Part of the internationally syndicated television franchise The Voice, The Voice of Poland is a televised reality competition that gives singers the opportunity to showcase their vocal talents in front of celebrity judges and coaches on live television. First aired in 2011, the series recently filmed its 11th season, which was hosted by actor Maciej Musiał and filmed in Warsaw. The show’s producers wanted an exciting lighting design that would deliver dynamic visuals both on stage and on camera.
ATM System and Stage Source installed the Martin MAC Aura PXL multi-source wash fixtures to deliver powerful and dynamic beams and wash fields that are perfect for television.
The Martin MAC Aura PXL is the latest addition to Martin’s innovative Aura family of wash lights with multi-lens and backlight technology. MAC Aura PXL fixtures deliver tight, narrow beams and wide, high-intensity wash fields in a lightweight, compact fixture perfectly suited for television shows and corporate events as well as nightclub and touring applications. The first wash fixture to feature individual pixel control for main beam pixels and backlighting, the MAC Aura PXL is fully compatible with an array of control methods, including DMX, Art-Net, sACN and Martin’s P3 creative video protocol.
“We implemented the MAC Aura PXL fixtures because not only do they have powerful beams and washes that look beautiful on camera, these new fixtures are also great for pixel mapping and effects,” said Radosław Zacheja, CEO, StageSource. “The kinds of effects you can achieve with them are really interesting and look different from other wash luminaires. This show was a good opportunity to showcase what you can do with the pixel programming, like displaying the performers’ names or having numbers that count them in to start singing.”
“The show’s lighting designer was very satisfied with the unique looks they were able to achieve with the MAC Aura PXL fixtures,” continued Zacheja. “Because we have access to each individual pixel, we’re able to program a wide range of shapes and video effects and integrate them with LED screens and other background elements. You can’t really do that with other fixtures. This opens up so many possibilities, and I don’t think many people are utilizing these fixtures to their full ability yet. We’re working closely with Martin to educate the lighting industry on ways to realize this potential through their P3 software. That’s the great thing about working with Martin products in general—the immediate technical support and access to a wealth of training materials makes it easy to demonstrate advanced applications to clients and lighting professionals.”
“Even now, with the current dangers and restrictions due to COVID, we’ve been able to rely on HARMAN’s constant collaboration and communication—maybe more than ever,” Zacheja concluded.