It all started when Ekaterina Rezvova, producer and artistic director from the company Holographic Technologies, approached us at our GST studio with the idea and rough design for the “Bilan 35” show, describes Vakulyuk Roman. We took on several tasks right away: the lighting, Kinetic Lights, and synchronization of all show systems. It would be a huge undertaking, as we were asked to stay away from doing the typical televised pop concert that is so common these days. Stepan Novikov took on the lighting design. I instantly took charge of the other two challenges: the creative – kinetic lighting design, and the technical – system synchronization. 

We started to work on a general concept. There were many ideas, but we settled on two: neon systems and abstract surrealism.

The first tools we arranged were controlled winches with LED triangles. It’s notable that this was the first system of its type in Moscow and the first show on which it would be implemented. Our team – Stepan, Ekaterina and I – made a special trip to Berlin to learn this technology. Once we determined that a triangle would be the key shape, we designed a setup with 16 triangles above the main stage. 

Then we needed to expand on this idea. Thanks to the help of Dmitri Iakovlevski and the company, ShowTex, we created complex mirrored screens, situated at an angle and across from each other, repeating the outline of the Kinetic Lights triangles. This gave us the ability to not only work with video content, but also to combine it with reflected objects on stage. The screens were affixed to controlled winches that allowed us to use them only during the musical numbers that required them.

That’s where the most interesting point comes in. What makes the mirrored surfaces so unique is that at different angles, the area of the mirrored surface changes. We started initial experiments in 3D, with which the team from Holographic Technologies and designer Danila Kutuzov helped us. We started planning the most optimal angles and the layout of the mirrored screens, so that the kinetic triangles worked as a reflection, and that an artist located outside of the screens could be reflected in them. In doing so, we were able to create an illusion combining video content, the reflection of people, and the element of Kinetic Lights. The full extent of this effect was achieved during the song “Never Let You Go,” where we worked with the image of a ballerina. 

Alongside the two mirrored screens, three 5x7-meter screens were installed at the backdrop of the stage, which meant we were able to get an additional surface to work with video content. 

After completing the basic concept and layout of the stage, we could start plotting the lighting. Stepan continued to support the main setup of Kinetic Lights. Martin MAC Viper Profiles were installed on the upper pre-rig. 

“Thanks to the superior optics, it was possible to accurately light the artists through the moving triangles,” explains Stepan. “This method wasn’t used at all during the concert, but the application of this idea was most effective during the performance of “Deltaplan,” when a kinetic hang glider floated in the air, and Dima Bilan stood in a light beam below it.”

The lighting setup also included Clay Paky Mythos, Clay Paky Super Sharpy and Clay Paky Sharpy units used to create geometric beam effects. We placed these fixtures on columns between the screens. We chose Martin MAC Quantum Wash LED fixtures for washlighting, and they were predominantly located on sidebars for more accurate work. For effects, we used Martin Atomic 3000 and Clay Paky Stormy CC fixtures. To back up the idea of kinetic lighting, we attached LED bars to the rigging structure. 

Sergey Makushkin and Anton Polyakov also took part in the programming. 

Synchronization was an interesting project. We had to synchronize the Kinetic Ligths, Lighting and Video.

The main timecode was generated by Logic. In the general multi-session, one of the track was LTC timecode, miscellaneously in different concert numbers. This signal was sent to the sound stage-rack, and was delivered to the FOH via digital signal without a loss. Then I coded this signal back to analogue and sent it out on a mif4 timecode-analyzer. After that, with the help of a MOTU sound card, it branched out to all stations. The sound card was connected to a backup computer with a similar sync project. The current system made it possible to dependably synchronize all systems.

As a result, we were able to make sure that every song became a performance in itself, where we applied different tools and stage elements. And even when we weren’t using any of the elements, the stage space still worked together with the performers. 

This project was the realization of our most advanced capabilities! As Artur Clark put it, “The limit go the possible can only be defined by going beyond them into imposisible.”

Equipment List

  • Martin MAC Viper Profile - 56
  • Martin MAC Viper Performance - 4
  • Martin MAC Quantum Wash - 24
  • Martin MAC Aura XB - 6
  • Martin Atomic 3000 - 16
  • Martin AF-1 Fan - 4
  • Clay Paky Sharpy - 26
  • Clay Paky Mythos - 20
  • Clay Paky Super Sharpy - 16
  • Clay Paky Alpha Wash 1500 - 22
  • Clay Paky Stormy CC - 29
  • Coemar Par Lite LED RGB - 48
  • Generic Led Stage Tube - 149
  • MDG Atmosphere - 2
  • Robert Juliat  Aramis 1013 - 4
  • Grand MA2 fullsize -1
  • High End System HOG 4 - 3


Design Team

  • Stage Designer, Producer: Ekaterina Rezvova
  • Lighting Designer: Stepan Novikov
  • Kinetic Designer, Sync Engener: Roman Vakulyuk
  • Video Designer: Evgeniy Mishin 
  • Video Engener: Alexandr Bernshteyn
  • Lighting Programer: Anton Polyakov, Sergey Makushkin
  • 3D Designer: Danila Kutuzov
  • ShowTex technology: Dmitri Iakovlevski
  • Design & Technology Production:
  • Video Production: Big Screen Show
  • Lighting Production: Laser Kinetic 
  • Kinetic Lights Production: The Movement 

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