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Juice Goose Names Alliance Audio Group Sales Rep for Southern California, Nevada

Spider-Man image by Jacob Cohl

Redesigning Spider-Man

It’s redundant to proclaim Spider-Man: Turn Off The Dark as the largest, costliest and most ambitious production in the history of Broadway. But when one breaks it down on a technical level and in terms of numbers, it becomes really impressive.

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Alexandra Burke, All Night Long

Alexandra Burke, All Night Long

LD Phil Wiffin Adjusts the Design to the Needs of the Artist’s First Tour

For the debut concert tour for 22-year-old British R&B and pop singer Alexandra Burke, All Night Long, a 32-date outing at 1,500-to-4,000-capacity venues in the U.K. and Ireland, LD Phil Wiffen made good progress toward completing the first draft at the lighting design — before discarded it.

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Cowboys and Aliens

Close Encounters with Automated Lighting

The premise of the new Universal Studios’ film Cowboys & Aliens is that aliens have arrived to take over the world, only they arrive in the Wild West circa 1873. Director Jon Favreau and cinematographer Matthew Libatique, ASC also bring to the Old West the very latest in automated lighting technology.

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The HireTAG arch system

Keeping the Numbers Straight with Navigator Systems

Keeping track of rental inventory and budgets is a daunting task. Keeping an accurate count of cable alone can make one’s head implode. Add fixtures, control, power distro and all the other products a rental house has to offer, and it can make you go nutty. Navigator Systems has used the power of the computer to handle inventory and create a tracking system for the entertainment industry. The company has been developing their HireTrack rental management package since 1995. Since then, they have also captured numerous awards for product excellence, and Navigator Systems HireTrack rental packages have been installed at over 500 sites in 16 countries and translated into five languages.

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Elements Krypton 515

Elements Krypton Series

Inner Circle Distribution has been representing various theatrical lighting products in the U.S. for a long time. In the last year, a few clients have come to them asking where they could find certain types of lighting products with better pricing. This raised some eyebrows with company president Craig Singer and sales director Bruce Bandy and, as a result, they teamed up with overseas manufacturers and developed a new line of lights to bring to America called Elements. This new line of affordable conventional lights ranges from tri-LED PARs and bars to Active Matrix fixtures, which people have requested. The market has taken notice.

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GLP Impression Spot One

Making Impressions with the GLP Impression Spot One

Moving lights have come a long way since the beginning of remotely panning and tilting a fixture. They began life with limitations in functionality and, more importantly, the lamp source. Towards the end of the 20th century and into the beginning of the 21st, more and more options became available in terms of lamp choices for various fixtures.  When the Light Emitting Diode (LED) came into mainstream for the lighting industry, it was just a wait-and-see game for when they would be incorporated into a moving light.

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DEVO tour photo by Steve Jennings

DEVO

Devo’s first studio album in 20 years, Something For Everybody, has a level of energy and memorable riffs and rhythms of past Devo hits, and to support the new release, the band hit the road, with gear provided by Epic Production Technologies. The tour pairs lighting designer and director Ernesto Corti with Davy Force (visuals/animation director) and Tim Brunet (live visual mixing).

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Parasol Systems

Moving the Moving Light with Parasol Systems

When we talk about moving a light, two things instantly pop into our heads. The first is getting up on a ladder and physically moving a light either to a new position or to focus it differently on stage. The second is a moving light that can remotely pan and tilt. The latter, of course, is easier, as it can be done from a desk. A new player to the field wants you to add a third dimension of moving a light — remotely moving the physical location of the light fixture itself as it relates to the stage or field.

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Sample storyboard sequence

Pre-Viz for Video, the Old Fashioned Way

You guys in the lighting industry have all the fun.  I mean, seriously — you have a thousand knobs on your consoles, all the sliders in the galaxy, buckets of colors for painting your sets, luminaires that move in three dimensions, and a variety of remarkable pre-viz software apps to choose from.  Out here on tour in video land, on the other hand, it’s Slim Pickens.  We have projection screens, LED walls, HD cameras, and, granted, we have some wonderful video switchers on which to cut the shows — but the design elements of the set have typically been cast in concrete by the time we show up.

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InfoComm11 DMZ: Squint Alert

InfoComm11: An Example of Why the Future is Red

This year’s InfoComm show, which took place in Orlando in June, was physically sectioned into categories, with color-coded carpeting to let you know when you wandered across the DMZ between, say, pro audio and digital signage. One section that didn’t need as much external delineation was the lighting section of the floor — you could pretty much see it from the Space Shuttle. And even if Sarah Palin couldn’t really see Russia from the Alaska coast, you got the sense that you could see Shanghai from Disney World. Those were the two big trends I noticed at InfoComm.

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