Issue link: https://digital.copcomm.com/i/1438629
walls to separate the lawyers from the spectators, who all sat on twenty custommade wooden benches provided by set decoration Art Director assimo auletto. or Studio , the production went all out with the lighting and collaborated with a local Roman rock concert lighting company, as well as DP Dariusz olski and his team. uided by historical research, Superising rt irector ristina nori and Senior rt irector Saerio Sammali tried to incorporate the same lighting instruments and gel colors that this infamous club was using during its heyday, including PAR cans, revolving amber beacons, variable speed strobes, vertical red incandescent chase light columns which were also replicated with bulbs, neon tubes which were eible strips, and of course, the icon of the disco era, a revolving mirror ball. This installation was prepped first, as it was the most elaborate and ery different from the lighting designs for the two fashion shows that would be done in the same space. The oor was comprised of one meter suare interlocking black semigloss tiles which gae soft reections of the lighting ashing aboe but no sharp are generating hard reections. e suspended large white speaker cabinets aboe the dance oor as they had done at Studio , but they were only empty boes to sae weight on the truss. The music was provided through the sound department. with a watt per channel ear bending playback system. urn aby urnisco nferno n eact replica of the seating area of the club was reproduced with a gigantic sofa island made of tubular foam sections covered in silver metallic vinyl fabric and held together by black nylon A B C D