mounted a matrix of 3 x 7 lasers, for a total 21 from the

front and 21 from the top, with an additional three beside

the LED panel to cover all the Airstage AirOrbs,” explains

Kwasny. The lasers were compact, approximately the size

of a baseball. “The laser diode is just like a thumbnail. It’s

like nothing, The output of the laser is 1.4W and the

wavelength is 450 nanometers, which means it’s in the

deep-blue range.” Mounting them on the lighting trusses

proved to be a challenge. “The trusses in the roof were

slightly curved, and so, to be on one line, we used 21

Magic Arms from Manfrotto.” The lasers behind the LED

wall were mounted on an existing structure via custom

clamps created by Tarm.

The vehicle storage area behind the video wall was used to

mount the lasers.

which were daisy-chained by a single cable that transmitted

both the necessary drive power and DMX signal.

“There were three trusses in the rooftop, and there we


The event’s lighting designer, Dirk Feuerstein, of rgb gmbh,

of Essen, Germany, explains, “The guests are media and

journalists. For Mercedes-Benz, it’s very important that all

the pictures generated are high-quality and the photographers

have the best conditions to shoot good photos and

have good live footage, so, besides creating dynamic and

dramatic lighting scenes, the technical lighting quality is an

important part of our job.”

To create the highest quality still and video footage for

the press, Feuerstein relies on a variety of techniques. “It’s

more like a TV production, but, because we want the

photographer to shoot a nice picture of the moving car, we

work with higher intensity levels than we would on a

normal TV show,” he explains. “We want the cars to

appear as a technical object, and for this we use a slightly

higher color temperature on the car as opposed to the

speaker. Through this, we enhance all these metallic

colors, making it a crisper picture.”

The massive LED wall was also a concern for the

lighting team, and color shifts on the LED wall—especially

in the IMAG content—weren’t acceptable. “If you see the

pictures from the Mercedes show, the speaker light on

stage and the face of the speaker shown on the LED wall

to the guests in the room—as well as the camera picture—

it’s all the same. There no difference in the colors of the

face,” explains the lighting designer. “Keeping the colors

aligned can be time-consuming. You spend a lot of time to

The Manfrotto arm used for mounting the

lasers to the trusses.

The custom Tarm mounting, for the

lasers behind the video wall.

A close-up view of the compact custom

Tarm lasers.

Photos: Courtesy of

66 • November 2015 • Lighting&Sound America

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