Life in Color production Lighting Designer Collyns Stenzel specified 32 x Robe Pointes on his rig for this event, generally reckoned to be their finest production yet. “Best concepts and our most imaginative to date from a design standpoint,” he commented.

Stage Designer Duncan MacKinnon first imagineered the stage based on Miami’s famous skyline, with the center structure pixel mapped for projection so it replicated the landmark Intercontinental Hotel adjacent to Bayfront Park.When that process was complete, Collyns started adding fixtures, mindful of not interfering with the projection mapping.

For specific effects, he needed a beam fixture with a lot of features and flexibility … and the Pointe was it!

Thirty-two Pointes were supplied by Miami-based Zenith Lighting, the show’s lighting contractor, and these were positioned on top of the tallest buildings on the stage and used extensively as accent and effects lighting throughout the five hour show.

Prior to this, Collyns had only used Pointes once, for a show last year in Santiago, Chile … and he loved them! “Fast, bright and with a great selection of effects” including the “Awesome” prism which is his favorite.

Collyns likes Robe products generally and has used them for some time in his work, initially ColorSpot 1200E ATs, the original Robe workhorse. He now thinks the ROBIN range is excellent … and of course the new BMFL, which he is hoping to use soon on a live event.

The Miami lightshow was programmed using the LightConverse 3D visualizer onto two grandMA2 full size consoles – one running the stage lighting and the other the scenic lighting elements.

Collyns and his lighting crew worked closely with the event Production Director Dan Bouchard, Video Designer Morgan Lavery and Laser Designer Javier Ramirez to help produce a truly spectacular night while ending a busy year for Life In Color, which enjoyed huge success as a global touring concept.

Photo Credit: Darrin Harris Frisby