Show designer Bryan Leitch and lighting director Jamie Thompson from creative
visual design specialist MIRRAD chose over 120 Robe moving lights among other
fixtures to light YesLive 2016, a hi-energy showcase music performance and awards
event staged at the London Roundhouse.

He and Thompson started with a series of four 3 x 2 metre “scenic’ screens curving
around the back of the stage mimicking the curvature of the venue’s famous
architecture. A downstage centre video screen 6 metres wide by 3.5 metres high
came in and out on a Kinesys system shielding the stage for changeovers.

Lighting, the LED screens and automation was supplied by leading UK rental
company Colour Sound Experiment – which has a large stock of Robe fixtures.

Leitch and Thompson also collaborated closely with TV lighting designer Ben
Everett, as the show was both live streamed and recorded for DVD. The live camera
mix was directed by Matt Askem and the Green Room area was lit by Francis Clegg,
also from MIRRAD.

The Robe count included 24 x BMFL Spots, 20 x Pointes, 20 x LEDWash 300s, 54 x
LEDWash 600s and 8 x LEDWash 1200s. The production lighting also tied in with
some of the house lighting rig which has a backbone of Robe fixtures.

The BMFLs were positioned in trusses over the stage and also on the deck behind
the video screens where their incredibly bright beams cut through. At times they
were used to silhouette the various artists which included Tinie Tempah, Jess
Glynne and Craig David and a load of other rousing performances.

Fourteen of the Pointes were positioned in an arc from the stage around the back of
the room and used for spectacular audience reverse and back-of-camera shot
fillers. “They were great,’ says Thompson describing how they sliced decisively
through all the smoke.

LEDWash 300s are very small, so they could be ensconced in all sorts of nooks-and-
crannies around the venue – which both Leitch and Thompson know intimately. They
were also rigged in between the Pointes around the back of the hall for additional
soft-edged beam effects which juxtaposed perfectly with the Pointes.

The six LEDWash 1200s were used for side lighting onstage … they wanted a
punchy wash to blast across the stage and also provide eye-candy for the back-of-
camera shots and light the spectacular copper tinted “Y-E-S’ scenic letters mid-
stage.

Colour Sound supplied an extremely strong crew including project manager Alex
Ryan who oversaw all their elements including the LED screens, assisted by crew
chief Alex McKoy.

Jani Fodor was video crew chief working with Colour Sound’s Sam Campbell, and
the lighting technicians on site were Alex McKoy, Mel Cornish, Cat Bryan and Haydn
Williams.

Rigging was co-ordinated by PTG and Simon Ambrose and supplied via Colour
Sound. They worked particularly diligently to get the four scenic LED screens in the
right places, each requiring a two-point bridle!