In the special celebrating TV Globo’s 60th anniversary, light took center stage. Spectrun Design opted for AYRTON’s Kyalami luminaires, marking their debut in Brazil with a powerful, symbolic, and technically impeccable design. Backed by NEWART Iluminação, the project consolidated a strategic partnership that transformed the scene into an unforgettable visual experience.
The celebration of TV Globo’s 60th anniversary was a special event in Rio de Janeiro, featuring iconic figures from the media and an aesthetic meticulously designed in every detail.
And for this special event, the lighting design, a key element in this visual narrative, was led by Alexandre Augusto de Souza, director of Spectrun Design, a studio with a long history of high-impact projects for television, theater, and live shows.
Founded in 1987 by Marcos Olívio, Spectrun was born with a clear premise: to combine passion and excellence so that lighting not only accompanies a scene, but also transforms it.
Alexandre de Souza joined the studio in 2017 and, after several years of working together, became a partner in 2020, with the mission of expanding that legacy.
“Light is not just a tool, it’s a narrative, it’s the energy that transforms a space into an experience,” he says.
With this approach, Spectrun has specialized in lighting design, photography direction, and project execution, ranging from live shows and television to theater, social, and corporate events. “Regardless of the type of project, our purpose is always the same: to amplify emotion and generate impact.”
With the goal of creating a modern, precise, and powerful lighting identity, Alexandre made an innovative decision: incorporating AYRTON’s Kyalami luminaires, recently added to the studio’s technical portfolio, for the first time in Brazil.
Backed by NEWART Iluminação, the brand’s official distributor in the country, they opted for a design that combined stage versatility and optical quality, aligned with the magnitude of the event and the demands of the broadcast industry.
With more than two decades in the industry, NEWART Iluminação has established itself as a benchmark in the distribution of professional lighting equipment in Brazil. Founded in 2001, the company was born with a clear vision: “From the beginning, our commitment was to distribute high-level lighting solutions, focusing on technical excellence and constant evolution,” explains Francisco Pinheiro, the company’s General Manager.
NEWART’s priority is the supply of professional equipment for rental, television, and theater, with coverage throughout Brazil. “We work directly with clients from north to south of the country, and we strengthen our presence through product demonstrations and communication campaigns specific to each segment,” explains Francisco.
The strategy is designed to bring cutting-edge technology to the most demanding environments in entertainment and audiovisual production.
The partnership between NEWART and AYRTON was formalized in May 2024, when the company assumed exclusive distribution of the brand in Brazil. “Our decision was based on AYRTON’s global reputation for innovation, quality, and reliability,” notes Francisco Pinheiro. “It was a natural partnership, because its product line perfectly responds to the Brazilian market’s growing demand for versatile, high-performance lighting solutions.”
And that’s why the choice of AYRTON for this occasion was neither accidental nor impulsive.
AYRTON Lights Up in Brazil
The connection between Spectrun Design and AYRTON wasn’t born at TV Globo, but a year earlier, at another iconic venue in Brazilian culture: Rock in Rio 2024. There, Alexandre Augusto de Souza was in charge of the lighting design for Ivete Sangalo’s show, a high-voltage production that demanded performance, precision, and creativity with no room for error.
“It was on one of the most demanding stages in the country where I had my first direct contact with AYRTON’s equipment: Rivale Profile, Domino LT, and Cobra,” he recalls. The experience was eye-opening.
The luminaires not only offered rapid response and light output, but also a unique combination of robustness, versatility, and hybrid technology. “What impressed me most was their technical performance combined with versatility: the speed of response, the mix of LED and laser, their robustness, and IP protection,” Alexandre explains.
The result was so overwhelming that it left no room for doubt: AYRTON was not simply a new technical option, but a strategic resource. Since then, the line has been progressively integrated into Spectrun’s portfolio, becoming a key ally for large-scale projects. “After that experience, it was clear that incorporating the AYRTON brand was not justa technical evolution: it was a strategic decision. Today, they are important allies in the construction of projects that demand impact, reliability, and innovation,” he concludes.
Today, the relationship between Spectrun Design and AYRTON is no longer a test: it’s a consolidated alliance. The studio has 60 Kyalami units, recently added to its inventory. Added to this are luminaires such as the Rivale Profile and Domino LT, which Alexandre selects with surgical precision for each type of project.
“I like using the Rivale Profile for its precision, and the Domino LT for the quality it provides in lighting photography,” he explains. For him, each luminaire has a defined role in the visual narrative: “I choose the equipment not only for what it does, but for the impact it creates on stage, whether visual, emotional, or technical,” he affirms.
On the road to TV Globo’s big event
The opportunity to participate in the special celebrating TV Globo’s 60th anniversary was not a coincidence, but the result of a journey built over time. The invitation came through the project’s director, Renan de Andrade, Toca Prado, and Marcelo Amiky, three key figures with whom Alexandre had previously shared experiences. “I’ve been working with Renan and Toca since 2023, and with Amiky since 2017. Beyond the magnitude of the event, there was a trust built over the years,” he says.
But the challenge was enormous. It wasn’t just a show, but a symbolic celebration for an entire country. “It was, without a doubt, one of the most important invitations of my career.” “Leading the lighting design for an event that pays tribute to the history of Brazilian television, bringing together the greatest names in music and fiction, was an honor… and a great responsibility,” he says.
In this intersection of history and spectacle, Alexandre saw the opportunity to unite his journey and legacy in a single project; he knew he couldn’t go with the conventional. The project required something fresh, surprising, and powerfully symbolic.
The answer came almost simultaneously from across the technical stage: NEWART Iluminação, AYRTON’s official distributor in Brazil, invited him that same week to learn about a new product line that had just arrived in the country.
“When I saw the Kyalami for the first time, it blew my mind,” he says. The combination of lightness, speed, power powered by laser technology, and visually innovative design immediately won him over. But there was one detail that sealed the decision: “The shape and design of the Kyalami evoked Globo’s own logo.” “It seemed like the equipment had been created for that scene,” he recalls.
The choice of Kyalami was much more than a technical preference: it became a statement of principles. “It wasn’t just a technical decision. It was aesthetic, symbolic, and strategic. Kyalami became the show’s main moving light, perfectly integrated into the night’s most iconic set,” Alexandre says.
Although they were the show’s main visual protagonists, they weren’t alone. Alexandre Augusto de Souza complemented the lighting proposal with another AYRTON model that proved key in technical terms: the Domino LT. Its incorporation responded to a specific need of the project, marked by the scale and demands of the stage.
“My choice was based on two critical factors: high power and light quality,” he explains. “The stage was enormous, with very long distances, and I needed equipment that had great output but could also provide precise lighting for photography, because the most important figures in Brazilian music and television would be on stage.”
The Domino LTs were used as tracking lights and stood out especially for their CRI quality, a technical detail that made a huge difference in the final visual result. “They didn’t just fulfill their function: they elevated each artist’s stage presence, with lighting that respected both the performance and the aesthetics of the recording.”
From a technical perspective, the challenges were equally ambitious: a monumental set with a depth of over 20 meters, side walkways, multiple entry points, and a ballet troupe with over 50 artists on stage simultaneously. Each sector required a combination of lighting for photography and effects, and the design had to be conceived as a 360° system, both in coverage and visual dynamics.
“Although the main set focused on the stage, the design had to be conceived as an integral system, which directly impacted the number, type, and position of the equipment,” he explains. The key was to read the scene, adapt to the emotional rhythm of each moment, and work with luminaires that offered precision, power, and artistic sensitivity. “The design had to be dynamic, adaptable, and, above all, faithful to the emotion of each scene. Because in the end, lighting an event like this goes far beyond turning on lights:It’s about directing the audience’s attention to what really matters.”
One of the most powerful moments, both visually and conceptually, took place from a stage structure over 10 meters high, designed to represent the TV Globo logo.
From the beginning of the project, Alexandre Augusto had a clear image in mind: the light should emanate from that piece as if it were alive. It was more than an effect: it was a symbol of energy, presence, and history.
For de Souza, there are three fundamental aspects that make the difference in daily work: optical quality, the efficiency of the sources (LED or laser), and the response speed of each luminaire. But what he values most is that features that are considered premium by other brands, AYRTON offers as standard: “What many consider extras, such as IP protection or infinite panning and tilting, AYRTON provides as a base. This allows me to create with boldness and confidence,” he says.
The feedback received after the TV Globo project was as overwhelming as the results on stage. What surprised the operators most was the power and solidity of the Kyalami beam, even from extreme distances within the studio. “They always say the same thing: how can such a compact fixture deliver such a powerful and solid beam from the beginning of the lens to the back of the set?” Alexandre explains. He also highlights the performance of the combined prisms, which impress with their fluidity and beauty: “They are true creative tools.”
On the client side, the modern design and the ability to maintain vivid and intense colors even in highly saturated tones were the aspects that most impressed. “The Kyalami surprises on both fronts: with its technical performance and its visual impact.” And when a piece of equipment manages to captivate both the person operating it and the person viewing it, it ceases to be just a tool: it becomes a differentiator,” he summarizes.
The choice of Kyalami as the main fixture for this visual gesture responded to three key factors. “First, it needed power: the beam had to be striking even when emanating from within the set element. I wanted the light to appear as a symbolic extension of the logo itself.” Second, the equipment’s compactness allowed it to be integrated without interfering with the rear LED panels, avoiding unwanted silhouettes. And finally, its light weight was essential to avoid compromising the automated structure of the set.
But there was one more unexpected and revealing detail: “The shape of the Kyalami’s body was reminiscent of Globo’s own logo. That created an even stronger visual connection.” In that gesture, the technical decision transformed into a narrative decision. “It wasn’t just a technical choice. It was a creative decision that united light, set design, and storytelling into a single image. And that made all the difference.”
Alexandre’s artistic vision for this project wasn’t limited to generating visual impact. His intention was to create an experience that combined grandeur, identity, and emotion, while respecting the aesthetics of each performance and the symbolic weight of the anniversary. “From the beginning, the word that guided all conversations with management was: grandeur. But I knew I had to go beyond size. My challenge was to translate glamour, celebration, and identity.”
And that’s where Kyalami took on a poetic role: 60 luminaires, one for each year of TV Globo’s history. “It wasn’t an arbitrary choice. Each beam of light ceased to be just illumination and became a year of history that pulsed on the stage,” he concludes.
The scale achieved by the project exceeded even personal expectations. For Alexandre, it was much more than a professional achievement: it was a moment of collective pride, shared by the entire team that made it possible. “More than personal pride, it was a moment of collective pride, for our team, for our history, and for the quality of what we built together.”
Kyalami’s debut in Brazil through this event also marked a turning point for Spectrun Design, consolidating its position as a creative, specialized, and innovative studio. “It was an event that caught the eye not only for its technical quality, but also for its aesthetic impact and the boldness of the choice. Those who were not yet familiar with our work began to see us in a different light.”
Behind the scenes, there was a phrase that was repeated more than once and that, for Alexandre de Souza, sums up the essence of everything they seek to provoke with their work: “What light is that?” That spontaneous reaction was confirmation that they had achieved what they most desired: to create a visual experience that impresses, connects, and remains etched in the memory.
The celebration of TV Globo’s 60th anniversary not only marked a milestone for Brazilian television, but also a turning point for Spectrun Design. The project crystallized years of technical and aesthetic evolution, and paved the way for a new era in the way they work, how the studio thinks about lighting.
“Our plan is to continue increasing investment in LED and laser-based technologies with IP protection. This transition has been underway for a few years, but today it is at the heart of our strategy,” says Alexandre. The quest focuses on both energy efficiency and equipment durability, two essential pillars for large-scale, high-performance productions.
After a project as symbolic as Globo, this vision is no longer just an intention: it is a path with its own light.
Along this path, brands like AYRTON play a key role, due to their ability to combine technological innovation, operational robustness, and applied creativity. “We are committed to remaining at the forefront of lighting design, seeking solutions that not only illuminate better, but also transform the way light is conceived, felt, and delivered,” reflects Alexandre.
AYRTON in Brazil, a bright future.
For NEWART, AYRTON represents much more than a recognized brand. It’s a synthesis of performance, design, and versatility that aligns with the demands of the Brazilian professional environment. “What attracted us most was its balance of technical excellence and innovation. Furthermore, AYRTON’s support among the world’s leading lighting designers gave us even more confidence in introducing a world-class brand to our market,” he states.
One of the products that has already garnered interest in the local market is the Veloce, currently available in NEWART’s inventory. “Since its debut at a major event, it has become the most sought-after luminaire. Its light output, compact design, and versatility make it ideal for a wide variety of applications,” explains Francisco. Its performance and reliability have generated sustained demand, and the company is already working on expanding its inventory to serve new interested segments.
The recognition AYRTON has earned among industry professionals is no coincidence. Its products are valued for their robustness, optical quality, and consistent performance—three essential factors for the most demanding environments. “Designers particularly value visual effects, color consistency, and precise movement. AYRTON offers them the confidence and flexibility to bring their ideas to life, both on television and at live events,” says Francisco.
The relationship between NEWART and AYRTON’s headquarters in France is fluid and strategic. “We maintain direct and constant contact with the brand, allowing us to receive updates, technical support, and a solid alignment for AYRTON’s development in Brazil,” explains Francisco.
This commitment is also reflected in after-sales service. “We provide full technical assistance, on-site support, and personalized training. Our goal is not just to sell, but to ensure that each customer can fully utilize the equipment’s potential,” he emphasizes.
Currently, AYRTON luminaires are used in rental companies, television studios, theaters, churches, and entertainment venues. The large event segment has seen the most growth in recent months, driven by the need for innovative lighting tools.
“Clients are increasingly looking for solutions that truly enhance the visual impact of their productions, and that’s where AYRTON makes the difference,” Francisco concludes.
AYRTON’s expansion in Brazil exceeded NEWART’s initial projections. “We started off strong with the sale of 100 Veloce units to Wolf Produções, who used them in a major show, and 40 Kyalami units to Spectrum Design, which featured prominently in TV Globo’s 60th anniversary special.”
These high-profile projects generated immediate visibility for the brand, which quickly attracted the interest of other rental companies. “Today, we’re seeing growing demand from new clients who already recognize AYRTON as a premium professional solution.”
Kyalami’s debut during TV Globo’s 60th anniversary special was a defining moment for both NEWART and the AYRTON brand in Brazil.
“We were witnessing one of the most iconic and most-watched events in the country. That visibility, just after our first major deliveries to Spectrum Design and Wolf Produções, exceeded all our expectations,” says Francisco.
The impact was immediate. “For us, it was confirmation that AYRTON didn’t arrive in the Brazilian market quietly, but with force, consolidating itself almost instantly as a serious player in the professional lighting industry.”
Partnership with Impact
The collaboration with Spectrum was key from that starting point. The mutual trust between distributor and client allowed the debut to have the necessary technical and creative support. “They trusted both the product and our support. After seeing the results on the broadcast, they were able to offer the best possible service.” They quickly ordered 24 more units, bringing their inventory to 64. “That demonstrated the power of combining world-class technology with strategic vision,” Francisco emphasizes.
But beyond the numbers and equipment sold, the event had a strong symbolic value for the brand. “It was a moment of enormous pride and validation. Seeing AYRTON, still new to our market, highlighted at a national event like Globo’s anniversary confirmed that our bet was the right one.”
For NEWART, it meant more than just commercial success: it was the reaffirmation of a mission. “We’re not here just to distribute equipment. We’re here to bring global technology to Brazilian professionals who know how to make it shine.”
