BEYONCÉ & JAY-Z
to display cameras and content in a way that keeps the show interesting but doesn’t make it impossible for the camera team to shoot.”
delay towers. The pod lights are ostensibly grouped in pairs to allow the lighting operator extra coverage should it be needed, while 3 individually controlled BMFLs are used as key lights. LIGHTING 150 weatherproof Elation Proteus Hybrids are used downstage of the Even though the show’s Lighting Designer Cory FitzGerald has worked with video wall and on delay towers, while 54 GLP impression X4 Bar 20’s run Beyoncé since 2012, OTR II proved to be a unique experience. “The process down each side of both runways - protected from the elements inside for this tour was unlike almost anything I’ve ever done,” said FitzGerald. bespoke louvre boxes, an aesthetic that extends all around the edge of the “We were trying to achieve looks that were very theatrical, operatic and stage. A further 88 X4 Bar 20’s plus 38 Prolights UNICOs are used in vertical almost anything but a rock ‘n’ roll tour. Since ladders by the main downstage support legs. the beginning of the concept it’s been about Distributed evenly across the vertical trying to hide the sources of the lights, creating performer wall are 60 X4 Bar 20’s (floor mounted), architecture- and smoke-based installations of 24 Robe MegaPointes (floor mounted), 40 Robe light, as well as shadow and silhouettes for the LED 150 (flown to light up each bay in the wall), band and dancers then revealing them and back and 16 Ayrton Ghiblis (2 per side on each level to and forth. Creating a truly theatrical experience in provide side light). A GLP JDC1 strobe is ground a stadium sized show.” mounted in each bay, with more JDC1’s used The show itself was programmed by FitzGerald, across the wings and across the back of the screen along with Jason Baeri and Davey Martinez (who (35 units each). A further 46 MegaPointes are also operates it on the road). “They did an amazing mounted on a 2-tiered Kinesys truss that drops “The process for this tour was job, and the crew from Neg Earth is one of the best in to provide backlight for the performers when unlike almost anything I’ve I’ve seen out there,” commented FitzGerald. required. To avoid the audience’s eye being drawn away 40 SGM G4’s attached to the underside of the ever done. We were trying from the main screen by a line of lighting above its bridge surprises audience members standing to achieve looks that were upper edge, a central lighting pod is cantilevered between the 2 runways (dubbed ‘Club Carter’) with at the same height as the main PA hang. This a blaze of energy as the system passes overhead. very theatrical, operatic and contains part of the follow spot contingent: 11 2 MA Lighting grandMA2 (plus a back up) provide almost anything but a rock ‘n’ Robe BMFL spots (with an external camera fitted control. to monitor the beam) controlled from a ground “It’s a big rig and the main challenge is that roll tour.” based station. These are complemented by 2 BMFL quite a lot of it’s either single handling or on the Cory FitzGerald, Spots on each of the cantilevered trusses and 12 floor - there’s very little truss work,” noted Lighting PRG Best Boys dotted around the stadium and up Crew Chief, Jon Shelley Smith, adding that the Lighting Designer 54
