Alexander has just arrived back in Sweden for a short pause in the come-back tour with Swedish House Mafia. The Electronic Dance Music (EMD) group is on tour in most of Europe, Singapore, Mexico and South Korea. There are 16 acts in total in which Hesse’s team has produced lighting design, 3D-animation and video in close collaboration with the artists.
- Lighting is a crucial part for these types of acts, and the artists are keenly aware of the importance of having a music and light show that is tightly synced, says Hesse. In this case, the artists have had a break for almost six years. So their attitude towards the lightshow was “we need to have something big, bold and Iconic!”.
The show is a massive production, and involves a lot of different expertise.
- We all have very clear roles and responsibilities in the team, explains Hesse. As a lighting designer and lighting director, it is my responsibility to guide the artist’s requests on how to program creative lighting in their show. It’s very important for them to feel a part of it all. I just have to trust that their creative crazy geniuses knows what they want, laughs Hesse.
The work for the scene – behind the scenes
The entire show is first programmed in a 3D-world, using a programme called WYSIWYG (first stage simulation). The program connects lasers, luminaires, renderings, videos and control desks and is operated like as if it were a real show on a TV screen. All of this gives the artists and mangers an impression of how the stage will look once it is set.
- This show had three big rings on stage, Alexander explains. Each ring weighs approximately 2.5 tons. We had 82x GLP x4 bars 20 & 8x BB3 lasers in each ring, 56x Chroma Q CF 12 II around the truss in each ring 8x motors so that each ring could lift and rotate it. So of course, all of this must be carefully planned before we go for the real thing.
For a production like this Alexander uses highly advanced luminaires, far from the everyday kitchen lamp.
- Basically, a Blinder has one channel, and that channel has 1 function, Hesse explains. For instance dimming that one light. In this show we had some advanced luminaires, that can have up to 93 channels each. When you plan and program the light you have a workspace where you sort your luminaires. Each workspace is a “universe”. In one universe you can have a maximum of 512 channels. This show had 97 universes, so you can imagine that's a lot of channels and data that is sent out. The show was run from 2x Grand MA2 full size with 15x NPUs to processed all the data.
Not only are the luminaires highly developed for controls, they are carefully selected to give the right visual effect as well.
- When I use a luminaire I look for a product with the right colour mixture, explains Hesse. Colour mixture means that you can use primary-red, primary-blue and primary-green – but also get nuances and different colour temperatures. This gives us a huge range of possibilities when designing the show. I also look at different types of white that are available.
There are so many possibilities with lighting fixtures today, from pan & tilt speed, zoom range and speed, different gobo, animation wheels and beam effect to shutter speeds. All these attributes are considered before picking fixtures for the show.
Lights in code
The profile of a lighting designer has changed over the years. Not only do you need to be a luminaire expert and a creative soul, but you also have to know a bit of code to produce a show like this. Data knowledge within lighting technology has developed quite rapidly in recent years. The lighting designers need to know how to code and program lighting, in the same way as one code and program a website. This, so that all the luminaires are assigned to know what to do. Above all, the possibility to control different light units has increased. Every unit in the show is connected, and needs more power and fibre to send faster signals to and from the luminaires.
- There cannot be a weak connection, during the show – that would make all my cues late or effect the flow of the show, says Hesse. A strong connection to all processors is key, so we have a dedicated network-guru working on set just with this. We control the luminaire down to pixel level, and it drives a lot of data.
"My goal is that the audience will bring something with them home, a feeling that lingers on. If you get the audience moved to tears – that’s when you have succeeded." Alexander Hesse, Lighting designer and Director
Emotions in motion
In order to get inspiration for different elements and settings, Alexander sometimes searches for new influences in another field of lighting.
- I live in Gothenburg, Sweden, and I visit the Opera from time to time, go to art galleries and check out underground raves, says Alexander. They all have a great way of working with light. When you work with electronic dance music, the light is often facing out into the audience. In the theatre or live bands, the light is a part of the artist/stage in another sense. I try to absorb these things, and I always try to think – how can I adapt this to a show? How can I capture different feelings, modes and scenses?
The goal of a production is always to leave something behind. To make it live a little longer.
- I always want to produce that creative moment when the audience is touched, says Hesse. Music affects you, but if you at the same time see something while you listen to music, it adds an extra dimension. The ambition is not to just build a big night club. My goal is for the audience to take something home with them, a feeling that lingers and stays with them. if you get the audience moved to tears – that’s when you have succeeded.
For more visuals from the show, please visit swedishhousemafia.
Related News
Melanopic lux: lighting for education influenced by human biology
Light is essential in our daily lives, influencing our ability to see, overall well-being and performance. In educational environments, lighting quality can significantly impact students' focus, mood, and energy levels. So, how do we know what is the right amount and quality of light for this setting? Traditionally, light has been measured in lux, a unit of measurement for the intensity of light. It's used to measure how much light falls on a surface or the amount of light in a given space. One lux is the amount of light that falls on a surface that is one square meter in area when one lumen of light is spread out evenly. Recent advancements in research have unveiled the importance of melanopic lux, which goes beyond mere visibility. This measures how effectively light stimulates specific eye cells that regulate crucial non-visual functions such as sleep and alertness. In classrooms and lecture theatres, the melanopic ratio has become vital in lighting design, enabling educators to create spaces that support visual tasks and align with students' biological rhythms. In this article, we explore how lighting solutions can align with our biology, and how this helps to create optimum conditions for educational environments. The science of vision and light The human eye is a remarkable organ designed for high-resolution colour vision within a small area (approximately 2 degrees of the visual field) while relying on peripheral vision for motion detection. This dual-function system, shaped by evolution for survival, continues to influence how we perceive and interact with our surroundings. Our eyes are particularly susceptible to green and yellow light, reflecting our evolutionary adaptation to naturally lit environments. In contrast, blue light, which is chief in modern LED lighting, requires higher intensity to be perceived at the same level. Effective lighting design carefully considers brightness, timing, and distribution to support visual clarity and biological functions like mood and alertness. For example, exposure to bright light in the morning helps regulate circadian rhythms, boosting alertness and mitigating the effects of seasonal darkness. This is particularly important in educational environments, such as schools and universities, where lighting impacts mood, focus, and overall performance. Our Organic Response system provides an innovative solution tailored for these spaces. This smart lighting technology automatically optimises light levels, featuring daylight-responsive sensors and advanced occupancy detection, maintaining a balance between natural and artificial light. Doing so supports visual comfort and reduces energy consumption, making it an ideal choice for creating dynamic, efficient, and student-friendly learning environments. To further support students, well-lit spaces with minimal glare are essential for reducing eye strain and maintaining focus during extended study sessions. Adjusting light intensity and colour temperature for different tasks—such as reading, group discussions, or creative activities—enhances light's visual and non-visual effects. By integrating thoughtful lighting strategies like those offered by Organic Response, educational environments can promote healthier, more productive, and engaging learning experiences. Integrative lighting: Supporting health and well-being. Integrative lighting (also referred to as human-centred lighting) combines visual and non-visual benefits (such as emotional effects) to support biological rhythms and psychological well-being. This approach goes beyond traditional lighting solutions by considering how light impacts circadian rhythms and hormonal balance. Light exposure in the morning is critical for suppressing melatonin (the sleep hormone) and increasing cortisol (the alertness hormone). Proper timing helps align students' natural rhythms with school schedules, which often require a lot of focus. Consistent exposure to bright, cool light early in the day can enhance energy levels and cognitive performance. The melanopic ratio compares the spectral composition of a light source with daylight. Using this information, you can determine its melanopic lighting intensity. This enables the design of lighting setups that precisely meet both visual and biological lighting needs. Lighting recommendations for educational spaces Each learning environment has unique lighting needs. Libraries benefit from direct lighting on the floor, paired with ambient lighting on walls and ceilings. Vertical shelf lighting (200-300 lx) makes it easier to browse titles. Lecture halls, on the other hand, require glare-free, comfortable lighting with flexible control, ideally with pre-programmed scenarios. In auditoriums and classrooms, strong vertical lighting is crucial for clear visual communication, especially over greater distances, enhancing facial expressions and engagement. General lighting recommendations apply to all educational spaces. Our solutions meet industry standards, ensuring reading and writing areas maintain 500 lx for effective visual tasks. Using daylight-responsive sensors for luminaire rows can reduce energy consumption while maximising natural light. The number and arrangement of luminaires should be adjusted based on the room's size and function to ensure consistent illumination. The role of dynamic lighting A Double Dynamic lighting system can be a game-changer in educational environments. It allows for intensity and colour temperature adjustments to match the specific needs of activities, from quiet reading sessions to collaborative group work. Fagerhult's distinct approach to lighting means that our design is human-centric; we integrate scientific insight into light and human psychology, creating environments that support academic performance and well-being. Our focus on energy efficiency also means our advanced control systems optimise light usage while minimising energy consumption, contributing to a building’s sustainability goals. The customisable setting and flexible solutions ensure that educational environments can create tailored lighting profiles for different times of the day or specific learning activities. Long-term benefits of melanopic lighting Melanopic lighting, designed to mimic the natural light spectrum, helps regulate the circadian rhythm, which is essential for maintaining focus, energy, and emotional balance. In classrooms and study areas, proper lighting can reduce eye strain, improve sleep patterns, and enhance mood, which are critical for students' mental health and academic performance. By incorporating lighting that aligns with our biological needs, schools and universities can foster healthier, more productive learning environments,. This is particularly important during the winter months when daylight is limited. Whether through advanced tuneable white light systems, designs that maximise daylight, or energy-efficient solutions, we are dedicated to leading the way in lighting innovation for educational environments, delivering brighter futures—one classroom at a time.
The inspiration behind Nobel Week Lights: ”Light, art and technology intertwined.”
Nobel Week Lights has quickly become a beloved public celebration. During Nobel Week, Stockholm residents flock outdoors to marvel at the spectacular light installations, where contemporary lighting technology meets artistic expression. ”We aim to create a moment of gathering: around light and around something meaningful”, says Lara Szabo Greisman. Nobel Week Lights is a light festival that illuminates Stockholm during the darkest time of the year – a free cultural experience for everyone. Presented by the Nobel Prize Museum, the festival invites international and local artists, designers and students to create light artworks inspired by the Nobel Prize. The installations shed new light on the scientific discoveries, literature and peace efforts of Nobel laureates while offering a fresh perspective on the city. Fagerhult is Principal Partner of Nobel Week Lights 2024, and this year’s edition features 16 different light installations across Stockholm. The artworks can be experienced from 7–15 December, including ”The Wave”, a light installation by the art collective Vertigo, located in front of the Parliament House where visitors can walk right through the luminous wave. The Wave by Vertigo ”Light and art and creativity is incredibly intertwined because these are technologies that are constantly evolving. So part of the fun working with the artists is that they are constantly testing new technologies. And we see these incredible visual results which are based on just pure innovation”, says Lara Szabo Greisman, co-founder and producer of Nobel Week Lights. Lara Lara Szabo Greisman and Leading Lights by Les Ateliers BK The significance of light as a collective force, its ability to encapsulate life and death, joy and sorrow – indeed, the very essence of what it means to be human – makes lighting a powerful medium of artistic expression, she argues: ”The dream for the festival is that this becomes a personal experience for each and every member of the audience. A moment that they remember and cherish . A moment that they think about later and bring forward as their story of connecting with the city.”