The rig featured 12 x Robe ColorSpot 575E ATs, 4 x Robe ColorSpot 1200E ATs and 2 Robe ColorWash 1200E ATs, together with 2 Robe LEDBlinder 196 LTs that were to colour the side walls of the venue. Twenty assorted Anolis LED fixtures were also utilised along with a host of generics for the stage and house.

They generally kept to greens and yellows, the main colours of the conference, for the speaking sessions, with special items usually highlighted in warm colours.

“We wanted a bright, positive and energising atmosphere, whilst not being distracting with the lighting, allowing everyone to feel comfortable and relaxed in the auditorium," explains Fugard-Gous, adding that it was important for the lighting to be near invisible in physicality, but having a big impact in terms of creating the required uplifting mood and ambience.

For the general lighting, only washes of colour and solid beams were used - no gobos, and for the praise and worship sessions, a spectrum of colours and effects were incorporated.

Six of the Robe ColorSpot 575E ATs were rigged on trussing above a centre stage screen, with the ColorWash 1200E ATs placed above the corners of the stage, so they could bath the whole area in colours. The ColorSpot 1200E ATs were rigged above the congregation in the 'house'.

The Anolis LED ArcSource 7 fixtures were embedded beneath transparent areas of the stage, shining directly upwards. Two Robe ColorSpot 575E ATs were on the deck at the front corners of the stage, with two others rigged centrally on the screen trussing above. The remaining two ColorSpot 575 units were also on the ground, upstage centre, used for cross-beam work and shining into the congregation.

Fugard-Gous and a team of trained volunteers from the Church ran the lighting - which also included some set practicals integrated into a large steel scenic model of Africa - on a grandMA console.