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Nearly 150 Robe fixtures light ‘The Voice South Africa’

The 2019 season of ‘The Voice South Africa’ saw technical supplier Multi-Media and production manager Chris de Lancey ask lighting designer Joshua Cutts of Visual Frontier onboard to help the team deliver the show - which Cutts accomplished with some help from a large Robe moving light rig.

The final 8-week series was recorded at the Mosaïek Teatro in Fairlands, Johannesburg, and aired on M-Net Channel 101. Josh Cutts worked closely with set designer Dewet Meyer, series director Darren Hayward and TV director Nadia White to carve out an ambience for the 2019 season which saw him programme 12 songs a week for the 8-week period.

Lighting - together with sound and video equipment - was delivered by rental company Multi-Media with the set built by JDM Sets. All aspects of the technical production were co-ordinated and overseen for Multi-Media by production manager Chris De Lancey.

The performance environment was divided up with a selection of LED screen columns, LED battens and digital LED strips which enabled Cutts to break down the set and isolate or merge different areas. A major design challenge for this series was dealing with five PA stacks which were part of the L-Acoustics L-ISA multidimensional sound system, which was supplied by Multi-Media, a first on any ‘Voice’ production worldwide.

Josh Cutts has used Robe moving lights on the last four seasons of ‘The Voice South Africa’ and once again they were at the core of the design with 18 x Pointes, 27 x MiniPointes 24 x LEDBeam 1000s, 8 x LEDWash 800s, 12 x LEDWash 600s and 34 x LEDBeam 100s plus 16 x CycFX 8s.

Some signature set and design elements from the first season - also hosted in the Mosaïek Teatro - were retained, while other angles were developed to bring fresh treatments specifically for this season. Above the stage, Cutts had five upstage-downstage orientated trussing fingers slightly raked, and each of these were positioned in between the five PA arrays.

The LEDBeam 1000s were the main colour “fillers” across the stage. Pointes and LEDBeam 100s were rigged along the fingers, and due to the orientation of the fingers, they had serious focusing scope and could reach all over the stage and right out across the audience.

Forty-eight LEDBeam 100s were used on four custom-built movable structures, which were wheeled on for four songs during the finale. Each structure had 12 x LEDBeam 100s on one side, and 2.9 mm LED screen on the reverse, making them mobile and interchangeable between LED screen and lighting effects.

The LEDWash 600s were rigged on audience trusses above the crowds. The MiniPointes were mainly dotted around and concealed in the set for eye-candy and additional texturing. Cutts also deployed MiniPointes on top of two large set towers for elevated beams and lighthouse effects. For the final, an additional 16 MegaPointes were brought in and positioned on the floor, in an upstage line.

Josh Cutts was assisted by his associate Andre Siebrits, and they programmed and ran the Robes and other lights on a GrandMA3 console. Thursdays and Fridays were dedicated to programming the songs in the venue, which is where the whole creative team suggested and tested ideas. Saturday was a full day of camera dress rehearsals. On Sundays, rehearsals were followed by the live show.

(Photos: Duncan Riley)

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