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Robert Juliat Dalis 860 supplied to Scottish Ballet

Scottish Ballet has recently taken possession of a second consignment of Robert Juliat Dalis 860 cyclorama lights bringing its total inventory to twenty-six. The Dalis 860 fixtures were supplied by Adlib’s Glasgow branch. Robert Juliat is distributed exclusively in the UK by Ambersphere Solutions whose Ian Green supported Adlib and the Scottish Ballet in this project.

Scottish Ballet’s curved cyclorama is 15 m wide with a 6 m deflection and 7.5 m high. “We positioned the Dalis units just 1.5 m behind the cloth”, says Scottish Ballet’s Technical Director, Matt Strachan. The RJ Dalis 860 cyclorama lights were purchased in two batches in early and mid 2020 to fit budget availability, and each unit was supplied with Quick Rig fittings and a flight case set up with link cables, DMX, etc as a complete package.

“We can wheel them out individually as they are, where and when we want them”, says Strachan. The additional Dalis 860 fixtures gave Strachan and his team the opportunity to “futureproof” the Ballet’s full scale shows, which will start with ‘The Nutcracker’ during the winter season tour 2021/22. “Not only can we now populate the top and bottom of cyc entirely with Dalis for maximum coverage in a traditional setting, but we also have the flexibility of the kind that arose when we filmed ‘Odyssey’”, says Strachan.

‘Odyssey’ is a new work choreographed by Scottish Ballet Soloist Nicholas Shoesmith. Directed by Ciaran Lyons, it was a short dance film that took viewers on a journey through a gaming landscape inhabited by otherworldly beings, where the real and virtual collide. Filmed during lockdown in a 20 m2 x 8 m high pop-up performance space in Scottish Ballet’s production area, the futuristic design proved an unconventional setting for Dalis 860. Strachan rigged 26 Dalis units vertically on the set truss, in full view of the cameras, where they became an integral part of the structure within the virtual area.

“Our initial assumption was that we would have to cover them with frost and conceal the units”, says Strachan, “but the TV Lighting Director asked for the covers to be removed as he wanted to see the lights themselves. We ended up making a feature of them on the structure for the camera looks and the TV team replaced the lighting they brought with them. It was great to use Dalis in a completely different way from what we actually purchased them for.” Scottish Ballet’s house MA2 lighting programmer, Kieran Kenning, created a series of designs to run up and down the face of the fixtures, making full use of their range of colours and programmability.

(Photos: Andrew Ross)

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