We are at Fluge in company of Chus Fernández, lighting director of Prometo Tour of Pablo Alborán, after his visit to our headquarters for his tour rehearsals. 

How did you begin to conceive the design for the show?

This is a close collaboration with Salva Alborán, artistic director and video and stage designer.

We started having several meetings where we shared ideas and discussed how to approach the theme of design. We started from the point that we needed an element to be the landmark of the show and decided to work on a fixed structure.

We were overviewing some ideas and, after several meetings and exchange of ideas, we decided to have a diamond-shaped structure, where we considered that it was a central element that should give us ample design dynamics and, at the same time, have the possibility of incorporating video on it.

So based on this thought we decided that the central element was going to be equipped with Pixel Mapping matrices. We were thoroughly studying the various elements that were in the market because although I originally wanted the matrix to be 10×10 thus to have a higher resolution. But after slightly probing the market and seeing what professional elements existed, we were determined to use the ones we have now: the Nexus 5×5.

Once this was defined, we realized that what was also going to give us diverse scenography possibilities is that we could provide this matrix with movement during the show. Thus we would be able to provide different levels of lighting and in addition, it could serve as a scenographic element in certain moments and that it was also going to complement the video edition in parts of the show.

What equipment do you have for this tour?
Certainly, almost everything I have incorporated is cutting edge generation equipment: Robe MegaPointe, the latest equipment that has come out recently and which I consider to have a powerful light source. It is a lighting that complements much to its predecessor, Pointe, but that adds the advantage of being able to have a change of color in CMY, for which we have a diversity of colors quite superior to that of its predecessor, Pointe. Also, considering the possibility of incorporating a high power light for certain moments, I decided to incorporate the BMFL, because apart from being a very versatile spotlight, it can be used as much as Wash, as Beam or as Spotlight. As to Led, I chose a Robe Spiider, because I had previously worked with Robe 300 LED W and I really liked the conception of the areas to work with. They provide the opportunity to use zones in different colors, mixtures that you can’t get with the RGB and apart, it allows me to give certain textures at certain moments, even using only one zone, two or combining or even multiplying effects: leaving fixed areas, making fades of others, etc. I think it is a very versatile light that, in addition, has a central element called Flor, with which you have the possibility of using as if it were a gobo of a spot.

Then, after vainly looking for a laser, I attended the Fluge Open Door Days and I was surprised by Minuit Une. I was thinking about incorporating lasers and, after seeing these at Understanding Fluge, I decided that they were going to be the lasers that were going to come on tour. They are elements that in addition to providing you the power of laser, also allow you the possibility of using them as scenery at certain times.

What is your working methodology and show programming?
Once the idea in which we were going to work was determined, I begin to layout the design around the month of October, entertaining the different possibilities. We were looking at several possibilities, different renderings, until we reached the final point that was the choice you see. From there we started to look into the lighting and I started to structure a bit of lighting in Wysiwyg. While it is true that the Wysiwyg is used to set certain lighting bases, but I like to work with the live equipment because what you see in the simulator does not have the same effect in the live show. We start to work in Wysiwyg, I set all the bases of programming and we get into trials in about 20 days.

The programming is somewhat complex because many elements had to be integrated simultaneously. We take all the Pixel Mapping matrices mapped with a video server and then we integrate them separately from the server to the control table, thus creating two possibilities: video or to use them as wash with colors or textures from the console.

The chosen console is a Grand MA2, which I think is today one of the best consoles in the market from my point of view and offers many possibilities when it comes to programming. I have been helped by two people on the subject of programming because we had a lot of work on this subject and needed someone to support me at certain moments, Juanma and Javi. After programming everything, we synchronized it with time code and at this moment we are debugging and setting the codes so that everything is synchronized and set appropiately. The video is also synchronized with time code. Another important last-minute choice that I think has been quite successful is the choice of the D3 2x4PRO as a video server for the tour. It is a server that remarkably amazed me, especially for its ease and simplicity when mapped and all the possibilities it offers. I think it is a server that offers multiple possibilities and that here in the tour, we have only used a minimum part of everything it is capable of supporting.


What are the advantages of working with Fluge Audiovisuales?
Working with Fluge is always an advantage because it is a global company and you have the possibility of having all at hand; video, lighting and sound. So, any problem or need that arises may be solved simply by talking to them. In addition, you have the possibility to work on the set and have everything you need available at any time.

With what we have seen, there is a lot of programming work behind this show and also a programming that does not seem simple.
No, the programming is somewhat complex and we have 64 matrices and we have tried to squeeze to the upmost the functionalities that the table provided. We have used Beam Map, effects with the pixels of the matrices, which is a great deal when it comes to making the choice of the effects that you are going to use when mapping them with the table. But I think the result has been satisfactory. I am quite happy with how the programming has turned out and I think the show is worth it, it will be something that people will thank and like.

Have you already given us an insight into the lighting and control equipment you used. How did you distribute it?
The first clear choice I had were the side grills. I wanted the side grids to have continuity with the central matrix, that’s why I chose grills where the placement of the spotlights is in the form of a rhombus like the central matrix. In these grills I set 36 Robe Spiider. In the central matrix we have 64 Nexus AQ Chauvet, in the outer rhombus, which also goes with variable speed motors, we carry 24 Robe MegaPointe and 8 Minuit Une. On a bridge above the screen we took 16 Mega Pointe and 4 Minuit Une. Complementing the floor, I have 12 BMFL wash / beam and 12 Spiider doing side streets. I forgot to comment, another spotlight that has surprised me a lot is the SGM Q7. It is a LED spotlight but it can be used as a blinder, blinding and at the same time strobe light, with exceptional power and brightness in the color. I set the Q7 them on side lanes, 4 Q7 on each side, a front for public lighting with 16 Q7 and, we carried 10 BMFL and 9 Q7 on each side making a frame next to the side production screens. We also have 8 smoke machines, because it is really quite important to have smoke in the show, especially so that the lasers work well, and a little filling for light that I do with Sunstrips, 14 in total.

Are you satisfied with the result?
I think it’s a pretty complete show. We have managed to perfectly fit the video theme with the lighting and complemented each theme perfectly. I think it will be a show that people will enjoy and will have entertain them at the concert.