Written by Mike Graham, product manager for CHAUVET Professional
Off to Wellington. A quick 45-minute flight on Air New Zealand, but still enough time for them to roll the drink cart up and down the aisle a few times. No problems with any of the arrangements and off to Annie’s other brother John’s house for dinner and some rest as I have a long drive ahead of me the next morning.
Sleeping again?
Written by Mike Graham, product manager for CHAUVET Professional
I was back in Christchurch. Annie and Connor were in Sydney for another day and I have meetings to get to. My first was with New Zealand Rockshop. The Rockshop is one of three music store chains in NZ. This one is exclusively serviced by MDR in the lighting department and that means one thing for me, CHAUVET Club and DJ gear sales.
I met with Dave and showed him the COLORdash Accent family. He had not seen any of them and was blown away by them. So much so that he called Brodie for pricing and availability while I was still in the store.
Next was a meeting with one of the top lighting and sound installers on the South Island. Leon Burt runs a company called One Man Wiring Ltd. While I was waiting for him, I noticed that at the hotel we were staying at, they had a place called Below Zero Ice Bar. I stopped by to see what kind of lights they had inside. I had no idea at the time that it was a CHAUVET installation and that Leon had done it. After Leon and I had lunch, he took me over to look at the bar.
Photos of the Below Zero Ice Bar’s interior. The back bar area is lit with a COLORpalette.
It was a very “cool” installation to say the least. We showed the people there the Accents as well because it looked like they need to add a few more lights to the job. For this installation, LEDs are the key as the low heat keeps the ice frozen a whole lot easier and more economically. They keep the room at a pretty steady -7 Celsius and with the fact that the temperature outside was about 24 C, air conditioning is a factor.
The Below Zero Ice Bar’s walls are lit with COLORstrip wash lights .
For the rest of the afternoon, I took a walk around the town square looking for job opportunities. I thought at the time that the cathedral would be an excellent lighting opportunity.
I thought at the time that the cathedral would be an excellent lighting opportunity. Too bad it has since been destroyed in the 2/22/11 earthquake.
Later on that evening, the plan was for Annie and Connor to get back at about 11:30. They got back at about 3:30 am. Did I mention that 3:30 is early? The fun part is that we are off to Wellington in the North Island later that day.
Written by Mike Graham, product manager for CHAUVET Professional
Three thirty in the morning is early. I don’t care what time zone you think your head is in, it’s early. We got to the airport and I dropped Annie and Connor off at the international terminal. I then went to the domestic terminal to catch my flight to Auckland. Did I mention that 3:30 am is early? Well so is every minute past that until you get back to sleep on the plane.
Once I landed in Auckland, I hooked up with Brodie Noon. Brodie is the director of MDR, our distributor for CHAUVET in New Zealand and overall cool guy. We got a lift to our first meeting with Matt, one of Brodie’s sales guys. Our first meeting was with a company called Lamp Specialists, Ltd. The person we were to meet was Clifford Henshaw. Lamp Specialists is one of Brodie’s best customers and is also the Philips lamp distributor for NZ. (Could you ask for a better combination?) Cliff gave me the lowdown on his vision of the future for CHAUVET in NZ. I must say that I was really happy with what he had to say as he was very receptive to the idea of working more closely with CHAUVET and the local production companies, as well as with the architectural market. Both of which he seems to be very aware of. Cliff was also to be our driver and guide for the rest of the day. I think he was driving the only Cadillac I have ever seen in NZ.
Due to not having any spare time to do any sight seeing, here are two pics of Auckland from the back seat of a speeding car. The first is a photo of the harbor bridge. There is a massive New Zealand flag on the top of it.
The second photo is of the downtown skyline of Auckland.
We started out with a company called Spotlight. Ben and Alex were all set to see us and wanted to know from the start more about what we were doing with LEDs in the future. As they already have COLORado 3p units in their inventory, I suggested looking at expanding their existing LED inventory and taking advantage of the power savings along with having the CHAUVET support. Since they do a lot of dry hire into schools and public events, I think that they thought that would be a good idea.
Our second meeting was with an architectural company called LDP, Lighting Design Partnership-Visual Planners. They design projects all over the world and are working on some very cool ones in NZ. It makes it so easy when you walk into a presentation, especially with an architectural firm, and are totally prepared. We showed them what is new with ILUMINARC, sister company of CHAUVET which focuses on architectural interior and exterior lighting solutions, and I think they were quite impressed. Adriana, Domenico and John were a great audience and very friendly. Their big thing is reliability, which with the environmental stresses in NZ (the combination of having a high content of salt and sulfur in the air, cold winters, hot summers, and in many areas, high winds), rugged housings on our outdoor items is really important. I told them about our success with projects in Quebec City and Paris along with cruise ships. I think that they we impressed with our existing projects considering the fact that ILUMINARC is not even two years old yet.
Our last meeting of the day was with a hire company called Oceania. These guys are one of the largest hire companies in NZ. They have a shop that reminded me of my last tour with Upstaging without all of the red trucks. They do everything from fabrication to rentals. Simon of Oceania was good enough to sit down with us and give us a look at some of the projects they are working on over the next few months. Looks like they will be very busy with the upcoming Rugby World Cup 2011. It seems that the entire country is all about rugby even more than normal. Because of the nature of the business in NZ, shipping is a major concern with hire companies. They need durable fixtures that can survive constant shipping from the North Island to the South and back again. I assured them that the CHAUVET COLORado series can cover that need.
All in all, the meetings went better than expected. CHAUVET has a good name in NZ and the three of us–Brodie, Cliff, and I–felt we covered all of our bases and it was time for Brodie and I to get back to the airport. Matt came back to Cliff’s office to pick us up and take us to the airport, but not before a quick stop at a pub for a fish and chips meal along with a beer.
Written by Mike Graham, product manager for CHAUVET Professional
After getting settled in the hotel and getting a good night’s rest we are off to breakfast. It is also Waitangi Day. Waitangi Day is the anniversary of the signing of the Treaty of Waitangi between the Maori and the settlers. Depending on which side you are on, you can see this as a holiday or not. Since I got hit with a 15% Waitangi Day surcharge for breakfast, you can probably guess what side I am on. We took a walk around the downtown area of Christchurch.
Me and Annie, photo by Connor Graham
Photo of Annie and Connor sitting in a chair carved from a tree trunk.
Christchurch is the third largest city in New Zealand and is the largest city on the South Island. It was recently rocked with a 7.1 earthquake and has had over 4,000 aftershocks since then. As you can imagine, there was quite a bit of property damage.
Many of the stone buildings around Christchurch have seen massive damage to them from the earthquakes. This is one of the buildings at the Arts Center that is being repaired.
So anyway, back to the story. After our walk around town, we took a ride out to see the family. The 18-hour time difference was crushing Connor. He fell asleep early which was a good thing as he and Annie were on their way to Sydney, Australia for the next two days to visit her brother Anthony. I was also going away the next morning to Auckland to visit two rental houses and one architectural lighting design firm.
Written by Mike Graham, product manager for CHAUVET Professional
This is a photo of my AA Advantage card. There are many like it, but this one is mine. By the end of this trip, this and two others like it are feeling pretty full.
For anyone who has traveled extensively, you know when you are traveling with a small child, everyone in the gate area is hoping that they are on the opposite end of the plane from you. The truth is Connor is a really good flyer. As a matter of fact, he is better than some adults I usually travel with.
This is a great example of how I wish I could fly.
The first flight to L.A. was a breeze. When we got on the plane, we were a little worried that there was no TV in the seat backs, but Connor was happy to read and play with his Star Wars collection. Between flights, we got off, got some food, kept him awake, and then got on the next flight.
Air New Zealand has just gotten new Airbus 333 planes. The business class seating looked great, but that was not where we were going. To the back of the Airbus for us. Connor slept for about six to seven hours. Not bad. Finally after crossing both the equator and the international date line, we were in Christchurch, New Zealand.
Mike Graham, product manger for CHAUVET Professional, recently took a 14-day trip to New Zealand. The indigenous Māori name for New Zealand is Aotearoa, commonly translated as land of the long white cloud.
Mike primarily went for a family vacation, his wife being a native New Zealander, but he also visited a CHAUVET dealer, MDR Sound and Lighting Ltd., and some other lighting companies along the way. Thankfully, he documented his trip and allowed us to go along for the ride. Take a moment to enjoy this virtual trip, no passport required.
But first, a few words from Mike.
“First, let me say traveling all the way to New Zealand is a feat of enormous proportions. The preparation that goes into such a trip is exhausting enough to warrant its own vacation. I have to give a big thanks from the top to my wife, Annie, for all that she did to make sure everything was in order before we left. She took care of all of the bills, making sure we had enough money put aside and the mail was stopped, packing, laundry, and lastly dragging myself and Connor, our four year-old son, on one really long string of flights. (Which by the way could also warrant a vacation.)
After I left New Zealand, she and Connor stayed behind for an additional week. This is noteworthy because of the 6.3 earthquake that hit on February 22, 2011, almost the exact center of Christchurch, NZ, where our vacation was centered. My wife and son were there when the quake hit. Both are fine.
I also want to thank Angie Steffer from Protravel International. Her help in making sure that all of our travel requests and needs was instrumental in making sure that we got there and back in one piece.”
Written by Mike Graham, product manager for CHAUVET Professional
Mike Graham looking pensive in front of MVP video panels
We all prefer to walk into a show that is totally programmed and ready to rock. We love it when there is actually time to program a show during the rehearsal stage of the production and have a clear and concise cue list. It’s even better when there is someone there to actually tell us when to press “go.” Personally, I put the chances of having all of the above on the same level as seeing Elvis do a tour again. In today’s world of budget cuts and lack of rehearsal time, we find ourselves having to make things up as we go—also known as “busking.” If you are new to busking, here are some tips to help you be in control while everyone else around is losing it.
1. Know your controller! This is the most important tool you have. If you are using a fader board and a bunch of par cans, you don’t have a problem—just know your patch and how to get around quickly. If possible, keep a “punt look” on a cue button. The “punt look” is a go-to look you can use in case of emergency. If you are using a larger format console, I always have a library of preset looks I can drop to at a moment’s notice. This consists of a few solid colors and a few complementary colors for the static wash lights, as well as a few effect looks for the moving lights to work from. Still, I have a “punt look” that keeps the stage lit between songs. You need to know how to get to your looks easily and quickly so you don’t look bad. The way you set up your controller will make or break your show. You don’t want to accidentally hit the high-speed ballyhoo and strobes during the juggling session. It will be funny for you, but not so much for the juggler or the people in the first, third or fourth rows.
2. Know your rig. You need to be totally aware of the functionality of the lights you are using. If you are using a Legend 300E Spot, you need to know the CTC is on the color wheel and not in the CMY. You also need to know if you are using COLORado 1 TOUR and COLORado 1 IP units together; one of them has white LEDs and the other does not. Most importantly, you need to know where they are patched on the console. Refer to tip one.
3. Know the expectations. Ask the person(s) “in charge” of the show what they expect to see. If it’s a concert, they will hopefully have a playlist of songs. If it’s some other kind of event, you may not even have this to work with. Try to get a feel for the show or event to predict what your audience wants to see. When you are setting up your libraries in the console, it’s critical to have all of the information from the client so you can match the looks you build with the client’s vision.
4. Remain flexible. Know your equipment and relax. You can’t busk a show if you are tense. As long as you have taken the time to research what each one of your looks does, you will be able to feel out what you are going to use and at what time. If you are doing a wedding for example, you know that at some point they will do the “Chicken Dance.” If you know this, have a look for it prepared. If you are doing a cover band, you know at some point they are going to attempt “The Final Countdown,” so have some looks for that. The key is to try to anticipate what is going to happen next and to flow with it. Again, refer to tip one.
5. Don’t panic if you make a mistake. Remember that “punt look” button? It’s there to save you when you make a mistake. This look should not have anything moving and should be as neutral as possible. It is your total get-out-of-jail-free card. (Check out tip one for a refresher on why console layout is important.) If it makes it easier, put some glow tape on that button key so you know where it is. The most important thing is to make sure the stage won’t go black. A black stage is a fairly obvious sign you just blew it.
6. Prepare to multitask. For those of you who are busking and calling spotlights at the same time, first lay off the caffeine early in the day–you are going to be stressed out enough. Second, prior to your show let it be understood that in the event of a communication breakdown, you are going to spot the person talking or singing into the microphone. In the absence of that, hit the guy doing the solo. Never spot the drummer. Never spot the juggler while juggling. It may be funny for you, but it won’t be for the juggler.
7. Be part of the feel. Every event has its own feel to it. Don’t walk in blind. Have as much information as possible before sitting down behind the controller to start setting up your looks. Know the target audience. Chances are you will be sitting in the middle of them and you can gauge what the general speed of the show will be. If you look out and see a lot of freaky tattoos and pierced faces, then any kind of moving light show will do as long as it’s fast and bright. If you look out and see room full of walkers and blue hair, you know that you will need to keep the lights on the stage.
Even when we make it up as we go, we should still use some guidelines. You may not have an exact plan as to what the show is going to look like, but at the very least, with the tips above, you can feel comfortable managing the outcome. The overall key is to stay relaxed and not to panic. Practice busking as often as you can. It is a skill we all need to keep honed to a fine point and practicing it will give you nerves of steel.
Mike Graham pensive in front of MVP video panels.
Written by Mike Graham, product manager for CHAUVET Professional
The key to maintaining long-lasting lights is keeping them clean and properly lamped if they are not LED fixtures. It’s important to keep all of your lenses, gobos, and reflectors as clean as possible.
1. How to clean: Use something with a high alcohol or high vinegar content, as both tend to evaporate quickly. If you have a layer of grime on your lenses from pyrotechnics, dust or oil based fog fluid, spray some WD-40 into a small bowl and add a little rubbing alcohol to it. Mix it up and wipe down the lenses with this. The WD-40 will lift up the dirt and the alcohol will help it to evaporate. Then go back over them with a glass cleaner.
2. What not to use when cleaning: Never spray glass cleaner into the light. This can damage sensors. Also, never use de-greaser. It leaves a film that will bake on to the glass as soon as it heats up. Do not use old rags as they may have solvents on them from a previous use. Clean cotton cloths are the best. Cloth diapers work well and are inexpensive.
3. How often should you clean? Clean out your lights every time you re-lamp. LEDs should be cleaned every three months depending on the environment in which they are used.
Five questions with Chris Lisle
Production designer for Miranda Lambert CMT Revolution Tour 2010-2011
1. What was the overall vision, theme, or message of your lighting design?
The main goal of the design was to give Miranda’s show a look that complemented her musical style, but also conformed to two major criteria: budget and truck space. It definitely made me slow down and take a hard look at what elements I actually NEEDED versus those that I just WANTED. In the case of this project, I chose fixtures that I knew would give me the looks that I was going for, and were also affordable. Miranda definitely had the final say in which of the three designs that I submitted, but she is not a micro-manager – she wants those that are around her to do what they are paid to do. So once she chose the design, the rest was in mine and Aaron’s hands. She definitely had some input at rehearsals in terms of some looks that she wanted to do, but also let us be creative as we saw fit.
2. Why did you choose the products you did?
There are different things I like I about each of the fixtures that I chose, but in the end I look at what is going to do what we need it to do within our budget. I also like to choose fixtures that are road worthy and wont end up being a repair/technical nightmare for the techs.
3. What special challenges did you run into in this design?
The biggest issue we was time. We had 28 songs to get into the console in less than a week. There were a lot of long nights and coffee involved, but we pulled it off!
4. Do you have a favorite fixture (and why)?
I became a huge fan of Legend 300E Beam fixtures on this tour. We use them on the floor to create aerial looks that punch through the color washes coming from the fixtures in the air. We found these lights to have great optics that allows a good concentrated beam of light. The effects wheel in them is great as well and allows for some great looks. From a technical end, these fixtures are very light weight and easy to manage!
5. What was the most rewarding part of designing this tour?
The most rewarding part of this tour was definitely seeing almost six months of work come to life. You look at a design on paper for months and months, then one day you stop by the lighting company and they have truss laid out, then the next week the truss is hanging, then a week later you are in rehearsals programming, and then the first night of the tour. It is my favorite part of the process on that opening night when it all just comes together.
Read more about Miranda Lambert’s tour here.
And watch this interview.
[youtube=http://www.youtube.com/watch?v=ubj8PD8XyxU]
Written by Mike Graham, product manager for CHAUVET Professional
Mike Graham pensive in front of MVP video panels.
Most lighting manufacturers suggest using their recommended replacement lamps. A cheaper replacement might be tempting, but you may not be pleased with the results. A lot of research and development goes into producing a professional fixture long before it comes to you. Time is spent deciding on the colors, gobos, DMX layouts, among other crucial choices that determine a luminaire’s features and benefits.
1. It’s all about the lamp. One of the most important decisions manufacturers take is choosing the lamp the fixture will be designed around. Manufacturers pick colors based on the lamp’s color temperature in order to get the best color saturation. Discharge lamps usually burn between 5,600K and 7,000K depending on the brand and the wattage of the lamp. If, for instance, the color red is selected and is not saturated enough, it will appear pink. This goes for CMY color mixing as well. Too saturated – you’ve got the wrong color; not saturated enough – still the wrong color.
2. What if you use another manufacturer’s lamp? A lamp of a different brand should work just fine. Everything remains the same: the wattage, the temperature of the burn, the bulb size and the pins are the same. However, the lamps of a different brand have slight variations in the sizes of their bulbs – slightly larger or smaller – that can negatively affect the output colors or even cause the lamp base to break.
Check out the photo at left to see why lamp choice is so important. These two lamps are double-ended 575W and are supposed to be interchangeable. However, since the bulb is different, it may cause damage to the light base or change the output.
As a rule of thumb, it is best to always use the lamp that the manufacturer recommends, knowing know you are going to get the optimal performance out of your investment.
