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    Blog Series: Lighting Education

    Bridging the Visual Divide

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    So, there I was, presenting new gear to a group of industry experts when something that has never happened before to me, well, happened.  I was showing off one of our new video drivers and explaining how it worked and what it could do for lighting designers, when I hear the most dreaded words ever; “This is going to put me out of a job.”

    After the demo was over, I got a chance to speak with the gentleman who made the statement.  As we spoke, I got a better feeling of what he was saying.  He is a video designer by trade and thought that by making it easier for lighting designers to set up and throw content to video walls, it would make him a little less useful in the event market.  Once I explained to him that was not our intention and that the creation of a new driver, no matter how cool it was would not put him out of a gig, we got to the bottom of the real issue, the visual divide.

    Since the beginning of amplified audio and flashy lights, there has been a divide between audio engineers (noise boys) and lighting technicians (sparkys) have had a rivalry in the booth.  There are many reasons for this rivalry and it has gone on forever, but now there is a new player in the booth – Video designer (Vidiots).   Sorry, I don’t make up the names here.  I leave that to the Urban Dictionary.  Adding in the video designers into the mix has left the force with no balance.  The Jedi have the Sith, the Autobots have the Decepticons, Pepsi has Coke.  Where does the Video designer fit in?   This is a problem indeed.

    So, how does a FOH position meant for two fit three?  CONVERGENCE!!!  Allowing video and lighting to play together is the key.  The perfect example of this is pixel mapping.  With pixel mapping combined with video effects, the video designer can really add some amazing layers of texture and content to the lighting rig.  Not only that, it means that the lighting designer and video designer have to work together to formulate how cues will look and what structural direction the show will go.  OK, easy to say, but how does this happen?  Again, it’s all about layers and convergence.

    gal_rogue_r1_fxb_7

    Here is my example of the perfect world of lighting and video living in photonic harmony;  So the rig is made up of a combination of video wall, pixel products, and moving heads.  The lighting designer has control of all of the movement and dimming of the lights including pixel products as well as the colors and gobos coming out of the spots over ArtNet or sACN.  The video designer has control of all of the pixel products and video panel playback.  In this way, the lighting designer can still control the overall output of all of the lights and the video designer can still work his content in the way that the client or artist on stage wants.  Happy world!

    Eurovision Song Contest stage

    With a fixture like the Maverick MK2 Wash, and Rogue R1 FX-B the convergence is easy.  These fixtures allows you to operate it on two levels.  Actually, they allow you to operate it as two different devices at once from two control sources.  This allows me to run the function stuff (pan, tilt, dimmer, strobe) from a lighting console and then run all of the pixel stuff from a media server totally separate from the lighting controller.  This gives both designers the ability to have the control they are looking for.

    So, people of the video world, we welcome you with open arms!  It’s all about converging the visual arts.

    Visual Artists Come to CHAUVET Professional

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    June 23 and 24th were two amazing days at CHAUVET Professional.  We hosted lighting and scenic designer Christian Choi and Martha Vasquez here at our offices in Sunrise, Florida.  Along with Christian and Martha, we also invited several other designers into our offices to meet and share ideas.  John Dickson of LD Systems, Brett Angstadt of Round Peg Productions, Max Koehler & Ryan Warffuel of Antic Studios,  and Tristan Rudat were also invited down to participate.  Over the two days, the designers participated in several product demonstrations, collaborative discussions, and facility tours culminating in Christians’ seminar on scenic element design and fabrication.

    Christian Choi blog

     

    Christian Choi and Martha Vasquez

     

    Doing sessions like this at CHAUVET Professional is a way for us to get a good understanding of how designers use products in their daily lives whether it be lighting, video, or pixel products.  It also gives designers a chance to discuss their ideas particular topics with each other in an open environment. With this many designers and each one bringing something different to the table, all of the discussions were very lively,  really interesting, and extremely informative.

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    Mike Graham discussing the high points of the Maverick series

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    Ben Dickmann showing off the new Ovation B 2805FC

     

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    Anthony Chiappone talking EPIX Tour

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    Ford Sellers showing off the punch of the new COLORado 3 Solo

     

     

    This event was a lot of fun for everyone involved and we want to thank Joe Fucini for setting this whole thing up.  We’re sure that trying to organize this many artists into one spot must be like herding kittens.

    Launching your Lighting Career on the Right Foot

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    graduation images

    This is dedicated to all of the young minds that are graduating from a higher learning institute this spring, or this month, depending on the school you have chosen. Also, these are the suggestions and opinions of a person who started out on this path many years ago as a bright eyed young lad who thought he knew a lot more than he actually did.

    The road to your future is yours to explore and navigate any way you see fit. The key here is making the right decisions and forming good habits right away. Hopefully you chose good mentors during your primarily educational portion of your career. I say primarily educational portion because the education never ends. Here are a few habits that you should adopt immediately no matter where you choose to start working;

    1. This is the number one rule to live by in this industry. This rule should never be broken! Always try to be friendly, humble and open to ideas. Sound easy, but it’s not. There are tons of different personalities and backgrounds in the industry, and you have to find common ground with all of them. When you are making the break from the educational world to the professional world, it is a huge change. Think about it this way, there are some amazing quarterbacks in college football who have huge numbers and are great prospects for the NFL, but then when they get to the big dance, they either ride the pine for a few years, or fail all together. You are going to have to pay your dues for a while in your pro gig. It does not matter if you were the best lighting person that your school ever saw, you still have to prove yourself again. The best way to start is to be friendly, humble, and open to new ideas.

     

    1. Leave your school shirts at home. I know you have a closet full of show t-shirts from your school. I know you are dying to wear one to work. Don’t do it! Here is why – Let’s say you wear your lucky “Into the Woods” shirt you got in your freshman year with your school’s name on it and it happens to be a rival school that your crew chief attended. Welcome to a rough show run. Oh, and here is the other reason why – Nothing says NEW GUY like a school shirt. Until you get some show cred or get some swag from your gig, stick with a black shirt. Don’t worry, once you attend a few tradeshows, you will have more manufacturer shirts than you know what to do with.

    drama shirtTrade this shirt up for something like this one –

    rogue shirt

    1. Show up with the right tools, but take the tags off. Again, you are the new person on the gig, but you don’t need to look like it. I love shiny new chrome, but you need to take the tags off before your get to work. In fact, I would suggest picking up hand tools at a flea market if possible. They are broken in and cheap. Kline tools are great, but they are expensive and grow legs really easily. Don’t take them to work! Also, you don’t need a ton of tools to start with anyway. If you are starting out as a deck electrician, which is a good place to start, here is what you are bringing with you on day one:

     

    • Adjustable wrench (Crescent wrench or C-wrench). I like the ones with the 8” handle. It gives me enough torque to get clamps undone if some muscle head over tightened them.
    • Speed wrench (ratcheting open end / box wrench) in two sizes – 18mm and 19mm. The 18mm will open almost all metric clamps, like the ones that CHAUVET sells, the 19mm will open all of the 1Ž2 inch bolts on imperial style clamps, like the ones you will on mega claws. I suggest the 19mm over the 1Ž2 inch because if you are buying a set, you can stick with a metric set instead of having to buy a metric and imperial set. You can also find these in singles as well.
    • #2 Philips screw driver with a minimum of a 6” and maximum of 8” shaft. Any shorter and it will let you down, any longer and it is uncomfortable.
    • 6” flat head screw driver. You will never need a longer one.
    • Razor knife. Don’t spend a ton of money on one, it won’t be the last one you buy, but you have to have one. It is OK to lend this out. You will most likely get it back
    • Pocket knife. Spend a little more money on this and don’t lose it. It is not OK to lend this out. This is yours and a pocket knife is very personal. Take some time in choosing one and make sure it locks when you open it. Keep in sharp and do not use it to cut plastic wrap or tape. That is what your razor knife is for.
    • Multi-tool – this is optional. I used to be a big fan of the Gerber style, until they quit making the flick open style. Now all they have is the fold open style and the tools are hard to get out of the handles. These guys can get expensive quick, so be careful.

    Now that you have your tools, how do you label them so that the world knows they are yours? You can either paint a stripe of color on them, or pick two colors of electrical tape. I prefer the two color tape. And you need a bag. A good backpack is fine. One with a lot of pockets is great. I like the Swiss Gear ones. They are a few bucks, but they last.

    1. Be observant. Watch what the rest of your crew is doing and how they do it. This is especially true in the very beginning of your career. There are many paths to arrive at the same destination. Seeing how other people get there will add to your personal experiences.

    LDI 2015

    1. Entertainment lighting is an art form. It might be your design; it might be someone else’s. None the less, it is someone’s art. Treat it with respect. You might not like the design or the method that it is being applied, but always keep tip number 1 in mind and you won’t go wrong.

     

    So, welcome to a fascinating field of employment. There are a lot of really cool people in this industry and there are tons of opportunity to do amazing things and travel to interesting places. You never know where you are going to end up or who you will meet along the way. Be kind as you navigate your career and you will never go wrong.

    Inspiration is Everywhere!

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    Inspiration is everywhere

    One of my favorite questions to ask lighting designers is “Where do you find inspiration?”. As a designer myself, I can answer this question both simply and complexly with a one word answer – everywhere.

    I can say this because I look at lighting as a natural occurrence rather than a technological creation. Light is everywhere. This seems like a no brainer, right, I mean, come on, of course light is everywhere. How else would we see? However, there is a more subtle reality at work here. Stick with me while I try to explain myself.

    Think about natural light and what it is comprised of. The sun produces a vast spectrum of energy, of which a small sliver of that is visible light. Of that sliver, our eyes manipulate it in such a way as to allow our brains to dissect it into a visual representation that we can see as either colors, or a variation of white light. I say a variation because as we know, there are several different flavors of white light in nature. Think about this as well, what is the obsession with natural light. Why is it that several blog posts and Lighting Insights deal directly with natural light rather than manufactured light? Basically, it is because I firmly believe that we as humans are designed to see natural light as the energy that it is. Our brains crave it. We crave full spectrum light! Science has proved that sunlight produces vitamin D, which is an essential part of our vitamin consumption. Beyond that, natural light is the best inspiration to look to for us as lighting designers. Nature provides us with the most amazing canvas of colors on a daily basis. When you are done reading this, get up from your computer and go outside and look at the building that you just came out of. Look at how shadows fall across the windows or under the trees. Look at the way that the light is refracted off of a lake or even a puddle in the parking lot. All of this is simple ways of seeing inspiration for design.

    natural light

     

    Now, let’s take another step. This one is pretty cool. Go into a room in your home that gets the best sunlight. Turn on all of the lights and close the shades. If you are like me, you are in the process or have changed out to LED light bulbs (that’s right, I said light bulbs, not lamps, deal with it). Take a look at the paint colors on the walls. They are going to look a certain way based on the color temperature and makeup of your indoor light source. If you are using incandescent, your spectrum is pretty wide, if you are using CFLs (Compact Fluorescent Lights), the spectrum is pretty narrow, and if you are using LEDs, then again, the spectrum is pretty narrow, but will still look better than the CFLs. Take a good look at the walls, the furniture, the floor coverings and whatever else is in the room. Remember the colors. Now shut off the light sources in the room and open the shades. You will notice that the colors in the room look completely different now. If it is a cloudy day, they might look less vibrant, if it is a sunny day, more vibrant. Why is this important? Because natural light is reality, and reality never lies. Our lighting design should be based on natural light where ever possible. It is our job to try to re-create these kinds of colors so that our shows mimic what our eyes crave.

    natural room

     

    So, last night I was at Church. My son sings in the choir, so I sit as close as I can to where he sings. Mass started at 5:00 PM and my seat faces the south stained glass windows. And I am of to the side and slightly behind the alter. Our church is set up in the round with the alter centered. About 15 minutes into the mass the sun shone through that glass like the ultimate single source directional light that it is. It illuminated that glass and every single color in it. There are reds, greens, blues, yellows, and every shade in between in the glass, and they all projected at once on the alter and choir. But it was not just the light that was produced; it was the shadows as well. Looking at the vestments of the priests and how the light and dark worked together to create dimension looked like something that you would see in a renaissance painting. The fact that it overpowered the house light and created so much dimension and drama was amazing. Not because it was Church and it was some kind of sign, but because it was inspiring to me and a look that I would love to attempt to reproduce. What was even better, was the fact that the clouds would occasionally diffuse the sun and mute the window to allow the houselights to take over again, which added to the effect. It was really something to see. I was tempted to take photos, but I knew that they would not do justice to how my eyes saw it. Anyway, it was very cool. This is one of the reasons that I find the natural light inside churches to be one of my favorite inspirations in lighting.

    church light

    What are the takeaways’ from this? Well, you could say that I have an un-natural obsession with natural light, or you could get up and see how natural light could influence your design style for yourself. Either way, I hope that you do get up and go look around and see what inspires you and think about it the next time you are making layers of light. Using multiple colors to light a stage, or people is totally natural. Using different levels of light in your front, side, and back lights is perfectly acceptable since natural light is anything but flat

    Let this thought rattle around inside your brain for a bit….Is natural light the composition of the visible spectrum, or does the visible spectrum come together for us to create the white light that our brain sees?

    Mentoring the Future of Our Industry

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    The future of the lighting industry is in our hands. That seems like a big responsibility, and it is, but together, we can make sure that the next generation of lighting professionals is ready to face the challenges of entertainment lighting as we move evermore forward into the digital age of lighting.

    For those of us in the 40+ portion of the industry, we all remember the world before DMX. A lot more cable, clunky control systems, and dimmer racks that went on for miles. With the advent of LED and the Windows based lighting controllers, that all changed. Now, when I hear someone say that they can focus a par can rig in no time flat, I have to think to myself, “Yea, that’s great, but when is the last time you saw an all par can rig?” The truth is that the skill of being able to focus a par can rig is now almost part of our history. That is like saying “I know how to use a telephone style patch board”. Many lighting professionals today have never seen one of those old 2 scene preset consoles that we used to use that had those old systems. Again, it’s all history. BUT HISTORY IS IMPORTANT!!! and by mentoring the people coming up in the industry, we can make a positive impact on the future, so when we retire, we know we have left it in good hands.

     

    dimmer control

    I am not suggesting that we should force people coming up in the business to learn how to use a Kliegl Brothers 2 Scene Preset lighting system. The amount of asbestos in those old systems alone would be deemed an environmental hazard. I am suggesting that it is important to talk about them because the idea of how they ran is still relevant.

    Let’s take patching for example. Now patching is almost always done one to one. This is to say, that there is one channel per circuit, or one channel of a fixture personality to one channel of DMX. It’s all done virtually on the console now. It used to be done physically on the side of the stage. Someone physically assigned pin (output circuit) 23 to dimmer (channel) 6. If this was the only channel assigned to dimmer 6, that was dimmer per circuit. However, most people used multiple circuits on a single dimmer so that they could maximize the amount of lights that would be controlled by a single dimmer. This meant that no matter what, when I raise up channel 6 on the console, dimmer 6 would bring up whatever lights were plugged into it. Why is knowing this important? It is important because if you can visualize the physical track that your channels take when you set up a system, it can help in system design and trouble shooting. Learning how patching works from someone who has physically patched fixtures will show you the value of understanding how your system layout actually works.

    dimmer patch bay

     

    Now, back to the par can guy. Why is it important to be able to focus par cans quickly? The same reason it is important to focus anything quickly. Time is money. Learning how to focus lights from someone who has done it for a long time can be a big advantage. They know the tricks on how to find your best light, even during a daytime outdoor focus call quickly and effectively. Trust me, that is a great skill to have.

    Def_Leppard_Sweden_Rock_2008

    So, OLD GUYS, the next time someone asks you for your help or advice, don’t just throw them the line “I learned it the hard way, welcome to the game!” take a moment and actually help the person out. And by the same token, YOUNG GUYS, listen to what the experienced guys are telling you. They have a ton of life experiences that you don’t. Let the lessons they learned the hard way make your life a little easier. Trust me, you will have to learn enough things the hard way yourself.  This is a collaborative business and there is room for everyone!

    NAMM 2016, and CHAUVET Professional is Bringing the Harmony of Light

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    The stage is set for another exciting NAMM show in Anaheim California!  CHAUVET Professional is very exited to partner up with CHAUVET DJ to bring you another fantastic trade show experience.  This year, we plan on making all of our noise with the colors of light.  All of the products that we are going to be showing at this show are ready to impress.  Before you come to the show tomorrow, here are some of our fixtures that we know will knock your socks off.

    The Epix Tour Series consists of three products.  The Epix Stip Tour, Epix Bar Tour, and Epix Drive 900.  Épix Strip Tour is a pixel-mapping 1-meter LED strip, featuring 50 LEDs in a row and a 125-degree viewing angle..For added versatility and more creative options, a dome accessory is available to widen the viewing angle to up to 180 degrees.  Epix Bar Tour is a pixel-mapping 1-meter LED bar, featuring 150 LEDs in three rows and a 125 degrees viewing angle.  Épix Drive 900 hosts the processing and power supply for the Épix Tour system. It supports either18 Épix Strip Tours or 6 Épix Bar Tours, or any combination of the two, with a total capacity of 900 LEDs. Épix Drive 900 supports Art-Net, Kling-Net, and sACN, giving you a variety of control options.  Thanks to an integrated web server, you can remotely diagnose, troubleshoot, and change settings as needed without having to directly access the Épix lights.

    The COLORado 1 Solo builds on the pedigree of our COLORado line of fixtures with new all-environment performance and advanced optics. This powerful RGBW LED wash projects an even, fully homogenized beam through fast and smooth zooming optics. Utilizing new IP rated power and data connectors and full convection cooling allows this fixture to perform anywhere from a silent main stage theater to an outdoor summer music festival.

    The COLORdash S-Par 1 is the first of the next generation of COLORdash family of products which appear to have a single light source. Using a new high-power RGBA LED engine and homogenizing optic, COLORdash S-Par 1 is poised to become the workhorse of the Event lighting industry. The RGBA LEDs produce a beautifully blended color palette with a subtle soft edge. Fully convection cooled and using IP rated power and data connectors allows the fixture to be used indoors or out. An innovative touch display and rugged split yoke make this fixture perfect for any event.

    Ovation E-910FC is fully featured color mixing ERS-style fixture. It features full RGBA-Lime color mixing with output rivaling an incandescent fixture. Sacrifice nothing when it comes to control options with modes providing full 16-bit dimming (per color and master), selectable PWM, RDM and on-board dimming curve selection. Also accessible is our Virtual Color Wheel which matches popular gel colors when projected by a tungsten source, in addition we have added color temperature presets from 2800 to 6500 K that match a tungsten source to perfection.

     STRIKE 4 is CHAUVET Professional’s answer to your multi-format LED warm-white wash needs! STRIKE 4 features four independently focusable 100W chip-on-board LEDs that provide incredible output and coverage for a wide gamut of production genres. STRIKE 4 features smooth 16-bit dimming control for those incandescent-style fades, a series of automated strobe effects for using the STRIKE 4 as an audience blinder, individual manual pan control of each LED pod and adjustable PWM for using the STRIKE 4 in film and studio locations. STRIKE 4 comes standard with basic and advanced control personalities for flexibility in programming, and an easy-to-read OLED display for quick onboard adjustments.

    Ovation Min-E-10CW complements Ovation Min-E-10WW in a cool white LED version with zooming optics. This ultra-discreet ellipsoidal is perfect for punchy gobo projections in a multitude of applications. It features a four-blade shutter system to efficiently and cleanly crop light from unwanted areas with nice crisp edges. The 19° to 36° zooming optic provides the flexibility to precisely adjust your projection size. Ovation Min-E-10CW is easily dimmed using traditional dimmer packs.

    WELL Fit is a must for event lighting. A discrete, high powered LED up-lighter, this small battery powered wash light comes in a reflective chrome housing designed to blend into any décor. WELL Fit can be controlled wirelessly either by W-DMX or by an included IR remote; alternatively, it can be controlled manually from the OLED display on the fixture. All of these features combined make the WELL Fit a perfect solution for quick setup and distinguished accent lighting.

    Rogue R1 Wash distinguishes itself by offering a combination of performance features unique to its price class. Powered by seven RGBW 15W quad-LEDs, this bright and versatile moving wash zoom fixture features a unique “bubble” lens design for excellent color rendering and stunning visual effects. Other standout features include an industry standard setting 11° to 48° beam angle, incredibly fast and smooth pan and tilt movements, simple and complex DMX channel profiles, plus 3-pin and 5-pin DMX connectors. Versatility, value and performance make this fixture a welcome addition to any touring rig or permanent installation.

    Rogue R2 Wash makes a valuable addition to rental and production inventories. Durable and dependable, this moving wash workhorse produces a bright, powerful light and offers five zones of LED control to pixel map its 19 (15 W) RGBW quad-LEDs. An industry leading zoom range of 12-49° gives the Rogue R2 Wash the spread to cover even the largest areas. Smooth color mixing, simple and complex DMX channel profiles and powerCON in and out are just some of the other features that make this fixture a standout performer in any setting.

    Rogue RH1 Hybrid pushes the performance boundaries for automated moving fixtures to new heights. This hybrid beam and spot possesses an unrivaled optical system with 8-facet and 6-facet prism sets that are completely layerable and controllable. Powered by a 330W Osram Sirius lamp, Rogue RH1 Hybrid delivers an ultra-intense output of 111,000 LUX @ 15m with tight beam angles of 1-4.5° in Beam Mode and a zoom range of 5-19° in Spot Mode. Indexing and static scrolling gobo wheels and a 13-hue color wheel add to the stunning visual effects that this amazing tool can create

    Rogue R1 Spot brings innovation and creativity with a rotating 3-facet prism for stunning aerial effects, a motorized iris and focus for beam shaping, as well as two gobo wheels, one of which rotates and has 7 interchangeable gobos for custom looks. Rogue R1 Spot shines brightly with a 16.5° beam angle for crisp gobo projections in a range of eight beautiful colors.

    With all of that and a few more at the show, this is bound to be an exciting one for everyone! Stop by and say hi, we can’t wait to see you!

    Gig Bag – Or, Why is My Backpack So Heavy?

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    Whenever I pick up my gig bag, I always think to myself, “I need to pack less stuff”. The truth is, over the years, I think I have done a pretty good job of making sure that I only take what I need.

     

     

    Depending on the gig, I make sure to pack well, but not over pack.  Having too much gear can be as much of a pain as not having enough gear.  Too much gear means that there are items you have to account for that you did not even use.

     

    Indoor gig –

    Essential Tools –      These are all tools that I know I can’t live without on a job site.  These are all things that everyone should have in their bag.

    Crescent wrench

    Razor knife

    #2 long handle Philips head screw driver

    Flathead screw driver

    Flashlight

    Side cutters

    Small multi meter

    Dental picks

    3 – 5 pin turn around DMX cables

    Allen Keys

    Tape Measure

    Sharpies

    Pen / pad

    DMX tester

    Show paperwork (plot, patch, gear list, ect.)

    Optional Tools –  These are tools you might want to take just so that you know you have them.

    Truss tools – I say optional because they should be provided by the gear supplier, but if you have your own, that is never a bad thing. Just make sure that they have your name engraved on them.

    Triple tap – When you get to the FOH, you might need to plug in more stuff than you have outlets for and this will save you having to go look for one.

    Essential electronics –    In order to do my job, I know I have to have some blinky lights and gadgets.  Here are the ones I can’t live without.

    laptop, I pad or Surface style computer – I like the Surface because it has a USB port built in and I can easily plug in any of my USB control platforms into it if I have to. It is also really lightweight and small.

    Thumbdrive with your show file on it – Sorry, but this is a must have. Always try to have your patch done before you get onsite. This will save you massive amounts of load in time.

    Charging plugs – Laptop, Phone, ect. You will need them.

    Phone – goes without saying, but throw it on your checklist anyway.

    Single universe lighting controller – many lighting control companies have single universe dongles that are relatively inexpensive and can run a universe of DMX, or more depending on the controller. This is a good way to have some backup to your show.

    Personal stuff –  This is all creature comfort stuff that I have in my bag to keep me comfortable during the day.  I know that at some point I am going to need all of this stuff.  Not having to go and find this stuff when you are on site will save you time and stress.

    Aleve – Not just for the headache you might get, but for the body ache you know you’re going to get

    Ear plugs – to help you avoid the headache you might get, also, because hearing is important and does not get better with age.

    Gold Bond – no explanation necessary

    Spare Socks – this is an absolute must for me. If I forget every other personal item, spare socks is one that I refuse to live without. Dry feet are essential. After load in, I change my socks. Foot comfort is one of those things that you forget about until your feet hurt.

    Spare t-shirt – If I have to work FOH during the show, I never wear the same shirt I had on during load in. I know it will smell and most likely be dirty. I am representing not only myself, but the person who hired me to do the job. I need to look presentable.

    Deodorant – see the above

    Cash – not all roach coaches take credit cards.

    That pretty much covers the indoor gig. With this gear in your backpack, you have a pretty solid gig bag to get you through your day as a lighting guy. We all have the things we can’t live without, and this is my list. When it comes to outdoor shows, the only things that change are some additions personal items that I bring with me:

    outdoor gig

     

     

     

     

    Toilet Paper – With the combination of the roach coach and the porta potty, having your own will save your….

    Wet wipes – see the above.

    Sunglasses – due to the fact that everyone in our industry is part vampire, they are essential.

    Sunscreen – see above

    Bug spray – did a gig over the weekend and wished I had some. I had to borrow from the sound guy. Borrowing from the sound guy is embarrassing.

    Full change of clothes – and even an additional extra pair of socks. The reason for all of this is because if it rains, you need a change of clothes. Sitting in wet clothes is the worst way to spend a day.

    Towel – you never know.

    Also, make sure that the company that you are working for is providing a tent for front of house. There are a few reasons for this. The biggest is that it will protect you from the sun or rain depending on the day. Also, it is impossible to see the screens on your lighting controller in direct sunlight. You need some kind of shade to make that possible.

     

    2015 Brought us Prism Power in a big way

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    Congratulations to our CHAUVET Professional video team for hitting the top 10 most viewed videos on Live Design’s website.  Way to go team!.  The Rogue RH1 Prism Power video made waves in the industry and helped us launch a product that offered something different to the lighting world.  Check it out one more time!

     

    The Color of White

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    A not so long time ago in the galaxy of which you live in, the entertainment lighting world was dominated by two types of light sources – halogen and arc-source lamps.
    These two types of sources were used for broad range of lighting fixtures and for the majority of the industry; our fixtures were defined by the light source that was in them.  Almost all moving head fixtures were lamped with arc-source lamps, and static wash lights were lamped with halogen lamps. There were some exceptions to this rule, especially in film and television, but for our discussion today, we are going to leave it as arc-source for movers, and halogen for statics. This further helped us define our lights for specification. For example, we knew that a 750W Ellipsoidal was perfect for onstage and front of house lighting situations for theatre and that a 250W moving head spot was the ideal nightclub fixture based on its 250W arc-source lamp. We also knew exactly what the quality of white light was going to come out of these fixtures.
    Halogen lamps are always warm in color temperature. For example, the most popular lamp in the 750W Ellipsoidal range is the HPL 750W lamp.

    HPL 750

     

    It comes from a variety of manufacturers, but the spec is pretty much the same. It has a CRI of 100 and a color temperature of 3250K. The HPL 575 lamp is also pretty common. The color temperature is a little warmer at 3050K, and the CRI is still 100. The typical range of Halogen lamps is between 2800K and 3200K.

    Arc Source lamps are always cooler in color. Usually ranging from 5600K up to 8000K, these lamps are used in moving head fixtures because of their ability to create a lot of light in a small space and have a good working distance to allow for a bunch of effects to be installed in the fixture. A good example is the 250W MSR lamp. Coming in at 6000K and having a CRI of 90, this lamp was extremely popular in moving heads in night clubs. The cooler color temperature made the apparent brightness of the fixture higher and the high CRI allowed objects being lit to appear vibrantly colored. We still use arc source lamps in most beam fixtures, as well as higher powered spot fixtures. Both Philips with their R series and Osram with their Sirius lamps are providing lower powered and higher output lamps that continue to brighten our stages.

    MSR 575

     

     

    So, what does this have to do with the color of white and how we use it in today’s world? We still have the options provided by halogen and arc-sourced lamps, but now we have more options and it’s all about choice. With the addition of high power white LEDs, we have more and more flexibility in the range of color temperatures that white LEDs are available in. Also, with the fact that we can combine these LEDs together in one light engine, it gives us the ability to create the ultimate hybrid of white – variable white. Variable white is great because now we do not need multiple fixtures to range our color temperatures on stages. Because of this, we can lower our fixture count and create the exact color temperature that we are looking for. No longer are we trapped at 2800K, 3200K, or 5600K, we can now dial in at 4000K by adding or subtracting the amount of output produced by either the warm or cool LEDs. Beyond white LEDs, we also have color mixing LEDs with Red, Green, Blue, Amber, White and Lime colors on board. This means that you not only have the ability to mix amazing colors, but have the ability to achieve a wider range of color temperatures with a higher CRI than ever before with LEDs. Because of this, our stages have never looked as vibrant and alive as they do right now. By using a combination of all of these sources, we can create any look and color we desire. We can even create plaid if we want to.
    But let’s get back to white. Why with all of these colors out there do we always come back to white? It is because that is what our eyes really want to see. Our eyes are not designed to be saturated in one particular color, but to see the entire spectrum. So, picture this….you are standing on a hilltop in the countryside of Western NY in the early fall. You can look down onto an apple orchard.

    apple orchard

    Your eye is designed to pick out greens, but is sensitive to the red contrast that the apples produce. Or even better, picture the leaves changing colors with all of the warm amber, oranges and reds.

    fall leaves

     

    This works because the sun produces white light and the colors you see are the result of full spectrum light being absorbed, reflected, and refracted off the orchard rather than a limited color wavelength being projected onto the same scene. If we had the same above scene with a single color, like blue, you would not see all of the contrasting colors. You would only see different shades of blue and black, which would not look that great at all. Your eyes want to see the natural contrast of colors created by the natural light. This is why white light is still important, even with all of these color projecting fixtures out there, we still need white light. In fact, our brains crave it. Single color light, over time, can be exhausting to our eyes. Saturate colors have their place, but white light is extremely important to your show.

    Christmas Carol 2

     

    I have noticed a trend recently in adding in warm white back into live performances. Not with halogen lamps, but with LEDs. Halogen lamps create heat and require outboard dimming. LEDs create much less heat and don’t require as much back end support. As the efficiency of warm white LEDs increases, the more and more I expect to see this trend increase. Warm whites are perfect for lighting people and creating candle light type moods. They also make excellent blinders and have a nice warm glow.

    adt6

     

    Cool white LEDs have been around for a lot longer in the entertainment world. They have been used in moving head spots for years now and have more recently been finding their way onto larger tours which used to be primarily arc-source fixtures. Cooler whites are commonly used for spotlighting people in performances to help them to stand out from the rest of the stage. They are also great for projecting gobos in haze and fog to create aerial effects and cut through the rest of the lights on stage to highlight something specific on stage.
    However you choose to create your white light, make sure that your intentions are clear. Remember that natural sunlight is around 5800K and moonlight is around 4000K. HOWEVER, often when we light stages, we tend to make sunlight warmer (around 3200K to 4000K) and night time cooler (around 6000K to 8000K) as this is a convention of theatre.  There are scales out there that can help you dial in the right color temperature for your needs. An example is the one below:

    kelvin-scale

     

     

    As we always say, the best way to find out which white works best for you is to experiment with different color temperature combinations.

    Planning Out Your Installation

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    Working out a plan for designing a permanent installation can be a daunting task. There is a lot to think about, especially since this is not a one and done job. This is going to be around for a long time and your efforts will be reflected in the outcome for years to come. No pressure here! Here are a few suggestions for getting off on the right track with your job.
    1. Figure out your budget and end goals. Have a clear vision of what you want to achieve and when you want it done by.
    2. Find a good consultant. There are people out there who do this kind of stuff for a living. Work with them to find a solution that best suits your needs. If you have questions, ask.
    3. Understand from the start that there will be delays in the process along the way. Some of these delays are good, some are not so good. Either way, they are going to happen, so prepare for it by under promising and over delivering.
    4. Specify products that are designed to last for a long time. Stay away from inferior products.
    5. Think in and set milestones. Work with your consultant on figuring out what needs to be done by when.
    6. Hire a professional installation team. Installation work needs to be as perfect as possible. If you don’t think you have the amount of experience it takes to get the job done, hire someone who does. This will save you a ton of time and money in the long run.
    7. When the installation is nearly complete, bring in your operational crew and start training. It is always an advantage when your crew can get some time with the installers to learn how your gear should work.

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    If your installation is a long term project and you budget depends on installing in phases, I highly recommend the following three phases
    Phase 1 – Get the installation open. Since you have an overall plan of what your finished project will look like and consist of, get your complete infrastructure installed. All of your electrical lines, data lines, and networking needs to be done in phase 1. Any rigging points should also be added in here. I suggest this so that as move forward in additional phases, your backbone is already installed. While the cost of installing all of the electrical and communication lines might be high, they will be higher down the line if you have to take gear down to add in additional power and data. Same goes with rigging. The more you do on the initial installation, the easier it will be to add in lighting and AV gear down the road. In phase 1, you will have a basic lighting and audio package. This is designed to get your installation open. This package may not include any moving lights, just the front, side and rear lighting that you need so that your stage is not dark and enough audio so that your audience can hear what your talent is saying and that the band can be heard. You may even choose to rent gear knowing that you are going to purchase later. Sometimes renting gear might be a better long term solution depending on your situation. If you want to stay on the cutting edge of technology, then renting is the way to go. If you are content with setting up a rig that your crew can learn and use easily, then purchasing is a better option.Lord of Life 4
    Phase 2 – Add in more gear. You already have a basic lighting and AV package. This means that you have the essentials covered; now you want to start adding in fancy gear. In phase 2, if your project calls for it, this is where I would add in the video package. Whether it is video walls, or projection screens, this is where I would add them in. I would also add in any additional audio needs that are part of the project. Audio and video are big impact items. By adding them in during this phase, your clientele is going to notice a big change and is likely to stay interested in your project. If you are relying on donations for your budget, this is something to keep in mind.
    Phase 3 – This is where you finish up. Add in the moving light package here. By adding in the dynamics of moving lights, it puts the dot at the end of the sentence as far as your installation goes. Also, since you already have the rigging and electrical in place, you should be all set to add them in.
    By planning and sticking to your plan, your installation will be something that you can be proud of from the get go, then by adding in additional gear as your budget allows, you will be able to achieve your complete vision. Now go forth and build something cool.

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