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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When it comes to creating unforgettable immersive experiences, The Lost Estate is at the forefront of transporting audiences into lost worlds of magical music and immersive dining. Past productions include Paradise Under the Stars, which took audiences to 1950s Cuba; 58th Street, immersing guests in 1930s New York; and The Great Christmas Feast, inviting audiences into the home of Charles Dickens on Christmas Eve, 1843.

Their brand‑new experience now transports audiences to 1890s Paris, inside the legendary night‑club Le Chat Noir, a lost world of glittering cabaret performance, bohemian pleasures, vintage cuisine and live music. To bring CHAT NOIR! to life, writer and director Will Kunhardt approached lighting designer Mike Gunning to shape the visual language of the show. Having worked with The Lost Estate for many years, White Light (WL) was once again proud to supply the lighting rig for this extraordinary production.

From the earliest conversations, lighting was treated not as spectacle, but as a vital storytelling tool. “When Will Kunhardt approached me with the premise of the show, it felt like something that could be clearly and visually expressed,” says Mike. “There was a real opportunity to collaborate and create something unique.”

The creative vision was twofold: to root the audience firmly in the time and place of 19th‑century Paris, while also embracing the variety and energy of cabaret performance unfolding throughout the space. “I wanted the light to feel soft, almost like looking at an old photograph,” he explains, ensuring the environment felt authentic, intimate and lived‑in.

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Located near the Palace Pier and along Madeira Drive, the Grade II listed columns have been carefully repaired, restored and returned to their original positions following decades of exposure to the harsh coastal environment.

CU Phosco has played a key role in the project, manufacturing new heritage-style lanterns designed to preserve the original architectural character of Brighton’s historic seafront lighting while delivering the performance, reliability and efficiency expected from modern lighting technology.

The project forms part of Brighton & Hove City Council’s wider programme to restore and protect important elements of the city’s seafront heritage.

Combining heritage with modern engineering 

Working alongside restoration specialists Cast Iron Welding Services (CIWS), CU Phosco developed bespoke lanterns using original designs and historically sympathetic detailing approved by Historic England.

While maintaining the appearance of the original lanterns, the new designs incorporate modern engineering and LED technology to improve durability, reduce maintenance requirements and enhance long-term performance in Brighton’s demanding marine environment.

Extensive testing, including salt spray assessments, was carried out during development to ensure the lanterns could withstand long-term coastal exposure.

The LED optical package was carefully specified to replicate the original colour temperature and night-time character of the historic seafront lighting while delivering the performance and longevity required for a modern coastal installation.

Supporting the restoration of an iconic seafront 

The reinstatement of the first columns represents the latest stage in a project CU Phosco has supported from the early design and public consultation phases.

In 2025, prototype lanterns manufactured by CU Phosco were displayed publicly at Brighton’s Jubilee Library, allowing residents and stakeholders to view the proposed designs before production began.

Now installed on the seafront, the finished lanterns once again form part of Brighton’s recognisable skyline, helping preserve the character and identity of one of the UK’s most well-known coastal destinations.

Councillor Birgit Miller, Cabinet member for Culture, Heritage and Tourism at Brighton & Hove City Council, said:

“It’s great to see this iconic lighting back in all its glory – the column feels brand new and the brackets and lanterns look absolutely stunning. The craftsmanship and expertise should be applauded.

“This is such an important project for restoring and renewing the heritage of our fabulous seafront. The columns, lanterns and brackets are part of the city. Whether silhouetted behind the setting sun or lighting up a darker evening, they’ll remain a feature of our skyline for years to come.”

Matt Murray, Sales Director at CU Phosco, added: “This project has been about far more than replacing lighting. It has been about respecting Brighton’s heritage while ensuring these historic features can continue to perform for decades to come.

Working alongside Brighton & Hove City Council, Historic England and the wider project team, we have been able to combine traditional design principles with modern lighting engineering to carefully recreate the character of the original lanterns while improving durability, efficiency and long-term performance for the seafront environment.

Seeing the first restored columns and lanterns back in position on the seafront is a fantastic milestone for everyone involved.”

Further restored columns are expected to be reinstalled along the seafront in the coming weeks as the pilot programme progresses.

The post Return of a seafront classic appeared first on A1 Lighting Magazine.

On Luz’s lighting rig were some core Robe products, including WTF! IP rated LED strobe-wash-blinder fixtures, Tarrantula wash beams and four RoboSpot systems running with 18 BMFL FollowSpots, all supplied by Christie Lites, co-ordinated via their UK office.

Luz Studio was brought on board to produce a completely fresh live performance environment for the band, which involved delivering a full visual package, including a stage set and some very striking video content. Embracing all the visual elements collectively ensured great optical harmony and balance, a creative treatment noticed and very much appreciated by fans.

A starting point for the stage aesthetic was a massive 110 ft wide by 40 ft high upstage LED screen, with a triangular-shaped double-layered set of risers in front, flanked by two diagonal staircases and two ground-level raked diagonal trusses per side.

The band made their entrance via the venue’s large stage lift, and the show started with them ascending to stage level and initially being framed by an automated ‘hero’ triangular-shaped truss that flew out during the first number, completing the last segment of a Union Jack-shaped truss facing the audience. This was a nod to their British roots, hailing from Sheffield in the late 1970s.

As the design started to evolve, creative director Matt Larivee knew early on that they wanted to use WTF!s and RoboSpots.

He had seen the WTF!s during a visit to the Robe factory in the Czech Republic at the end of 2025. “They looked fantastic, so I thought they would be ideal for this residency, especially to cut through the massive video wall. I really needed fixtures with plenty of power and options.”

The four floor-level angled trusses traversed the stage set at around eight ft heigh, two each side, and the 18 WTF!s were deployed on these trusses.

The set was a combination of Def Leppard classic anthems, moments and greatest hits from their nearly five decades of popularity and success, together with edgy new material, so Matt needed plenty of latitude and dynamics in the lighting to cover all eras of the music.

He loves the WTF!’s zoom feature, as well as the pan and strobing options, but it was actually the warm white LED zone of the fixture that was a dealmaker for him.

This was because he knew he could get that classic retro blinder look that would help define a range of classic ‘big rock’ looks – which, together with the associated video content, were juxtaposed so elegantly.

The 24 Tarrantula wash beams were split into two batches of 12. One set was positioned on the downstage truss, used for general band and mid-stage wash, and picked for its intensity and relatively directional beam, so he could contain the field-of-light without it spilling onto the diagonal-shaped set piece upstage of the band.

The other 12 were on the floor, either side of stage, washing across the band from a lower level, again using the contained beam path to avoid messy encroachment onto the side walls.

A total of 18 x BMFL FollowSpots were utilised, running on four RoboSpot systems, each following the four mobile band members with three BMFLs from the front, plus either one of two from the back. The operators were all positioned offstage. Matt would have ideally liked to use FORTES on the system, but he was happy to go with BMFLs. They are reliable and a known fixture that have graced many of his previous designs.

Apart from the enormous flexibility that RoboSpot brings to any performance area, Matt specifically likes this remote follow system because of its straightforward application and abundance of good operators.

The fluidity and consistency unlocked by being able to imagine lighting and video worlds together with the 3D set parameters simultaneously for a high-profile show like this was visibly present, and, as with any Vegas residency, production values were high and there were many expectations.

“We – us, the band, management – all wanted the show to have an arc, so songs and timings were carefully selected where we could build those moments, and create big, bold, memorable looks that were not overcomplicated, so they really spoke out to the audience,” noted Matt.

These reinforced the songs and narrative while providing an additional tempo, framework and drama for the show with lighting and video combined. Notables included a giant leopard, which looked about to pounce off the screen and onto the stage at any moment, but these kept rolling through the nearly two hours of rock-tastic energy.

Many of the video environments also included virtual lighting, diligently calculated to riff and contrast with the real lighting onstage, evoking an eye-catching synergy of optical trickery that also helped move everything along.

The Luz Studio team worked closely with Def Leppard’s longtime lighting director, Cole MacDonald, who flew out to Montreal and pre-vizzed with them, as well as being on-site at the Colosseum and running lighting for the shows.

Luz Studio’s Pierre-Luc Bedard led the lighting programming with Philippe Marquis and Cole MacDonald.

The new-look stage presentation was a huge hit with everyone, especially the fans.

Def Leppard is a band with almost a cult following and many fans from different generations catching multiple concerts during a touring or performance cycle. Impressions from numerous comments suggest that for them, this – the band’s third Vegas residency – was a next-level, “best ever” live show phenomenon!

Photo credit: Luz Studio.

The post Def Leppard Hysteria in Las Vegas with some Robe influence appeared first on A1 Lighting Magazine.

Illuminating a community hub

The inspiration for this upgrade came directly from the track itself. Paul Whittaker, who was working for Thorn at the time and is an avid club rider and event organiser, together with Key Account Manager Craig Lensky, who rode with the club in the 1970s, approached Pendle Borough Council with a vision to modernise the Sports Hub’s lighting. The original lighting and electrical installations were carried out by a local contractor (within a 5-mile radius), who also fitted the new replacement luminaires for this upgrade. Working in close partnership with club members, council officers, and Thorn’s project team, new luminaires were manufactured in Thorn’s Spennymoor factory and a local wholesaler less than a mile away from the track, ensuring high quality and low carbon footprint.

A collaborative lighting solution

Faced with forty-one fixed column positions around the circuit, Thorn’s Isaro Pro LED lanterns were selected for their precision optics and robust construction. Each lantern contains 24 LEDs with specifically tuned drive currents and appropriate lenses, these were configured to provide even, glare-controlled light across the entire track surface while keeping spill to a minimum beyond the boundary. The 4000K colour temperature LED chipsets ensures excellent visual clarity for riders and coaches during early-morning training or late-evening sessions.

Overcoming project challenges

Addressing dark spots between the existing fixed-position columns required precise optical specification. Thorn engineers produced a Lighting Design solution and conducted multiple site visits to select the correct distribution and lumen levels to check uniformity and light levels throughout the loop. Protecting the nocturnal environment was equally critical: by eliminating upward light and minimising horizontal spill, the scheme safeguards the bats, owls, hedgehogs and rabbits that share Swinden Playing Fields.

Delivering benefits for riders and wildlife

Since commissioning, the LED upgrade has cut energy consumption by approximately 45 percent, freeing council funds for coaching and track improvements. The Isaro Pro’s uniform, low-glare illumination enhances rider confidence and safety, while precise beam control preserves dark corridors for wildlife. Maintenance demands have dropped dramatically thanks to the lanterns’ long life and accessible gear trays, keeping the circuit open and welcoming to all.

Tricia Wilson, Project Manager (Engineering & Cycling), Pendle Borough Council, said: “This wasn’t just a lighting upgrade; it was a community effort. Club members and Thorn staff all contributed. The result is a safer, greener facility that honours Steven Burke’s legacy.”

The post Community-driven lighting for safe, sustainable cycling appeared first on A1 Lighting Magazine.

Signify’s professional sports lighting solution, Philips ArenaVision Gen3.5, is approved by FIBA’s Equipment & Venue Centre, which supports venue owners to deliver high-quality, broadcast-ready basketball environments that meet FIBA’s technical standards.

Signify’s ArenaVision LED professional sports lighting systems and intelligent lighting controls are designed for elite indoor and outdoor sports environments, these solutions deliver exceptional light quality, uniformity and visual comfort, while meeting international broadcast standards. Integrated controls enable remote management, scheduling and operational efficiencies, helping venues host elite competition, enhance the live fan experience, and operate more sustainably.

“Basketball demands absolute precision from lighting. Visual comfort, uniformity and glare control are critical for both player performance and officiating, while ultra-high-definition broadcasting requires consistent light quality to capture the speed and intensity of the game. For spectators, lighting plays an increasingly important role in shaping the live arena experience,” says Niels Geven, International Director, Sports & Arenas at Signify.

“Joining FIBA Equipment & Venue Centre Approval Programme allows us to be part of their mission in raising the bar for basketball lighting globally, delivering consistent, world-class performance under the fastest and most intense conditions. Aligned with FIBA’s forward-thinking approach, we’re combining light quality, energy efficiency and intelligent controls to help venues meet elite performance demands while supporting sustainability, innovation and global broadcast ambitions.

Bart Prinssen, Head of Equipment & Venue Centre, said: “We are pleased to welcome Signify to the FIBA Equipment & Venue Centre Approval Programme in the lighting category. Their expertise aligns well with our commitment to ensuring high-quality, consistent lighting conditions in the arenas that support player performance, officiating and broadcast across our competitions. FIBA Equipment & Venue Centre defines key performance parameters, including illuminance, colour temperature, colour rendering and flicker factor, ensuring optimal lighting conditions across the playing field”.

Signify’s sports lighting is already used in basketball venues including Roig Arena in Valencia, Gran Canaria Arena in Las Palmas, and the Barclay Arena in Hamburg reflecting how advanced lighting both supports elite competition and enhances the experience for players, broadcasters and fans.

Receiving the FIBA Equipment & Venue Centre approval builds Signify’s growing momentum in global sport, reinforcing its leadership in elite sports lighting.

The post Signify’s lighting solution, ArenaVision Gen 3.5 approved by International Basketball Federation (FIBA) Equipment & Venue Centre appeared first on A1 Lighting Magazine.

Glamox has received a prestigious Red Dot Design Award for its newly launched Luxo Align office light. In recognition of its high design quality, the stylish free-standing office light received the Red Dot Award 2026 in the Product Design category. This latest award is the second major design award for Luxo Align, following its Best Industrial Design award at the IDC.25 Awards last year in Norway.

Luxo Align is a family of free-standing and pendant luminaires designed to integrate into any modern office space. With a minimalist Scandinavian aesthetic and flexible configurations, the Align range allows you to personalise your lighting to suit any office layout.

“Winning the Red Dot Award for Luxo Align is a strong validation of our focus on high-quality design and continuous innovation,” said Astrid Simonsen Joos, Group CEO of Glamox. “We supply lighting solutions to commercial office buildings all over the world and we are seeing demand for products that are not only aesthetically pleasing but are also highly energy efficient, environmentally friendly, and durable.”

“At Glamox, the research and development of our lighting products are led by the needs of our customers. Through our range of quality lighting brands, we create comfortable, flexible and stimulating working environments. Our office lighting is also built with sustainability in mind, helping our customers to reduce their energy footprint, as well as costs.”

The collection features a slim, free-standing single-arm model suitable for 1-2 desks and a double-arm model for 2-4 desks. The Pendant variations use clean line design principles and seamlessly blend into any office environment.

Built to be highly energy-efficient and sustainable, the Align family is created using circular-economy design principles. All models are constructed using 75 percent recycled aluminium and are equipped with presence sensors and support daylight harvesting to reduce energy consumption when natural light is available.

The environmentally friendly LED luminaires provide an energy-efficient 144 lm/w, while an innovative reflector design provides comfortable light with good distribution, upwards (Ca. 70 percent or 80 percent) and downwards (Ca. 20 percent or 30 percent), eliminating the need for ceiling lights.

Smart technology is incorporated into both the free-standing and pendant designs. In the free-standing models, light output is easily adjustable via built-in controls on the pole or remotely through Bluetooth via an app. The pendant version uses an IR switch for individual light control. The luminaires are matte powder-coated and available in white, grey, or black. Users can personalise their light by dimming it and selecting the light temperature that’s best for them.

“When designing the Luxo Align, we wanted to create a lighting solution for the modern office environment that combines style with long-term usability,” said Hans Bleken Rud, Industrial Designer at Glamox. “The project builds on Luxo’s heritage in task lighting, where ergonomics and visual comfort are fundamental. By rethinking how one luminaire can serve multiple workstations while maintaining performance and simplicity, Luxo Align represents a more resource-efficient and human-friendly approach to office lighting. This is especially important given that the luminaire could last 40 years, while offices are normally refurbished every 10-15 years.”

The Red Dot Design Awards is one of the world’s largest design competitions. Glamox has received numerous Red Dot Design Awards in previous years. This year’s Red Dot award ceremony will take place on 7th July at the Red Dot Design Museum in Essen, Germany.

Image credit: Glamox.

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In the day, Arnot Hill Park is a celebration of history, art and nature. Curious art trails guide visitors through wood carvings and murals, and the prominent Grade II listed Arnot Hill House overlooks the park’s lake and relaxing ornamental gardens. With no entrance fee, the public park is there for the enjoyment of the local residents and hosts family-friendly events, including the annual Arnold Carnival and Gedling Play Day.

To improve safety in the park at night, William Sugg & Co. was commissioned to supply a total of 36 impressive 30-inch Westminster lanterns, replicating the style of the existing lanterns which were originally supplied by William Sugg & Co. over 20 years before, along with the George IV columns. These lanterns are strategically positioned throughout Arnot Hill Park to achieve comprehensive coverage. The installation encompasses the main entrance road that leads into the car park, all the principal walkway areas weaving through the park, and key locations around the central buildings, which include council offices and leisure facilities. This extensive placement ensures that both key routes and communal spaces are safely lit, creating a welcoming environment for all visitors after dark.

“We’re proud to support local communities in creating beautiful and safer public spaces that everyone can enjoy. Our team are incredibly dedicated to their craft and fostering local pride in the areas where our projects are located. Through our collaboration with the Community Safety Partnership, we were able to boost a cherished green space in the area,” comments Neil Stanton, Managing Director of William Sugg & Co.

The project brief required William Sugg & Co. to respect the park’s heritage whilst introducing the latest sustainable LED technology. In response, the company undertook the replacement of the existing William Sugg & Co. Lanterns and recycled the original copper lanterns, an approach that aligns with Gedling Borough’s commitment to sustainability and the circular economy.

The intervention aimed to improve lighting levels by 25 percent, and to achieve this, William Sugg & Co. provided every new copper lantern with modern LED gear trays. All lanterns were fitted with modern COB (Chip-on-Board) LED area lens technology. This advanced lighting solution allowed light to be lensed and projected in a controlled, circular pattern, focusing illumination downwards onto the park’s paths and open spaces. The result enhanced visibility for park visitors while minimising light pollution in the surrounding environment. The use of copper for the lanterns provides a durable, long-lasting finish that further supports local sustainability goals, ensuring that the lighting solutions will stand the test of time and weather conditions.

The full improvements implemented in Arnot Hill Park, including the installation of heritage-inspired, energy-efficient lighting, enhanced cycle store security and ongoing park maintenance, have delivered tangible benefits for both safety and community wellbeing. These targeted interventions have contributed to a remarkable 57% reduction in house burglaries and a 67 percent drop in vehicle crime in the surrounding area. This successful outcome demonstrates how investment in public realms can create real change for communities. Arnot Hill Park now stands as a strong illustration of how collaborative efforts between local authorities, specialist suppliers, and community partners can create safer, more accessible public spaces that also enhance character and consider the environment.

The post William Sugg & Co. lighting lowers crime rate in Arnot Hill Park appeared first on A1 Lighting Magazine.

Robe was a go-to choice for John and Hailey, picked for the consistency and quality of the products that are helping achieve the desired creative results.

John’s journey with Hans Zimmer started five years ago, and he relishes the opportunity and creative scope of working with such a masterful artist on his live shows. For this tour, Zimmer wanted to shift the musical direction away from being orchestral-based which is often associated with his iconic film scores, and back to his roots in the German electronic punk and synth underground scene.

“It needed to be distinctively a Hans show but different,” explained John, who reveals that it was a complex brief. While there are still plenty of performers onstage, to reflect the creative and cultural shift that Hans desired, they wanted it to look more industrial-looking, clubby and raw for those harder musical moments of the set, whilst still having the capacity to open out to the big epic looks for the sounds that have defined Zimmer’s career.

John emphasises that everything they do on lighting is in support of the music and in enhancing that unique Hans Zimmer live experience. “It is a highly collaborative process with Hans himself, art director Derek McLane, screen video producer Tom Bairstow, MD Steven Doar and FOH engineer Colin Pink.”

The impressive stage set is over 20ft tall, 40ft deep and 56ft wide and includes a huge, fully functional, modular synth which dominates the central space. An African choir, brass section plus other musicians, vocalists and performers come on and off the upper set levels for much of the show, with Hans and his core band anchored down below.

The whole picture is backed by a large upstage LED screen, and another screen forms a header above the front of the stage.

To cover the full depth and dimensions of the stage set and capture all the dynamics and mood of the environment, John and Hailey needed their lighting rig to be carefully placed, and to have super bright fixtures that could stand out from the screen surfaces.

They opted for advanced, front, back and side trusses, with four large automated ‘pod’ trusses vertically aligned across the central stage area.

The 50 iFORTE LTXs are rigged on three trusses – rear, front and advanced – giving horizontal coverage across these three eyeline perspective points.

John explained that while on the previous tour they had leaned into MegaPointes, but this time they wanted to transition to something more modern with a similar feel and excellent colour rendering that was a ‘canon’ style fixture. “We wanted a light that was evocative of what we were doing before but with a really big, beautiful beam and a good zoom,” stated John.

Hailey added that the iFORTE LTXs are workhorses. “We needed a versatile, punchy and theatrical light,” she said, noting that they wanted everything to be acting and moving on a singular plane for the first half of the show, with the iFORTE LTXs helping to create this slick sheet-of-light look.

They are also used extensively for specials and big moments throughout the concert, and while 50 is a relatively expedient count for a show of this stature, used intelligently and with purpose, they provide more than enough drama and eye-candy.

The 14 standard iFORTES are rigged at the sides in the stage left and right roof side trusses and on the downstage area and were again picked for their ‘heavy lifting’ capabilities.

These were the only viable side light positions, and again the spec was for a fixture with a “highly usable and full” zoom range, according to John. In fact, on all the iFORTES and the ESPRITE LTLs they capitalise on the zoom to shape and define the stage.

These side lights were essential in building the softer and more theatrical looks for specific moments in the music, “Hans’ music is very emotive and expressive; whatever the style he is playing, there is this massive dynamic range that needs accenting appropriately,” commented John.

Hailey thinks that the band and all the various artists move well and fluidly through the show, so this dance style lighting side lighting helps incorporate this into the action as well as providing some elegant sculptural high side looks.

There are 13 iFORTE LTX FS (Follow Spot) fixtures on the rig.

Eight are on the front truss, two on the downstage edges of the two upstage side trusses and two on the upstage section of the two outer over-stage pods … plus one upstage centre high up on the ‘Mothergrid’– each running on a separate RoboSpot BaseStation, with the operators positioned – usually – in the stage right wings.

European and UK lighting contractor Neg Earth Lights (NEL) has built special rapid-deployment dollies for the BaseStations.

When in ‘follow’ mode, the operators are running the iris and dimmer channels with all other parameters controlled via the lighting console, including a global master dimmer, and Hailey is still calling the whole show.

John and Hailey both agree that the flexibility and ease of use of the RoboSpot system are a great asset to the tour. They love being able to choose between a number of different follow spots, and that the lights can be reintegrated into the main rig whenever their follow spotting duties are done.

They appreciate the excellent LTX CRI and quality of light for this specialised purpose.

iESPRITE LTL is a new Robe fixture launched in the last year, and 76 of these are rigged on the four over stage pod trusses. Arranged in two rows of 9 per pod, and they are used for many and multiple functions with the automated pods effectively forming the backbone of the lighting rig.

As with the iFORTE LTXs, they underpin this design and are the base of all the more environmental and structural looks of the show. Through judicious use of colour and gobos, the iESPRITE LTLS help take the audience into a cinematic world during movie score moments in the set.

Originally, when John and Hailey started this design, the LTLs were filling a role that was envisioned as MegaPointes, but when the iESPRITES became available, they knew it was a good decision. “We absolutely love their intensity and adaptability, and they have this MegaPointe-like beam that morphs brilliantly into more theatrical, zoomed-out gobo looks … without losing any brightness. A really impressive fixture!”

Hailey adds that the iESPRITE LTLs have “a super-usable zoom range – and we are really pushing them hard and utilising a lot of tricks.”

Both agree that the homogeneity of the colour palettes across all the Robe ranges is a huge advantage generally to matching fixtures.

Like many, John and Hailey still like MegaPointes, and 25 of the 29 on this show are on an automated truss just behind the top of the back riser.

This MegaPointe truss has low and high positions. It moves from its lower ‘home’ position to a really high trim where the light beams can peep over the downstage screen or edge of the stage adding big-lensed excitement and edginess ‘crowning’ the overall look. The same MegaPointes extensively light the choir when they are onstage.

The remaining four MegaPointe fixtures are utilised to light the spectacular aerial performer who flies above the audience in a mirrored suit created by ‘Be The Discoball’ during a rendition of the famous “Interstellar” soundtrack created by Zimmer for the 2014 movie.

Finally completing the Robe elements of the rig are 43 Tetra2 moving LED battens which are an essential part of the floor package, lining the edges of each stage level, adding to the postmodern techno look, and perfect for producing some spectacular sheet-of-light looks. They are also helpful for expanding the notion of space in larger venues.

The challenges of lighting an evening with Hans Zimmer are keeping it looking constantly fresh, interesting, and surprising – the same goals that have made evolving this show so enjoyable for John and Hailey.

It is a long show with an intermission, and video content does not run for each number, so pacing the lighting and visual effects is the magic formula, parallel with Zimmer as he builds out the space musically with a flow of mini sinfoniettas collaged from symphony-length pieces.

“The energy levels ebb and flow,” elucidated John, “We tend to leave plenty up our sleeve for the second half.” The screen is also used sparingly, almost like a scenic animation … so the whole arc of the show is well-paced and carefully curated, leading up to a big rock finale.

Apart from that, for John and Hailey – one of two daughters who have both followed John’s industry career path – this is their second major father-daughter large touring venture, which is very cool.

John concludes, “This tour is a big extended family on the road with many people I love both personally and professionally. The music is incredible, it touches people very deeply and profoundly, and it’s a real honour to be part of the team delivering this vision in a live setting.”

John and Hailey worked with Chris Herman as co-designer and lighting programmer. Zach Boebel is lighting director on-the-road and also calling the spot cues together with Hailey.

The lighting crew chief is Jonathan Shelley Smith, and across the touring techs across the two EU legs of the tour are Sam Blakemore, Sam Morley, Stephanie Felstead, Bram Depaepe, Rachel Axton, Jonathan Sellers, Lyle McNally, Paul Howling, Cian Green, Davide Palumbi, Beatrice Banionyte and James Gould. They are working closely with the automation team comprising Euan Odd, Kimi Bennet and Giovanni Mota.

The tour director is Michael Weiss, production director is Jim Baggott, and Mark Botting is the head tour manager.

Photo credit: Suzanne Teresa @suzanneterezaphoto.

The post Robe helps Hans Zimmer take it to the next level appeared first on A1 Lighting Magazine.

The late-night style event comes complete with panel discussions, games, special – and surprise – performances, and collabs, as well as awards that recognize Bravospheric talents and achievements throughout the year. The November 2025 event was presented by Embassy Row Productions in conjunction with NBCUniversal at PH Live in – where else? – Las Vegas!

This was lit and production designed by John Viesta – president and principal designer of design studio Infinite Designs Inc. – who has been working his own creative magic on WWHL since 2010. To keep all that energy pumping, he included a serious amount of Robe moving lights among other fixtures on his lighting rig, in the form of 48 iFORTES, 134 iFORTE LTXs, 3 iFORTE LTX Follow Spots and 22 Tetra1s.

The design and lighting needed to capture the excitement and thrill of pacey live televisual moments, combined with the drama and spectacle of large-scale theater, as BravoCon 2025 featured 29 panels streamed on Peacock – available the day after the live presentations in Las Vegas – while separately, Andy Cohen recorded 5 episodes of BravoCon Live with Andy Cohen.

It was a truly full-tilt environment where all involved in the production needed to be constantly on their toes.

A version of the set had been used before, appearing in the 2023 BravoCon Live with Andy Cohen event. The design concept for the Vegas show captured the spirit of Andy Cohen’s late-night show WWHL by combining a NYC mid-century modern aesthetic and the styling of Las Vegas of the same time period, including a striking and elegant 80-foot-wide proscenium arch encrusted with incandescent lamps. John also used a number of lighting treatments to transform the set, including built-in fixtures that added a contemporary edge.

With PH Live generally being a much larger venue than the previous Paris Theater in Las Vegas, everything was upscaled. During planning, John realized that he would need much higher-powered profile fixtures than had previously been available to handle the 150-200 ft throws at PH Live.

That is where he got talking to Marty Postma, sales director at Robe North America. The two had attended college together and were already in touch, so they started talking and John began looking at Robe.

He needed a luminaire that looked great on camera and was bright enough to cover the throw and ideally a moving light that could also frame small and precise shapes and areas.

“I tested pretty much every moving light in that league that was available,” explained John, “and the iFORTE LTX was the only one that had the real firepower that I needed.”

It was the first time that John had used Robe’s powerful iFORTE fixtures, and a testament to the confidence he had in the products that he was prepared to do so on such a prominent and high-profile live televised show environment.

“Using these modern big-lensed fixtures really assisted with the general aesthetics; the abundance of fixtures enabled us to fill the airspace meaningfully,” he observed.

As it happened, PH Live had also just taken delivery of nearly 75 iFORTES and 9 iFORTE LTXs equipped with LightMaster rigs to be part of their house rig, so John had access to these, in addition to all the other Robe elements that were supplied to the event by lighting and rigging vendors Main Light.

The iFORTE LTXs were all rigged in the FOH area and used for key lighting. They were needed to cover the whole stage, which was at times completely filled with people. The iFORTES were positioned on a downstage bar just above the show portal.

The follow spots comprised 3 iFORTE LTXs running on 3 RoboSpot BaseStations, and it was also the first time that John had used iFORTES for this task, for which he was super impressed:

“The brightness is fantastic. They have decent CRI for camera … they look great on people and have great repeatability – so they return to exactly where we placed them – and color consistency was also very important over these distances. I’ll definitely be using them again!”

Various gobo iFORTE looks were additionally used to wash and texture the venue, creating some cool ambience.

John created a frame of fixtures outside of the show portal, alternating Tetra1s with tiny LED wash fixtures. He notes this effect made a gorgeous “Pearl Necklace, framing the stage.”

The main challenge in delivering BravoCon is the very short rehearsal window, which requires the whole creative team to be fluid, dynamic, and adaptable during production and filming, as ideas can and do change … and they need to be accommodated quickly and efficiently.

The pressure of the live broadcast is also something John loves, as well as it being a big pressure. “This is my favorite project to work on,” he enthuses, adding that Andy is a kind and generous individual with whom to work and who loves to push the boundaries of what is technically possible. “Good leadership comes from the top.”

John’s background is in theater, and Broadway in particular is where he carved out his professional niche. He has used Robe BMFLs in that world as follow spots and T2s on Tina: The Tina Turner Musical, so he knew the brand already, but this was his first big televisual extravaganza using Robe in such a mission-critical way.

“iFORTES are fabulous fixtures and I look forward to using them more frequently,” he notes, adding that when he met Robe CEO Josef Valchar – who is at the heart of the product development – he thought he was very inspirational, and also likes the fact that the company is independent and that the products are manufactured locally in Czechia.

Working alongside John on BravoCon 2025 was an incredibly talented team, including his Infinite Designs colleagues, Tyler M. Perry, who looked after the scenic design and Ben Travis, who was the technical supervisor. The lighting director was Greg Goff; Josh Selander was lighting director/programmer, John Salzmann was the gaffer, with Tom Thayler as associate gaffer, and the best boy was Eric Kaspersin.

Scenery was by PRG and Daedalus, with additional scenic elements from Kihl Studios.

Photo credit: Charlie Sykes.

The post Robe gets fired up for BravoCon Live event appeared first on A1 Lighting Magazine.