Stage Directions: Lighting for The Little Mermaid – the first time the show has been staged in Belgium – was designed by Luc Peumans of Genk-based international design practice, Painting with Light, and lighting equipment was delivered by leading Benelux rental company, Phlippo Showlights together with audio and rigging. As a part of his design, Peumans worked with the Robe RoboSpot system, which was teched by Ilse Witlox, also the lead operator, who is an expert in the somewhat ‘black art’ of followspotting. Precise followspotting was absolutely crucial to a complex and visually rich production like this.
2 comments:
I love the musical Little Mermaid, and I love the idea of a ground supported follow spot system. I think the Robe Robospot system is a ideal example of innovative technology. This system is in direct competition with the Black Track systems that tries to one hundred percent automate and computerize the follow spot needs. And as much as we want that system to work I have seen just how complicated it can be integrate that technology into a show. Organization of the receivers, and the insertion of the inferred beacons, plus the hassle of setting up all the inferred cameras needed to make that one system work. It is really overly hard. I think the ground supported spotting systems are the most appropriate places for use to be at with the level of technology we currently have and that actually works well. The thing that impresses me the most is what both systems share. As a designer these systems give tons of flexibility to really light everything the way it really should be.
A ground follow spot system, rather than one run by technicians the whole night, is a real step into the future for theater technology. Not only is this more cost effective during long run shows, allowing them to spend a large sum once rather than more money over time for the huge number of operators to hire, but also allows for more freedom and flexibility in the design of the spots, as they can be placed and used almost anywhere in the theater if necessary. It also allows for more responsive lighting - even if it's not using a pure spot, it would be cool to use these for effects tracking moving scenery set up with infrared or some other type of trackable signature, allowing you to spot and light moving set pieces just like people. That being said, I'd love to really see how well these work in person - infrared tracking can be finicky at times, and I'd love to see how accurate the live tracking systems for these lights really are.
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