Disney movies offer an almost inexhaustible source of musical masterpieces, from the great animated classics of the 40s and 50s to 21st-century Pixar productions. The Disney in Concert series has been bringing this magic to major concert stages for many years.
In 2024, the production returned to tour, visiting arenas in Germany and Austria with the Hollywood Sound Orchestra.
To ensure that the numerous soloists were perfectly lit in front of the large LED wall at all times, the lighting technology team opted for an advanced automated tracking system.
The stage production has continuously evolved in terms of technology over the years. The number of performers appearing on stage simultaneously has also grown. When there are eight or more performers on stage, using manual follow spot operators is no longer viable. Additionally, with fewer operators working at height under the ceiling, we reduce safety risks for both the team and the event equipment, explains Klaus Mayer, managing director of the company responsible for lighting and rigging for Disney in Concert since 2016.
For live shows, each artist was equipped with two tracking devices: one on the chest at the front and another on the upper back, ensuring optimal signal detection. “In the case of 'Disney in Concert,' the performers change costumes for each song or movie, and speed is essential”, explains Christoph Miller, responsible for planning, installing, and monitoring the tracking system during the shows. “We placed the devices in such a way that the performers could avoid touching or moving them accidentally”. In addition to the performers, the conductor, Wilhelm Keitel, was also equipped with a device to allow automated tracking of his movements on and off the stage.
In total, the team used eleven anchor points to map the performance space: two on the left and right on the side lighting trusses, two at the back of the stage, one on the rear light truss, and four more fixed to the pyrotechnic platforms using deployable magic arms.
For follow lighting, powerful moving lights were used on the FOH table in Disney in Concert. “In large venues, we needed powerful lights that provided outstanding brightness even at great distances but could also be pre-mounted on a structure without restrictions”, comments Klaus Mayer. Additionally, extra lights were suspended for front lighting and effects tasks, complemented by wash light arrays arranged on the side trusses.
For lighting control, lighting operator Florian Schmitt relied on an advanced control platform that offered flexibility in programming and an intuitive multi-touch interface. “Once you get used to this workflow, you won't want to do without its benefits”, Schmitt comments. The integration of the tracking system's interface allowed precise control over the soloists at all times, even during costume and tracking device changes.
For Klaus Mayer, the use of an automated system in live concerts offers advantages not only in classic tracking applications but also for automated visual effects.
A beautiful effect is the synchronized tracking of a large number of spotlights that focus on the artist. That was something that was not possible before, Mayer concludes, enthusiastic about the results.
