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Travis Shirley chooses Robe for Enrique Iglesias tour

Travis Shirley chooses Robe for Enrique Iglesias tour
Travis Shirley chooses Robe for Enrique Iglesias tour

The lighting for the latest European section of Enrique Iglesias’ world tour was specified by creative director Travis Shirley as part of his production design which also incorporates video and set, with Robe as the first choice of moving lights.

 

For this section of the tour, which visited the Czech Republic, Greece and Slovenia, BMFL Spots, Pointes and Spiiders featured prominently on the rig, together with six Robe BMFL Spots used for an integrated follow spotting solution, all provided by Czech Republic based rental house ZL Production, working for promoters BG Arts.

 

The main overhead rig was based on seven trussing fingers, upstage/downstage orientated, each one gently angled and slightly raked, together with the diagonally cropped LED screens and the geometric slants of the set and trussing, they brought architecture to the performance space.

 

Each of these finger trusses was populated with seven BMFL Spots and these 49 fixtures were the workhorses of the rig and used for all the stage washes and effects. Shirley picked the BMFL Spot to compete against three large 8 mm LED screens upstage - a 70 ft. wide surface in the centre flanked by two 18 ft. wide strips, all 24 ft. high.

 

Onstage, at the foot of the video wall were two levels of band risers running the full width of the stage which were also clad with the same 8 mm pitch LED. Six BMFL Blades for band key-light were positioned upstage and shot through the finger trusses to highlight the band. In addition to the finger trusses, another lighting effect was a 175 ft. wide truss loaded with up to 60 Pointes (36 for this leg of the tour) which was just in front of the video wall.

 

There was a sizable runway coming off the front of the stage which Enrique used to get close up and amidst the crowds, and that plus a short barriered passageway got him onto the C stage at the back of the arena floor. Above the runway a truss was loaded with eight Robe Spiiders to provide general washes and blast out into the venue, with another eight Spiiders on the inverted V shaped front truss. 

 

Positioned out front for this tour were four BMFL Spots fitted with Robe’s LightMaster side-mounting kits. LightMaster comprised a set of externally mounted programmable follow spot handles with a control panel and two individual faders.

 

A further two BMFL FollowSpots were positioned at each end of the front truss - where they would conventionally have had operated front truss spots. These were operated by two follow-spotters utilising Robe’s remote RoboSpot BaseStations which were located upstage right. Another two RoboSpot BaseStations were used to operate two of the FOH BMFL follow fixtures.

 

Travis Shirley worked closely with his lighting director Cassady Miller-Haloren who programmed and operated the show using a GrandMA2 console. The GrandMA also triggered the Catalyst media servers running the playback video onto the central screens. Content was commissioned by Shirley and produced by Lightborne, and for the first time on this leg of the tour, both lighting and playback video were timecoded triggered.

 

They also had around 36 lasers which Shirley integrated into the show together with flames, cryo machines and pyro, including a confetti blast to end the show.

 

(Photos: Louise Stickland)

 

www.robe.cz

 

 

Travis Shirley chooses Robe for Enrique Iglesias tourTravis Shirley chooses Robe for Enrique Iglesias tour

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