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Robe Show Lighting at the Emmy’s
Robe Show Lighting’s ColorSpot 1200 AT fixtures were integral to LD Tyler Littman’s eye-catching design for the 32nd International Emmy Awards Gala, staged at the New York Hilton. Lighting design and consultancy for the star-studded, high profile event and TV broadcast was supplied by Littman’s New York based company Sholight, and See Factor supplied the equipment.
It was the first time that Littman has used these Robe moving heads, which came highly recommended by several people including two of his crew for the Emmy’s, Ed Duda and Eric Perry. Both had worked with the Robe fixtures on Deep Purple’s 2004 ‘Bananas’ world tour for LD Louis Ball.
Littman specified 18 ColorSpot 1200s - Robe’s top-of-the-range most powerful fixtures - for the Emmy’s design, combined with assorted generic fixtures which he programmed and operated via a GrandMA console. He was highly impressed with the ColorSpot 1200’s performance, stating: “Robe’s will become the new work horses of my designs.”
For the show, he utilised the ColorSpot 1200s for the dual roles of accenting on the set and for washing the whole stage, where the exceptional variance of the ColorSpot 1200s zoom allowed him to shift the units from being hard edge fixtures to wash lights. To create an even softer beam, he used the frost filter, “by far one of the best I have seen to date, he comments, adding that its smooth transitions are “a real plus in a television environment where fast transitions can be seen as shifts in luminance.“ He likes the “incredible“ light output which holds up exceptionally well on camera.
The fact that the crew were equally enthused by the fixtures was a real bonus. With the first hand knowledege of the Deep Purple tour behind them, Duda and Perry assured Littman that the Colour Spots were totally relaible. “It is nice to have a fixture that can be rigged in the knowledge that half the day won’t be spent with the crew working on them.“
Along with many other Robe advocates, Littman also loves the ColorSpot 1200’s standard gobo selection, which he used to create “nice breakups and beautiful graphic beams“ for the show. He also placed two units upstage on the floor to help create atmospheric effects on camera, where once again the fixture’s intensity came into its own. “On camera, the fixtures beams looked solid rather than almost imperceptable splotches - an issue I‘ve had with other fixtures in the past.“
The 1200’s were also employed to create back lighting for the presenters – the show was hosted by Graham Norton – and again, “the intensity, the strong colour system and the fantastic zoom“ allowed him to generate the ideal type and quality of rear light needed for a large televised event.
He concluded: “Finally here’s an affordable lighting tool with all the top components needed to become a new industry standard.“
6th January 2005
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