Stage Lighting Projects & Solutions by FINE ART

The opening masterpiece of this festival was the ballet *The Peony Pavilion*, presented by the National Ballet of China and staged at the Opera Hall of the Shaanxi Grand Theatre. First premiered in 2008, the production uses the vocabulary of ballet to interpret Tang Xianzu's timeless masterpiece, recreating the love story of Du Liniang and Liu Mengmei that transcends life and death. With minimalist stage design, elegant costumes, and music blending Chinese and Western elements, the entire production integrates the charm of Chinese opera with the characteristics of Western ballet. Through the superposition of threefold imagery — the Flower Goddess Liniang, the Kunqu Liniang, and Du Liniang — and the alternating arrangement of solos, pas de deux, and ensemble dances, it allows the intense expressiveness of Western ballet and the gentle subtlety of Eastern aesthetics to mirror each other, creating a spiritual resonance that runs through dreams and transcends life and death.

In this ballet feast where Eastern and Western aesthetics are deeply integrated, two professional lighting fixtures from FINE ART used precise light and shadow to paint the stage backdrop for the ultimate passion of *The Peony Pavilion*. The FINE 1700LH BSWF four-in-one framing light, with an outstanding color rendering index of Ra and R9 both greater than or equal to 95, accurately reproduced the delicate layers of elegant costume tones and the blank-space aesthetic of the minimalist stage. Equipped with dual color wheels with 12 professional color filters, CMY infinite color mixing combined with CTO linear color temperature adjustment, and rotating and fixed gobo wheels working with a dynamic effect wheel, it unfolded layer by layer Du Liniang's restrained yet passionate inner world as the plot progressed, allowing the threefold imagery of the Flower Goddess Liniang, the Kunqu Liniang, and Du Liniang to overlap and coexist in the changing light and color, and achieving a subtle balance in light and shadow between the intense expressiveness of Western ballet and the gentle subtlety of Eastern aesthetics.

The FINE 1700L WASH PERF wash and framing moving head light is equipped with a high-efficiency light engine, Ra ≥ 90, and a total luminous flux output of over 50,000 lm. Its excellent heat dissipation design, supplemented by intelligent fan control technology, produces less noise at lower ambient temperatures, protecting the purity and immersion of ballet art with tranquil light and color. Two color wheels superimposed with CMY infinite color mixing and CTO linear color temperature adjustment, and a framing system rotatable ±90°, render Du Liniang's dream journey across life and death as dreamlike and illusory — sometimes like the gentle morning light of a spring garden, sometimes like the faint moonlight of the netherworld's depths — allowing spiritual resonance to reach directly into the heart through light and shadow.

As the ultimate passion of *The Peony Pavilion* blooms on the Silk Road stage, FINE ART uses light as a brush, not only illuminating the heartfelt embrace between the classical charm of the East and the vocabulary of Western ballet, but also reflecting the resonance and emotion that audiences from different countries and ethnic groups find in this beautiful artistic dream.

The cultural performance featured 11 programs, vividly showcasing the uplifting spirit of Anhui Medical University's faculty and students. All members of the Anhui Medical University community, with vigorous and enterprising elegance, paid tribute to the university's century-long educational journey and strove forward courageously toward the new journey of building a "Double First-Class" medical university.

In the stage presentation of this centennial celebration, three professional lighting fixtures from FINE ART used precise light and shadow to paint the backdrop of the times for Anhui Medical University's century-long journey. The FINE 1600LH BSWF four-in-one framing light features a custom 1500W module with a maximum output of 40,000 lm. Its built-in second-generation color standard ensures pure colors and a wide gamut. A full framing system rotatable ±90° produces sharp, distortion-free cut edges, precisely framing the stage imagery of a century of retrospective in the light-and-shadow theatre piece *Time Mailbox 2026*, achieving a spiritual dialogue between the present generation and their predecessors.

The FINE 4037 WASH PLUS high-power LED moving head wash light, with its all-new optical design, balances uniform color mixing and soft effects. Its wide 4° to 60° zoom range effortlessly meets diverse lighting needs from heartfelt monologues to impassioned ensemble scenes. Its smooth, delicate dimming and flicker-free start-up at low brightness render the physician's benevolence passed down through generations in *Life Above All* and the diligent dedication of cultivating talent in *A Tree of Peach and Plum for a Century of Spring* with warmth and depth, allowing every moment paying tribute to physicians to be infused with emotional warmth.

The FINE 320 BEAM beam moving head light is compact in size with high luminous efficiency, delivering over 100,000 lux at 20 meters. Its beam is sharp, full, and highly penetrating. Its bi-directionally rotating 24-facet prism and 8-facet prism can be engaged, disengaged, and superimposed to form a 32-facet prism effect. In *Relocation: The Road Across Mountains and Seas*, it conjures the grand momentum of migrating across mountains and seas and taking root in the Jianghuai region to build a new enterprise, bringing the arduous years of pioneering in the sharp beams rushing forth.

As the glory of a century of Anhui Medical University echoes for a long time in the Waterfront Auditorium, FINE ART uses light as a brush, not only illuminating the magnificent journey from founding education in the southeast to striving for first-class excellence, but also reflecting the spiritual inheritance of generations of Anhui Medical University members — the physician's benevolence and the principle that life is above all.

After the trial performance, an expert seminar on the trial performance of *Silver Statue No. 6* was held promptly. Domestic theatre experts, municipal leaders, and the creative team gathered together to provide precise guidance on the production from multiple dimensions including script refinement, character portrayal, vocal design, stage arrangement, red expression, and the characteristics of the theatrical genre. Mei Jingjun, a descendant of the revolutionary martyr Mei Dadong, attended the event and offered suggestions on character portrayal and story details based on the historical facts of family inheritance. He expressed the hope that the production would preserve historical authenticity, carry forward the faith of the predecessors, and allow the red spirit embodied in "Silver Statue No. 6" to be passed down from generation to generation through South Anhui Flower Drum Opera.

In this stage presentation of a red revolutionary theme, multiple professional lighting fixtures from FINE ART used precise light and shadow to paint the backdrop of the times for the revolutionary past of the South Anhui region. The FINE 1700 WASH PERF wash and framing moving head light, with a total luminous flux of over 50,000 lm and excellent color rendering of Ra ≥ 90, together with two color wheels each with 6 colors plus white, CMY infinite color mixing, and CTO linear color temperature adjustment, rendered the vast night of the South Anhui mountains and the faint glow of the revolutionary spark with distinct layers. A framing system rotatable ±90° precisely framed the figures of revolutionaries holding fast to their faith in the dark night.

The FINE 1800 PERF and FINE 1400 PERF pattern and framing moving head lights worked in tandem as the mainstay of stage shaping. The former, with a 188mm output lens and a total luminous flux output of over 39,000 lm, delivers a thick, full beam for long-distance projection within a 5° to 45° zoom range, and uniform light spots for close-range coverage. The latter, with a 140mm output lens and a total luminous flux output of over 35,000 lm, can achieve a frost effect by adjusting focus without changing the beam size or luminous flux output. Both fixtures integrate intelligent fan control, encoder positioning, and main and secondary reflector designs, freely switching between grand and delicate to render the smoke of war and the moments of deep emotion in the revolutionary journey, freezing every historical moment with crisp clarity.

The FINE 4037 WASH PLUS high-power LED moving head wash light, with its all-new optical design, balances uniform color mixing and soft effects. Its wide 4° to 60° zoom range effortlessly meets diverse lighting needs from solo monologues to impassioned ensemble scenes. Its smooth, delicate dimming and flicker-free start-up at low brightness fully satisfy the rigorous lighting requirements of red-themed traditional opera. The FINE 608 BATTEN LED moving head bar effect light, with 8 x 60W RGBW four-in-one light sources and a light output exceeding 6,000 lm, delivers a full, non-crossing beam at the narrowest angle within a 5° to 50° zoom range and excellent color mixing at wide angles, painting dynamic light accents for the flow of time and space on stage.

As the vocal melodies of South Anhui Flower Drum Opera echo for a long time in the Red Star Auditorium, FINE ART uses light as a brush, not only illuminating the fervent revolutionary past behind "Silver Statue No. 6," but also reflecting the unwavering power of faith and unchanging original aspiration of the revolutionary predecessors.

The ceremony's overall stage design concept was "The Eye of the Golden Eagle." Feathers transformed into waves, gathering the glimmers and dreams of television professionals. "The Eye of the Golden Eagle" connected the virtual and the real, gazing into the dream-making world within the camera lens. On stage, the shining golden eagle wings became surging waves; behind the scenes, the rear of the stage became an exclusive "viewfinder" for television professionals, where the virtual and the real intertwined and light and shadow flowed. The entire ceremony adopted an innovative format of narrative-style award presentations and scenographic award-giving, completely breaking the inherent model of traditional award ceremonies.

In this grand ceremony where visuals and honors intertwined, FINE ART injected a dynamic soul into the "Golden Eagle Waves" with stage machinery and lighting technology. At the top of the stage, FD W5010A dual-line winches carried FINE 6019 PIXIE IP moving head lights, perfectly matching "The Eye of the Golden Eagle" with a wave-shaped layout. The FD W5010A has a power output of up to 2500W and supports Ethernet communication protocols. All parameters can be precisely controlled via the console's DMX, with the linear position error of the suspension points controlled within 1mm. The two steel wire ropes ensure that the fixtures do not rotate and run smoothly during lifting. At every award highlight moment, the dual-line winches move slowly, and the fixtures flicker with the rise and fall of the waves, like a golden eagle spreading its wings and skimming over a sea of light and shadow, freezing every glorious moment into eternity.

Working in tandem with the winches, the FD Hoistar multifunctional human-machine interaction stage machinery control console is built on a Linux system architecture and an Intel i5 processor. Its dual 17.3-inch LCD touchscreens, together with backlit motorized faders and photoelectric encoders, provide smooth and fluid interaction. Multiple software and hardware safety guarantees — including DMP foot pedals, local emergency stop, built-in UPS, user permission settings, facial recognition, operational parameter safety warnings, closed-loop control, and 3D visualization monitoring — make every lift of the dual-line winches rock-solid. Tabular programming, object-based programming, offline CUE programming, 3D asset and CAD import, and 3D graphical control effortlessly manage the complex scheduling of multiple award rounds throughout the ceremony.

More than a hundred FINE 6019 PIXIE IP units became the most dynamic brushstrokes of light and shadow at the top of the stage. As high-brightness, high-performance wash and beam fixtures, their 19 x 60W light sources are paired with a 20:1 zoom optical system, presenting a unique effect ranging from a sharp 3.2° beam to a wide 65° wash. When the golden eagle wings transformed into surging waves and the entire venue was immersed in a warm atmosphere paying tribute to television professionals, the fixtures spread layer upon layer of light and shadow ripples with uniform, soft color mixing, intertwining with "The Eye of the Golden Eagle" in virtual and real dimensions, allowing the glimmers of every television worker to converge into a surging tide of the times.

As "The Eye of the Golden Eagle" gazes inside and outside the lens, and as feathers transform into waves merging into a sea of light and shadow, FINE ART, with the precision of stage machinery and the agility of lighting technology, not only illuminates the contemporary spirit of Chinese television professionals striving forward in relay, but also reflects the dedication and love for the dream-making world behind every glimmer of light.

The lighting design team closely followed the celebration theme "With a united homeland and a united people, we will build a new life, a new future!" Taking "Light of the East" as the underlying design logic, they adopted the blue, white, and green of the national flag as the base colors, combined the architectural aesthetics of Samarkand's blue domes, the intricate patterns of traditional textiles, and the radiant light of civilizational fusion along the Silk Road, and used light and shadow to create a visual feast imbued with a national ceremonial sense, an international aesthetic vision, and unique ethnic charm. The entire celebration was divided through the language of light and shadow into three narrative layers: Solemn Tribute, Joyous Celebration, and Future Hope. From warm gold to surging vermilion and emerald green, and then to a gradient of pale pink and light blue, light became the emotional thread running through the entire event, connecting the country's past, present, and future through light and shadow.

PART.01 Stage Design

The Eight-Pointed Star and Seven Arches:

Light Grows Out of Architecture

For the stage of a national-level celebration, a core question often arises: how can cultural symbols transform from "a background to be viewed" into "the subject of the narrative"? The traditional approach treats traditional architectural elements as stage backdrops, illuminated from the outside, with the symbols remaining passive and static. The solution presented by this celebration was to make the architecture itself a luminous body.

The stage design centers on the "eight-pointed star" main performance area, with overall high symmetry. The eight-pointed star is not only a core symbol in Uzbek national patterns but also an ultimate expression of geometric aesthetics. Using it as the stage floor form means there is no longer a single front to the viewing relationship; every angle is a front, and every gaze can reach the visual center.

The most core visual anchor is the seven "Pishtaq" Central Asian classical arches (C1–C7) on the stage. Pishtaq is commonly found on the front facades of Central Asian mosques, madrasas, and ancient city gates. The design team made them three-dimensional and stage-oriented, turning the entire stage into an "architectural national narrative." What the audience sees is not a temporary performance installation but a "city" belonging to Uzbekistan, completed jointly by light and structure.

Inside each of the C1–C7 arches, a large number of pixel strobe bars and framing lights are embedded. Light overflows from within the architecture rather than being illuminated from the outside. The arches are no longer silent scenery but an integral part of the stage's light environment itself; light grows out of the body of the architecture.

C4 is positioned in the center and is the largest in volume, with a rotatable flagpole at its top. After the flag-raising ceremony, the flagpole slowly returns to position through rotation, restoring C4's visual center of gravity to the lighting matrix. The rotation trajectory must avoid the installation points of the FINE 6019 PIXIE IP and FINE 600LH BSWF IP at the top, and the cable routing must be coordinated with the rotation axis so that the ceremonial action and the lighting layout do not interfere with each other.

The stage space is divided into multiple layers of depth: suspended roof systems on both sides of the stage, the main stage and lift in the middle, the audience seating and front-light structures in the front, and an extension to the riverbank area at the rear. Front, middle, rear, upper, and lower — five dimensions together form a complete three-dimensional performance space.

PART.02 Lighting Design

A Ceremony of Light for a National Celebration: Solemnity, Joy, and Hope

The lighting design was completed by the Dongyu Huaxing design team. The entire lighting scheme revolves around the core concept of "Light of the East," using the blue, white, and green of the Uzbek national flag as the base tones, and transforming the architectural aesthetics of Samarkand's blue domes, the intricate patterns of traditional textiles, and the blending light of Silk Road civilizations into three visualized narrative layers: Solemn Tribute, Joyous Celebration, and Future Hope.

Solemn Tribute: Warm gold overflows from inside the Pishtaq arches, outlining the contours of classical architecture with low illumination and high color rendering. The C4 flagpole becomes the visual endpoint of the entire venue.

Joyous Celebration: Vermilion and emerald green are released over large areas, with light rising, falling, rotating, and sweeping to the rhythm of traditional song and dance. As the dancers' skirts swirl, the light learns to rotate as well.

Future Hope: The lighting switches to soft mode, with a gradient from pale pink to light blue blooming under the night sky like the vitality of the younger generation. Finally, hundreds of drones form dynamic images in the night sky, echoing the ground lighting between heaven and earth, like a letter written to the future, lifted into the night sky by light.

To adapt to the complex structure of the eight-pointed star main stage and the seven Pishtaq arches, the lighting system adopted a zoned, all-dimensional lighting strategy. The zoning logic is not a simple spatial division but stems from the four different tasks that a national-level celebration demands of lighting: facial light precision, cross-zone projection, screen integration, and architectural luminescence. Each zone solves one specific problem.

Zone A (Front Light Zone)

Located on both sides behind the audience seating, the arc-arranged lighting towers handle facial lighting and follow-spot functions. The FINE 1700LH BSWF IP is responsible for long-distance precise projection, ensuring uniform facial illumination for speakers and performers; the FINE 6019 PIXIE IP supplements large-area atmospheric wash lighting; the FINE 4037 PIXIE PLUS injects flowing light effects with its beam and wash two-in-one functionality; and the FINE 4000 XF follow spot locks onto the President's entrance and the leaders' speeches in real time.

Zone B (Roof System Zone)

This consists of 8 sets of aluminum alloy trusses suspended above and on both sides of the main stage, driven by 60 CNC electric hoists. The highest point of Zone B reaches 26 meters, forming a projection distance of nearly 80 meters from the Zone A audience seating. Conventional stages rarely extend the top-light structure to such a height and span, because long distance means light loss and precision attenuation. The design team took the opposite approach, using Zone B simultaneously for stage top lighting and VIP audience facial lighting. The FINE 1700LH BSWF IP has an effective range of 100 meters, with Ra and R9 both reaching 95 or above. After crossing 80 meters, the light spot does not attenuate, providing uniform and soft facial light.

Zones K and P (LED Screen Zones)

These are the visual scrolls unfolding on both sides of the stage. Fourteen LED screens and eight fixed screens are arranged on the left and right. The FINE 1700LH BSWF IP is positioned at the top of the middle-tier vertical screens, establishing a light ratio transition between the screens and the stage; the FINE 600 BSW II is densely distributed around the middle and upper screens, alternating with pixel strobe bars to extend the colors of the LED images into the stage space. The screens are no longer isolated luminous bodies but together with the Zone B top light and the Zone C arch light bands form a continuous light environment.

Zone C (Pishtaq Landscape Element Zone)

This is the key zone where the arches become luminous bodies. Inside each arch, FINE 1700LH BSWF IP, FINE 6019 PIXIE IP, FINE 600LH BSWF IP, pixel strobe bars, and laser lights are embedded. The FINE 1700LH BSWF IP projects fine pattern textures; the FINE 6019 PIXIE IP lays out light and shadow transitions with free switching from a 3.2° beam to 65° wash; and pixel strobe bars form flowing light bands along the architectural edges. The installation angles of all fixtures are matched one by one to the curved surfaces of the arches, and the light paths are redesigned within a non-standard optical space, making the fixtures an integral part of the architectural components.

In addition to the three core zones, more than a hundred FINE 600 BSW II three-in-one moving head lights and FINE 150FT color professional footlights are deployed on the stage floor, responsible for ground dynamic beams and footlight supplementation. In the riverbank area, beam lights, wash lights, fog machines, and cold-flame fireworks work together to extend the ambient atmosphere of the entire square to the outermost edge.

PART.03 The World Journey of Domestic Fixtures

Light Through Wind and Sand:

FINE ART's Tashkent Answer Sheet

"The specifications for this celebration were extremely high, and the Uzbek government attached great importance to it. Coupled with the special local climate conditions, the technical indicators required of the selected equipment were very demanding. We always believed that domestic equipment was fully capable. The final result also proved that our choice was correct." Behind the lighting designer's calm tone lay a quiet certainty.

This certainty was no accident. Over the past decade, China's stage lighting industry has undergone a profound transformation from OEM to independent development, from following to running abreast. According to the China Entertainment Technology Association and related industry research reports, Chinese products account for more than 80% of the global stage lighting equipment market, of which 85% come from Guangdong. FINE ART, which grew up on this fertile manufacturing ground, has an overseas footprint that is itself a microcosm of Chinese stage lighting going global: from the 2019 Ho Chi Minh City Carnival Music Festival in Vietnam to the opening and closing ceremonies of the 2023 Southeast Asian Games, from Korea's MMA 2025 peak night to the 50th anniversary celebration of Vietnam's liberation and reunification, and to the modernized studio of Uzbekistan's ZO'R TV updated in 2023 — Chinese fixtures are becoming frequent guests on more and more national-level stages and top-tier performing arts events.

This Uzbekistan Independence Day celebration, as a national-level event, imposed multiple hard requirements on the fixtures: broadcast-grade color rendering and consistency, stability in extreme environments, dimming linearity in the low-brightness range, and long-distance high-precision framing. The Tashkent site provided the verification.

High Color Rendering Index and Consistency — The values of Ra and R9 are not just parameters; they are the fundamental guarantee of whether facial skin tones in television images are natural and whether the national flag colors are accurate. Color consistency allows hundreds of fixtures to be turned on simultaneously without the need to correct color differences one by one, which is particularly valuable on site under tight schedules.

Dust Resistance and High-Temperature Resistance — Tashkent has large day-night temperature differences and frequent wind-blown sand. The fixtures maintained stable output during nearly a month of continuous operation. The audience does not see the erosion of wind and sand on the fixtures; what they see is light itself flowing freely as if undisturbed.

Delicacy of the Dimming Curve — The linear transition from 0% to 100% is smooth, especially the light-up and light-down in the low-brightness range, which determines whether each light change in the performance is a refined sense of breathing or a rigid mechanical switch. When the lighting needs to slowly awaken from a dark scene, any jump would break the solemnity of the ceremony.

The most intuitive verification came from the lighting scheme for the President's speech desk: the FINE 1700Ultra BSWF projected from 60 meters on each side, ultimately controlling the light spot within an area of less than one square meter. Sixty meters of distance, one square meter of precision, high edge sharpness, and spot quality without purple fringing — this was recognized by the Uzbek authorities. It is the innovative iterative achievement of FINE ART's optical imaging system and framing mechanical structure. In addition, when the designer exchanged views with Uzbek counterparts in Tashkent, the latter expressed clear recognition of domestic brands, especially FINE ART fixtures. This was not politeness but a signal worth recording: on the Central Asian stages along the Belt and Road, Chinese fixtures are no longer merely synonymous with "cost-effectiveness"; they have earned the respect of professional peers through technological strength.