AVL World

Pop Rock Festival Slovenia

Slovenia’s 2017 Pop Rock Festival, is a high profile national TV live event broadcast from Ljubljana, where lighting designer Crt Birs a and set designer Greta Godnic worked their creative magic in a special collaboration … with the help of 200 plus Robe lighting fixtures! The PopRock festival rig included Spiiders, BMFL Blades, Pointes, MMX Wash Beams, Squares, LEDBeam 100s, PARFect 100s, CycFX 8s, LEDWash 600s and ColorSpot 1200E ATs. All were
supplied by Slovenia’s largest lighting rental company, Event Lighting, which now has a rental inventory of over 350
Robes. At the heart of the rig was a lighting ‘chandelier’, a square shaped truss loaded with a high concentration of lights – 16 x Spiiders, 8 x Pointes, 16 x LEDBeam 100s in a 4×4 matrix nucleus, and four Robe Squares delineating each corner. The main overhead trussing design comprised three diagonally flown squares of which the chandelier was the central one. Thirty-six Pointes were the core effects lights, with eight each loaded on to the three diamonds and the other twelve positioned around the front and to the sides of the stage. Crt and Greta didn’t want a large
imposing LED screen upstage.


Instead, they decided to light through a stretched gauze back-cloth as a rear visual feature, with a mix of Sunstrips and Robe LEDBeam 100s concealed behind, then revealed for power-accents and WOW moments. Twelve BMFL Blades covered the center and back lighting with a row along the upstage edge of the stage deck and two behind the set at the sides. Two more at the back of the hall were used as follow spots. Ten MMX WashBeams and 10 more Spiiders on the front and rear trusses were used to light the stage, set and orchestra.
Twenty-two LEDWash 600s washed and colored evenly down each side of the venue with another six on the outer two squares. The PARFect 100s (with 10° & 20° diffusion filters) were fitted to the venue’s pillars and spread out over the floor while 6x CycFX 8s under the stage at the front gave the illusion that the stage was floating. “Having this many and such a wide variety of Robe fixtures at my fingertips gave me plenty of creative options, so it was down to my programming skills and imagination to be able to deliver 15 completely different looking performances,” he said. Crt programmed and ran all the lighting on a  console using a mix of timecode and
manual cuing.


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