Ayrton lighting and grandMA3 consoles help Wooli go big for Red Rocks debut
- juliana6232
- Jul 4
- 2 min read
Ayrton Rivale Profiles and grandMA3 full-size consoles with two grandMA3 Processing Unit L packages played key roles when Wooli made his headline debut at Red Rocks Amphitheatre on April 12. ACT Entertainment is the exclusive distributor of Ayrton fixtures and MA Lighting products in North America.
Lighting Operator and Programmer Destin Klug, owner of DK Lighting, points out that on the production side, we wanted to highlight each department, opening with the lasers, lighting and video working together, then having each department take centre stage with their own big moment, then finishing with the lasers, lighting and video coming back together.”
The production featured a large upstage videowall with boxes in all four corners. The videowall was comprised of blow-through tiles. Behind the wall was a truss configuration of strobes and
beams to shine through the wall. Beam fixtures framed the videowall, shooting into the four boxed corners, creating pillars of light. Lights in the permanent spot towers extended the pillars out to the house and shot high in the air like sky tracker beams. A downstage truss held 24 Ayrton Rivale Profiles, also extending the lighting presence out to the house, while lasers danced around the stage and into the house.
Brown Note Productions, Inc. in Thornton, Colorado, served as the full- service production provider for Wooli’s Red Rocks show. Brown Note’s Knutson believes that the Ayrton Rivale Profiles “brought a great balance of output, precision and reliability” to the show. “With a 450W LED source and optimized optics, they had no problem cutting through ambient light and holding presence against the video and laser elements. Their IP65 rating also ensured resilience against the unpredictable climate of Red Rocks, reducing the risk of issues.”
Klug chose two grandMA3 full-size consoles, one active and one backup, and two Processing Unit Ls to control lighting for the show. Klug did the bulk of the show’s programming in his previs studio on his own grandMA3 light before arriving on site and doing a final programming session on the full-size system the night before the show.
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