From a theatrical perspective, the characteristics of a moving head light that are really most important are silence, cost effectiveness, and the quality of the light produced, whether it emulates or is in actual fact a tungsten source. Precision is very important as well, along with a nice colour range of both saturate colours and pastel shades.
When I started using the first Golden Scans around 1987, it was really a big change. For the first time, movement of light could be added to the shows. At the control side, well before the mix was rather sketchy. One had to find a lot of work around and be inventive to get the looks you wanted.
When people talk about fashion, when they talk about craftsmanship, “made in Italy” is famous all over the world, and considered an example of excellence. When the talk turns to technology, there’s always a certain diffidence. Clay Paky, however, has managed to become a brand of excellence, and this is due above all to its close focus on quality.
Of course, light is important in discotheques, the idea is, I go into a room that’s completely dark and I switch on the lights, so I use light to show whatever I want. I show the staging, I show the interior design, above all I get people dancing. So attention to detail is much more important.