Slovenian lighting and visual design studio Blackout created and delivered a spectacular 360-degree lighting show for popular Croatian singer Jakov Jozinović, who performed two sold-out concerts at Ljubljana’s Stožice Arena.
The team was led by Blackout’s Crt Birsa, alongside colleagues Klemen Krajnc and Anze Trstenjak. They had just 16 days from the moment promoter Vigna PR approved the design until the first performance.
Crt knew that, even within such a tight timeframe, he could deliver plenty of WOW moments by relying on some of his favourite Robe moving lights.
About to leave for a U.S. tour with Lukas Šulić (formerly of 2CELLOS), Crt handed over the final stage of the project to Klemen and Anze, who completed the design, programmed the show, and handled the lighting for the two highly anticipated performances. Klemen was responsible for the effects programming, while Anze took care of key lighting, white light, and specials.
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Securing the equipment at such short notice—especially for a 360° show, which requires significantly more fixtures even for standard stage coverage—was another major challenge. However, Slovenian rental company Intralite rose to the occasion, supplying 13 FORTEs, 32 iESPRITE LTLs (including 2 iESPRITE LTL FS versions), 24 LEDBeam 150s, 24 MegaPointes, 36 Pointes, and 32 Spiider wash beams, along with additional lighting equipment.
Four iFORTES and the two iESPRITE LTL FS units were deployed on two RoboSpot systems, with each operator controlling three fixtures from a position beneath one corner of the stage, adjacent to the dimmer area.
Robe’s popularity across Slovenia and the wider Balkan region has enabled creative companies like Blackout to build much of their business around the brand. The Slovenian rental market has also been highly successful for Robe, thanks to the dedication of its Ljubljana-based distributor, MK Light Sound.
The Stožice Arena’s central 4x4 LED cube was used for IMAG video throughout both concerts. The cross-shaped stage consisted of four square LED floor sections surrounding a central lift platform. Thrust extensions at both ends of the stage were complemented by staggered risers on either side, accommodating both the band and technical areas.
The overhead truss structure shared the same rigging points that had been installed two weeks earlier for an FNC (Fight Nation Championship) event, thanks to excellent coordination between the production teams.
Given the extremely limited timeframe, this proved to be a decisive advantage. Installing new rigging points in the arena would simply not have been possible, as the team had only one day for venue access and pre-show setup.
Three box trusses provided the main overhead lighting positions, suspended beneath and within the outer perimeter of the LED screens. This configuration helped create the visual impact of a large-scale production, with a wide stage, spectacular aesthetics, and a dynamic performance full of pop energy and movement, exactly as envisioned by the artist’s management team.
According to Klemen, the iESPRITE LTLs and MegaPointes were selected as the primary effects fixtures, distributed across the three overhead box trusses. The entire visual language of the show was built around these two fixture families.
It was his first time working with the iESPRITE LTLs, and he praised their power, brightness, and clarity. He also noted that both fixture types complemented each other perfectly.
These fixtures formed the backbone of the design, so they needed to be extremely versatile and capable of delivering multiple looks and creative options—and they did exactly that, he said.
MegaPointes, meanwhile, have long been among Blackout’s favourite fixtures.
Pointes were used as general beam fixtures from the stage deck, creating powerful cross-beam effects as well as striking prism and gobo projections.
The compact LEDBeam 150s provided wash lighting across the centre of the stage and into the audience, while also supporting the Spiiders whenever required.
Most of the Spiiders were installed on the audience trusses to bathe the arena in rich ambient light and, at key moments, operate in beam mode aimed toward the stage.
Eight units were mounted on the smallest overhead box truss to provide front lighting from inside the LED cube, while another four served as theatrical uplights as the stage lift raised Jakov onto the stage.
The FORTEs performed superbly as the key lights for Jakov and the band. One fixture was rigged at the very centre of the mother grid, creating a dramatic vertical down beam.
Since its launch, Robe’s powerful FORTE has become the first choice for key lighting for Crt, Klemen, and Anze. "They are incredibly powerful and bright, even when using colours. The quality is outstanding, and they are excellent for both front and top lighting", said Anze, who also highlighted the value of the fixture’s zoom and shutters for keeping the light precisely where it was needed.
When time is this valuable, you need complete confidence that your fixtures will be reliable and perform consistently. There is absolutely no room for error in situations like this, added Crt.
Although the team was able to complete much of the groundwork using previsualisation, on-site time remained essential for making final adjustments and refining the details that separate a good show from a truly exceptional one.
"As a programmer, you have to be flexible and able to adapt when working under this kind of pressure", explained Klemen, "and you also need to be ready to accommodate production changes right up to the very last minute". In this case, those changes included the addition of cryogenic effects, pyrotechnics, and LED audience wristbands, all controlled by the lighting department—challenges that the team handled with remarkable ease.
The final result was made possible by Blackout’s exceptional synergy, teamwork, experience, and talent, combined with the characteristic Balkan spirit of resourcefulness and ingenuity, enabling seamless collaboration with the rest of the production crew and contractors to deliver a truly spectacular show.
Photos: Simone Di Luca Photography
