Robe Lights Statue of Liberty for Anniversary Show

	Robe units were used as "bright, flexible, reliable" sources, which "enabled us to achieve all the desired lighting effects," says Pissenem. Photo: Geoffrey Hubbel

When French artist and music producer Michael Canitrot collaborated with show director Romain Pissenem from the creative production company High Scream, becoming the first DJ to perform at the Statue of Liberty, Robe lighting was part of the show.

Part of the celebration of America's 250th anniversary, the 15-minute musical work, broadcast on ABC, was accompanied by a show with lighting and laser mapping designed and produced by High Scream, led by Pissenem, working closely with the artist and his creative team.

Lighting was designed and directed by High Scream's Ian Tomlinson, and Robe moving lights -- including 12 iBOLTS, 30 MegaPointes and four iSpiiderXs - plus others, were used to set the tone.

Additional lighting equipment was supplied locally by PRG, with the Robe fixtures supplied by Robe North America and support by Robe France. Due to the intricacy and detail of the laser mapping -- designed by Jeremie Bellot and Francois Deretz -- lighting needed to be precise and well thought-out.

"We needed elegance, simplicity and impact in equal measures," says Pissenem, who together with Canitrol developed a creative brief for lighting, which Ian then co-ordinated and delivered on site. Tomlinson says the Robe units were used as "bright, flexible, reliable" sources, which "enabled us to achieve all the desired lighting effects." This also included illuminating 20 dancers performing around a layered plinth at the base of the statue for the video team.

Tomlinson adds that "maintaining the integrity and poise of the Statue at all times" was mission-critical, as was keeping it as the central element of the visual collage unfolding to accompany Canitrot's music. His biggest challenge was fixture placement. Being a heritage-protected monument, there were some restrictions on what could be positioned where, but he could use the base layers of the 305' statue to advantage.

The gear had to be transported onto the island by ferry, but the monument was open to the public during the day, so the crew was only able to access certain areas at certain times during the production site build, which was followed by one VIP performance and two evenings of filming.

The iBOLTS were positioned in two rows, six to the left and six to the right of the Statue on the middle of the three main base levels. They were primarily used as super-bright beams to vertically frame and delineate the Statue. The 30 MegaPointes were positioned on the third tier, closest to the statue, and the first tier, which was the lowest and the furthest away.

The combination of these positions, alternated with other light sources, provided a great depth of field for the effects and the cameras. The four iSpiiderX luminaires were the main key lights for Canitrol, placed in each corner of his DJ booth, which stood in front of the statue on the highest plinth level.

The main creative challenge for lighting was dealing with the sheer presence and size of the statue, which overshadowed everything and everyone on site. It needed to be treated with reverence and respect, while also being transformed into a striking piece of ephemeral and transient pop-up art.

The cinematic capture of Liberty Lights was co-ordinated by OS Studios and directed by Remco Evers.

Robe has been an enthusiastic supporter of Michael Canitrot's art projects for some time, including those at Mont-Saint-Michel, Eiffel Tower, and Phare des Baleines (Lighthouse of the Whales) in the Ile de Re, off the coast of France.