Professional Lighting & Production - Fall 2017 - Page 33

happy with it. Being able to control video from the lighting desk is essential for me so that the video can be incorporated into the lighting cues. Video can often overtake the show, so the fact that I can have control of all the visuals from one source I believe makes for a more harmonious look between lighting and video.” Beecher, while not a video designer, is obviously well versed in designing around it. “The most successful shows, in my opinion, are the ones where … the video is really well integrated into the concept of the design. If I am working on a big video show, it is important at times to step back and let the video shine or integrate the lighting so that it works hand in hand. Colour, space, and concept have to come together with video and light.” There are still large-scale tours simply not carrying video, Hendrickson notes. “The cost of many products has come down over the past couple of years. The chal- lenge is keeping up with the change in product over a one-year period. Many rental houses lack the where- withal to finance a purchase that would cover all their needs throughout the year, so strategic alliances have to be created in order to make this work.” SPECS & SPECULATION As for game-changing innovations our panel believes are coming down the pipeline, or that they hope to see in the future, Schick offers: “I think we will see more LED fixtures and technology at a lower price. Also I think we wil l see the cloth cyc replaced by one large LED panel and may see the use of video projectors as stage lighting fixtures.” Paquette believes more immersive types of inno- vations, like the audience becoming part of the show with lighting information being sent directly to people’s smartphones, will also become more common. “In the end, we are in ‘show’ business, and that’s what I’ve always loved, the show,” Paquette adds. “There was an interview with Alice Cooper where he said some- thing like, ‘People pay good money to come see your show, so do something.’ There is a common audio engi- neer joke that, ‘No one goes home humming the lights,’ but I like to counter with the fact that no one wakes up the next day and says, ‘Wow, I went and heard a great show last night.’” UFC 152 LOOKING BACK… Shania Twain’s Up! Tour Winter 2003 She’s one of the most suc- cessful and significant Ca- nadian artists of all time, and between 2003 and 2004, Shania Twain toured the globe for her Up! Tour, promoting her fourth studio album of the same name. The tour reportedly grossed close to $90 million from its 96 dates in Canada, the U.S., the U.K., and mainland Europe, and featured a visual feast for the eyes that wowed both live audiences and viewers of the Up! Live in Chicago special, recorded in the city’s Grant Park, broadcast on NBC and CBC, and then released as a DVD that was certified platinum by the RIAA. UFC 152 rolled into Toronto’s Air Canada Centre on September 22, 2012 and was met by a rowdy crowd over 16,800 strong, with the main fight featuring Jon “Bones” Jones and Vitor Belfort battling for the Light Heavyweight Championship. In addition to those gathered at the arena, millions watched around the globe via an estimated 450,000 pay-per-view Winter 2012 One point Ungerleider makes is that just because there are more tools available to designers and operators today, it doesn’t necessarily result in a better show. “Really, less is more,” he says. “One of the things to really think about is that space creates drama and emotion, and so does darkness. Darkness is, I would think, the most effec- tive cue you could ever come up with.” When it does come to specific game-changing tech- nology that’s been developed in recent years, Ungerleider points to the RSC Lightlock, which helps stabilize moving equipment. “So let’s say you have a projector in the audience that’s moving around because of airflow; you slap one of these on it and it stabilizes it. With Rush, when I wanted to have trusses come down on a couple points with lights hanging all over the place, well, if you didn’t have the Lightlock on there stabilizing it, those trusses would be turning all over the place.” Additionally, he says media servers “changed everything with lighting. When the Catalyst system first came out and it was the only system that was a media server that would reference frames per second as frames per second, I enjoyed using that because it would keep things in sync.” Down the line, Ungerleider says: “One area I see great strides in is rigging technology to support many of these massive lighting rigs with a safe working process. Safety in rigging is paramount on these shows. Gone are the days of, ‘My friend is not afraid of heights and will climb up there and hang that.’ The other is universal input voltage on many of today’s lighting and video products that make power distribution systems more logical – another big safety concern.” Ultimately, the game-changers are hard to predict. “If I knew what they were going to be, I’d be working on them now,” Christie says. Still, Pegg puts in: “I think that some of the innova- tions will be tied to things from outside our theatrical and film world – control via phones and pads, fixtures being created or modified by 3D printing… I can’t imag- ine what the changes will be, but every day I see people working with new materials in different ways.” Kevin Young is a Toronto-based musician and freelance writer. screenings. PL&P was on-hand on fight day to gain insight into a lighting system and design that needed to simultaneously appease broadcasters with a look suited for television while entertaining the thousands in attendance with a first-class live sporting experience. In the no-holds-barred spirit of the sport, we decided to serve it straight up with Q&A-style interviews with the event’s lighting designer and production manager. Fall 2017 | 33