Lighting Designer, Crt Birsa of Blackout harnessed an all-Robe moving light rig to illuminate the video shoot of 2CELLOS rendition of Boni Jovi’s Livin’ on a Prayer track, which was filmed in an abandoned military warehouse near the Croatian city of Pula and directed by Kristijan Burlovic.
Birsa chose 38 Robe MegaPointes as the key lighting fixtures, creating a tunnel effect down the length of the 33m tube like space. His design also featured 16 Robe BMFL Spots, three LEDBeam 150s and 10 LEDWash 600+s, supplied by Pula-based rental company, IDD Production doo.
Lighting was ground supported, so the tunnel of light effect saw the MegaPointes positioned equidistantly down the sides. With this placement, the LD was able to create an of looks and effects across the floor and in the air.
Birsa appreciated the rare opportunity of lighting the unique space. “I could do something different and a bit experimental, and 38 MegaPointes gave me all the scope I needed,” he remarked.
The colours were kept simple with robust monochromatic blues and whites, and an MDG hazer was specified by Birsa to enhance the beams. BMFL Spots were located at the end of the building, eight on the floor and eight rigged on trussing towers that followed the semi-circular contours of the ceiling, along with MR16 battens.
A trio of LEDBeam 150s provided back light for three performing artists. Five LEDWash 600+s were deployed as key lighting with five LEDWash 600+s located on the floor at the back of the performance area.
Birsa programmed and operated the lighting using a ChamSys console, which we previsualised on at home with one day to set up on site.
His main challenge during filming was ensuring that the cueing and timing was perfect, as different lighting effects were paired with the video cuts and shifts in key and rhythm throughout the song.
“It was brilliant to be back working,” Birsa said. “Livin’ on a Prayer is Bon Jovi’s signature song and one of the most enduring and best-loved rock anthems in history. In the original 1986 music video, filmed in the Grand Olympic Auditorium in Los Angeles and directed by Wayne Isham lighting also played a key role!”
