pillar in 1693 as the centrepiece of his Seven Dials development. At that time, it was regarded as one of London’s ‘great public ornaments’, and today remains one of London’s most important landmarks. Neighbours include iconic West End theatre The Cambridge Theatre, home to multi award winning production Matilda the Musical, eco-conscious French footwear brand Veja and Swedish sneaker and streetwear powerhouse Axel Arigato. The new lighting design by Sculptivate incorporates “negative space” around the dial, protecting its historical integrity while achieving a faceted diamond-shape canopy of lights that fill the night sky and harmonise with the area’s character.

Innovation: Modern festive moods & future proofing

The design is something not seen before in Seven Dials, creating pathways of light that guide visitors through the streets and harmonise with Covent Garden’s wider Christmas lights. What Sculptivate has brought to life is a design that moves away from traditional Christmas icons, focusing instead on creating warm, immersive experiences. The lights, which extends to Neal’s Yard with its own canopy of light, also reflects the Christmas trees in the area which will have the same organic light designs, further unifying the experience.

Shaftesbury Capital and Sculptivate’s collaboration embodies their shared values of sustainability and innovative design. Using energy-efficient LED lights, the design is fully scalable, allowing it to be adapted across different streets in future installations. This flexible, modern approach ensures the lighting will remain relevant for many years to come.

“Covent Garden has always been committed to world-leading design, so this festive season we wanted to push the boundaries of what Christmas lighting can achieve, both aesthetically and technically. We’ve always been at the forefront of creative, innovative experiences, whether that be offering free public art such as our Little Cloud World installation earlier this year or working with brands on immersive pop-ups, like Jo Malone’s forthcoming interactive ‘Christmas Special’. We couldn’t be more excited that Christmas is back and to be giving Seven Dials a scheme which enriches the unique characteristics of the destination and offers a new cinematic experience that draws visitors into Covent Garden,” said Catherine Riccomini, Director of Marketing and Communications, Shaftesbury Capital.

Covent Garden will be switching on the Christmas Lights within the historic Marketing Building, surrounding streets and Seven Dials, as well as illuminating its world-famous Christmas Tree on Tuesday 12^th November, kick starting the neighbourhood’s 7 week festive-filled programme.

The post Covent Garden unveils new Seven Dials Christmas lights appeared first on A1 Lighting Magazine.

Also known for its world-class performances and high production values, the venue has recently invested in 43 Robe FORTE moving lights, which are rigged in its 1,070-capacity main stage venue. These were supplied by Robe’s Polish distributor, Prolight, who won a competitive tender to supply the new tech.

Bartosz Wolak has worked at the Theatre for the last 11 years as chief LX and head of lighting, a multiplexing role that also encompasses designing and operating the lights for their own productions. He and his lighting team of eight were instrumental in choosing Robe for this major technical upgrade that ensures Theatre Muzyczny will continue presenting the very best-looking shows, including frequent licenced productions coming hot from London’s West End.

The FORTES replace the previous moving lights – from another brand – which were installed in another major modernisation in 2013 which included the addition of the new Nova Theatre space plus some structural changes to the main auditorium.

The previous fixtures were becoming costly and time-consuming to maintain, and “apart from that, we needed more up-to-date technology and more flexible lighting to keep pace with increasingly demanding productions,” Bartosz explained.

Some of their shows are ‘full length theatrical dramas with music’ and can last up to three and a half hours, while others are a more traditional musical format which go in and out or run in repertoire with 2-day changeovers in between, a programme also benefitting from more adaptable lighting.

Bartosz and his team wanted FORTES for several reasons, including “the power, the beautiful colours and the stunning effects,” and with 43 in the rig, they can be used for both beams and spot lights, so with all that power and versatility on hand, they physically need less fixtures to light a show well.

They all love the frost filter and have a 30 percent frost implemented here, which effectively allows the FORTES to also become an excellent wash light.

“This is a really magical transformation,” notes Bartosz. Critically, it allows them to light a wider range of shows – from complex musicals to typical dramas – with ease.

The animation wheel and the fantastic dynamic effects that can be produced using it also made an impression with everyone, and silent mode was important, as low noise is essential for musical theatre environments, especially for the orchestras. The original moving lights had too often made their presence felt in the auditorium!

High CRI was also a factor, an aspect making the transition from tungsten to LED easier for the actors, who also must get used to working with new LED light sources and their different texture and feel. And of course, that is related to attaining those gorgeous rich flesh tones that allow the makeup to glow and enhance faces with depth and texture. “The actors have noticed that it’s different and are now enjoying working with the FORTES,” he confirmed.

Robe’s TRANSFERABLE ENGINE (TE) technology was something the team also considered could be useful to Theatre Muzyczny as its production schedule is intense and involves a lot of lamp-hours. “The option to replace the lightsource of an LED fixture was definitely interesting to us,” Bartosz said.

The stage is 16 metres wide and 20 metres deep – also the largest musical stage in Poland – complete with high side wings and a double revolve. It is both a producing and a receiving house and their own shows are specifically tailored and designed to fit their space. Theatre Muzyczny is frequently licenced to replicate West End shows, underlining the standards of the productions.

For Calendar Girls The Musical by Gary Barlow and Tim Firth, the show was scaled up from its Leeds Grand Theatre premiere in the UK and subsequent London Phoenix Theatre run, and most of the musicals contain plenty of WOW factors.

There is some history of Robe fixtures in the house – eight ColorSpot 700E ATs were acquired for Shrek The Musical in 2012 – which have been well looked after and are still in use on the small stage!

This lighting upgrade and the FORTE investment is also part of the ongoing switch to LED lighting.

The choice of FORTES was partly driven by visiting production riders, including those of Polish TV who cover a large annual film festival hosted by the theatre and some other events, and the house receives several international ballet and dance shows and music concerts.

The FORTES were integrated into all the main stage lighting productions – new and revivals – over a 3-month period as soon as they arrived.

The original part of the Main stage – remaining from before the 2013 refit – has only 3 lighting bridges, so some of the lighting positions are limited, but as the FORTES are so useful and multifunctional, Bartosz reckons that 43 fixtures can easily do the job of many more profiles, spots, beams and washes – with just one unit instead of 4 of different types of light!

Photos: Show shots from the 2024 production of “Quo Vardis” by Rzemieslnik Swiatla and  courtesy of Teatr Muzyczny.

The post Theatre Muzyczny Gdynia invests in Robe FORTES appeared first on A1 Lighting Magazine.

The office is set over three floors with a flexible mix of open-plan desks, collaborative meeting spaces and social areas, connected by a central oak laminate architectural staircase. These striking stairs are spotted by Light Forms’ bespoke curved Moonband 40 profile, with Nova62 spots fixed directly to the underside to cast each step in a stunning glow. The custom curved pendants creatively spotlight the central staircase while setting the scene and creating a warm and welcoming glow for this modern, open-plan office.

The interior design by Incognito has been accentuated through thoughtful lighting, with high specification finishes and fixtures throughout. The lighting brings out the richness of the colour palette, which contrasts bold blues and purples with neutral tones to create a welcoming and open space that catches the light seamlessly.

The project won the Design Excellence Award at the Insider Media Sheffield Property Awards for its innovative design and its impact in supporting the company to reduce its carbon footprint. The office is expected to deliver a carbon emission reduction of 79 percent compared to the former office, supported by intelligent LED lighting and natural light flooding through the windows.

Interior Design: Incognito, Manchester.

Main Contractor: ADT Workplace.

Electrical Contractor: Premier Electrical, Bury.

Lighting Manufacturer: Light Forms.

Photography: Mike Dinsdale – Midi Photography.

The post Light Forms lights Henry Boot Head Office appeared first on A1 Lighting Magazine.

Partnering with Sculptivate, the creative production and design studio based in London, the new Christmas lights are an example of the leading landlord’s innovation in public realm and consumer experience. The installations will feature over 60,000 fully programmable LEDs, with dynamic light displays daily in a first for London, creating stop-and-pause moments on one of the country’s most iconic shopping and dining destinations and enhancing the overall visitor experience.

‘Into the Light’ is contemporary in style, with focal points of large star installations at gateways on Carnaby Street, complemented by 6-meter-long sculptural light forms suspended along the street. The installation extends into Kingly Court, where cascading curtains of light will adorn the balconies, evoking a cosy, intimate atmosphere within Soho’s beloved alfresco dining spot.

The light structures, which have been made in the UK, will be powered by energy from renewable sources, and are intended to be a fixture of Carnaby Street Christmas for at least five years. The scheme can be adapted each year, as Shaftesbury Capital continues to innovate in its evolution of the visitor experience, adding something that can be re-used but is still capable of generating new reasons to enjoy all that Carnaby Street and Soho has to offer.

Michelle McGrath, Executive Director at Shaftesbury Capital, said: “Soho and Carnaby Street has an incredibly rich history of innovation, design and positively connecting with people. The new Christmas lights scheme on Carnaby Street, right in the heart of the west end, embodies this, with a long term investment which takes a creative and more sustainable approach. As with our other destinations, we passionately believe that this beautiful, well-designed and high quality lighting scheme with a longer term vision for Carnaby Street will build cherished Christmas experiences which inspire and excite Londoners and visitors alike.”

Andy Cobb, Founder at Sculptivate, commented: “London is globally recognised for its Christmas decorations, with Carnaby Street featuring every year in the ‘must see’ list for locals and tourists alike. With this new installation, we wanted to celebrate the rich heritage while pushing the boundaries of creativity, offering something that will not only return as a cherished tradition but also continue to captivate audiences. ‘Into the Light’ will transform Soho in the same way its predecessors have, while maintaining Shaftesbury Capital’s position as a real trailblazer in West End public realm.”

Carnaby Street’s new Christmas lights will be switched on Thursday 7^th November, followed by six weeks of activity across the neighbourhood, echoing Shaftesbury Capital’s creative approach to the festive period.

The post Shaftesbury Capital announces ground-breaking new Christmas light scheme for Carnaby Street appeared first on A1 Lighting Magazine.