Professional Lighting & Production - Spring 2018 - Page 28

28 PL&P CONCERT LIGH PL&P: Thinking back to the last two or three years, which widespread trend - in terms of technology, workflow, or industry relations – has had the most significant impact on your work or the stage lighting industry in general? Bartnes: The only trend in the last several years is that I’m more expensive than the younger designers. It’s a sad twist of fate that production companies will use and abuse your youth, and as soon as you are a “made man,” they will replace you with cheaper talent. Clark: I think it’s been the advent of LED technol- ogy – not to have the power draws that we once had and to be able to have many lights for the same cost as a few. It makes a small show look so much bigger for the same cost and it's not as damaging environmentally. Gotschel: I’ve been getting more and more into creating my own custom video content and have been incorporating that into my designs. LED video walls are not that new to the industry, but they have become a lot more affordable and more shows are starting to use them, even on smaller scale shows. By creating my own content, I have full control in achieving the looks I want. Lighting fixtures can only go so far in recreating what I imagine; video walls help get me a lot closer to those goals. Larivée: LED tape. It’s now well controlled, has some flicker free options, and pixel mapping. We can design fixtures with LED tape, incorporate them into floors, desks, acrylic tubes to simulate a pixel-mapped LED batten, set pieces, etc. Very versatile and changing the lighting industry. Used to be a “gag” but it’s now a precise tool. Smith: The largest trend of the last three years or so would have to be LEDs, hands down. The technology only keeps getting better and better and has allowed rigs to drop down to a fraction of the power draw that they previously would have used, not to mention the amount of cable and Spring 2018 | 28 power distribution that you can save on. Having the option to run them on 120 V or 208 V is a great tool to have for those last minute-changes, and the colour mixing has vastly improved where you can get a good white out of them now. The one issue that LEDs have caused though, would be the number of channels required for a show to get full utilization. Luckily the console manufacturers are adapting as well and giving more and more available outputs onboard and easier networking methods to expand your show. PL&P: From your perspective, what do you anticipate will be the next major technolog- ical innovation that will have a widespread effect on you and your peers’ performance and workflow? Bartnes: I’d like to see RDM [more widely] imple- mented. It’s so poorly adopted with most manu- facturers that turning on RDM is just like disabling your rig. I get the concept, but its application is a total ass pain. Clark: The next major change I see will be the way consoles interact with the lights and scenery. You already see a bit of this in RDM, but I think the next thing will be the ability to tell the console what you are using and it will talk to the fixture and know where it is in the rig in a 3D space, then it will automatically download its info to the desk and the programmer won’t have to t ѡ)ͽݡ́ѡ䁡ٔѡͬݥЁ)ݡЁ́՝)͍Ʌѕݽձ)ɕиḛѡɔٔم́)ɴѡ́ѕ䰁Ё'eх)Ʌ́Սɝȁ͍+ )1ɥЁѽѥ́ѡ])ɔͱݱ䁝ѥձѥ́ݽɭ)ЁѕѼո٥́Ѽ͔ѡ)ȁɅѽȸ%Ё́ѡՅ䁽ᕍѥ)ѡɕձЁѡܸ͡ͼ1ɽ)ɕ̸Qeٔݽɭɐѥ1ɽ)ɕ́mٕȁѡ啅tЁ܁ݔɔхѥѼ)Ёͽݕəհѥ̸%ЁݥɕՍ)ѡݕȁյѥٕɅѕ)ͼЁݥЁȁ͍ձ%Ёݥͼɥ)ɔ٥́Ѽѡɕ̸)MѠ'eЁɔݡЁѡЁȁѕ)ݥ%Ё́ɔхЁ܁ѡٕ)Ѽչхݽɭ܁Ѽ)ɥєѡمЁչЁ5`ѡЁ)ɕեɕѡ̸͔]Ѡمɥ䁽ɽѽ)͕ѽ䃊Lѕ܁Ёѡͅѥ)ѡͅݽɬLЁ́Ѽ܁)ѼݥѠѡɅͥ)Ѽմ%ѡЁ܁啅̰$ٔ)ݔݥ͕ѡ͔ݽɭ́ѡȁ͕)ѡѕȁѼȁхɑ̰)䁙ȁ͔ݥѠ1͕ٕ́́)ѡɝյȁ́ѡЁѕ)ݥѠѡ)A0@$ѡӊéȁѼͅѡЁѥ)եЁ́ɔɔͥ)Ѽɔ܁ѡѡ䁡ٔ)ѡи!́ѡ́ха)ͥѥٔȁѥٔȁѕɅѥ)ݥѠٕ́ȁѡЁ܁啅̰́ȁ)͍̰ͥѥȁ)ݡЁѡ݅Ёѡ͡܁ȁɽЁѼ)ь%ͼ܁́ѡЁѕ)ݽɬȁѕȁȁȁݽ͔) ѹ%́eЁ܁ݡЁѡ݅ѕ)ɔѡѥeЁܸ$ٔѕѡ)Ʌѕ䁽ͭѥ́ݡЁѡ䁑eЁ݅)͕́ѼݡЁѡ݅и5ЁeЁ)ݡЁѡ݅аЁѡɔ܁ݡЁѡ)eЁLȁᅵ́Ёѡ)ͽ̰ɽ̰ɕɕͥ) ɥѵ́̄͡) ɬ$ѡѡЁ́Ѽɕ)Ѽ܁ݡЁѥ́ɔ$ͼѡ)ӊéЁѡЁ܁ɔܸQ͕)ɔ́͡ͼѡ䁝Ё́ɽѡ͔ӊe)ٕ䁕Ѽ͕ɍȁѡͼНٕ́