Download a PDF - PLSN.com

More documents

Recommendations

Info

To Advertise in Marketplace, Contact: Greg • 702.454.8550 • gregg@plsn.com ADVERTISER’S INDEX COMPANY PG# PH URL COMPANY PG# PH URL All Access Staging & Production 8 310.784.2464 http://plsn.hotims.com/29716-102 Stage Crew 38 702.682.9514 http://plsn.hotims.com/29716-318 Applied Electronics 31 800.883.0008 http://plsn.hotims.com/29716-105 Stage Gear 22 714.632.7170 http://plsn.hotims.com/29716-508 Atlanta Rigging Systems 22 404.355.4370 http://plsn.hotims.com/29716-107 Staging Dimensions 17 866.591.3471 http://plsn.hotims.com/29716-145 Bulbtronics 33 800.227.2852 http://plsn.hotims.com/29716-110 Stage Spot 12 888.567.8243 http://plsn.hotims.com/29716-473 Chaos Visual Productions 21 818.748.2200 http://plsn.hotims.com/29716-367 Strictly FX C3 847.290.0272 http://plsn.hotims.com/29716-320 Chauvet Lighting C1 800.762.1084 http://plsn.hotims.com/29716-111 Techni-Lux C2 407.857.8770 http://plsn.hotims.com/29716-147 Checkers Industrial Prod. 15 800.438.9336 http://plsn.hotims.com/29716-112 Tomcat 6 432.694.7070 http://plsn.hotims.com/29716-243 City Theatrical Inc. 15 800.230.9497 http://plsn.hotims.com/29716-114 Tyler Truss 37 317.485.5465 http://plsn.hotims.com/29716-148 Clay Paky (Italy) 7 609.812.1564 http://plsn.hotims.com/29716-115 Ultratec 2 888.655.6887 http://plsn.hotims.com/29716-408 CM Rigging 11 800.888.0985 http://plsn.hotims.com/29716-116 Upstage Video 34 610.323.7200 http://plsn.hotims.com/29716-356 Cooling & Power Rentals - CPR 36 888.871.5503 http://plsn.hotims.com/29716-216 Xtreme Structures & Fabrication 33 903.438.1100 http://plsn.hotims.com/29716-159 Creative Stage Lighting Co., Inc. 16 518.251.3302 http://plsn.hotims.com/29716-118 Daktronics 30 800.843.5843 http://plsn.hotims.com/29716-217 MARKET PLACE Doug Fleenor Design 15 888.436.9512 http://plsn.hotims.com/29716-119 Blackbox Electrical Products 42 562.602.1799 http://plsn.hotims.com/29716-481 East Coast Lighting & Production Services 25 404.872.0553 http://plsn.hotims.com/29716-225 City Theatrical Inc. 42 800.230.9497 http://plsn.hotims.com/29716-114 Ebulb / Bulbamerica 13 888.505.2111 http://plsn.hotims.com/29716-294 Drape Kings 42 888.372.7363 http://plsn.hotims.com/29716-484 Elation/ American DJ 41, C4 866.245.6726 http://plsn.hotims.com/29716-121 Fantasee Lighting 42 734.699.4464 http://plsn.hotims.com/29716-486 James Thomas Engineering 27 865.692.3060 http://plsn.hotims.com/29716-194 Georgia Case Products 42 888.422.2737 http://plsn.hotims.com/29716-480 Light Source, The 4 803.547.4765 http://plsn.hotims.com/29716-305 German Light Products - GLP 42 310.891.0773 http://plsn.hotims.com/29716-476 Lightronics 1 757.486.3588 http://plsn.hotims.com/29716-132 GoboMan 42 866.391.4626 http://plsn.hotims.com/29716-487 Lightwave International 3 412.965.2737 http://plsn.hotims.com/29716-231 Light Parts 42 512.873.7106 http://plsn.hotims.com/29716-278 Mega Systems 9 210.684.2600 http://plsn.hotims.com/29716-470 Light Source Inc. 42 248.685.0102 http://plsn.hotims.com/29716-180 Mountain Productions 9 570.826.5566 http://plsn.hotims.com/29716-302 Lightronics 42 757.486.3588 http://plsn.hotims.com/29716-132 Omnisistem 10 253.395.9500 http://plsn.hotims.com/29716-253 New York Case/Hybrid Case 42 800.346.4638 http://plsn.hotims.com/29716-298 Performance Truss 23 877.230.8787 http://plsn.hotims.com/29716-360 RC4 Wireless Dimming/ Theatre Wireless 42 866.258.4577 http://plsn.hotims.com/29716-153 Robe Lighting s.r.o. 5 954.615.9100 http://plsn.hotims.com/29716-141 Roadshow 42 800.861.3111 http://plsn.hotims.com/29716-154 Sharp Electronics 35 866.484.7825 http://plsn.hotims.com/29716-506 TOV Imports 42 718.237.2299 http://plsn.hotims.com/29716-509 Show FX, Inc. 14 562.903.7285 http://plsn.hotims.com/29716-322 Upstaging, Inc. 42 815.899.9888 http://plsn.hotims.com/29716-158 Soundcheck Nashville 13 615.726.1165 http://plsn.hotims.com/29716-507 Upstate Case 42 315.732.3226 http://plsn.hotims.com/29716-492 Jobs for the Entertainment Production Technologists, Practitioners & Educators Job title: Tradeshow Job location: Sunrise, FL 33351 Classification: Fulltime, Exempt, Salaried Reports to: Product Marketing Manager The primary objective of this position is to work with different levels of management to plan, organize and coordinate tradeshow and promotional events. Job Requirements: include the following essential duties and responsibilities. Other duties may be assigned. Assist in planning, coordinating, and executing national and international tradeshows and other events. Hands-on involvement in a variety of marketing logistics, including shipping, collateral coordination and ordering. Participate in and staff trade shows and promotional events as needed. Responsible for management of swag inventory to include product suggestions, pricing, procurement and distribution. Liaison with outside suppliers for promotional goods, and other related materials. Responsible for tracking all promotional invoices and expenses against established budget. Reporting regularly to marketing department head on related fiscal matters. Overnight travel required Education and/or Experience: High School Diploma and 2-4 years relevant project management experience. Detailed oriented with solid time management, organizational and project coordination skills. Ability to work under pressure, and possess strong math skills for budgeting and record keeping. Solid computer skills and experience with MS Office, Adobe Creative Suite and Internet. STAGING • LIGHTING • SOUND Order online TODAY at www.plsnbookshelf.com Check out what’s on our shelves! www.plsnbookshelf.com 2010 december PLSN 43
LD-AT-LARGE P R O J E C T I O N L I G H T S & S TA G I N G N E W S Lighting a Jam Band By NookSchoenfeld Sometimes I think that no concertgoing audience enjoys a good light show more than the hippies who attend “jam band” concerts. These bands don’t follow a set list like 99 percent of the other bands on tour. They usually start one song and then drift into an avant-garde jam session before finding their way back into the original song, or segue into another. They also tend to cover other artists songs at a different tempo than the original version. And the audiences tend to dance along as if they were in a trance. The Ultimate Punt Page plsn Most jam bands play two or three sets of music each night and have a couple hundred songs in their repertoire. It’s tough to program individual lighting cues for that many songs, especially since the arrangement of each song can change at any given time. What most of us who light these acts do is create the ultimate punt page (or several of them) to be able to grab cues on the fly and keep up with the musical changes as they come. The hardest part of this task is making the lighting nonrepetitive. I hate seeing the same lighting effects over and over at any show. I am an old “Dead Head” — one of those people who followed the career of the grandfather of jam bands, the Grateful Dead. I attended many of their shows, starting from when I was in high school. When I started working at Morpheus Lights in the 1980s, Candace Brightman, the Dead’s lighting designer, used this company as the lighting vendor. Candace and Dan English ran the lighting consoles, and each controlled different sets of moving lights. Candace designed the lighting rig and concentrated on keeping the band lit while Danny constructed the lighting COMING NEXT MONTH... Inside Theatre Scenic designer Scott Christensen uses lighting, video and costumes to recreate the Beatles era. Buyers Guide Automation is the new frontier in live event production. Usher on Tour LD Peter Morse lights Usher’s OMG tour. What most of us who light [jam bands] do is create the ultimate punt page (or several of them) to be able to grab cues on the fly and keep up with the musical changes as they come. system and then used his console to light air. He didn’t light anything in particular; he concentrated on making light beams look really cool and mixing cool patterns of gobos on assorted cycs and set pieces. Two LDs are Better than One plsn I covered for Danny on quite a few gigs and soon grasped the reason why two lighting directors are better than one with a jam band. With two operators controlling different type fixtures, it’s a lot easier to not repeat your light cues, because the chances of both of you bringing up the same look twice is unlikely. Plus, I like to do something a little different with jam bands. I like to give the band a bit of a light show that they can watch while they are playing on stage. I like to fly some structure out in the middle of the arena that can light the crowd, the ceiling or any multitude of fabricated scenic pieces I can fly from such a structure. Last month, I got a call from an old friend. He was doing production for a jam band called The String Cheese Incident. This act has been around for quite some time, but they don’t like to tour anymore. Instead, they play a few “special events” every year. They were going to play two nights at the Hampton Coliseum in Virginia to celebrate illustration by andy au Halloween. Andrew Carroll had looked after lighting for the band for 10 years and was very much involved. But they were looking for someone to help him out and design something extraordinary and wanted to know if I could pitch them an idea. I jumped at the thought of spending a few days grooving to some tasty jams and opened up my Mac and my imagination. The band had a video guy who ran an Arkaos media server through his laptop and was able to find some great deals on renting some 10-millimeter (pixel pitch) video panels. I contacted “Tweaker” and asked him if he could feed video content from his media server to some projectors as well. He assured me he could. Space Pumpkins plsn What the band had in mind was a big spaceship. What I had in mind was a big pumpkin. My idea was to morph one into another. So I took some curved truss and decided I needed a garage door-type opening of the show. I ran five 45-degree sections of truss from top to bottom, with the ends landing in the barricade area. I stretched 10-by-18-foot rectangles of white fabric between each truss finger and put two 10k lumen projectors by my console and projected them 100 feet to illuminate the garage door in the down position. Tweaker projected jack-o-lanterns and other assorted Halloween stuff on them while the crowd walked in. The fabric hid the band’s entrance to the stage. As they started tinkering with the first song, I raised the fingers to reveal the band and a plethora of LED fixtures, moving lights and various shaped video panels. Once the truss stood up on end, I had two more 12k projectors to illuminate the big screen as well. I knew very little of the music they were playing. A lot of it was bluegrass infused with some rock melodies. Andrew knew who sang each song and played which solo. He controlled a wall of Martin MAC 301s as well as some MAC 2k wash fixtures and Vari-Lite VL3k spots that I splattered around. He chose an Avolites Diamond 4 to run his lights because he likes having tons of faders. With this, he had enough fixtures to have a well-lit band and then some. I designed the rig to have vertical rows of i-Pix BB7s and Martin Stage Bar LED fixtures. I ran all of these from an MA Lighting grandMA so I could emulate a spaceship with tons of blinking lights. I also controlled the FOH “docking station.” Creating a Frenzy plsn I also designed a gyroscope-looking structure with a couple of circle trusses interwoven at angles. I hung a bunch of LED pars to tone the truss and a bunch of MAC 700 profiles along the outer rings. In the center of the structure I built a conglomeration of mirror balls that rotated in different directions at various speeds. At my riser position, I placed a bunch of Robe 2500 spot fixtures to under-light the mirror balls and splatter gobos across the roof of the arena. At key moments in the show, we blacked out the whole arena and just lit the mirror balls in various colors and spinning gobos. At other times lights roved thru the dancing audience, working them into frenzy. I simply followed the other guys’ leads. If the lighting got stagnant, or Tweaker was looking thru his library for the next video clip, I would start dancing the various LED fixtures in one of the many effects and chases I had programmed. I filled three pages full of various spaceship looks and various timed cues so I could match the tempo of each song. The grandMA was the perfect console for this event because of the many executor buttons and faders on which I could stash cues. In the end, I used every button I had programmed, and everyone was visually stimulated. In fact, the hippies in the crowd were the most stimulated, perhaps in more ways than one. Check out Nook Schoenfeld’s instructional DVD, Nook’s Ultimate Punt Pages DVD, at plsnbookshelf.com.
Page 2: Road Test: ELC Checker, page 30 PRO
Page 7 and 8: TECHNOLOGY ASSOCIATION EDITOR’S N
Page 9: NEWS 6 PLSN DECEMBER 2010 consider
Page 12 and 13: P R O J E C T I O N L I G H T S & S
Page 16 and 17: Lighting’s mid-market intelligent
Page 20 and 21: ST Match Strike 2010 Venue Immanuel
Page 22 and 23: MAC 2k washes are still one of the
Page 25: INSIDE THEATRE P R O J E C T I O N
Page 28 and 29: LD Eric Marchwinski used lighting t
Page 31 and 32: BUYERS GUIDE Manufacturer Model Dim
Page 33 and 34: ROAD TEST P R O J E C T I O N L I G
Page 35 and 36: NEWS P R O J E C T I O N L I G H T
Page 37: PRODUCT NEWS P R O J E C T I O N L
Page 41 and 42: FEEDING THE MACHINES P R O J E C T
Page 43: FOCUS ON FUNDAMENTALS Hedy Lamarr a

Download a PDF - PLSN.com

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?