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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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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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.

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Pharos Architectural Controls are exhibiting at PLASA Focus Leeds on 12th – 13th May 2026, presenting their latest developments across its lighting control portfolio, led by significant new capabilities within the Pharos Express range.

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This year’s production features a full lighting refresh that includes Elation’s PARAGON M LED profile moving head, supplied by 4Wall Entertainment. The fixtures play a central role in shaping the show’s visual language from subtle emotion to high-impact concert-style moments.

Visual storytelling

The modern-day passion play delivers an immersive retelling of the life and death of Jesus. Working alongside Creator & Founder John Bolin and Director Andrew Harmon, Fournier helped shape the look of a show that leans heavily on visual storytelling.

“Lighting plays a gigantic role in guiding the audience’s experience,” explains Harmon, who has been directing the show for the past 15 years. “Lighting tells the audience where to look and, in many ways, it becomes part of the dialogue. It says ‘this moment is important’ or ‘wow’ or ‘this is a sad moment.”

“Precision”

An Emmy Award nominee for his work on Fox’s The Masked Singer, Fournier brings a wealth of experience across broadcast, film, and live events. His connection to The Thorn dates back to 2010, having first joined as a lighting tech under early collaborator Robby Kurtz of 4Wall. Departing in 2012 to pursue his own career before returning to this year’s production, Fournier collaborated closely with Harmon and Bolin on the production.

Each year, The Thorn adopts a guiding principle to focus on, with ‘precision’ chosen for 2026. “Even before the tour started, we focused on precision with the crew,” Fournier explains. “When we brought in the PARAGON fixtures, they immediately meshed with that concept.”

Fournier, who serves as production manager, lighting designer, and lighting director on the tour, embraced that philosophy while refining a design he inherited from previous Thorn collaborators. Given creative freedom, he introduced new programming elements, sharpened the visual look, and added his own ‘tips and tricks.’

“It’s been a lot of fun,” he shares. “We kept the core of what makes The Thorn special but upgraded the rig to deliver sharper, more precise lighting throughout the show.”

A versatile rig for a dynamic show

Recommended by 4Wall’s VP of Business Development, Robby Kurtz, PARAGON has proved to be a versatile and reliable solution on the tour. “I’ve been thoroughly impressed,” says Fournier. “The framing shutters are incredibly accurate, the colors are rich, and the increased lumen level across the stage really shows. The precision on those fixtures has been great.” He adds that they haven’t had to touch the spares or even reset a fixture.

The lighting system includes 36 PARAGON M fixtures deployed across the rig. Ten are positioned on the front-of-house truss for key lighting, while the remainder are distributed across side-stage torms and overhead trusses. The majority—32 units—are integrated with a real-time performer tracking system. To cover the variation in the story, Fournier says he leans into the fixture’s full feature set.

“We’re using virtually everything the fixture offers for high-energy, concert-style looks to very quiet, emotional moments,” he explains. “One of the biggest comments we get when people first see the show is that they didn’t expect how varied and impactful it would be, and it’s what makes the experience so powerful. One minute it’s deeply theatrical, set-piece driven and dramatic, and the next it feels like a full-on rock ‘n’ roll show. It’s a full experience.”

Creating emotional impact

The ability to support storytelling through light is central to the production and PARAGON effects capabilities, from color floods to break-up textures to mid-air beams, all play a key role in maintaining visual interest throughout. Among the many visually striking scenes, one moment stands out for the designer and, undoubtedly, for many who see the show.

“It’s the starry night scene when Jesus is born,” Fournier says. “Dot gobos from the PARAGONs cut through the haze, and it feels like you’re really inside that moment. Using gobos and the animation wheel while tracking creates these beautiful, evolving shadows and textures as the focus moves around to the different zones. The beam spread across the room, and the clarity of the fixture really carries the emotion and underscores the importance of that moment.”

While The Thorn assumes that many audience members are familiar with its story, the production aims to create a deeper connection. “We assume that most people know the story of Jesus, but they might not have experienced it or felt it,” Harmon says. “We hope people leave the show with a different understanding of the story of Jesus and that they feel it more emotionally.”

Powered by partnership

4Wall provided the AV package for the tour, including the new lighting kit. Fournier credits the company for helping shape the system, and for its excellent on-the-road support. “4Wall has been incredible to work with,” he said. “The gear looks brand new out of the box, and Robby Kurtz and Gabe Thruston are great to work with. It’s a great team and makes a big difference when you have that level of partnership on a tour like this.”

Photo by Cora Wagoner.

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Located in Brattland, just outside Åre, the power line pole stands 32 metres high and is a pioneering combination of art and engineering. With the Åreskutan mountains in the background, it has become something of a landmark for those travelling from Östersund.

Stockholm Lighting Company delivered all the hardware, lights and controls at the first installation and for this upgrade. The pole’s lighting is managed by a single universe Pharos Designer LPC controller, an all-in-one control solution that is ideal for interactive and integrated lighting installations. As a rugged, compact unit, the Designer LPC offers complete reliability operating 24/7.

The LPC features individually controllable and independently running timelines and scenes, allowing the user to build dynamic, precise, fully customisable pre-programmed lighting effects with the freedom of real-time manual overrides and the versatility of powerful show control and integration features.

The intuitive system changes expression according to the season, showcasing different colours and lighting schemes to reflect the natural environment around it. The dynamic scenes also celebrate national days in Sweden, and the pole acts as a beacon for visitors to the area.

Lina Strömmer, Managing Director at Stockholm Lighting Company, said: “Many people who pass Brattland see the pole as a welcome signal lighting the way for them. The Designer LPC from Pharos has allowed us to create a fun and flexible system with customisable optics to future-proof the pole and continue to create a design that meets the client’s needs.”

Ryan Sainsbury, Regional Sales Manager for UK. Ireland, N. Europe and Benelux at Pharos Architectural Controls, added: “The dynamic lighting transforms the pole into a visual landmark for the community. By utilising our Designer LPC, this unique structure can provide not just efficient functional power but exciting artistic lighting and scenes that spark the imagination.”

Project credits
Lighting Controls: Pharos Architectural Controls.

Supply & Commissioning: Stockholm Lighting Company.

Lighting Design: Light Bureau.

Fixture Manufacturer: Lumenpulse.

Photography: Kai Piippo.

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Steven leaned into using 68 Robe iFORTE and 60 Robe Spiider moving lights as the primary lighting and effects fixtures for the show, supplied, together with other lights, sound, video and rigging, by Dublin-based rental company, Just Lite, project-managed by John McGuinness and Paul Smith.

Steven first met the band – Robbie Cunningham, Oisín McCaffrey, and Ross McNerney – when they were opening for Hozier, also one of his clients, on a US tour. They liked what he was doing and asked him to produce some lighting magic for them, culminating with these four high-profile arena shows.

Amble liked the idea of having a big back wall of lights, so after initial discussions, Steven took this as a starting point and framed this with an eye-catching LED pros arch to complement the wall of Spiiders. In addition to the three members of the band, these Dublin shows featured up to six guest performers onstage. Fundamental to Steven’s aesthetic, in addition to creating a fantastic lightshow, was “keeping them close together.”

Their success trajectory has been rapid – day jobs were quit and recording contracts were only signed in 2024 – so they are still relatively used to performing on much smaller stages. “I didn’t want to have a 60 ft wide stage with a load of dead space and people feeling uncomfortable,” Steven explained, so the LED pros and the back wall of lights functioned as practical set pieces, to which he added risers for guest artists.

The back wall of 10 wide and 6 high Spiiders on ladder trusses made a big dramatic statement and Steven also used it to create subtle twinkling and kinetic effects. Spiiders gave him “many options” and were interspersed with some blinders and strobes.

Spiiders were chosen as he wanted “a big face wash light,” adding that the central chip and Flower Effect were instrumental “in giving the show a unique look and an edge at times.”

The 68 x iFORTES were positioned on the overhead and front trusses and also on side torms with 12 fixtures on the floor for some rear lumen power.

Steven has used the iFORTE numerous times. It is a go-to when working festivals, so he knew it was a “bright, reliable, versatile choice with a good gobo set,” and that it would produce all the effects he was envisioning as well as excellent key light.

Six of the iFORTES rigged on the front truss were paired with a remote follow spot system with two front lights each designated to the three Amble band members together with one iFORTE from the back – on a separate truss just upstage of the pros – so for every person there were 3 iFORTE follow spots. They were complemented by side lighting from another 8 iFORTES to complete the key light picture.

The 12 iFORTES on the floor were used for big, bold, sumptuous beamy backlight looks.

Time was tight, there was no pre-production time at the arena – they loaded in and went straight into the first show – however Steven was able to build most of the show on Capture and spent two intense days of pre-vizzing at Just Lite’s studio in Dublin.

Prior to the Arena shows, Steven completed a quick run of shows with the band in the UK in smaller venues like Glasgow’s Barrowland Ballroom and London’s Shepherd’s Bush Empire, carrying only a small floor package in a trailer with the main workhorse being 6 x Robe Spiiders.

For Steven, it was a fun experience to work with a fast-rising band again who are “great lads and very enthusiastic” to deliver these landmark arena shows and get the chance to present a clean, modern look that focused on Amble and their music being the centre of the action, surrounded by a slick and creative supporting production.

“It’s very much a show about the band’s performance, so we created an architecture around them and lit it appropriately, putting all the emphasis on them but with capacity to go a little crazier as the show evolved,” he concluded.

Photo credit: Steven Douglas.

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Los Angeles-based creative company DX7 Design, who have worked on this event since its inception back in 2023, procured 270 of the JDC2 IP hybrid strobes from vendor PRG, along with 500 of the super-powerful JDC Burst 1, as their role this year extended far beyond simply outfitting the circuit grid and pit lane, reaching every corner of the city.

Led by the company’s CEO Tom Sutherland, the team created an expansive design, which spread from the track and paddock through six remote fan zones.

Tom explained: “Emily Prazer took over as race CEO this year, and her directive was to elevate the event into something more experiential, but within the same budget for lighting, audio and video. Her driving force was to bring Formula 1 more into the entertainment space, and we were given a blank canvas to develop a design that we could lay out across the entire city. It was essentially a festival meeting a sporting event.”

And the dynamic of GLP’s ultra-bright, flexible hybrids was key to the many show elements, including driver introductions, podium celebrations and the fan zones.

The 270 pieces of JDC2 IP lined the front of the F1 paddock and were used for colour chasing, strobe effects and displaying the F1 logo, while delivering the power needed for both live and global broadcast audiences. The ability to display the F1 logo had been one of the event highlights, said Sutherland. Thanks to the fixture’s NDI integration, video content could be streamed to the fixture’s RGB pixel plate, while the DX7 team also made use of the fixture’s library of built-in DigiFX.

DX7 then deployed 500 pieces of JDC Burst 1 across the different fan zones and around the track to create uniquely themed environments for the different sponsors (green for Heineken, magenta for T-Mobile and so on), and there were different activation moments set every 15 minutes. A 12-segment white strobe line formed the heart of this versatile fixture, at either side of which were RGBW LED plates, divided into 48 segments of 5 × 5 pixels each, which provided astonishing power output.

Explaining the underlying reasons for his product choice, Tom said, “We first used JDC2 on the VMAs [Video Music Awards] last year, and when I showed Formula 1 how we could import their logo, their eyes lit up.” As for the JDC Bursts, they were a perfect antidote for the torrential downpours and hailstorms that dogged the event, and with their extraordinary brightness took centre stage against the super-bright backdrop of the Vegas strip.

“We needed to be able to compete with all that lighting on the Strip, so you got a sense of the event in itself,” Sutherland agreed. “But while everything had to be bright, it also had to be IP-rated. Consequently, we had very few drop-outs; all GLP pieces worked flawlessly and maintained their strength throughout, without one failure.” Only the huge cable runs risked exposure to the weather.

Tom was supported by DX7 colleagues, James Coldicott (COO), Harry Forster (President) and Hunter Selby (Senior Associate Designer). Programmer Chris Fernandez worked from three intercommunicating grandMA3 full-size consoles stationed in a control centre that was bursting at the seams, running all the GLP pieces in maximum pixel mode for full impact.

Tom can reflect fondly on an event believed to have been the largest temporary video, lighting and networking system piloted from one centralised control position to date, not to mention being DX7 Design’s largest ever project. “The sheer scale of the event and weather were the biggest challenges, and it took a lot of very clever nerds to pull that off – to figure out how this system worked and how it went together. There were a lot of beams pointing into the sky, but fortunately, the FAA didn’t give us any grief!

“In fact, the whole event was a huge success, and the Formula 1 organisation loved the new look.”

Photo credit: DX7 Design.

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Presented by the Designers Lighting Forum of New York, the annual trade show and conference provides a platform for lighting professionals to explore the latest innovations in the industry through accredited seminars, peer-led sessions and the new Designer Hours initiative.

With the Pharos Designer platform continuing to evolve, attendees will discover the latest enhancements to this highly integrated and scalable solution for complex lighting environments. The Pharos team will demonstrate developments within the Designer software, including the latest release, version 2.16, which introduces support for the new Pharos RIO 84, offering 8 inputs, 4 outputs and a multi-protocol serial port. The update will also enable native in-app integration with Advatek PixLite Mk3 controllers, fixture status monitoring for RDM-capable installations via Pharos Cloud, trigger rate limiting, and timeline improvements for audio rows.

Attendees will also learn about the latest updates to Pharos Expert, the lighting control solution designed to simplify installation and programming. Demonstrations will highlight improved user functionality that delivers greater control flexibility, including grouping capabilities that allow fixtures to be organised logically within mixed environments for targeted control via the Touch mobile app or touchscreen wall stations. Support for the Pharos RIO D4 enables systems to integrate multiple independent DALI interfaces allowing installations to support extensive luminaire counts alongside DMX output without compromising capacity.

Michael Gross (MG), Regional Sales Manager for the Americas at Pharos, said: “We always look forward to exhibiting at LEDucation. The event provides an important opportunity to connect with industry peers, and we’re excited to present the latest advances in our solutions. Pharos continues to evolve, demonstrating our commitment to the future of lighting control, and our desire to give lighting professionals the flexibility they need to realise ever more ambitious projects.”

LEDucation 2026 will take place at the New York Hilton Midtown from 14th – 15th April, featuring more than 400 exhibitors across four expansive trade show halls. Virtual conference sessions begin on 9th April, ahead of the in-person exhibition and the inaugural Designer Hours on 14th April.

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In addition to designing the festival rig, the Concept K team ran every lightshow during the festival and did the show direction as well. “We didn’t have any lighting advance for the festival, so there were no expectations from the artists’ side, but our main challenge was to light up the set in a way that would showcase it as effectively as possible,” said Kelian. “At the same time, we had to think to optimize the rig to create a lighting show that works both the audience and the cameras. Our Color STRIKE Ms allowed us to light up the audience with the ability to use strobe effects and enough power to illuminate up the entire venue.”

As for the rig’s 12 COLORado PXL Bar 16 fixtures, they were arranged behind the DJ both. From this central position, the pixel mappable battens with 16 individually controllable moving heads created a wide range of looks thanks to features likes their WRGBW color mixing, wide (5.8 ° to 47.9°) zoom range, and fast 200° tilt capability.

The COLORado battens helped us create a visual transition between the screen and the set while also providing a nice backlight behind the DJs,” said Kelian. “The tilt and zoom capabilities allowed our team to achieve wide beam spreads while keeping the screen visible.”

Drawing on the performance features of these and the other fixtures in their rig, the Concept K team was able to conjure up more than a lightshow, but an entire environment that everyone at Parc Expo Rennes, from the performers on stage to the fans, was happy to live in for two splendid days.

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