Working with a stunning production design by Travis Shirley, lighting designer Ignacio “Iggy” Rosenberg of Lightswitch, artfully mapped every pixel across more than 300 pieces of Color STRIKE M motorized strobe/wash fixtures in the massive set for Karol G’s show at Santiago Bernabéu Stadium for the superstar’s Madrid stop on her 62-date Mañana Será Bonito Tour.

35 of the Color STRIKE Ms outlined the arch, while the remaining 275 units were located throughout the rig, framing the set’s two large screens, as well as lining a smaller pentagonal screen and four FOH delay towers. For the Madrid shows, 68 more Color STRIKE M fixtures were added to the circumference of the stadium. Not only did this enliven the onsite atmosphere, it also added volume and depth for the livestream.

At the center of the production was a towering arch that reached about 70-feet high. Rosenberg enlivened this massive scenic element by outlining it with 35 Color STRIKE M fixtures. “The arch in Travis Shirley’s excellent design gave me a great place to start lining the set with lights,” said Rosenberg.

“We did a ton of pixel mapping,” said Rosenberg. “Every cell was really used individually to get as much flexibility throughout the show. Given the overall arc of the design, we constrained the palettes we used for the first two sections of the show, so we needed all the tools we could have to create different looks.”

Throughout the show, Rosenberg and his team (lighting director Danny Navarro, as well as programmers PJ Carruth, Rob Smith and Josh Lowenstein), supported Karol G’s performance with an endless stream of richly varied and engaging looks from the playful with a lot of primary and pastel colors, to celestial with twinkling displays of light, to the sultry and sophisticated. In short, they embraced every dimension of this powerful star in light.

Rosenberg ran the color cells in his Color STRIKE M fixtures at 60-percent, while the white cells were kept at 50-percent. “We limited the STRIKE M’s output for most of the show, to coordinate with the video walls,” he said. “Then, at the last song, we went with full output for maximum impact.”