Colours of Ostrava (COO / Colours), a popular Czech Republic music festival with 20 performance stages offering over 350 live music acts and plenty of other creative engagement across four days, attracting a population of 50,000 fans from all over Europe.
Each year, the Robe moving light count on this landmark event rises, and 2018 saw the most Robe on site to date! The organisers also invested heavily in the production and the basic festival infrastructure this year, upping the ante on every level and every stage, reflecting the importance of Colours on the European summer events calendar.
Site-wide technical production was co-ordinated and delivered by Josef ‘Pepa’ Zenisek and his team from SMART Production, a massive logistical exercise which involved several rental partners for sound, lighting and video, more for rigging and staging, plus numerous dry hires many from other countries. SMART also provided comprehensive site management and stage management for all the main performance spaces.
The dramatic, stark industrial location of the former Dolni Vitkovice ironworks in Ostrava, Czech Republic’s third largest city, still towering majestically across the skyline, adds further resonance to the scene. Once essential to the local economy, now re-oxidised and appropriated for a new world of creative endeavours.
The main stage for Robe again this year – in terms of numbers and concentration of fixtures – was the action-packed ArcelorMittal Stage, where an outstanding production lighting design was completed by Kamil Kruzik.
The lights were supplied by RENTAL PRO, part of the oneAVteam group which also includes YVENTECH, the LED screen provider for Colours.
Kruzik’s design had to be flexible and adaptable to meet the needs of all the artists playing, around 60% of which brought its own LDs / lighting operators, and that was a primary reason that Robe was THE choice of moving light.
Around 160 Robe fixtures were incorporated into the design, which broke down to 24 Robe BMFL Blades, 12 Robe MegaPointes, 24 Robe Pointes, 62 Robe Spiiders, 32 Robe LEDBeam 150s and 3 Robe BMFL WashBeams which were on the FOH tower.
Robe Spiiders were spread out all over the overhead trusses with 12 on the floor. The back truss was also loaded with LEDBeam 150s and BMFL Blades; the 2 mid trusses were rigged with Robe MegaPointes and Robe BMFL Blades, while the front truss featured 13 of the Pointes in addition to 16 Robe Spiiders.
The floor package included Robe LEDBeam 150s, Spiiders, MegaPointes and BMFL Blades, which could be re-positioned for each act, and the rig was designed for full flexibility as well as being straightforward for the guest LDs. Even with minimal time available between changeovers, the aim was to offer everyone the chance to get the best possible shows and have their full technical requirements available.
The ArcelorMittal Stage was increased in size this year, so there was more demand on the kit, the way it was rigged and how it could be used to cover the whole area.
With all the Robe moving lights at his fingertips, Kamil and the various guest LDs were able to produce stunning and breath-taking looks throughout the whole event. Kamil and his FOH colleague Jan Suskleb lit all the bands who didn’t have an operator – and they certainly didn’t run out of choices whether the call was for completely minimalist, highly atmospheric or full rock-out lighting.
“The MegaPointe is a really fantastic light” stated Kamil. “MegaPointes can dominate a huge stage like ArcelorMittal! The gobo effects are also excellent, and in general having them on the rig this year just brought a new dimension of lighting to the mix”.
Lighting on ArcelorMittal was controlled via a Road Hog 4 run by Kamil and a grandMA2 light run by Jan. These consoles were available for guests, and those bringing their own desks were happily accommodated in an extremely friendly and efficient FOH experience.