Giochi di Luce takes Clay Paky to Infiniti

    GDL chooses Mythos, Sharpys and Alpha fixtures for Infiniti car launch event
    Car launch, Clay paky, Dubai, Giochi di Luce, Infiniti, Stefano Duchi, News, Live Events

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    Under the artistic direction of Cynthia Chbat Mounir, Media Interactive Agency recently called upon Giochi di Luce to turn the presentation of a luxurious Japanese car into a show.

    Under Mounir's supervision, production director Mirco Resta and lighting designer Emiliano Morgia sought the best possible venue to present the car. They looked for a place that would meet the customer's specifications regarding logistics, stage and lighting equipment, and eventually found their ideal venue at Studio City.

    They chose a completely soundproofed, large, 50ft-high room (with net area of 44 x 87 yards), which met the customer's special request to put together impressive scenery, lights and video projections.

    With no constraints in regards to the structures Morgia wanted to use, it was easy to create an: "elegant, industrial-looking setting, built around aluminium trusses, which were illuminated as scenic elements." The venue also allowed for an: "unconventional lighting design for the presentation of a car, but ideal for conveying the soul of this elegant, classy vehicle.”

    Both Clay Paky's classic lights and their most innovative models helped Emiliano Morgia in developing his lighting design. He used the Alpha Profile 1200s to create front lighting and back lighting in the area used for the dance performances and corporate presentations.

    He illuminated the ceiling, supporting structures and trusses installed in the room with magenta in mind - Infiniti's only corporate colour - and played with the wide range of shades the Mythos can produce.

    The Mythos units were used in beam mode, together with Sharpys, to create a forest of dense, well-defined beams of light. Their special optical units keep the light beams in focus over their entire length.

    Morgia says: “I knew a few television channels would be filming the presentation. All I had to do was change the light intensity and calibrate the equipment to ensure perfect television lighting conditions, without compromising the industrial look of the scenery."

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