According to programmer Dave Hill, the lighting design created for the tour has never been done before. “Of all the stadium shows I have done this is the best visual one,” he reports. “With Genesis the design develops as the show goes along. It looks pretty when the day lights change into night lights and, in addition, the drapes and pods come up.”
The grandMAs trigger 12 universes of DMX. Four NSPs are integrated into the network, three for running the show and one as spare. The grandMA controls a lighting rig consisting, among others, of 36 VARI*LITE VL5s beneath the roof, 14 VARI*LITE VL6Bs on the front of the roof, 50 Robe ColorSpot 2500E ATs on the floor and high ribs, 74 Coemar Infinity Wash XLs on the brow and high ribs, 65 High End Studio Beam PCs set across the front of the stage and illuminating the nets hanging in the background, 41 Martin Atomic 3000s on the pods and floor plus 20 ZAP Technology BigLite 4.5s, six ZAP Technology Little BigLite 3.0s and six 85K Hungaroflash T-Lights. A Barco Daylight screen, measuring 15x40 meters, displays high- and low-res components.
“The BigLites and the Little BigLites work extremely well in outdoor shows,” notes Hill. “Nowadays, the BigLites are provided with color mixing so we have four different types of moving heads. When you create a show like this you pick the best lights you can get from each brand available on the market. We have seven pods in the show, each of which has two BigLites. The lighting systems then consist of 12 PAR 64s, four Atomic 3000 Strobes and two BigLites hanging on the bottom. This system enables us to ride and stop anywhere we want from the bottom to the top of the ribs. I employ these lamps in afterglow. When the lamps are on the bottom, I lift them up and they come through the screen as a silhouette backlight.”
Hill uses the grandMA in bitmap mode to wipe a line of lights in one of the shows. “To my knowledge, this cannot be realized by any other desk,” he says.
“I like the grandMA console very much,” says Hill. “It is a good desk. It does everything I want it to do, and operating it was easier to learn than I thought it would be. MA Lighting supplied someone for all the rehearsals to assist me, but as time went along this became less necessary. You only really learn how to use a desk when building a show.”
Adam Bassett is the associate lighting designer on the Genesis tour.
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