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ceremony. After a few budget-drivenrevisions, the final design incorporatedapproximately 150 moving lights,lighting a 60m (197') circular performancearea in the middle of the field,with color grading to the extents of theplaying field. “The challenge of lightinglarge areas is always in producing theatricality,drama, and some intimacyon a large scale,” Turner notesWith only 16 minutes to make animpact and just one dress rehearsal—lit without having seen the show—itcame down to the expertise andknowledge of Turner and his lightingprogrammer/operator, Tim Dunn. (Thepair—known for their side-splittingbanter during programming sessionsrigged at the higher levels from thestadium roof on two sides. Creatingthe lighting positions themselves—asthey didn’t exist previously—was thetask of Gearhouse Rigging, inconsultation with Turner.It was vital that none of the flownlighting or metalwork obscure anyone’sview or cover any of the official FIFAbranding. Lighting also had to avoidspillage on the ball. This proved quite abrain-twister for the rigging department,which again rose to the challenge. Allplans for the bracketry, its attachmentto the concrete support barriers, andthe consequent horizontal pointsloading around the mezzanine levels,had to be submitted to and approvedBonni Meyer,project managerHugh Turner,lighting designerChris Grandin, ofGearhouse MediaSean Rosig,assistant lightingdesignerTim Dunn, lightingprogrammer/operatorIn total, cable runs consumed approximately 8,000m of mains cable.as much as their creative dynamics—could go on the road as a comedy actif they ever wanted a career change.)Dunn has lit a myriad of stadiumshows and several opening and closingceremonies, most recently in Mayfor the Indian Premier League Cricket,which was moved to South Africa atthe last minute. His experience in thefield was helpful in working inside thetight time fame.The air elements of the lighting rigfeatured 72 Martin Professional MAC2000 Wash units, rigged on custombrackets and trussing around the midlevelbalconies of the stadium on allfour sides, plus 24 Robe ColorWashand 12 Robe ColorSpot 2500E ATs,by the stadium’s structural engineers.They allowed 350kgs (771.5lbs) perpoint on the barriers, including thetrussing sections and lights. Thebrackets themselves comprised aU-channel that bolted on either side ofthe concrete wall, complete withadjustable outriggers, which pushedthe reach of the trusses out to 1m.To kick the light output across thefield, all the Macs were all fitted withPC lenses. The Robes on the toplevels were required for key and moodlighting in the mid-field area—anapproximately 80m (262.5') throw,“We needed a bright fixture with along throw capacity; the 2500s weregreat for the job,“ says Turner.Winch expert Charles Standing, withGearhouse Rigging's Pieter Joubert (center)and Kendall Dixon (right)Gearhouse audio crew: Tsepo “Big Baby”Matlala, France Malatjit, Tanya Brown, RevilBaselga, and Jako de Witwww.lightingandsoundamerica.com • August 2009