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Sven Kucinic lights Gibonni with Robe

Sven Kucinic’s lighting design for Croatian singer-songwriter/composer Gibonni’s two major arena concerts in Zagreb involved 140 Robe moving lights. These shows signalled the kick-off of a tour by the artist which will start later in the year.

A series of scenic set pieces was designed by Neven Stojakovic based on the theme of clocks - an idea from Gibonni himself - and time, loosely related to and translated from the title of the last album. Using these as references, Kucinic added the trussing and lighting, and in collaboration with Stojakovic, developed the shapes and placement of the fragmented LED screens.

For these shows and the subsequent tour, he wanted the lighting to have a more theatrical and dramatic feel and be closer stylistically to a musical theatre performance than a pop show. He created five inverted T-shaped pendulum-like trusses hanging down from the roof to get lighting positions spread out at different levels, with five different sized and shaped “fragmented” LED screens, part flown, and part ground supported, filling in the lower half of the upstage wall behind the set.

The lighting supplier was Promologistika, one of Croatia’s biggest rental and production companies, which has a large Robe inventory. Kucinic’s design included 24 new Fortes which arrived just in time for Promologistika to get on the gig, together with 24 new Spiiders which were delivered at the same time via Robe’s Croatian distributor LAV Studio.

Kucinic positioned the Fortes on the over-stage trusses where they were primarily used as FX spots. While they didn’t physically move much, they were a key visual ingredient of the show. The LD used them to project gobos onto the backdrop which brought extra depth and width to the stage, and they were key fixtures in what Kucinic was determined to keep as a straightforward design - for the practicalities of getting in and out expediently - but also one that was required to do a complex job.

Twenty-four of the forty MegaPointes were rigged on four of the pendulum cross bars with the rest on the floor, so they were spread out for the beam effects. They were the main effects lights of the show, and they worked all the time to create the numerous big, bold looks that matched and contrasted with the video content and characterised the performance.

The central pendulum bar was populated by six Spiiders. Kucinic had been bugging Promologistika to buy these fixtures particularly since last year’s Fusion World Music Festival, and he was delighted when they did. The other twelve were positioned along the main front truss in the roof, trimmed at 19 metres. On full zoom they covered the stage and set in colour.

One of the initial ideas was to have 24 BMFL Spots upstage blasting through the scenic clocks from behind, but the fixtures ended up being moved to the top rig, right above the backdrop from where they produced some effects shooting down from this lofty and heaven like position on the rig.

MMX WashBeams - still a favourite Robe classic in Croatia - were scattered around the front truss for specials, and to boost the cross stage side lighting each side, there was a bar of six LEDWash 600+s. Kucinic also used two Fortes as manually controlled follows spots, fitted with the LightMaster handle kits, and linked to his GrandMA3 console for controlling of most parameters. He ran all the lighting, which also included some LED washes, blinders and strobes, from the GrandMA3.

Promologistika ordered 48 new Forte and Spiider fixtures for these shows. The crew included head of lighting Boris Zigic and Promologistika CEO Zoran Biskupic. Video was also supplied by Promologistika. The playback content was designed by Marina Uzelac, and the playback co-ordinated, programmed and operated by Promologisitka’s head of video, Kristina Bengez, with some additional input from Kucinic. The live camera/IMAG director was Viktor Krasnic.

(Photos: Klik-Kid/LumiLas)

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