Robe for Vinegar Bottle installation in Auckland

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New Zealand‐based lighting designer Rachel Marlow of Filament Eleven 11 created an edgy and exciting ambience with ‘Who Lived in a Vinegar Bottle’, an immersive lighting and audio installation work staged over four days in Auckland Town Hall Concert Chamber. Rachel used the venue’s lighting equipment which includes Robe MMX Spots, WashBeams and T1 Profiles . Collaborating with Rachel was Bradley Gledhill who assisted in the design, rigging, lighting programming and timecoding; and dramaturg Benjamin Henson with whom both Rachel and Brad have worked on previous invigorating projects.

Lighting wise, this included the notion of creating an art installation using what are essentially rock ‘n’ roll moving lights, plus a few custom elements, and this was one of the key provocations. The performance area was beneath a box truss in the centre of the room. The four MMX Spots and eight MMX WashBeams were rigged on this, with the single T1 Profile (on loan from JANDS NZ, and Auckland Live subsequently purchased a new batch of 5 x T1 fixtures) was positioned right in the centre of the box. The T1 Profile was selected for the centre luminaire because Rachel needed a powerful light source with framing shutters to keep it in a tight space, and a fixture with a wide range of looks, colours and effects for that central role. Well familiar with the MMX range as a general lighting tool for her theatre and music work, Rachel knew exactly how to make the fixtures work for this piece. Brad also knows the Robe fixtures very well, which assisted in programming the finer details. T1 and MMX effects included rapid shutter cut chases that gave the impression of movement and fluidity around the space as the light mimicked the audio image during certain parts. Having these Robes available ”definitely helped facilitate the ideas I wanted to achieve,” commented Rachel. “The T1 is a fabulous light to control and it especially had a lot of impact during the louder and more intense moments towards the end.” All the lights were programmed on one of the venue’s grandMA2 consoles and ran to timecode for the four evenings that the show ran.

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