A Papal Mass on Sacred Ground - PLSN.com

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WIDE ANGLE PROJECTION LIGHTS & STAGING NEWS LDs Leif Dixon and Chad Peters on their Co-Headlining Tour Photos & Text by SteveJennings Chad Peters used the latest version of SharpieCAD for Paramore’s backdrops. Leif Dixon gave Jimmy Eat World a different look with HES Showguns and tungsten specials. A Résumé, of Sorts, for the Gig Chad Peters (Paramore): “I would acts. Other than a handful of smaller assume my career on the technical side of showbiz started like most everyone’s – a failed audition. The sweet drum gig I should have gotten turned into an offer to be the lighting guy instead. The journey’s taken me along the way. I’ve worked for Stagepro, CCE, Performance Lighting, Windy City Music, PRG, and tours, this tour is one of my first opportunities to design on a real level. Luckily its a perfect chance to grow as a designer at the same time as the band is growing in popularity.” Leif Dixon (Jimmy Eat World): “My resume? I’m tall and incredibly sarcastic. The ‘tall’ part makes me hate European Upstaging. The last four years I have (double decker) tour busses, and the ‘sarcastic’ been pretty consistently a touring tech, which allowed me chances to gain experience while running a lot of support part has kept me single for most of my life. I have a natural affinity for Nutter Butter cookies and blackberry pie.” Putting Together a Co-Headlining Rig Leif Dixon: “I put together a very simple design of three straight trusses and a deck package and suggested to Chad that we share those fixtures. The design for my own show included an additional upstage lighting truss and a soft goods truss, and the overall layout allowed space for Chad to add his own specials, backdrops, etc. Chad and I did a few rounds of compromise until we settled on an overall shared design, with each band having their own additional specials. I tried to add a live goat to the design, but the budget did not allow for a handler, and the production manager refused to allow hay on the bus, so we had to leave the goat at a venue about two weeks into the tour.” Chad Peters: “Once the budget came back and slapped me with reality, it was much easier than I thought it would be. We agreed on much of the basics like fixture types and gobo loads right away. The majority of what followed was bouncing e -mails back and forth about moving trusses or adding a fixture here and there. For budget reasons we tried to share as many lights as possible so we talked about having different trim heights for each show. In the Paramore show I toned the truss to make the different truss heights really stand out. One of the most noticeable differences to me was the floor package for each band changed drastically.” Peters lit Paramore’s backdrop and truss with LEDs. Leif Dixon: “We use a series of backdrops – four in total – to give us a few different looks throughout the show. Ultimately, however, I think the biggest contrast between the shows came simply from the respective styles of the two designers. We did have some significantly different fixture types in our extras packages – Paramore with a ton of LED fixtures, and Jimmy Eat World with some HES Showguns and tungsten specials – that helped keep the two shows a bit different. Also, the goat liked to chew on the soft goods, so my show looked a little different every day.” Two Bands, Two Looks Chad Peters: “Ah, yes, the old ‘lights in the guitar’ cabs gag... It was actually something the band really wanted from the beginning. The biggest thing I thought stood out in my show were the Color Kinetics ColorBlaze that lit the backdrop and the Coemar LED PARs that toned the truss. It was actually a pretty big part of my show and something Leif didn’t use in his. One of my favorite differences was actually Leif’s show. He had 100-watt bulbs that hung throughout the rig. I would make it out to FOH most nights just to see that.” Dixon used VectorWorks to draw his plots for Jimmy Eat World, shown here. Programming and Control Leif Dixon: “I use a MA Lighting GrandMA Light and programmed a large Chad Peters: “I used the Flying Pig Systems Hog iPC running Hog3 mode with portion of the show at home using the a mini wing. The previz was done using Light and MA’s 3D Visualizer software. I use VectorWorks to draw my plots, while Chad uses SharpieCAD. I think my plots were a bit easier to read, though he definitely won the efficiency contest; it would take me an hour every time I needed to draft a revision, while he could have a new plot in under two minutes.” ESP Vision.” I am still learning VectorWorks and am incredibly slow, so I found SharpieCAD and a digital camera was the best way to keep up with the changes in the plot. In my defense though, the symbol for the goat in my plot looked way better than the VectorWorks one Leif had. Mine had some grass to eat!” 38 PLSN JUNE 2008
CREW Lighting Designer/Director: Leif Dixon (Jimmy Eat World) Lighting Designer/Director: Chad Peters (Paramore) Crew Chiefs: Mark Weil, Kevin Tyler Lighting Techs: Blake Rodgers, Jerry Smith Rigger/Carpenter: The Amazing Dave Johnson Production Manager: Marc Immerman Tour Manager: Mark Haworth (Jimmy Eat World) Tour Manager: Andrew Weiss (Paramore) Lighting Company: Ed & Ted’s Excellent Lighting (Kevin Forster, account rep) GEAR Lighting Consoles: MA Lighting grandMA (main), MA Lighting GrandMA Full-size (backup), Flying Pig Systems Hog iPC console 23 Martin MAC 2000 Profiles 14 Martin MAC 2000 Wash fixtures 8 Martin MAC 700 Profiles 8 High End Systems Showguns 18 DWE 4-Liter 13 Martin Atomic 3000 Strobes 9 Color Kinetics ColorBlaze 72 LED Strip Lights 18 Coemar LED PARs 8 ETC Source Four PARs 1 goat The two LDs compromised on a rig that allowed for each designer to add a few specials. Shown here, a moment from Paramore’s show. The Band Had Ideas Leif Dixon: “The band take a significant interest in the overall presentation of their show. Before I joined the tour, they worked with another designer (Dan Hadley) to conceive the soft goods they’d use on this tour. During the design and budgeting process they frequently will check in on the status and ask lots of questions and offer up ideas, especially about ideas for gags or other ways to make the show unique. Once the rig design is finalized and a show-flow has been established for the soft goods, all lighting and cueing is left up to me.” Chad Peters: “Paramore are really into lighting. They give me freedom to do what I think looks good, but sometimes they will have requests for a certain color, or more strobe, etc. I would like to add a huge ‘thank you’ to our crew, and working with Leif. Speaking of our crew, we have fun on this tour. Just ask our sound monitor guy who we taped into his bunk.” Band members from Paramore and Jimmy Eat World took an active interest in the lighting design for their tours. Shown here, Jimmy Eat World. Ad info:http:// www.plsn.com/instant-info Ad info:http:// www.plsn.com/instant-info 2008 JUNE PLSN 39
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