The latest series of popular Afrikaans language music quiz Noot vir Noot saw Ryan Lombard, H.O.D of show lighting for lighting suppliers Blond Productions, specify Robe moving lights all over the rig.
Broadcast on South Africa’s SABC2 channel, the programme is the longest continually running TV game show in the country – first broadcast in 1991 and presented for the last 28 years by Johan Stemmet. He finally stepped down in January this year to focus on other projects including producing Noot vir Noot through his company, Stemmburg Television. Actor and singer, Emo Adams was revealed as the fresh new face of the show for the latest series.
Lombard and Blond Productions, who delivered lighting, audio and LED screen, had already clocked up at least 10 years on the series. After starting as a follow spot operator in 2008, Lombard recalls using 12 Robe ColorSpot 250s and six ColorWash 700E ATs for the show all those years ago. “The production has just continued growing organically, with more lighting each series,” he commented.
For this series, the producers wanted a complete revamp for the show, so Blond Productions’ owner and founder, Christiaan Ballot and Lombard designed a new, visually striking set concept.
With the whole series being shot in a week, Lombard wanted a lighting rig that was hugely flexible, versatile, quick and easy to programme – and looked amazing. Robe luminaires ticked all those boxes, so he integrated 72 Robes in the design, in the form of 24 LEDWash 300s, 12 miniPointes, 12 CycFX 4s, 12 MMX Spots and 12 600E Beams.
The LEDWash 300s were located all around the studio, used as primary rear lighting on the band – the shows also all included a live performance – and on the four contestants. A live DJ was also in the studio firing all the musical stings and bumpers. The LEDWashes were positioned in such a way that they could also illuminate the audience nicely.
The MMXs Spots were ensconced in the set walls, used for beam work, some gobo texturing and distinctive gobo looks. The miniPointes were also rigged towards the back of the set, playing to the front with beams and effects. Described by Lombard as “fantastic for the small size and what they do”, the fixtures were an impressive addition.
The CycFX 4s were in the roof above the set panels just behind the contestant booths and the 600E Beams were also in the roof, supporting the MMX Spots and miniPointes with more beams and lively colourful effects.
There were no lights on the floor as the intention was to keep it clean and clear of clutter – a departure from the previous series, where floor lighting was very prominent. Lombard used lighting to build the looks and create colours that matched with and related to the graphics appearing on the LED wall, working in conjunction with Alistair Richards, who took care of all the white light elements, while Lombard added the moving light razzamatazz.
Lombard ran the show on a grandMA2 light console, while Richards ran the white lights on an onPC.
For strategic moments – such as when contestants answered questions – the LED changed colour, and specific lighting cues were also triggered via a MIDI signal sent to both Lombard’s grandMA light and Richards’ onPC. Sitting on the same network was a VPU for graphics to the LED screens.
“This season, the look was clean, precise and tight, very-high tech and contemporary,” Lombard concluded.
Photo: Mike Schmucker / Studio88 Photography