Brazilian pop superstar films DVD with Clay Paky

Machado and Olivio specified 60 x Clay Paky Sharpy, 36 x Alpha Spot HPE 1500, 8 x A.leda B-EYE K10 and 8 x Sharpy Wash 330 fixtures from both Spectrun and rental house Illuminaçäo. The fixtures were positioned throughout the rig to play integral roles within the team’s dynamic lighting design and to delight audiences with ever-changing looks.

The overall show design had three contrasting segments, conceptualised by Olivio and his two developers Paulo Lebrão and Daniel Dalfovo, and was based on the idea of ‘movement’.

Luan Santana has long been a client of Spectrun Design, with the team designing the shows for his past three films. “Despite being very young, Luan Santana takes immense pride in his work and always wants his shows and DVDs to be of the utmost quality, with the best crew and latest equipment,” says Machado.

“This time around, as the DVD was ‘unplugged’, Luan cited nostalgia and intimacy as the important themes in his creative brief. Our studio design therefore evoked the façade of a 1950s cinema, with the Sharpy Wash 330s flooding it with beautiful colour in the first part of the show,” continues Machado.

The second part of the show saw the ‘cinema’ deconstruct. Triangular OLEDs that were embedded in the façade began to twist and float alone in the air, with Machado and Olivio employing the two large side walls of Sharpy Beam to ‘dance’ with them.

“At this point, we produced two crucial looks with the Clay Paky fixtures,” says Machado. “We used the powerful, pure beams of the Sharpys to cut across the entire studio and four Sharpy Wash 330s to single out four OLED triangles with colour, creating a delicately beautiful scene.”

In the third part of the show, the designers used the bright beams of the Alpha Spot 1500 fixtures to interact with the OLED triangles, with both elements programmed in sync.

“The Alpha Spot HPE 1500s perfectly amplified the effect of each triangle and brought the audience in by bouncing from the ceiling to the tips of their fingers as they waved their hands. Each song was filled with colour, light and movement for a high-impact finale,” says Machado.

“The Clay Paky fixtures were fantastic in allowing us to alternate between bold looks and subtle effects, renewing the emotion of the audience for each song.”