Robe lights up the stage of the final phase of American Idol 2023

The unprecedented filming of the live finals of American Idol 2023 from the Red Studios Hollywood gave lighting designer Tom Sutherland the opportunity to DX7 of designing a new staging with a great importance of solutions of Robe.

The new decoration of American Idol was the starting point from which Sutherland trabajó en el nuevo diseño de iluminación. Elegante y moderno, el área de actuación tenía una distintiva forma de diamante, permitiendo la incorporación de una gran cantidad de fuentes LED, pantallas, paneles y tiras de iluminación, además de un llamativo suelo LED. Finalmente, tras analizar el mercado, el diseñador se decidió por una gran cantidad de luces móviles Robe en su esquema de iluminación, entre la que destaca la utilización de 137 MegaPointes, 104 Treta2 (destinados a looks y efectos especiales) y 49 Spiider LED, among other teams.

Todas estas soluciones se utilizan de forma muy versatile, adapting to each need of the format and the performances. For example, Tom decided to mirror the diamond-shaped floor design with a grid of Spider located on the ceiling, forming a structure that resembled a type of “contemporary chandelier”. A framework of MegaPoints surrounded this grid, but it is not the only use these Rode moving lights were put to: they were placed further along the stage wraparound structure at the front, above the side edges of the stage, and along “stage structure 1,” which curved around the back of the stage area. In addition, five MegaPointe on each side of the deck and four behind the live band to create a structural look and silhouette effects from that angle.

Los Tetra2 They were used to frame the stage's LED screen, a large surface that divided and moved left and right to allow entrances and exits. In addition to these Robe products, he used other 700 lights in the assembly. “The challenge is always making sure you're using the most appropriate technology and making sure you're always pushing the boundaries and keeping things looking unique and distinctive.”

All lighting for the series was programmed on a console grandMA3 of MA Lightning and was carried out by Bobby Gray and Harry Forster, who worked in the first and second half of the season respectively. The white lights were controlled by Nate Files, the series director was Phil Heyes and the executive producers were Matt Banks and Megan Wolflick. The lighting equipment was supplied by Felix Lighting, and everything was coordinated and managed by account manager, Nicole Barnes.