The IJmuiden Ver Alpha 2GW land substation in Borssele, Zeeland, is the first of eight planned for the Netherlands. Wind turbines produce AC electricity, but to reduce energy loss during cable transportation over long distances, AC is converted to DC by offshore HVDC platforms. Once ashore, the land stations convert the 525 kV DC to 380 kV AC for input to the high-voltage Dutch electricity grid. Similar stations will also be constructed in Germany.

This latest onshore contract follows contracts announced by Glamox in September 2025 to supply connected marine lighting and light management systems for 11 offshore High Voltage Direct Current (HVDC) converter platforms for the same 2GW Program.

Glamox’s customer is SPIE Nederland, the Dutch subsidiary of SPIE, an independent European leader in multi-technical services for the energy and communications sectors. SPIE will install the energy-efficient LED lighting, which includes customised DALI-connected MIR linear luminaires (including some Dark Sky versions), MAX explosion-proof luminaires and E20 emergency lights for technical areas. Corridors and offices will feature DALI D70 downlights and C95 R minimalist ceiling lights, while O21-W wall lightsand Electra street lights will light the building’s exterior and perimeter.

“Glamox was able to meet our demanding specifications, involving customising several luminaire designs to meet specific needs, such as high lux levels and various other settings. Backing up the lighting are the necessary certifications and environmental product declarations. Finally, there is a good relationship with Glamox, which is supplying lighting for the offshore converter platforms for this amazing project – a project that supports the EU’s goal to decarbonise the continent,” said a spokesperson from the project team at SPIE.

The lighting fixtures will be delivered in six shipments up to October 2026. The land station is expected to be operational in 2029.

“The award of this contract demonstrates that we can support both the offshore and onshore needs of massive renewable energy projects,” said Jeroen de Jonge, Managing Director of Glamox in the Netherlands. “This strong collaboration with SPIE saw each party invest time and effort to arrive at a superior product that precisely meets the customer’s needs. I see this as an investment for the future.”

Image: Artist’s impression of TenneT 2GW Land Station. Credit: TenneT.

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The Awards provide a great opportunity to share best practice, promote electrical safety, gain recognition, and give clients and customers confidence in products and services.

Award categories to enter include: 

Product of the year:

This category is open to products launched on or after June 1st, 2024, that enable a safer way of working on or near electrical systems.

Paul Skyrme Electrical Safety Initiative of the year:

This category is open to organisations, charities, individuals, and other industry stakeholders who have enhanced electrical safety through an outstanding initiative. The initiative must have started after June 1st, 2024. For example, this may be a marketing or awareness campaign, workplace safety initiative or resident engagement exercise.

Changemaker of the year:

This category is open to an individual who has gone above and beyond their legal requirements to have a positive impact on electrical safety within their workplace. Entrants should provide evidence of this positive change in the workplace from 1st June 2024.

Derek Thompson Industry Service Award:

This award is for an organisation or individual who has contributed to enhancing electrical safety for a sustained period of typically over five years. You must not have previously submitted this application as an entry for the awards.

Who can enter

The Awards are open to all individuals and organisations based in the UK with a notable interest in electrical safety.

The ESR Above and Beyond Awards are free to enter and open to all. You can nominate yourself, another individual or an organisation. Entrants may enter multiple award categories and submit multiple applications to the same award. However, all submitted entries must be tailored to each category.

Commenting on the ABA, Fraser Herd, Chair of the ESR Workplace group, said: “The Above and Beyond Awards are a fantastic opportunity to showcase some of the incredible work organisations and individuals do to enhance electrical safety. We look forward to a great Awards year!”

Applications close at 23:59 on 1st August 2026. Winners will be announced in autumn.

The post Electrical Safety Roundtable’s Above and Beyond Awards 2026 now open for entries appeared first on A1 Lighting Magazine.

Located in the South Atlantic Ocean, approximately 550 miles south of the equator and midway between Brazil and Africa, Ascension Island Airport plays a critical role as a refuelling stop for aircraft travelling between the UK and the Falkland Islands. Operated under joint control of the UK Ministry of Defence and the United States Air Force, the airport’s Wideawake Airfield is a strategically important asset requiring reliable, high-performance infrastructure.

After more than 35 years of service in a harsh coastal and marine environment, the existing apron lighting system had reached the end of its operational life. Corrosion, obsolete components and ongoing maintenance challenges meant a full upgrade was required to ensure continued safe and compliant airfield operations.

Gantech Solutions Ltd was appointed to deliver a design and build solution, working closely with CU Phosco to develop a robust and future-proof lighting system tailored to the unique demands of the site.

The original project brief called for refurbishment and reuse of the existing high mast structures. However, following a detailed site survey and technical evaluation, it became clear that this approach would not be viable.

Lionel Gapper, Director at Gantech Solutions Ltd, explains: “Although the original brief considered reusing the existing masts, our site investigations and further structural assessments showed that corrosion and long-term stress had significantly impacted their integrity. Reuse was not a safe or reliable option.”

Working with CU Phosco, an alternative solution was developed that retained the existing concrete foundations and cabling infrastructure while introducing new high mast systems designed to meet modern performance and safety standards.

The final solution comprised 5 x 20m high masts fitted with 35 FL800R-2 LED floodlights and 2 x 20m high masts and 2 x 15m mid-hinge masts fitted with 16 FL820-1 LED floodlights.

New masts were engineered to match existing foundation and bolt configurations, allowing installation without major civil works. Each mast incorporated modern winching systems, new lighting cradles and upgraded control systems to improve reliability and ease of maintenance.

Lionel continues: “We worked closely with CU Phosco to develop a solution that met the constraints of the site while delivering a significant improvement in performance. Using the existing foundations and infrastructure where possible helped reduce complexity, while the new masts and lighting system ensured long-term reliability.”

The lighting design was developed to meet the required illumination levels and operational standards set by the Ministry of Defence, USAF and international aviation guidelines, ensuring safe and effective apron operations.

The completed installation has delivered a major improvement in both performance and efficiency at Ascension Island Airport.

The transition from legacy SON lighting to LED technology has significantly reduced power consumption, while providing improved light quality, uniformity and visibility across the apron.

Lionel adds: “The difference in performance is clear. The new LED system provides far better light quality and consistency, while also delivering substantial energy savings. Given the remote location of the island, reliability and ease of maintenance were key considerations, and the new system addresses both.”

The upgrade has reduced total power consumption from approximately 72kW to 22.96kW, delivering a saving of over 49kW per hour. This represents a significant reduction in operational energy demand, alongside improved long-term efficiency.

In addition to energy savings, the new installation offers improved reliability in a harsh coastal and volcanic environment; reduced maintenance requirements due to modern components and simplified systems; a design life aligned with long-term operational requirements; and enhanced safety and compliance with relevant aviation standards.

The post CU Phosco delivers robust, future-proof lighting solution for one of the world’s most remote airfields appeared first on A1 Lighting Magazine.

This year’s expanded edition welcomed 2,909 attendees, including 2,311 visitors and 598 exhibitor personnel, with overall visitor numbers up 2 percent and exhibitor attendance up 3 percent on 2025. Across both days, the show recorded 3,658 visits, with many people returning for both days.

The show continued to attract a strong cross-section of decision-makers, technical professionals, creatives, students, freelancers, and business leaders. Directors, owners and chairpersons accounted for 16.8 percent of attendees, while 37.3 percent held final purchasing responsibility. Students represented an increased 13 percent of the audience, underlining the event’s growing role in supporting the next generation of industry talent.

A broad spread of sectors were represented, including live events, theatre and performing arts, concert and touring, festivals, corporate events, commercial AV, venues, education, broadcast, installations and more.

Visitor interests were also balanced across core technology areas, with audio, lighting, AV/video, rigging, stage engineering and power all strongly represented.

“PLASA Focus Leeds has always been about creating a space where people can connect properly, have useful conversations, and get hands-on with the technology shaping our industry,” said Sophie Atkinson, Head of Events at PLASA.

“This year’s expanded footprint allowed us to welcome more exhibitors and features, while keeping the friendly, focused atmosphere that makes Leeds so special. The quality of attendance, the engagement across the show floor, and the response from students and early-career professionals all show just how important this event continues to be.”

A focused show floor with more to discover

For 2026, PLASA Focus expanded further into the Royal Armouries, welcoming 211 exhibitors across lighting, audio, AV, rigging, staging, power, control, production services and more.

The show floor remained true to the Focus format, combining practical access to new technologies with a relaxed, easy-to-navigate environment. This year hosted a strong line-up of UK debuts and new releases across lighting, audio, rigging, control and connectivity.

Visitors could see products including Roxx’s UK debut Icon series, Ayrton’s MagicBlade Neo, Claypaky’s Arolla Aqua fixtures, Chauvet’s COLORado PXL Curve 1, HH Audio’s TNi-WX speakers, Neutrik’s True1 Data Connector Series, d&b audiotechnik’s U-Series speakers, ChamSys’ MediaMaster 26, RCF’s EVOX J9 and J11, Robe’s GigaPointe and EM Acoustics’ CS Series cardioid subwoofers.

Manufacturers, distributors, suppliers and service providers were able to meet visitors directly, compare products across disciplines, and discuss real-world applications with the people behind the technology.

“Every year PLASA Focus Leeds exceeds expectations with the quality of visitors, and this year was no exception. As always, the heart of PLASA is the people, catching up with old friends and making new connections.” said Bernie Marsh, Business Development Manager, Prolight Concepts Group.

“PLASA Focus Leeds 2026 was a fantastic show for Penn Elcom. It was great to reconnect with so many familiar faces from across the industry while also meeting plenty of new customers,” said Paulina Parda, Sales Support, Penn Elcom.

“PLASA Focus Leeds was once again a fantastic event for us this year. It remains an important meeting point for the industry, bringing together manufacturers, partners, customers and friends in a very relaxed and positive atmosphere,” said Eva Gerlach, CEO, Indu-Electric.

“With UK operations having been handled from Harrogate since KV2 Audio’s inception – PLASA Focus on ‘Home Turf’ is always valuable and an important part of our calendar,” said Tom Weldon, UK Sales Manager, KV2 Audio.

Industry support across the show

PLASA Focus 2026 was once again proudly supported by headline sponsor Ambersphere Solutions, alongside café sponsor IPS, courtyard sponsor LANG UK, video sponsor AV Matrix, and lanyard sponsor Leisuretec.

Official sponsors for 2026 included Adamson Systems Engineering, BeamZ, Disney Cruise Line, HH Audio, IPS, Link UK Solutions, PixelLogic Solutions, and RCF.

Their support helped shape a dynamic visitor experience across the venue, from the IPS-sponsored café and LANG UK’s courtyard presence to brand visibility, technology showcases and networking spaces throughout the show.

New features bring fresh energy

Among the new additions for 2026 was Speed Networking, which made its Leeds debut following the success of its London edition.

Delivered in collaboration with The Power of Events, Production Futures, and Access Industry, the feature offered students, freelancers and early-career professionals a structured way to meet people working across lighting, audio, AV, rigging, staging and live production.

Taking place in the IPS-sponsored café, where IPS marked its 20th anniversary, the sessions reflected the wider spirit of PLASA Focus in Leeds: approachable, practical, and centred around meaningful industry connection.

LANG UK also brought its Road to PLASA experience to the outdoor courtyard, with a custom-built demo truck offering visitors the chance to explore advanced video switching and compositing workflows in a mobile studio environment.

Meanwhile, EM Acoustics hosted a dedicated audio demo room, giving visitors a focused listening environment for its latest systems, including the CS15 subwoofer and Reference Series loudspeakers. KV2 Audio also returned with its popular audio demonstrations, while ChamSys delivered hands-on lighting control training across the show.

Learning, training and industry insight

Sponsored by LSi, the PLASA Focus seminar programme offered a wide-ranging mix of technical content, career advice, business insight and future-facing discussion.

Sessions explored key themes including technical skills development, AI, cyber security, sustainability, freelancing, employment law, funding, career pathways and industry best practice.

Together with hands-on demos and training, the programme gave visitors the opportunity to learn directly from industry experts while engaging with the wider conversations shaping entertainment technology.

Supporting new talent

The 2026 audience included a strong student and early-career presence, with students making up 13% of total attendees. Alongside the seminar programme and Speed Networking, the show provided a welcoming entry point for those looking to build confidence, ask questions, explore career routes and connect with employers, suppliers and industry professionals.

“PLASA Focus Leeds gave me a great opportunity to network with some of the biggest companies in the industry to explore employment options that are open to me post University. Everyone was happy to listen to my questions and give me great guidance and opportunities to help with my career progression,” said Callum Foy.

“It was such a brilliant show! I saw so much new equipment and learnt so much as a student. The variation in equipment was huge. I will definitely be attending next year!” said William Biker.

“A perfect place to network and speak with willing industry professionals… and walk away from the event being confident in my next steps regarding my professional future.” said Rummanah Promi.

Strong app engagement

The official PLASA Focus app continued to support the visitor experience, particularly across the expanded venue.

For 2026, the app recorded 2,023 unique logins, representing around 70% of total attendees. It also generated 513,364 impressions and 5,019 bookmarks, helping visitors browse exhibitors, save sessions, plan schedules, and navigate the show more efficiently.

Looking ahead

PLASA Focus returns to the Royal Armouries in Leeds on 11th – 12th May 2027, continuing its role as one of the UK’s most focused, friendly and practical meeting points for the live entertainment technology sector.

To register interest for next year’s edition, visit:
www.plasaleeds.com

The post PLASA Focus 2026: Expanded, energised, still unmistakably Leeds appeared first on A1 Lighting Magazine.

The Michael Northen Award
This award is sponsored by the Go Live Theatre Projects (previously the Mousetrap Foundation) and ETC.   The winner of this award will receive a £500 voucher prize, and a 512 ETC nomad™ Package. The winner will also receive a copy of Michael’s book – “Northen Lights”.

Applications are welcome from current students (not just those on vocational theatre courses), Affiliate members of the ALPD, and recent graduates (who graduated no earlier than 2024) even if they are not currently a member, who have demonstrated strong, imaginative and creative lighting designs, detailed production documents or thorough programming files.

The Fred Foster Production Electrician Award
This Award is sponsored by ETC and dedicated to the late ETC CEO, Fred Foster.

The winner of this award will receive an engraved trophy sponsored by ETC

In a change to previous years this award is open to nominations rather than applications. Nominees will be pursuing full-employment in a production electrics career; they will have predominantly worked in the presentation of live performance in places of entertainment: i.e. on theatre, dance or opera productions in theatres and opera houses or on theatrical experiences in non-conventional spaces either in house or as a freelancer. They will have achieved a mastery of their chosen discipline. They will have consistently delivered at a level of excellence throughout their career. They will have sought to promote best practice and technical excellence while delivering world class performance. They will be a great collaborator. They will be worthy of recognition.

The Anne Valentino Award for Excellence in Programming

This award is sponsored by ETC and dedicated to Anne Valentino, who has been a key contributor to console development and design for both Strand and ETC.

The winner of this award will receive an engraved trophy sponsored by ETC

The criteria for nomination are:

They will have been pursuing full-employment as a programmer; they will have predominantly worked in the presentation of live performance in places of entertainment: i.e. on theatre, dance or opera productions in theatres and opera houses or on theatrical experiences in non-conventional spaces either in house or as a freelancer. They will have achieved a mastery of their chosen discipline. They will have consistently delivered at a level of excellence throughout their career. They will have sought to promote best practice and technical excellence while delivering world class performance. They will be a great collaborator. They will be worthy of recognition.

The Awards will be presented at the RCSSD/ALPD New Technology Showcase in January 2027.

Further Information, terms and conditions and details of how to apply are available on the ALPD website at: www.thealpd.org.uk/the-alpd-awards-for-excellence-2026

All submissions for the Michael Northen Award MUST be received by midnight on the closing date – Thursday 31st October.

Nominations for the Fred Foster and the Anne Valentino Awards must be received by 6 pm on Wednesday 16^th December.

The post Applications for the ALPD Awards for Excellence 2026 now open appeared first on A1 Lighting Magazine.

“We wanted a building that shows what we are capable of,” says Bas van Tilborg, executive board member of Simac’s parent company. “Light plays a key role in that.”

A showcase for smart building technology

Rather than constructing a new building, Simac opted to redevelop the existing TechniekHuys, creating a sustainable workplace that reflects its own technological expertise. The headquarters now acts as a live demonstration environment, incorporating a fully wireless smart building management system.

“Our new headquarters is a showcase. For our customers, but also for ourselves,” Van Tilborg explains. “Everything we experience here, we use every day in the solutions we provide to our customers.”

Lighting forms a visible part of this concept. Integrated with wireless control, TRILUX LED luminaires contribute to a connected system that combines illumination, data and energy efficiency.

Fast-track delivery with a clear lighting strategy

The project was delivered within a tight programme, with just eight months between handover and occupation.

“We had no more than eight months between receiving the keys and moving in,” says Van Tilborg. “Then you have to act fast.”

TRILUX developed a structured lighting concept using Finea pendant luminaires for office areas, Sonnos downlights and a 3-phase track system with B.veo spotlights for feature spaces. The scheme balances functional lighting with architectural integration across different areas of the building.

A key element was the integration of wireless controls, enabling automatic adjustment based on daylight and occupancy.

“Our sensors also measure humidity, light and noise levels, temperature and the number of people in a room,” Van Tilborg explains. “We use that data not only to control the lighting, but also the indoor climate.”

“For example, if only two people are in a meeting room, we don’t need to ventilate as if there were ten. Thanks to the new system, this is controlled automatically. That saves energy and improves comfort.”

Human centric lighting across all areas

User comfort was a central consideration throughout the project, with Human Centric Lighting (HCL) implemented across workspaces as well as circulation areas.

“The comfort of our people comes first,” says Van Tilborg. “We have many different types of spaces with varying levels of natural daylight. With HCL we can balance that, and it truly makes a difference.”

In some areas, this required customised solutions. Secondary workspaces built from standalone units were adapted to support HCL through collaboration between Simac and TRILUX.

“You could keep it simple, but we chose to develop a custom lighting solution together with TRILUX. That caused a few months’ delay for those units, but now everything fits perfectly. I’m very happy we made that choice.”

Data-driven flexibility for the future

Alongside the lighting upgrade, the building layout was reconfigured to support flexible working, replacing fixed desks with shared, activity-based spaces.

Data collected through the lighting and sensor system provides ongoing insight into how spaces are used, allowing continuous optimisation.

“We know exactly which rooms are used and when,” says Van Tilborg. “And that offers opportunities. If a space is structurally unused, we can redesign it.” Because the system is fully wireless, luminaires can be repositioned easily without structural changes. “Just regroup them and it’s done.”

The same data can also be used to optimise building operations, including cleaning schedules and room booking systems.

Collaborative delivery under tight timelines

Close coordination between all project partners was essential to meet the programme.

“The pace of our renovation was high, but we were able to align instantly,” says Van Tilborg. “Thanks to the clear architectural drawings and TRILUX’s pragmatic approach, the lighting concept turned out exactly as we envisioned.”

A phased installation approach, working from the top floor downwards, allowed the project to progress efficiently. “TRILUX adapted seamlessly.”

A workplace designed to perform

The completed headquarters has been well received by employees and visitors alike, with lighting designed to support both comfort and interaction.

“The light doesn’t stand out – exactly as intended,” Van Tilborg notes. “I work at the office more than before. Not only because of the building itself, but because of the pleasant atmosphere and interaction it creates. The lighting definitely plays a role in that.”

The building also serves as a demonstration space for clients, showcasing the potential of integrated smart technologies.

“It’s great to see how impressed visitors are. They immediately get a clear picture of what we can offer. And that’s what it’s really about: inspiring people.”

Van Tilborg concludes: “Pay attention to the details. Trust me, they matter. More than you think. If you have the chance to do something really well, then do it. We’re glad we made that choice.”

The post Simac HQ integrates lighting, data and control with help from TRILUX appeared first on A1 Lighting Magazine.

The 70^th edition of the world’s best-known international pop extravaganza was organised by the European Broadcasting Union (EBU), together with the host broadcaster, which this year was Austria’s Österreichischer Rundfunk (ORF).

A stunning production lighting design, featuring nearly 550 Robe luminaires, was created by Tim Routledge and his team, working on their third ESC event, and collaborating closely with set, video and production designer Florian Wieder to present a vibrant, flexible and visually impactful environment.

This had to work for the needs and imagination of all 35 delegations, for audiences catching the excitement first-hand right there in the Stadthalle, and for the millions from around the world tuning in on various live streamed and broadcasted channels to experience the event unfolding.

Prominent on the lighting rig were 190 of Robe’s just-launched GigaPointe laser-source multifunctional moving light, 98 WTF!s – IP rated LED strobe-wash-blinder fixtures – and 25 Robe HolyPATT vintage-style LED ‘scenic’ luminaires.

In addition to these, Tim’s general lighting rig included 182 Robe SVB1 multisource LED wash beams, which he also used on last year’s event in Basel, Switzerland, and have since become a firm favourite.

He also chose 64 Robe iFORTES and iFORTE LTXs – fitted with the HCF (High Colour Fidelity) engines – for all the key lighting and specials on the main stage and in the Green Room, this year located in the arena opposite the stage along the other ‘short-end’ side of the venue.

The impressive architecture of the performance space was based on curves, spheres and understated elegance juxtaposed with elements of fun and quirkiness – in the true spirit of Eurovision. It offered a technically smart universe of possibilities for all performing there.

A large, sweeping ‘signature’ passerelle feature with video floor started at ground level stage left and looped around the middle of the room in front of the stage, curving upwards at stage right in a giant rollercoaster-style loop, snaking around to finish high up in the roof stage left.

A portrait-oriented central LED screen curved seamlessly from above into the stage floor below and extended into a central thrust that traversed the arena floor, splitting into a double staircase at the other side, ascending to the Green Room.

All of this brought a beautiful flow and harmony to the scene for lighting and playback video, which seamlessly combined with the other technical disciplines and worked brilliantly as a piece of televisual art.

The central screen was framed either side by seven columns of moving lights, bringing an epic and breathtaking cinematic feel to the entire space and giving clear sight lines from all around the arena.

Tim’s highly talented team included his associate lighting designers Morgan Evans and James Scott; moving light programmers Alex Mildenhall and Martin Higgins; key light programmer Marc Nicholson; overnight programmers Olly Martin and Manfred Nikitzer; follow spot caller Louisa Smurthwaite and playback video producer Sam Lisher and team. His gaffer and crew chief was Keith Duncan.

All lighting equipment for the event was supplied by rental company Neg Earth out of the UK, with whom Tim also worked on last year’s event and on his first ESC as lighting designer in Liverpool, UK, in 2023.

Tim was delighted to be able to use GigaPointes on this show and they became “headline fixtures” of the show.

The product was just launched at ISE in February and powered by a 350W white phosphor laser source engine, it is a hugely anticipated multifunctional effects fixture, and it was a real moment to have so many of them used on such a high-profile event, following a demo at the end of 2025.

In Vienna, they were positioned all around the space.

They were prominent along the top of the front sections of the passerelle and underslung below its elevated sections upstage. They were rigged around the central semi-circular trusses in the roof, right at the heart of the rig, and were on all four sides of the main stage at floor level.

GigaPointes were used extensively throughout all performances, especially for gobo and beam looks, with the SpectraBeam effect utilised a couple of times to create unique high-impact effects, most notably for San Marino, which comprised rainbow focused looks.

They also featured prominently in the flourishing ‘stage-ready’ sequence that cut in just after the postcard video sequence – in the upcoming country’s flag colours – for each contestant’s intro, accompanied by an orchestral stinger.

Morgan Evans commented, “They were excellent workhorses – we all loved them! Nice and bright, they worked hard, reliably and extremely well throughout the event in these multiple different positions. A highly versatile multi-use product.”

Tim echoed these comments, adding, “GigaPointes provided us with an aesthetic backbone,” revealing that he was so pleased with their performance that he’s specified them for Take That’s summer 2026 “Circus” stadium tour.

The 98 Robe WTF!s were the main strobe unit on the lighting design, deployed on the roof trusses running the length of the room either side, and on the large central ‘crown’ semi-circular trusses – the innermost ring – above the stage, alternated with GigaPointes and other fixtures.

Tim already had some experience of using a much smaller quantity of WTF!s on popular UK rapper Dave’s most recent tour, so he knew their potential and was very happy to have them on ESC.

“I love their directionality, and we fully used all the sets of LED chips and the zoning for various effects,” he explained, adding that they appreciated being able to pan and tilt the fixtures, which, together with the zoom, proved extremely handy at times for reducing glare into the cameras.

Conversely, they utilised zoom and LED zoning to create cool colour temperature effects, and the ones along the audience trusses helped with washing the arena.

“Lots of options for TV with these,” noted Tim, who has also spec’d these for another upcoming tour.

Eurovision is one of the most-watched/highest-rated live music broadcast shows in the world, and as always with any camera-based show, key lighting is paramount!

Robe’s iFORTE with its high CRI and excellent quality of light has been a white light go-to for Tim since the product was launched, and here they were rigged strategically in all the main key lighting positions for the main stage and Green Room.

iFORTES were positioned all around the arena on the periphery trusses and the two outer ring trusses above the stage – their power was ideal for the long throws from these positions.

Twelve of the 64 x iFORTES were paired with different remote follow systems, including three Robe RoboSpots.

These iFORTES were used for all the main stage key lighting and were critical to every shot, “They are one of the best – I absolutely would not be without iFORTES on a show like this,” he confirmed.

Eurovision is all about making a diverse range of stars from many cultures shimmer with luminance and magic as they deliver their songs, and he used Robe’s SVB1 fixture on the 2025 ESC event in Basel, Switzerland, and really loved them.

So much so that they were included on the main rig for this year – and in the meantime, Neg Earth had also made a substantial investment in SVB1 luminaires that was delivered by Robe UK.

The fixtures were spread out around three of the four large circular roof trusses and helped emphasise the structure. They created the base looks for a host of versatile twinkling kinetic effects, which could be bold or subtle depending on the artist.

The Green Room design stood out this year for its retro, cosy, classic Viennese-style coffee house concept, and the 25 x HolyPATTS were beyond the perfect movie prop for framing this, providing a highly stylised spherical ‘tungsten’ glow, visible in every wide and medium-wide shot.

The Vienna Radio Symphony Orchestra was positioned in the Green Room for the grand finale, and they were also dressed with HolyPATTS behind their risers.

Tim and the team applied the highly accurate tungsten emulation with style and panache to bring a highly theatrical feel to the space.

One of the major technical and creative challenges this year was the decision by ORF to shoot the shows – which also included two televised semi-finals to narrow down the field to the 25 finalists – on large chip film cameras, an ESC event first.

For Tim and the lighting department, this meant that more depth, definition and detail was visible, so they had considerably more latitude to play with lighting adjustments and fine-tuning affecting how elements like strobes and pyro would look on camera – harder, softer, etc. “It enabled us to add more texture and finesse to every performance,” he stated, and this really showed on the final broadcast.

Linked to this, the LiveEdit camera software used to cut the broadcast mix could also pre-select different colour LUTs that would run on all cameras for the different artists, so more stylised lighting looks and treatments could be developed and optimised.

Tim described this process as “very satisfying, as it effectively gave us more chance to paint with light,” which also made perfect key lighting – and the role of those iFORTES – even more critical!

Eurovision 2026 was presented by Victoria Swarovski and Michael Ostrowski, plus Green Room host Emily Busvine and the winner was Bulgaria, whose DARA gave a stonking performance of her catchy Balkans banger “Bangaranga”, heading off Israel’s Noam Bettan, who came second with “Michelle” and Romania’s third-placed Alexandra Căpitănescu with her song, “Choke Me”.

Photo by ORF Cloud.

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Now firmly into its fifth year, the Silhouette Awards is a global mentorship programme dedicated to identifying, celebrating, and supporting the next generation of lighting design talent. Launched in 2021 through a collaboration between Parrot PR and Marketing and Archifos, it has evolved into a vibrant international community that champions creativity, knowledge-sharing, and forward-thinking design across the lighting industry.

Over the years, the programme has supported and helped transform the careers of participants worldwide, and this year also marks a significant milestone of 100 mentor–mentee pairings, reflecting the scale and impact of the growing network.

Bringing together mentors, mentees, sponsors, and contributors from across the programme, the event represents a key moment of reflection and celebration – recognising five years of mentorship, creative exchange, and professional development within the lighting design industry.

Taking place from 16:30–21:30 (UK time), the programme will explore the impact of the Silhouette Awards community to date, whilst looking ahead to the future of emerging talent and the evolving role of mentorship in shaping creative careers. This flagship event is designed as a curated evening of talks, dialogue, and global contributions that reflect the breadth and depth of the programme’s network.

The event will open with a welcome – addressing the journey of the Silhouette Awards, its community impact, and the structure of the event, alongside acknowledgements of supporting partners and sponsors, leading into the evening celebrations.

The Silhouette Awards event is supported by a range of industry partners and sponsors whose involvement helps bring the programme to life, including Signify Academy as Conference Sponsor, Studio Due as Evening Reception Sponsor, formalighting as Entertainment Sponsor, and One Eighty One as Tote Bag Sponsor, alongside continued media support from darc Media as official press partner.

In addition to the conference programme and evening reception, attendees can also expect a few carefully curated entertainment and community moments throughout the celebration.

A carefully curated programme of talks, conversations, and global video contributions will follow, moving between keynote reflections, mentor and mentee dialogue, and international perspectives. Together, these moments are set to highlight the depth of experience within the Silhouette Awards community and the shared values that continue to shape it.

Following the structured programme, guests will be invited to continue conversations at an evening networking reception with drinks and entertainment, offering further opportunity to connect and celebrate five years of the initiative. This milestone event reinforces the Silhouette Awards’ ongoing commitment to mentorship, inclusion, and the development of emerging talent across the industry.

Eve Gaut (Co-Founder) of the Silhouette Awards said: “Reaching five years feels like a defining moment for the Silhouette Awards. What began as a commitment to mentorship has grown into a living, evolving community shaped by the voices, journeys, and generosity of everyone involved. This event is about recognising that shared journey, while continuing to open doors for the next generation of talent.”

Katia Kolovea (Co-Founder) added: “The strength of the Silhouette Awards has always come from connection – between mentors and mentees, but also across cultures, disciplines, and stages of career. This milestone event is a reflection of that collective energy. It’s a moment to reflect on what has been built, and to look ahead with intention, confidence, and care for the future of the industry.”

Attendance and registration

The event is open to the wider lighting and design community, and all attendees are kindly requested to register in advance through the RSVP platform due to limited capacity.

Attendance is complimentary for independent lighting designers, mentors, mentees, students, and invited guests of the Silhouette Awards community.

Manufacturers and industry professionals wishing to attend are warmly welcome to join through the available industry support tickets via the RSVP platform, helping support the delivery of the conference programme and evening celebration together with our event sponsors.

Spaces are limited and early registration is strongly encouraged.

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Commenting on the award, the outgoing Society of Light and Lighting president Kristina Allison, said: “The honorary fellowship recognises a significant contribution not only of services to the Society but to the wider lighting profession. It’s sanctioned by the Executive Committee of the SLL. The work that both do with Recolight has a positive impact on the industry and is incredible.”

Usually, one award is given each year, but this year an exception was made. Previous recipients have included Kevin McCloud in 2010, Jonathan Speirs in 2003, and Philip, The Duke of Edinburgh back in 1959.

F Mark Ltd founder Simon Fisher FSLL and Circular Lighting Report editor Ray Molony gave the citations for Harvey and Castine respectively.

On accepting his award, Nigel Harvey said: “I’m absolutely delighted to receive the honorary fellowship of the Society of Light and Lighting. The recognition of professional peers, colleagues and friends is uniquely special. My sincere thanks to the SLL Executive Committee for the award. But I’m only the helmsman at Recolight. We’ve an amazing team, who all play vital roles and this award belongs to us all.”

And Suzanne Castine said: “Thank you to the SLL executive committee for recognising the work I do. Marketing is an overhead, so we’re constantly looking at ways to reduce cost. And as a not-for-profit funded by our WEEE Scheme Lighting manufacturer Members, it’s even more critical for me to be mindful of spend. Therefore, I keep our work in house and don’t use agencies. We were recognised for going above and beyond and were in a room full of lighting professionals who do that too. So many have helped Recolight along the way, presenting at webinars and conferences, offering support, guidance and help.”

As a Sustaining Member of the SLL, Recolight are part of a network of businesses who collaborate to give financial, technical and practical support to a wide range of Society initiatives.

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Ryan – who was born and raised in the beautiful Caribbean island of St Martin before moving to Amsterdam initially to study – likes to be an industry trailblazer and has built a reputation for being innovative and creative in a career that is also his passion.

Ryan already owned a moderate amount of DMX lighting fixtures and control consoles and would hire in a variety of other lights as and when needed, primarily from film lighting rental specialists like Het Licht. However, as moving lights are still relatively scarce in the film and TV world, as a lighting programmer and operator, he had for some time wanted to bring the concept of them more into the picture.

That said, this was a massive commitment for an individual to make, and a great endorsement of Robe’s premium products.

The investment is already paying off for Ryan, who uses his iFORTE LTXs constantly on all types of projects: “It’s taken quite some time and some serious persuasion to get moving lights accepted on sets, but once DoPs, gaffers and directors can see for themselves what can be achieved and how quickly the team can work with them … there is now a growing demand!”

With less demand in this discipline and limited investment from film lighting rental companies in moving lights, Ryan identified both an immediate income opportunity and a way to significantly enhance the technical quality of shoots.

Film lighting culture also went through a substantial shift during COVID, when virtual shoots and streaming expanded, with both genres calling for new and different approaches to lighting. “Having moving lights to help create these environments made the whole production process better, smoother, and more efficient,” stated Ryan, who still thought long and hard before making the choice of fixtures to purchase.

Ryan has used different Robe products in his work since the T1 was launched in 2018 and had visited the Robe factory two years previously on a trip organised by Robe’s Benelux distributor, Controllux, where he was inspired by the quality of the production facility as well as the general vibes and setup.

“The technology they are building there is really different and interesting. Robe listens to feedback from end users, and visiting the factory also gave me great insight into what Robe is all about as a company and a brand,” he noted.

Colour mixing, perfect skin tones, and high CRI are vital in film, TV and commercials, and Ryan believes that Robe lights are a market leader here.

He wanted a light that could mimic plenty of effects like natural light flowing in through windows, trees, and other objects, and for creating reflections, refractions, and finessing other subtle but beautiful complex water effects, for which the iFORTE LTXs have plenty of features and scope.

The lights had to be energy efficient and sustainable, so the iFORTE LTX ticked these boxes. They also had to be pole or tripod-mountable to make them viable as a gaffer’s tool, as trussing is not always available, and they needed to be adaptable enough to use both in studios and on location.

He experimented with a unit and discovered that iFORTE LTXs would fit on a Long John stand, which currently elevates to 4 metres and is a basic minimum gaffer’s toolkit requirement, and they had to be capable of being rigged on a cherry picker: “Basically, the lights I wanted had to be practical and usable in multiple scenarios.”

In addition to all of these considerations, the lights had to be robust and reliable, and that’s just one place where Robe’s reputation goes before it!

As well as using the iFORTE LTXs on his own jobs, Ryan has had plenty of interest from other gaffers and lighting operators who want to see how they work.

Ryan is based in Amsterdam and works extensively around the Netherlands, Europe, and other parts of the world, honing his craft and bringing new tech to his art where possible. He enjoys the people and the intense teamwork involved in film and TV productions, as well as the chance to be properly imaginative with lighting. He gets the chance to work in many cool locations and spaces and personally loves sci-fi and horror genres, in part for the huge latitude they offer for creative lighting detail!

Photo credit: Louise Stickland.

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