Lighting Designer: Paul Normandale
Lighting Director: Joel Reiff
Lighting Crew Chief: Steve Schumi
Lighting Techs: Joanne Wooi, Mike Turner
Video Content Creator: Mark Calvert
Video Director: Peter Thornton
Production Manager: Rodney Johnson
Tour Manager: Matt Swanson
Stage Manager: Jacob Raggio
Rigger/Camera Op: Jeremy Caldwell
Engineer/Video Crew Chief: Bill Callison
LED/Camera Ops: Paul 'Meatlap' Bange, Simon Cadiz
Stage Crew: JD Brumback, Steve Bodie, Adam O'Toole
Creative Direction/Animation Producer: John Munro
Managing Director/Project Manager: Mark Calvert
Art Director: Matt King
Technician: Martin Harvey
Video Co: XL Video
Video Content: Immersive Ltd.
2 MA Lighting grandMA Full console
2 Catalyst media servers
27 Vari*Lite VL3000 fixtures
18 Clay Paky Sharpys
82 Martin MAC Auras
4 Martin MAC III AirFX fixtures
9 4-lite Mole Fays
2 Reel EFX DF-50 Diffusion hazers
3 F12 LED Screens (24' x 11.5')
1 Full HD Flightpack/PPU w/ Sony HXC 100 cameras
For more photos by Steve Jennings please go to http://plsn.me/JasonMarzonline
Designers Insights, by Steve Jennings
Joel Reiff (Lighting Director):
“I first started working with Jason in February of 2011. We did a handful of band shows and a bunch of shows with just a duo, so when they geared up to do a full-on tour, I knew the vibe Jason was looking for. Which really helped when (Lighting Designer) Paul Normandale and I programmed the show.
“Every night is a different show. Songs come and go, and just when you think they’re gone for good, they reappear in a new arrangement. We might do the same song from one night to the next, as there are some ‘standards,’ but they will be put it in a different order in the set and often revamped. Keeps you on your toes… We started out with about 30 songs, but ballooned to about 45. Jason likes to keep it fresh. During soundcheck, he’d often check with our sound man or me to see if there was anything we wanted to hear — I’ve never had an artist so concerned with making sure we got what we needed to make his show look or sound as good as possible.
“I’m on a grandMA Series 1 console, an old faithful. I love it, but it may be time to move on to the Series 2. A Catalyst media server handles the content. At the beginning of the tour, we were given 19 sets of content for specific songs from Immersive [the video content provider] based on outlines/ideas provided by Jason. For the rest of the material, we then decided which songs would be best suited for I-Mag and which for straight lighting. As songs were added, we mixed it up. The key was to keep the focus on Jason and the music and make the show as organic as three huge screens and a hundred or so lights could be.
“We did a field test on the new Martin Air FX 3K, a very bright light. They were a bit limited for our purposes, as the only place we could fit them in was behind our video walls. Still, it was nice to have them. The crew had to do a good bit of work with them, but I think once they get all the bugs fixed they’ll be a really nice fixture.
“I’ve known Paul (Normandale) for years by reputation, and the opportunity to work with him was a blast. Working with a guy like Jason is a real pleasure, he brings it every night and truly cares about each show.”