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El boricua, con traje gris, corbata a rayas y zapatos negros comenzó su primer concierto en la ciudad, a eso de las 8:20 de la noche. Éxitos como La agarro bajando también hicieron parte de las melodías iniciales con las que quería calentar el ambiente.

Y no solo venía a celebrar el reencuentro tras dos años sin salir en vivo por cuenta de la pandemia, también festejó con la audiencia su cumpleaños número 60 —los cumplió el pasado 21 de agosto—

“Estoy recién cumpliendo mi sexta década”, le dijo al público. “Eso de cumplir 60 suena fuerte, como yo empecé siendo un niño, a los 14 años, cuando empecé a cantar profesionalmente”, palabras que recibieron la ovación del público.

Para Santa Rosa han sido 60 años “muy bonitos”, con sus luces, sombras y retos, pero el saldo ha sido muy positivo, “y una de las cosas más bonitas que me ha pasado en esta carrera es poder conocer gente como ustedes gracias a la música (…) Gracias por darse cita esta noche aquí”, dijo el cantante quien continuó cantando otro de los géneros que ha interpretado en sus cerca de 45 años de carrera: los boleros.

Puede leer: Falleció Ernesto Bacallao, la voz líder de la Orquesta Aragón

El repertorio también tuvo canciones de otros, como la versión salsa que hizo de For Sale, la canción de Carlos Vives y Alejandro Sanz o la que le hizo al vallenato Matilde Lina, una canción que nunca ha grabado en alguno de sus discos, pero que quería cantar al público colombiano con arreglos salseros.

Aplausos después de cada canción y Gilberto hacía una venia cruzando una pierna hacía atrás y dándole un par de palmaditas a la rodilla que quedaba adelante. Un gesto que se repitió en el transcurso de la noche.

Tomado de: https://www.elcolombiano.com/cultura/musica/la-rumba-que-armo-gilberto-santa-rosa-en-medellin-LP18533558

Cankarjev dom is Slovenia’s premier cultural venue offering seven diverse and different performance and event spaces located right at the heart of dynamic capital city Ljubljana.

For several years the lighting department has been investing in Robe moving lights and earlier in the year Robe’s new SPOTE moving light became the latest fixtures to be added to their growing inventory.

While the pandemic has been a difficult time, with all the venues closed to the public, Cankarjev dom has managed to maintain a small income via streaming and staging hybrid and socially distanced business events, and regular staff, crew and technicians have been able to take advantage of a flexible furloughing scheme.

Despite the massive challenges faced over the last year, Cankarjev dom proceeded with the investment in eight SPOTE fixtures, which have joined around 150 other Robe luminaires that they already own.

These new SPOTEs are designated exclusively for the ‘Klub’ area, a second-floor multipurpose function room that includes a roof terrace with excellent views over the city.

“We needed a small powerful LED fixture,” explained head of lighting Gregor Plantan, and the compact body SPOTE which outputs 2,700 lumens of quality white light utilizing Robe’s TE™ 70W White LED engine from the ground-breaking TRANSFERABLE ENGINE (TE) range technology was a perfect candidate.

Buying into the TE technology will also help maintain light quality and consistency across their Robe inventory going forward.

The Klub room has a low ceiling height so a fixture that could work for rear lighting effects was essential. After initially considering the LEDBeam 150, they concluded a wash-beam fixture was not specifically what was needed, and then Robe launched the SPOTE earlier in the year, which ticked all the boxes!

The SPOTE was designed with exactly this type of application in mind.

Its 16-degree fixed-beam lens has remote control focus and can be changed to the optional 24-degree lens for a shorter throw and low ceiling scenarios. There is an excellent range of effects including a colour wheel with 13 dichroic filters; a gobo wheel with 9 fully indexable, rotating, replaceable gobos; an 8-facet bi-directional rotating prism and a 5-degree frost for creating super-smooth washes.

The Klub room is used extensively for small concerts, recitals and performances, spoken word events, book launches, corporate presentations, lunches, etc. and in fact it was the third most popular Cankarjev dom space – before Covid – after the Gallus Hall and the Linhart Hall.

The first real gig for the SPOTEs as part of the Klub’s house lighting rig was during the recent 2021 Ljubljana Festival, when the space was used for book readings with musical accompaniment. Cankarjev dom generally was also the festival’s main stage ‘backup plan’ if that could not run due to inclement weather!

Grega loves the new fixtures. “They are certainly bright enough and the small size, light weight and handleability is fantastic,” he commented, adding “the simplicity of this fixture is an important part of its beauty!”

Cankarjev dom’s various lighting rigs all make use of Robe luminaires. Venue wide there’s quite a selection of fixtures including BMFLs, Spiiders, Viva CMYs, LEDBeam 100s, LEDWash 600s, CycFX 8s and 600 E Spots. Even some quality antique’s like ColorSpot 575 XTs, which were the first Robe products in the house around 15 years ago, and are still going and used occasionally, along with 50 x ColorMix 250s initially purchased to wash the rear curtains for a TV show.

In a normal year, Cankarjev dom produces and stages nearly 1,100 cultural events, plus over 200 private events, conferences, etc. Now, all are focused and looking forward to getting back to work and some kind of normalcy. While nothing is completely concrete right now, the venues already have bookings through 2024!

Poland, continues its commitment to Robe moving lights with a recent investment in ESPRITE LED moving lights, added to the company’s existing rental stock.

The new ESPRITES were purchased at the end of 2021 and boost the company’s inventory of Robe fixtures. They were sourced specifically to help facilitate Setlight’s increasing television work. “ESPRITES were constantly being requested by TV lighting designers and directors, so having them available has immediately made us more competitive and cost-effective in that sector,” stated owner and general manager Przemek Wrembel.

The new luminaires are primarily used for front light in studio scenarios, and Przemek thinks the quality of light and range of colour temperatures is “impressive,” and that ESPRITES are a compact and easy-to-use fixture.

The fixtures utilise Robe’s unique TE (TRANSFERABLE ENGINE) technology, a powerful, intelligent, and eco-friendly lighting solution enabling different engines – high powered, high CRI, ‘tungsten’ etc., – to be used in the same fixtures and changed quickly and easily.

The first Robe moving lights were Pointes, which Przemek and his team saw initially at Prolight+Sound in Frankfurt a few years back, whilst looking for something new and “a bit more” than just a beam light.

“We thought ‘WOW!’” when they saw the Pointes he recalled. “It was small, cost-effective and so much better than anything else around at the time.”

He was also very proud that Setlight was among the first companies in Poland to have a rental stock of Pointes, and these luminaires still work constantly on various jobs. “Our clients are still spec’ing Pointes, so they have been an excellent value purchase,” he underlined.

After great experiences with the Pointes, there was no hesitation in purchasing MegaPointes when that product was launched a few years later, and these have also proved to be one of the busiest and hardest working lights. Once again Setlight was the first in Poland to commit to MegaPointes, after which a host of other rental companies followed.

Other popular Robe products in the house include LEDWash 1200s and Spiider LED wash beams.

“Spiider is a great and super-precise wash light,” stated Przemek, “and these have also been a solid investment.”

Like everyone, Setlight was initially impacted by the pandemic as everything halted in March 2020 and slowly started to pick up. They used the additional time available strategically to think and plan for the years ahead and believe that LED lighting fixtures are definitely the future and that Robe – having been an early adopter of this – is now a clear market leader.

“It’s not just for the immediate environmental advantages of using LEDs,” explained Przemek. “The LEDs are constantly getting brighter and better, they last longer, are more reliable and efficient” – all vital considerations for a busy rental operation.

The new ESPRITES have already been on several shows including a break-dancing competition for Red Bull staged at Gdansk Ergo Arena – by LDs Matteus Gostkowski and Przemek’s brother Mirek. They were also in action on the Festiwal Polskich Filmów Fabularnych (The Polish Festival of Fiction Film) Awards event, staged at the Musical Theatre of Danuta Baduszkowa in Gdynia.

Przemek and his crew – handpicked for their characters and personalities as well as their technical skills – offer a vast fund of experience and all appreciate Robe’s consistency as a manufacturer and their commitment to quality products with greater longevity.

He also mentions the physical proximity of the Czech Republic which borders Poland, and he appreciates a gravitas that is associated with the genuinely ‘Made in Europe’ luminaires.

Setlight is a full-service production and technical supplier – delivering sound, lighting, rigging, staging and video – and working across all entertainment sectors, from music shows and concerts, television productions and corporate events. All aspects of service are offered, from design and conceptualisation to technical planning, building and delivery.

The company was founded 20 years ago by Przemek whose passion for all-things-technical started whilst still at school. It is a family business also involving Przemek’s father and brother and is based near the busy port town of Gdynia near Gdansk. As the company has grown, all the profits have been ploughed back into developing the business.

“We hope that after pandemic we will spend many more years initiating new ideas, working on great jobs, and using excellent technology which allows us to achieve more imaginative work and much more satisfaction!” concluded Przemek.

The high-profile Belgian Golden Shoe Awards – produced by DPG Media and Het Laatste Nieuws (HLN) – is a coveted prize given to the Belgian First Division A’s best male and female football players based on performance over the preceding year.

Broadcast live on the national television channel VTM, this year for the first time, the lighting design ‘hot seat’ was taken by Thomas Boets of LDP.

Thomas made sure he scored plenty of aesthetic goals with the choice of lighting fixtures, which included 162 x Robe moving lights installed at “the Avenue” venue, Antwerp Expo Centre, right in the heart of this buzzing Belgian port city, where the 50 x Robe T1 Profile, 60 x LEDBeam 150s, 40 x Pointes and 12 x Spiiders were supplied together with other lighting kit plus all the audio and video production by rental company, Lust for Live.

Thomas worked closely with creative director Steven Segers and producers Sanne Van Der Elst & Klaas Devriendt to create a production design that was new, fresh and brought an exciting look to the event which was attended live this year by a reduced audience – to meet Covid protocols – of 200 VIP and celebrity guests.

The lighting design was based on a series of elliptical and circular trusses hung in the venue roof with fixtures positioned around these to help create the ambience of being in a stadium. The awards podium was right in the centre of the room, surrounded by tables with seated VIP guests and other guests around the perimeter, so Thomas’s design took this 360-degree geometry as a start point.

“We wanted to accentuate this in-the-round perspective and add a structural look to the room with lighting that worked from all camera angles,” explained Thomas, “basically a look that could instantly be associated with football, stadiums and something with scale and drama for the wide shots, but that would also look cosy and intimate for the special moments of the night like the award presentations and supporting interviews.

“Essentially, we wanted to give the vent a proper ‘live’ feel, as if we were in the stadium catching the game action amongst fans and supporters.”

The central area above the awards podium and the six top tables containing nominees and their relatives were lit entirely with T1 Profiles running in high CRI mode, and each table also had two Spiiders focused for back fill.

The T1 Profile is one of Thomas’s favourite key lighting fixtures. “Small, light, bright and with a great selection of colour temperature whites and many other features” that make them perfect for TV environments he stated, commenting on how the T1’s pristine skin notes are a winner on any stage.

Having that many T1 Profiles in a concentrated area meant that everyone had their designated key light sources, and these didn’t have to move during the 90-minute telecast, which made certain lighting cues a lot easier to execute.

The T1 Profiles were hung on all the venue’s eight in-house trusses all on 3 metre drop-bars. The trusses can be moved into the right places in the venue via a trolley-beam crane system, and from these positions they could also light the presentation zones which included a sofa and chaired area.

Pointe is another favourite fixture for Thomas, whether he’s lighting a banging rave party or a slick TV production like this. “There’s always a place on the plot for some Pointes!” he declared.

The 40 Pointes for this Golden Shoe event were deployed on the upper (and inner) 6-metre trussing circle which additionally supported a 1 metre drop-down cylinder of LED screen, and they were also on a 15-metre diameter outer circle of truss.

Among numerous other effects, they produced UFO-like fans of piercing beams shooting down and surrounding around the Awards presentation area. The high gloss black floor added to the effect, reflecting the Pointe beams back for a cool mirror look, and these Pointe beams became a signature aesthetic of the show.

The outer 15-metre circle of trussing was dressed with LED panels, and the LEDBeam 150s that were rigged on it served a double function. Firstly, they were for show lighting effects, and furthermore provided rear lighting treatments for the outer audience, who were bathed with softer 1K fresnel light from more units on that same truss.

These LEDBeam 150s also brought a general football match aura to the space.

The director particularly liked this LEDBeam effect and Thomas created shades of his favourite pale orangey hue for the set which mixed and interacted spectacularly well with crisp whites shooting across the audience.

Above and around the entire awards area were three large and tasteful curved LED screens which finished off the visual elegance of the space.

The challenges on this one, alluded Thomas, included it being live TV and a landmark annual show so “there was absolutely no margin for errors!” and he is the first to credit the “ace” team with whom he collaborated to deliver some great results.

They included his lighting operators Kristof Blancquaert, who took care of the show lighting and replaying the playback video content, and Frederik Heerinckx who ran all the white lighting using two grandMA full size consoles, plus a gMA light which was used for a mobile technical desk. The Complete system was network linked and was triggered by midi signals.

The DoP was Peter Van Den Bosch, the lighting systems engineer was Bart Reijns, Rene Bruisten was the head rigger, ensuring a large amount of production fitted into the venue in a timely manner, and the video operator / server engineer was Jan Lerminiaux.

Co-ordinating all the disciplines on site was technical manager Bart Weyts.

The show was directed by Steven Segers & Klaas Devriendt and produced by Sanne Van Der Elst from PIT; a division of DPG Media.

The event going on around the TV setup was managed by Sandy Amerlynck and Joris Bensch working closely with site managers Jan Wouters & Nicolas Franck.

The presenters were Lies Vandenberghe, Maarten Breckx and Gilles De Bilde, and the male 2021 Belgian Golden Shoe winner was Genk striker Paul Onuachu becoming the first-ever Nigerian and the fourth African to claim this prestigious honour. The 2021 female Belgian Golden Shoe accolade was awarded to Olympique Lyonnais midfielder, Janice Cayman.

Leading German rental and “prime dry hire service” specialist NicLen, headquartered in Dortmund, has made a massive investment in Robe moving lights – with a three-figure quantity of FORTES and iSpiiders delivered by Robe Germany which is now available from current rental stock for all clients.

The NicLen CEOs Nico Valasik and Jörg Stöppler commented, “FORTES are appearing increasingly frequently on event and artist riders and requests for this fixture have increased substantially this year since the product was launched. We ensure that our clients have the very best tools at their disposal to help achieve spectacular results.”

The Niclen team were impressed generally with Robe’s TRANSFERABLE ENGINETM (TE) LED technology which is at the core of the FORTE and see it a great feature for a busy rental facility.

The hugely flexible TE concept, which is unique to Robe, offers the option of having different and interchangeable LED engines – high powered, high CRI, ‘tungsten’, etc., – in the same fixture hardware, which can be quickly changed / ‘transferred’ in between 5 and 7 minutes!

As live shows and events started again intermittently during the second half of 2021, there has been a huge spike in the demand for high powered fixtures like FORTE for the larger ones.

The NicLen crew also like the colour mixing, zoom range and the overall light and image quality as well as the colour temperature range of the FORTES.

The iSpiiders were an obvious choice as a robust luminaire for festivals and outdoor events, which have dramatically increased during the pandemic as outdoors is considered a much safer environment in a Covid context. However, as meteorology continues to be erratic, properly weatherised fixtures like the IP65 rated iSpiider are in high demand, especially as they can be run without unsightly domes and other coverings! 

The new fixtures were delivered by Robe Germany, and they join NicLen’s already substantial stock of moving lights.

The relationship between Robe and NicLen dates back at least 10 years. The current rental stock also features ESPRITES, BMFL Blades, Washes and WashBeams, BMFL FollowSpots, RoboSpot control systems, LEDBeam 150s, Spiiders, MegaPointes, iPointes, and Pointes plus some from the vintage AT series … which are still going strong and are ideal for applications where budgets are tighter!

The experience with these classic Robe fixtures has highlighted the great value and ROI of the brand, something that, coupled with TE technology and the contemporary lightsources, has been taken to a new level by Robe.

Photo Credit: NicLen Prime Dry Hire Service, features NicLen Co-CEO / CCO Jörg Stöppler with the Robe FORTES and iSpiiders in NicLen’s warehouse in Dortmund, Germany.

Leading German rental and “prime dry hire service” specialist NicLen, headquartered in Dortmund, has made a massive investment in Robe moving lights – with a three-figure quantity of FORTES and iSpiiders delivered by Robe Germany which is now available from current rental stock for all clients.

The NicLen CEOs Nico Valasik and Jörg Stöppler commented, “FORTES are appearing increasingly frequently on event and artist riders and requests for this fixture have increased substantially this year since the product was launched. We ensure that our clients have the very best tools at their disposal to help achieve spectacular results.”

The Niclen team were impressed generally with Robe’s TRANSFERABLE ENGINETM (TE) LED technology which is at the core of the FORTE and see it a great feature for a busy rental facility.

The hugely flexible TE concept, which is unique to Robe, offers the option of having different and interchangeable LED engines – high powered, high CRI, ‘tungsten’, etc., – in the same fixture hardware, which can be quickly changed / ‘transferred’ in between 5 and 7 minutes!

As live shows and events started again intermittently during the second half of 2021, there has been a huge spike in the demand for high powered fixtures like FORTE for the larger ones.

The NicLen crew also like the colour mixing, zoom range and the overall light and image quality as well as the colour temperature range of the FORTES.

The iSpiiders were an obvious choice as a robust luminaire for festivals and outdoor events, which have dramatically increased during the pandemic as outdoors is considered a much safer environment in a Covid context. However, as meteorology continues to be erratic, properly weatherised fixtures like the IP65 rated iSpiider are in high demand, especially as they can be run without unsightly domes and other coverings! 

The new fixtures were delivered by Robe Germany, and they join NicLen’s already substantial stock of moving lights.

The relationship between Robe and NicLen dates back at least 10 years. The current rental stock also features ESPRITES, BMFL Blades, Washes and WashBeams, BMFL FollowSpots, RoboSpot control systems, LEDBeam 150s, Spiiders, MegaPointes, iPointes, and Pointes plus some from the vintage AT series … which are still going strong and are ideal for applications where budgets are tighter!

The experience with these classic Robe fixtures has highlighted the great value and ROI of the brand, something that, coupled with TE technology and the contemporary lightsources, has been taken to a new level by Robe.

Photo Credit: NicLen Prime Dry Hire Service, features NicLen Co-CEO / CCO Jörg Stöppler with the Robe FORTES and iSpiiders in NicLen’s warehouse in Dortmund, Germany.

The high-profile Belgian Golden Shoe Awards – produced by DPG Media and Het Laatste Nieuws (HLN) – is a coveted prize given to the Belgian First Division A’s best male and female football players based on performance over the preceding year.

Broadcast live on the national television channel VTM, this year for the first time, the lighting design ‘hot seat’ was taken by Thomas Boets of LDP.

Thomas made sure he scored plenty of aesthetic goals with the choice of lighting fixtures, which included 162 x Robe moving lights installed at “the Avenue” venue, Antwerp Expo Centre, right in the heart of this buzzing Belgian port city, where the 50 x Robe T1 Profile, 60 x LEDBeam 150s, 40 x Pointes and 12 x Spiiders were supplied together with other lighting kit plus all the audio and video production by rental company, Lust for Live.

Thomas worked closely with creative director Steven Segers and producers Sanne Van Der Elst & Klaas Devriendt to create a production design that was new, fresh and brought an exciting look to the event which was attended live this year by a reduced audience – to meet Covid protocols – of 200 VIP and celebrity guests.

The lighting design was based on a series of elliptical and circular trusses hung in the venue roof with fixtures positioned around these to help create the ambience of being in a stadium. The awards podium was right in the centre of the room, surrounded by tables with seated VIP guests and other guests around the perimeter, so Thomas’s design took this 360-degree geometry as a start point.

“We wanted to accentuate this in-the-round perspective and add a structural look to the room with lighting that worked from all camera angles,” explained Thomas, “basically a look that could instantly be associated with football, stadiums and something with scale and drama for the wide shots, but that would also look cosy and intimate for the special moments of the night like the award presentations and supporting interviews.

“Essentially, we wanted to give the vent a proper ‘live’ feel, as if we were in the stadium catching the game action amongst fans and supporters.”

The central area above the awards podium and the six top tables containing nominees and their relatives were lit entirely with T1 Profiles running in high CRI mode, and each table also had two Spiiders focused for back fill.

The T1 Profile is one of Thomas’s favourite key lighting fixtures. “Small, light, bright and with a great selection of colour temperature whites and many other features” that make them perfect for TV environments he stated, commenting on how the T1’s pristine skin notes are a winner on any stage.

Having that many T1 Profiles in a concentrated area meant that everyone had their designated key light sources, and these didn’t have to move during the 90-minute telecast, which made certain lighting cues a lot easier to execute.

The T1 Profiles were hung on all the venue’s eight in-house trusses all on 3 metre drop-bars. The trusses can be moved into the right places in the venue via a trolley-beam crane system, and from these positions they could also light the presentation zones which included a sofa and chaired area.

Pointe is another favourite fixture for Thomas, whether he’s lighting a banging rave party or a slick TV production like this. “There’s always a place on the plot for some Pointes!” he declared.

The 40 Pointes for this Golden Shoe event were deployed on the upper (and inner) 6-metre trussing circle which additionally supported a 1 metre drop-down cylinder of LED screen, and they were also on a 15-metre diameter outer circle of truss.

Among numerous other effects, they produced UFO-like fans of piercing beams shooting down and surrounding around the Awards presentation area. The high gloss black floor added to the effect, reflecting the Pointe beams back for a cool mirror look, and these Pointe beams became a signature aesthetic of the show.

The outer 15-metre circle of trussing was dressed with LED panels, and the LEDBeam 150s that were rigged on it served a double function. Firstly, they were for show lighting effects, and furthermore provided rear lighting treatments for the outer audience, who were bathed with softer 1K fresnel light from more units on that same truss.

These LEDBeam 150s also brought a general football match aura to the space.

The director particularly liked this LEDBeam effect and Thomas created shades of his favourite pale orangey hue for the set which mixed and interacted spectacularly well with crisp whites shooting across the audience.

Above and around the entire awards area were three large and tasteful curved LED screens which finished off the visual elegance of the space.

The challenges on this one, alluded Thomas, included it being live TV and a landmark annual show so “there was absolutely no margin for errors!” and he is the first to credit the “ace” team with whom he collaborated to deliver some great results.

They included his lighting operators Kristof Blancquaert, who took care of the show lighting and replaying the playback video content, and Frederik Heerinckx who ran all the white lighting using two grandMA full size consoles, plus a gMA light which was used for a mobile technical desk. The Complete system was network linked and was triggered by midi signals.

The DoP was Peter Van Den Bosch, the lighting systems engineer was Bart Reijns, Rene Bruisten was the head rigger, ensuring a large amount of production fitted into the venue in a timely manner, and the video operator / server engineer was Jan Lerminiaux.

Co-ordinating all the disciplines on site was technical manager Bart Weyts.

The show was directed by Steven Segers & Klaas Devriendt and produced by Sanne Van Der Elst from PIT; a division of DPG Media.

The event going on around the TV setup was managed by Sandy Amerlynck and Joris Bensch working closely with site managers Jan Wouters & Nicolas Franck.

The presenters were Lies Vandenberghe, Maarten Breckx and Gilles De Bilde, and the male 2021 Belgian Golden Shoe winner was Genk striker Paul Onuachu becoming the first-ever Nigerian and the fourth African to claim this prestigious honour. The 2021 female Belgian Golden Shoe accolade was awarded to Olympique Lyonnais midfielder, Janice Cayman.

Poland, continues its commitment to Robe moving lights with a recent investment in ESPRITE LED moving lights, added to the company’s existing rental stock.

The new ESPRITES were purchased at the end of 2021 and boost the company’s inventory of Robe fixtures. They were sourced specifically to help facilitate Setlight’s increasing television work. “ESPRITES were constantly being requested by TV lighting designers and directors, so having them available has immediately made us more competitive and cost-effective in that sector,” stated owner and general manager Przemek Wrembel.

The new luminaires are primarily used for front light in studio scenarios, and Przemek thinks the quality of light and range of colour temperatures is “impressive,” and that ESPRITES are a compact and easy-to-use fixture.

The fixtures utilise Robe’s unique TE (TRANSFERABLE ENGINE) technology, a powerful, intelligent, and eco-friendly lighting solution enabling different engines – high powered, high CRI, ‘tungsten’ etc., – to be used in the same fixtures and changed quickly and easily.

The first Robe moving lights were Pointes, which Przemek and his team saw initially at Prolight+Sound in Frankfurt a few years back, whilst looking for something new and “a bit more” than just a beam light.

“We thought ‘WOW!’” when they saw the Pointes he recalled. “It was small, cost-effective and so much better than anything else around at the time.”

He was also very proud that Setlight was among the first companies in Poland to have a rental stock of Pointes, and these luminaires still work constantly on various jobs. “Our clients are still spec’ing Pointes, so they have been an excellent value purchase,” he underlined.

After great experiences with the Pointes, there was no hesitation in purchasing MegaPointes when that product was launched a few years later, and these have also proved to be one of the busiest and hardest working lights. Once again Setlight was the first in Poland to commit to MegaPointes, after which a host of other rental companies followed.

Other popular Robe products in the house include LEDWash 1200s and Spiider LED wash beams.

“Spiider is a great and super-precise wash light,” stated Przemek, “and these have also been a solid investment.”

Like everyone, Setlight was initially impacted by the pandemic as everything halted in March 2020 and slowly started to pick up. They used the additional time available strategically to think and plan for the years ahead and believe that LED lighting fixtures are definitely the future and that Robe – having been an early adopter of this – is now a clear market leader.

“It’s not just for the immediate environmental advantages of using LEDs,” explained Przemek. “The LEDs are constantly getting brighter and better, they last longer, are more reliable and efficient” – all vital considerations for a busy rental operation.

The new ESPRITES have already been on several shows including a break-dancing competition for Red Bull staged at Gdansk Ergo Arena – by LDs Matteus Gostkowski and Przemek’s brother Mirek. They were also in action on the Festiwal Polskich Filmów Fabularnych (The Polish Festival of Fiction Film) Awards event, staged at the Musical Theatre of Danuta Baduszkowa in Gdynia.

Przemek and his crew – handpicked for their characters and personalities as well as their technical skills – offer a vast fund of experience and all appreciate Robe’s consistency as a manufacturer and their commitment to quality products with greater longevity.

He also mentions the physical proximity of the Czech Republic which borders Poland, and he appreciates a gravitas that is associated with the genuinely ‘Made in Europe’ luminaires.

Setlight is a full-service production and technical supplier – delivering sound, lighting, rigging, staging and video – and working across all entertainment sectors, from music shows and concerts, television productions and corporate events. All aspects of service are offered, from design and conceptualisation to technical planning, building and delivery.

The company was founded 20 years ago by Przemek whose passion for all-things-technical started whilst still at school. It is a family business also involving Przemek’s father and brother and is based near the busy port town of Gdynia near Gdansk. As the company has grown, all the profits have been ploughed back into developing the business.

“We hope that after pandemic we will spend many more years initiating new ideas, working on great jobs, and using excellent technology which allows us to achieve more imaginative work and much more satisfaction!” concluded Przemek.

Cankarjev dom is Slovenia’s premier cultural venue offering seven diverse and different performance and event spaces located right at the heart of dynamic capital city Ljubljana.

For several years the lighting department has been investing in Robe moving lights and earlier in the year Robe’s new SPOTE moving light became the latest fixtures to be added to their growing inventory.

While the pandemic has been a difficult time, with all the venues closed to the public, Cankarjev dom has managed to maintain a small income via streaming and staging hybrid and socially distanced business events, and regular staff, crew and technicians have been able to take advantage of a flexible furloughing scheme.

Despite the massive challenges faced over the last year, Cankarjev dom proceeded with the investment in eight SPOTE fixtures, which have joined around 150 other Robe luminaires that they already own.

These new SPOTEs are designated exclusively for the ‘Klub’ area, a second-floor multipurpose function room that includes a roof terrace with excellent views over the city.

“We needed a small powerful LED fixture,” explained head of lighting Gregor Plantan, and the compact body SPOTE which outputs 2,700 lumens of quality white light utilizing Robe’s TE™ 70W White LED engine from the ground-breaking TRANSFERABLE ENGINE (TE) range technology was a perfect candidate.

Buying into the TE technology will also help maintain light quality and consistency across their Robe inventory going forward.

The Klub room has a low ceiling height so a fixture that could work for rear lighting effects was essential. After initially considering the LEDBeam 150, they concluded a wash-beam fixture was not specifically what was needed, and then Robe launched the SPOTE earlier in the year, which ticked all the boxes!

The SPOTE was designed with exactly this type of application in mind.

Its 16-degree fixed-beam lens has remote control focus and can be changed to the optional 24-degree lens for a shorter throw and low ceiling scenarios. There is an excellent range of effects including a colour wheel with 13 dichroic filters; a gobo wheel with 9 fully indexable, rotating, replaceable gobos; an 8-facet bi-directional rotating prism and a 5-degree frost for creating super-smooth washes.

The Klub room is used extensively for small concerts, recitals and performances, spoken word events, book launches, corporate presentations, lunches, etc. and in fact it was the third most popular Cankarjev dom space – before Covid – after the Gallus Hall and the Linhart Hall.

The first real gig for the SPOTEs as part of the Klub’s house lighting rig was during the recent 2021 Ljubljana Festival, when the space was used for book readings with musical accompaniment. Cankarjev dom generally was also the festival’s main stage ‘backup plan’ if that could not run due to inclement weather!

Grega loves the new fixtures. “They are certainly bright enough and the small size, light weight and handleability is fantastic,” he commented, adding “the simplicity of this fixture is an important part of its beauty!”

Cankarjev dom’s various lighting rigs all make use of Robe luminaires. Venue wide there’s quite a selection of fixtures including BMFLs, Spiiders, Viva CMYs, LEDBeam 100s, LEDWash 600s, CycFX 8s and 600 E Spots. Even some quality antique’s like ColorSpot 575 XTs, which were the first Robe products in the house around 15 years ago, and are still going and used occasionally, along with 50 x ColorMix 250s initially purchased to wash the rear curtains for a TV show.

In a normal year, Cankarjev dom produces and stages nearly 1,100 cultural events, plus over 200 private events, conferences, etc. Now, all are focused and looking forward to getting back to work and some kind of normalcy. While nothing is completely concrete right now, the venues already have bookings through 2024!