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‘The Voice Ukraine’ finale lit with Robe

The 2020 final of singing competition ‘The Voice Ukraine’ was broadcast live from the Kyiv studios of TV channel 1+1, produced by Volodymyr Zavaduyk, directed by Tri.Direction and lit by Eugene Kostyra, also working closely with DoP Sergey Petrov.

To create a lighting design for this socially distanced television event, Eugene Kostyra utilised Robe MegaPointes and Spikies as a key part of his lighting rig which were supplied, along with all the other lighting equipment, by Ukrainian rental and production company Alight.

It was the tenth season for the show, and Kostyra has been involved with the lighting since the fifth series (as well as two series of the ‘Junior’ edition). Tri.Direction developed the set design which was based around clean lines and start geometry, with a 3-metre-high central riser with LED screens around the base, complemented with more screens upstage in a curve around the back and sides of the studio space.

Originally the set had been designed for a classic ‘Voice’ finale set up including a substantial live audience, however, as Ukraine - like most of the rest of the world - was in lockdown, they decided to go ahead without the audience. The set was reworked to take this into account and to enable the production contestants, technical crew and all other personnel working on the production to observe the social distancing rules.

Kostyra used 42 x Robe Spikies rigged on vertical truss in between the rear LED screens for creating beam effects. The 25 x MegaPointes on the plot were located on the overhead rig along with several 5x5 LED panel luminaires. In addition to these Robes, various other fixtures were in the rig including other beam lights, moving and static LED battens. Kostyra programmed and ran all the lighting for the finale on a GrandMA3 console.

There were restrictions on the number of people allowed on the studio floor at any one time, so the technical service crews worked in shifts whilst changing over and preparing each scene. The main instrumentation/backing for each song was pre-recorded by that project’s musicians/band before the broadcast, and the entire film crew and other technical staff were physically separated, connected with studio comms run over frequently sanitised two-way radio systems.

(Photos: Anton Shykunov)

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