Professional Lighting & Production - Fall 2017 - Page 29

End Systems for its ability to handle lighting and video elements. More traditional lighting fixtures would in- clude pars and sunstrips. As for movers, I’m impressed by a lot of the new spot fixtures, including the VL4000s and the new Robe fixture that is coming out in September.” LOOKING BACK… TSN’s SportsCentre Spring 2014 RICHARD SCHICK Schick Shiner & Associates Shawnigan Lake, BC Started Out: In 1967 as a high-school audio tech be- fore going on to stage management, technical direction, production management, and general management and production. Became a theatre consultant in 1993. “I was lucky in many ways. When I started out there was not a lot of competition for jobs, so I went from being a lighting tech in a TV studio to being the produc- tion manager in the largest regional theatres in Canada in five years. You couldn’t do that today.” Favourite Gear: “I know it will sound funny, but I fell in love with the old Strand Patt 23; it was a wonderful fixture. I also love the light from a Fresnel, and I fear they are going out of fashion.” HOWARD UNGERLEIDER Production Design International Markham, ON TSN’s flagship sporting news program Sports- Centre has undergone many changes since its debut as SportsDesk in 1984. One of the more significant was the substantial overhaul of its set that was unveiled on Dec. 19 th , 2013, during the early edition of the show hosted by golden-voiced on-air per- sonality Rod Smith. The project first got rolling in 2012 with the goal of refreshing SportsCentre’s set while retaining key elements that set the iconic brand apart from others. The original and now famous desk remains a key element, but an additional standing desk – used for segments that feature commen- tary from insiders and experts or those where the host is introducing a lot of video content – was created. A variety of video screens, digital background boards, and backlit paneling was also added to the area. Started Out: As an avant-garde, self-taught multi- instrumentalist. Cutting his teeth in New York City in the 1960s, Ungerleider sought out a recording contract. Ultimately, he became an agent for Action Talents Inc. in NYC, which brought him into contact with Rush, for whom he’s worked first as tour manager and then LD since the mid-‘70s. Over time, he’s also worked with a variety of international acts including Rod Stewart, Van Halen, and Queensryche among many others and considers his background as a musician a key to his success in later years. Currently runs Production Design International with his partner, Brian Beggs. Favourite Gear: “Too numerous to mention,” he says, but references a variety of pieces, including the Vari-Lite VL4000 Beam Wash, Ayrton Magicrings and Magic- blades; Robe products including the BFML WashBeam; and Clay Paky’s Mythos and Sharpys. TOOLS & TECHNOLOGY While lighting technology has generally become more powerful, capable, and effective, it has also become more complex – along with its subsequent workflows. As a result, many of our panelists express a fondness for the past. Frankly, they say, there are some things they miss from back in the day. For Schick, it’s not a matter of the gear itself; it’s the fact that, as a consultant, he has less contact with actu- ally running shows. “I miss the half hour before the show where everything is ready,” he says. “There’s a pause, a deep breath, and then the start.” He also misses locking up the venue after a show as a stage manager and PM. “I believe that the energy of the performers and the audience was still present in the theatre and I could feel it as I walked alone across the stage.” Constable offers up an observation about how her work has changed as well, not because of how her career has progressed, but because of the way she and her peers communicate and the impact that has on the sheer amount of time spent in the venue. “I miss hav- ing time to actually design on a project. I think the world of immediate communication, be it via email, mobile phone, or Skype, makes all of our working lives tougher and less considered and I miss having time in the room to make good work.” “I started out just on the cusp of the whole moving light revolution,” puts in Paquette, “so in the beginning, I was putting together and operating purely conventional rigs – just par cans and ACLs. You really had to put a lot of thought into the design, gel selection, and focus of Fall 2017 | 29