Do you know how you can tell a rookie entertainment professional from a veteran? When they walk into a show, the rookie cranes his neck to admire the lighting rig while the veteran cranes his neck to see if it’s safe to walk under the rig.
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The new logo caught me by surprise. Though I knew Strong had recently purchased the rights to build and sell the Technobeam from its former manufacturer, High End Systems, it didn’t really fully register. But when I took it out of the box, grabbing it by its two handles, and set it down on the floor standing on end, there it was, staring me in the face. The Strong logo on the mirror end of the fixture is a stark reminder of the new manufacturer. The question is, is it the same fixture?
Read More »Motorized rigging eliminates the need to figure out how to safely adjust rigged loads with counterweights in a conventional fly system. You just push a button, and up it goes. And so far, for the most part, it’s stayed there. Catastrophic hoist brake failures have been exceedingly rare. With the scarcity of major hoist failures, we want to avoid breeding a new kind of danger: complacency.
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Nick Freed, president, Inner Circle Distribution
Who: Nick Freed, president; Noel Duncan, vice president; and Gary Mass, vice president of business development.
What: A full-service distributor of entertainment lighting products for professionals.
Where: Sunrise, Florida
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When Ozzy Osbourne recently hit the road, it was the first time in almost ten years that he was the headliner. His recent forays into reality television have pro-pelled him back into the limelight and the world now knows that Ozzy’s shows can’t have bubble machines. Lighting Designer/Director John Clark grew up in Nashville, so he’s been around the business enough to be familiar with the no-bubbles rock genre. Having worked for Vari-Lite and VLPS and toiled under the tu-telage of Eric Wade, he has lit everything from hip-hop to country to rock shows, the last two of which were tours with Disney’s Cheetah Girls and Ashley Simpson. He has also worked with Available Light in Boston doing corporate shows, trade shows, and “a lot of one-offs.” He’s currently touring with Ozzy and making sure the Osbournes are happy.
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If you've read enough of my jargon, you realize I'm a big believer in "giving something back". In other words, for years people have spent their time teaching me my craft. So now I spend time teaching others the same thing. But this morning I had something cool given to me.
There are times when a conventional desk needs to trigger an automated desk or vice versa. The most common type of console triggering automation is… Read More »Know the ID for each triggered device
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Scenic designer Michael Hotopp and his creative partner/scenic designer Bill Hoffman have worked together for two decades on myriad productions — touring theatre shows, trade shows, and the Radio City Christmas Spectacular — but nothing could have prepared them for working during the last eight years on ice sculpture installations as part of the Ice series for the Gaylord Hotels. Working on Christmas-based themes, they have created walk-through attractions that depict famous holiday characters and events, but this past year they got a real treat — designing the Ice! How the Grinch Stole Christmas.
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Every year I design the set and lighting for a traveling rock show called “A Taste of Chaos”. Ten bands will perform on 2 stages every night. Each year I take a few young kids and try to school them in the art of setting up and lighting a rock show. Some pass with flying colors while others flounder miserably.
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When Kevin Mitchell of Sugar Society booked the legendary Rabbit in the Moon at Amos’ Southend, his ace up his sleeve was Jack Kelly of Eye Dialogue, who had four years of experience doing shows at the Charlotte, NC music hall. He handed Kelly the tour rider and asked if he could light it for $4,000.
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Everyone knows that networking skills can help with a job search — at least the kind of networking that circulates your name, abilities and career… Read More »Networking can help your career
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As an automated lighting programmer, I am often tasked with helping to automate the playback of a production. There are several approaches that are used in our industry for various types of automated lighting playback. There are also times when the lighting console needs to trigger other de-vices to ensure that the production is synchronized by the lighting console. Whether using MIDI, MIDI Show Control, Timecode, analog signals, or other custom triggers, it is important to understand the choices and how to use them.
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