TOTP Studio in Berlin

Perhaps it’s the enormity of the complex itself, or the East German hoist system above the three stages which dates from 1973 (100 hoists at 60 kilos each!), or perhaps the host of Russian equipment still in use around the complex that once served as the nerve-center of East German television and film production for so many years.

At first glance, the three music sets look very familiar, a reflection of the modern BBC version in London. But take a peek behind the scenes and things are definitely different. Indeed, in an industry where the newest gadget is often perceived as better, the only items at Hauptstadtstudio that are post-1989 are the lighting and sound equipment.

The misperception that everything made in old East Germany prior to 1989 is of poor quality and nonfuctional is hard to overcome. Yet in its day, Adlershof was seen as state-of-the-art, and most of the equipment is still functional and used today. The hoist system for example is easier to deal with than truss and makes overnight production changes more possible.

Now in its 20th week, the TOTP show, German-style, is undoubtedly one of the most successful music shows in Germany. The show plans on continuing at the Adlershof facility until March and then hopefully take the TOTP concept to France.

The lighting equipment is mostly Martin with lighting supply divided between Procon, Helicon and MediaTec with Procon as the main supplier. Some 72 MAC 500 and 36 MAC 600s are used throughout the three stage set-up as both back and front light. MACs can also be found sitting directly on the stage.

Thirteen PAL 1200 effect lights are also incorporated in the lighting design. In a unique use of MACs and PALs together, the backdrop for the main stage is backlit using two PALs and two MAC 600s to create the TOTP logo.

The production requires speed, service and quick turnover times and lighting supplier Procon was up to the task. Only 4-6 weeks were used to coordinate production with 14 days used for build-up and programming. And with different performers each week, this high tempo includes new programming and a host of new gobos weekly. On Tuesday of each week Procon receives an order for new gobos. They deliver the new gobo designs the next day in time for Wednesday’s programming!
Production Manager: Gabi Grundman
Lighting Programmer: Lia Amato
Lighting Designer: Patrick Nicolas
Lighting Operator: Jans Probst/Jerry Appelt