PRODUCTION PROFILE PROJECTION LIGHTS & STAGING NEWS GEAR 2 5.3’x4’ custom screens 4 American DJ Accu Scan2s 2 Antari Z-1020 fog machines 24 Color Kinetics ColorCast 14s 1 Da Lite 6x8 Dual Vision fast fold screen 12 Elation Opti RGB 2 Elation Power Wash 250s 2 Elation Vision Scan 250s 2 Elation Vision Scan 575es 2 Elation Vision Scan 575s 1 Global truss system 1 Le Maitre Neutron XS haze machine 2 Martin Light Jockey + Laptop control systems 1 Sony VX2000 camcorder 3 View Sonic 2000 lumen projectors ments to a small area. For the general stage wash, six color-changing PARs were used to front light the stage and six color-changing PARs were used to up light the performance platform. With the platform to help control the roaming bunny, Kelly could place more fixtures on the floor, which were obscured by a 12-inch lip running the length of the stage. The placement was ideal, providing nearly 360° of light and allowing Kelly to create interesting shadows and up lighting when called upon. Eight more ColorCast fixtures were placed behind the truss to backlight Christopher. That’s not all that was lighting Christopher. “Unfortunately, he had a projector in his face the entire night,” said Kelly. “Thankfully, he’s a seasoned performer and graciously accepted this fate.” Because of the limited ceiling height, using the automated lights was a bit of a challenge. “In order to create crowd energy, the lights have to sweep through the air, especially at an electronic event,” said Kelly. However, the audio speakers and conventional lights in Amos’ will block the light from any fixtures rigged on stage six feet high or higher, which precludes projecting above the crowd. But Kelly had a fix. “By putting Bunny on the platform, we were able to use the space on the floor around him for both the LEDs and scanners,” he said. The moving mirror fixtures were placed on the floor around Bunny, and the beams could either scan Bunny or the crowd. Four more scanners were set six feet off the ground and four more were inverted on the truss to create cross beams with the floor scans. “Rays of light seemed to <strong>com</strong>e from every corner of the stage,” Kelly said. For the final touches, Kelly used a solidstate laser, haze, fire, glow tubes, hand held lasers, cryo systems and “lots of fun interactive effects.” The show was programmed with transparent cues so colors, positions, and effects could be piled on and changed on the fly. Due to the <strong>com</strong>plexity of the show, there were two operators on two lighting consoles; one for the moving lights and one for the LEDs. A Clear-Com system was used to <strong>com</strong>municate with the VJ, who called the lighting cues. “Although this was my first time working with Rabbit in the Moon,” Kelly said, “their <strong>com</strong>munication was clear and allowed for creative interpretation. After three intense hours of the best live show I have ever seen, I have never been prouder of my team and the finished product.” The gig validated Kelly’s adaption of the tour rider to the club circuit. Even with the substitutions and budget cutting, the band and promoter were ecstatic with the results. For Kelly and crew, it was exhausting, if rewarding, work. “I crawled into bed that night,” Kelly said, “and dreamed of carrots and rocket ships.” Despite the constraints in space and the budget, the band and promoter were happy with the results. A <strong>40</strong>- by 30-foot vision was shoehorned into a 10- by 17-foot space, for a $4,000 budget. One of the two 5.4- by 4-foot projection screens framed in “goalie post” truss Lasers, projected images and giant beach balls with people in them are some of the visual effects packed into the show. 26 <strong>PLSN</strong> MARCH 2008
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