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Robe supports South African TV show “In The Spotlight”

“In Die Kollig” (Afrikaans for ‘In The Spotlight’) is a new TV music show in South Africa produced by Johan Stemmet, recently broadcast on SABC 2. The first series’ episodes were produced by Stemburg TV and recorded at the Urban Brew Studios at Randburg Waterfront, and the show was creatively lit by Ryan Lombard, HOD of Lighting at Blond Productions, using around 100 Robe moving lights and other fixtures. All the lighting and video equipment was supplied by Blond Productions.

The 7-day shoot schedule entailed recording two episodes per day, so Lombard had to light 24 songs - each one looking different. He chose Robe moving lights to assist. The initial set design was a collaboration with Dream Sets, after which Ryan Lombard and Christiaan Ballot, owner and founder of Blond Productions, were asked for their input. They also specified the video screens at this stage.

Once the set details were finalised, they started working out the lighting positions. Three U-shaped trusses were installed in the roof of the studios to provide most of the lighting positions. The upstage one was the widest, with the other two reduced in size proportionately to give a shrinking perspective effect.

Other lighting positions were provided by truss totem towers positioned around the stage at floor level. Rigged on these were 36 x Robe LEDBeam 100s, 12 x MiniPointes, 12 x MMX Spots, 18 x LEDWash 300s, 12 x 600E Beams and eight Patt 2013s, plus a selection of LED PARs, and battens.

The little LEDBeam 100s were the main effects lights of the show. Lombard mostly ran them at 10-20% brightness to be subtler with the effects, a ploy that worked better for all the low angle camera shots. The MiniPointes were a key fixture together with the MMX Spots and 600E Beams. They were used extensively throughout all the songs, sometimes in static scenes to create mood and ambience, and other times strobing and flashing to ramp up the excitement.

The MMX Spots were used for washing the main set and floor area, for defined beams and simple zoomed-in gobo looks, while the LEDWash 300s were a major source of back-light and also used for washing and augmenting the performance area.

The lighting console was a GrandMA2 light with a GrandMA2 NPU, also running an MA VPU with all the video content that Blonde compiled specially for the production. Lombard programmed during each available two-hour session, creating all the effects lighting and major looks, while Alisdair Richards took care of the ‘classic’ television lighting elements like key lighting, flesh tones and eliminating shadows, for which he used a different system comprising 40 x 2K fresnels, 12 x ETC Source Fours and two Robert Juliat Topaze follow spots.

The set featured seven separate screens, five built using 48 x 6 mm LED panels which were more abstract in shape, so the graphics were scaled to fit. The two high def 7 x 4 metre side screens were built from 56 x panels of 2.9 mm LED, also from Blond.

(Photos: Stemburg TV)

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