A.C. Lighting supplies Chroma-Q Color Blocks to BBC

April 4, 2005
A.C. Lighting have supplied 169 Chroma-Q™ Color Blocks to the BBC for recent prime time BBC One programmes Comic Relief Does Fame Academy 2005 and Red Nose Night Live 05.
Fame Academy Comic Relief Does Fame Academy show lighting was by Mark Kenyon and Console Operator Roger Williams, and featured 69 Chroma-Q Color Blocks providing a wide variety of effects lighting as part of the overall rig.

25 Color Blocks were built into the set at floor level around the rear perimeter of the circular stage in an arc batten formation. The batten was used throughout shows to create various static and effects looks and featured during front-on and overhead stage camera shots along with other set lighting.

A further 12 Color Blocks were also used as side fill/mini blinders, with 6 units mounted vertically on walls either side of the stage and 4 units mounted horizontally to the rear of the set. The final 28 units were used at 1m centres in the riser to wash the audience.

Show Lighting Designer Mark Kenyon commented: “The fixtures looked very rock and roll and are great for creating different looks with any sort of shape, due to their modularity. I was very impressed with their brightness and the blues and whites were particularly strong.”

Red Nose Day A.C. also supplied a further 100 Chroma-Q Color Blocks for the set of main Comic Relief programme Red Nose Night Live 05.

Show Lighting Designer Chris Kempton used Color Blocks in arc batten formations to highlight the front perimeter of the Main stage, the rear perimeter of the Performance stage and part of the walkway between the two stages. Due to their compact size, the units were able to very precisely follow the curves of the two circular stages and linking walkway.

The Color Blocks were operated in 4 cell, individual block control mode to provide colourful alternating Red and White blinder chase effects during the more dramatic sequences of the show, and left in static Red mode during the rest of the programme to complement the overall set branding. The units featured prominently during front on and overhead stage camera shots along with other set lighting.

Kempton commented: “I was interested in using the Color Block due to their slim size and modular design, as this enabled me to run them in a continuous curve under the main stage set riser when no other LED fixture would fit. I particularly liked the simple 3 LED front end, which makes them look great in the primary colours. I was also pleasantly surprised that when colour mixing, the camera didn’t see the individual LEDs too clearly and they were very bright. Overall the flexibility of the Color Block will be a very useful new tool, enabling a fix of colour to be positioned in places previously not possible.”