23 / 06 / 2026
Followspotting Metallica’s M72 World Tour 2026
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23/07/2026
Le Moorea Festival passe au Giga avec Robe
INTRODUCTION La scène Maatea (scène principale) du Moorea Festival 2026, en France, a accueilli une impressionnante programmation d'artistes internationaux de musique électronique et d'EDM, sublimée par une création lumière signée Loïc Esparraga, du studio parisien MIND. Au cœur du dispositif : 48 projecteurs Robe GigaPointe®. Le festival s'est déroulé dans les jardins du Château de Grillemont, à La Chapelle-Blanche (Indre-et-Loire), un cadre idéal pour accueillir cette véritable « île des DJs ». LE BRIEF En journée, l'objectif était de proposer un éclairage subtil mettant en valeur la profondeur de la scène et les textures scénographiques. À la nuit tombée, la scène se transformait complètement grâce aux faisceaux du GigaPointe® et à leurs effets puissants et spectaculaires. GIGAPOINTE® – LE NOUVEAU PROJECTEUR MULTIFONCTION Position 6 colonnes verticales intégrées à la scénographie, avec 8 appareils par colonne. Défi créer un rendu visuel extrêmement impactant venant compléter les contenus vidéo et renforcer l'univers visuel du spectacle. Explique Loic. Principaux avantages Luminosité exceptionnelleTrès grande polyvalenceRapidité remarquableFaisceaux parfaitement visibles en plein jourVéritable projecteur multifonction capable de produire une infinité d'effets spectaculaires. Témoignages Loic « Le gobo ligne rotative intégré est particulièrement intéressant, car il offre une multitude de possibilités d'effets extrêmement dynamiques. »Loic « La puissance exceptionnelle de la source laser du GigaPointe® nous a permis de créer des effets visuels très marquants, même sur de longues distances. »Loic « Associé à toutes ses autres fonctionnalités, le GigaPointe® est un projecteur polyvalent, moderne et extrêmement performant, idéal pour tous types de spectacles et d'événements. » iFORTE® – DES PROJECTEURS PUISSANTS ET FIABLES Position deux iFORTE® sur la structure Layher et deux en face pour l'éclairage des artistes. Défi mettre parfaitement en valeur le logo situé à 14 mètres de hauteur. Principaux avantages Très forte puissance lumineuseCouteaux précisExcellente fiabilité Témoignage Loic : « Avec Robe, je trouve toujours une solution adaptée qui répond parfaitement aux exigences de chacun de nos projets. » CONCLUSION La disposition des six colonnes de GigaPointes a joué un rôle déterminant dans l’exploitation optimale de toutes les dimensions de la scène, tant horizontalement que verticalement, créant une harmonie géométrique qui a permis d’assurer une présence visuelle équilibrée de tous les éléments, les projecteurs étant intégrés de façon naturel entre les toiles scéniques et les surfaces vidéo. Deux artistes de la Maatea Stage, Timmy Trumpet et Trym ont fait venir leurs propres pupitreurs lumière, qui ont eux auss énormément apprécié les GigaPointes !
02/06/2026
Eurovision Song Contest 2026
INTRODUCTION The 70th 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 broadcast channels to experience the event unfolding. THE BRIEF Tim and his highly talented team started work on site at the Vienna Stadthalle in mid-April for the mid-May week of final broadcast events, including the 3 live telecasts. The design work started well before this, as soon as his design company was chosen for the task of delivering the event, approximately 6 months prior. Immediately before getting to site, Tim and the main programmers engaged in intensive pre-vizzing, and prior to that, had consultations with all the delegations and their own creative teams. The resulting lighting design had to work harmoniously and practically with all 35 of the delegations and their artists, as well as with the stage set, and it had to look epic and beautiful for the multi-camera shoot and for the live audience. GIGAPOINTE - NEW LASER SOURCE LUMINAIRE ‘HEADLINED’ THE LIGHT SHOW Position GigaPointes were positioned all around the space.They were prominent along the top of the front sections of the catwalk set feature and suspended from its elevated upstage sections upstage.They were also 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. Challenge GigaPointes were used extensively throughout all performances, especially for gobo and beam looks.Most prominently the GigaPointes were utilised to create the ‘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. The highly notable and visually striking SpectraBeam effect was featured a couple of times to create unique high-impact effects, most notably for San Marino, which comprised rainbow-focused looks. Key Benefits Intensity and nicely defined output, great both for beam work and gobo projectionFlexibility – rigged in different positionsMultifunctionality and versatility Quotes Tim: “I was delighted to be able to use GigaPointes on this show. Through their versatility, they effectively became ‘headline fixtures’ of the show.”Morgan Evans: “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.” WTF! - MAIN STROBE UNIT ON THE LIGHTING DESIGN Position 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. Challenge To provide high impact effects that could be controlled via being able to pan and tilt the fixtures, which, together with the zoom, were used to reduce glare into the cameras. Key Benefits Able to deliver outstanding strobe, wash, and blinder effectsMultiple LED layers – zoomable middle white strobe LED tube, zoomable middle amber audience blinder tube and two independently controllable RGBW wash platesControllable light spill – Pan and tilt blackout zones adjustable from the console Quotes Tim: “I love the directionality. We fully used all the sets of LED chips and also the zoning for numerous effects.”Tim: “They offer so many options for TV.” iFORTE + iFORTE LTX – GO-TO KEY LIGHTING Position All the iFORTES and iFORTE LTXs were fitted with Robe’s HCF – High Colour Fidelity – engine and were dotted around the arena on the periphery trusses and the two outer ring trusses above the stage, from where they were also ideal for catching the Green Room action.The two iFORTE LTXs were upstage above the main LED screen, and these plus 10 of the 64 x iFORTES were paired with different remote follow systems, including three Robe RoboSpot systems. Challenge To achieve perfect key lighting for all the competitors onstage, the presenters and artists / guests / presenters in the Green Room Area.This year, ORF decided 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 also made the already vital task of key lighting even more mission-critical. Key Benefits Exceptional CRIHigh quality light outputExcellent colour rendering for perfect flesh tonesBrightness Quotes and references Tim: “They are one of the best – I would absolutely not be without iFORTES on a show of this profile and complexity.” ROBOSPOT REMOTE FOLLOW SYSTEMS Position Operators in a separate room of the venue Challenge For accurate follow spotting of artists, presenters and guests Key Benefits Massively flexible – allows designated fixtures to be used as follow spots or as general fixtures on the rig at different times in the showSafer – no work at height requiredOperators have control of Iris, zoom & dimmer – other parameters of the fixtures controlled via the lighting consoles for the most reliable cue execution every time HOLYPATTS – QUIRKY, ELEGANT RETRO-STYLED SCENIC LED FIXTURES Position Installed at the back of the Green Room Section of the arena. Challenge To provide eye-catching background ‘scenic’ style effects in the Green Room, which was styled on a classic Viennese coffee house from the 18th / 19th century.The fixtures were in the back of every camera shot into the Green Room. Key Benefits Provided a highly stylised ‘back-of-shot’ spherical ‘tungsten’ lookAdded the perfect aesthetic for the space SVB1s Position Spread out around three of the four large circular roof trusses. Challenge To create a range of base looks, including twinkling and sparkling kinetic effects, which could be bold or subtle depending on the artist. Key Benefits Able to produce unique and different optical effectsFully multi-functionalCompact and unobtrusive physical form – great for fitting in anywhere on a stage or set CONCLUSION 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. Robe was very excited and proud to have so many fixtures involved this year, all playing such key roles. From the excellent quality of the key lighting provided by the FORTES, the drama and spectacle produced by all the GigaPointes – proving their value as a truly multi-purpose contemporary fixture – to the televisual magic of the SVB1 effects and highly controllable but truly eye-catching output of the WTF!s, to the understated scenic elegance of the HolyPATTS … this range of Robe fixtures demonstrates a dynamic breadth and range of broadcast-friendly fixtures, powerful and dynamic enough for stage and broadcast applications.
22/05/2026
How Robe iBOLTs and WTFs! Shaped the Visual Identity of Lucie’s 40th Anniversary Tour
INTRODUCTION Iconic Czech rock band Lucie celebrated their 40th anniversary with explosive concerts in four major cities around the Czech Republic – one in Brno, one in Ostrava, two at the O2 Arena in Prague and finishing up with one in Pilsen – all sold out. The band’s lighting designer, Lukáš Patzenhauer, specified 24 x iBOLTs, 48 x WTF! strobe-wash lights and 5 x BMFL WashBeams running on a 5-way RoboSpot system. Lukáš has been lighting the band for 12 years, and for this design, he worked closely with band member Michal Dvořák, who created the scenography and stage design for this tour. The technical production was coordinated and managed by SMART Production, headed by Josef 'Pepa' Ženíšek. iBOLT – THE CENTREPIECE OF ROCK ENERGY Position On the floor along the upstage and downstage edges. Also for side lighting.On a circular truss above the revolving B-stage.Below the stage, revealed by moving grills above. Challenge Create big rock looks, bold and spectacular lighting aesthetics and highlight dramatic moments. Focus on the dynamics of music and reinforce this with appropriate lighting, accenting these moments in the set.Choose powerful, versatile fixtures for clean stage design. Key benefits Why iBOLTs worked so well: Cut through five large blocks of LED screen with ease thanks to super-intense output.Combination of brightness and speed, which is essential for a hard-driving show like this. The iBOLT is very fast for a fixture of this size.Ideally suited to this stage design to provide strong rock-style beam definition.iBOLT offers great flexibility – one fixture can cover multiple design roles.Works perfectly with mirror effects and the moving robotic arms used on the B‑stage to create show-stopping effects. Quotes and references LD: “It is fantastic to be able to use one light for so many different functions.” LD: “It’s great that on such a large stage with so many LED screens and other lights, iBOLT will always stand out.” WTF! – A MULTIPURPOSE POWERHOUSE: STROBE, BLINDER, WASH, RAPID MOVEMENT Position On three automated upstage lighting pods, arranged in a 3x3 matrix pattern.Along the front edge, downstage of the mid trusses. Challenge To deliver massive and incredibly powerful strobe hits.Have truly versatile units, which can move and be used for washing vast spaces as well as arena-wide blinding, pixel mapping and beam work. Key benefits Why WTF! stood out: Easily shone through transparent LED screen blocks thanks to enormous strobe and blinder output suitable for arenas.Created variations of different looks – strobing, blinding, washing, pixel mapping – a truly multipurpose unit with pan & tilt movement, saving space and expanding creativity.Asymmetrical zoom on strobe LEDs connected with movement capability created the effect of massive sheets of light falling down. Moving capability added extra depth to the stage design.WTF! has the perfect effects package for energetic musical moments as well as audience interaction. Quotes and references LD: “The WTF! is incredibly powerful and versatile.”LD: “I used them a lot for strobing, blinding, pixel mapping and washing.” CONCLUSION Lukáš has been using Robe products in his work for some time, and he chooses the best fixtures for the show and for the look and style of lighting that he and the artist want to create. He has long been a fan of Robe’s BMFL series of luminaires, and for this Lucie design, the five BMFL WashBeams were on the front truss, from where they could pick up the band at nice acute angles without any unsightly light spillage on the stage. From both a creative and production perspective, this approach – using a RoboSpot system for remote following – saved having spot chairs and people on the truss, which is much safer and a more comfortable working environment for the operators. For Lukáš, arguably the most enjoyable element of working on these important gigs was seeing the entire show live and in a real performance environment after approximately a year of preparation, together with the buzz of collaborating with an ace production team.
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