Paul McCartney’s long-running One on One World Tour has added 21 dates in the US
this summer and autumn, with Robert Juliat Dalis LED footlights helping to showcase
the evolution of his music from the 1960s to the present. The US leg of the ongoing
tour kicked off in Miami in July and will conclude in Detroit in October.

Lighting Designer Roy Bennett is tasked with highlighting “a vast array of musical
styles over the decades’ during the three-hour show. High-tech AV solutions,
including layers of transparent video, LEDs and lasers, form a backdrop for the history
of the former Beatle’s music but remain unobtrusive to fans. “While we use many
aspects of technology you never see them all at once, and they are never
overpowering,’ notes Lighting Director, Wally Lees.

Upstaging provided the tour with 12 Robert Juliat Dalis 862S footlights. Making their
debut with McCartney’s show, the Dalis LED asymmetric mini-footlights are distributed
exclusively in North America by A.C.T Lighting, Inc.

Dalis 862S is a new variant of Dalis 862 Footlight. At 50cm in length, Dalis 862S is a
shortened version of the original 1m model, with all the qualities and functionality of
the full-size version. Dalis 862S has been created at the request of lighting designers
who need precise footlight coverage on curved and non-standard shaped stages where
its smaller form factor can be a big advantage in delineating stage edges to
perfection. The batten is inconspicuous from the audience viewpoint to ensure it does
not impinge on the stage layout in any way. All controls and connections are located
under the unit to maintain clean sight lines.

Both Bennett and Lees agree that the Robert Juliat Dalis 862S LED asymmetric
footlight is “a brilliant little light.’ “You can use them easily thanks to the two
positions: near and far,’ says Lees. “Each fixture has two rows of cells: the bottom cell
does the near position, the second row the far position. So they are versatile enough
to capture any point on the stage.’

Bennett calls the Dalis “beauty lights that break through the video and make the
artists look good. We have four on Paul to cover him in different areas and two on
each of the side guitarists so we can cover them wherever they go onstage. We also
have two on the piano and several on a lift, all in near mode.’

Lees also praises the fixture’s colour temperature. “It’s fantastic – it can go from
daylight 5600K or more, down to 2800K or less, or mix. You don’t have to choose one
or the other.’

Bennett emphasises that equipment choices are made based on “the best of what’s
out there. The lamp choice, the gear choice – we want the best of the best. That’s
why we’ve chosen these products for Paul’s show. It’s a complex system; there’s a lot
of gear all over the stage. But everything is working great.’