Reminds me of the stories from sound guys who get the complaints that "it's too __________" So they will make adjustments to unused channels and watch the complainer go away happy.
Hey, I thought we could share pictures of our shows...
- Thread starterjonhirsh
- Start date
Reminds me of the stories from sound guys who get the complaints that "it's too __________" So they will make adjustments to unused channels and watch the complainer go away happy.
soundlight
Well-Known Member
I've done that. When they're up on stage, all you have to do is look down at the board, reach for something, and then say "Is that better?", and you're golden. I've done similar things with lighting for dance shows when I've got a perfect look and one of the choreographers wants me to change it slightly. Works the exact same way.
I guess its my turn to contribute something to this thread. I just finished SMing a short run of The Taming of the Shrew.
The set just before first tech (set dec still 90% complete).
Sly: "Where is my wife?"
Baptista (a woman in our production), doesn't seem to be impressed with Petruchio's wedding outfit.
Kate, Baptista, and Bianca.
Organizing the company shot. I'm DCR in the black with the clipboard.
The first two shots were taken by me. The rest (the good ones) by one of my ASMs who doubles as a photographer.
The set just before first tech (set dec still 90% complete).
Sly: "Where is my wife?"
Baptista (a woman in our production), doesn't seem to be impressed with Petruchio's wedding outfit.
Kate, Baptista, and Bianca.
Organizing the company shot. I'm DCR in the black with the clipboard.
The first two shots were taken by me. The rest (the good ones) by one of my ASMs who doubles as a photographer.
TechnicalAngel
Member
willbb123
Active Member
Got pics from my last show. The shows called Arkansas Bear, and was for a local community theater.
I was basically all by myself for this show, I designed, hung, focused, wrote all cues.
Full album here http://www.adamsonstudios.com/ahost/arkansaw/arkbear/index.html
I was basically all by myself for this show, I designed, hung, focused, wrote all cues.
Full album here http://www.adamsonstudios.com/ahost/arkansaw/arkbear/index.html
theatre4jc
Active Member
Did a freelance gig at a Christian conference in Mobile, AL this past weekend. Thought I would post up a few pictures of the show.
My rig:
4 Mac 500s
8 Mac 600s (4 on rear truss, and 4 on floor)
10 Chauvet Color Dash Pars (focused on 3 spandex triangles)
12 S4s on the front truss (8 @ 50* and 4 @ 36*)
Le Maitre Radiance touring hazer
POS light jockey for the moving console.
Empty stage
Band Pocket Full of Rocks
Band Group 1 Crew
And one final one with the speaker.
My rig:
4 Mac 500s
8 Mac 600s (4 on rear truss, and 4 on floor)
10 Chauvet Color Dash Pars (focused on 3 spandex triangles)
12 S4s on the front truss (8 @ 50* and 4 @ 36*)
Le Maitre Radiance touring hazer
POS light jockey for the moving console.
Empty stage
Band Pocket Full of Rocks
Band Group 1 Crew
And one final one with the speaker.
theatre4jc
Active Member
Love it. Since you are able to adjust the out put settings I turned it up rather high to fill the room. This was a very large church that sat around 3,000 with a ceiling that I would guess to be 60'+. First hour before house opened I had the radiance turned up rather high, then when house opened turned it to a couple clicks above the lowest setting. For hours it ran no problem and I didn't loose the room. Maintained very well. Don't know what the fluid consumption was because I didn't start with a full tank and have no clue what level it was at when I started. With the size of the room though and air handlers were turned on once I turned off the machine it cleared pretty quickly.
The rear lifts were Genie Super Towers and the ones in the house (which you can see there) were pretty much the same thing but from another manufacturer but I don't remember which one.
thelightguy87
Active Member
This is Jim Peterik and Worldstage 2009 at College of Dupage McAninch Arts Center. I was LD and the truss W was mine too.
Lighting Rig: 12 Robe Wash 575AT, 2 Robe Colorspot 700 AT, 8 Colorkey LED Par64, 1 Martin Atomic 3000 Strobe, 48 1k Fresnels, 53 VNSP ETC Pars, 72 S4 Lekos
Console: Hog3 iPC
These are from a recent Gavin Coyle concert. Simple show, but I got some nice looks with my movers.
Lighting Rig: 4 Robe Colorwash 575AT, 2 Colorspot 700 AT, 28 S4 Lekos
Console: Hog3 iPC
Lighting Rig: 12 Robe Wash 575AT, 2 Robe Colorspot 700 AT, 8 Colorkey LED Par64, 1 Martin Atomic 3000 Strobe, 48 1k Fresnels, 53 VNSP ETC Pars, 72 S4 Lekos
Console: Hog3 iPC
These are from a recent Gavin Coyle concert. Simple show, but I got some nice looks with my movers.
Lighting Rig: 4 Robe Colorwash 575AT, 2 Colorspot 700 AT, 28 S4 Lekos
Console: Hog3 iPC
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soundlight
Well-Known Member
Nice! Did you have all 8 Colorkey pars as truss warmers?
As I've said with some of your previous concert designs, nice color choices. I've always been a fan of that yellow/purple mix that you've got going on in the first picture there.
Now I gotta go dig up the pics from a little concert I did back in January.
soundlight
Well-Known Member
Here we go. Benefit concert for Make a Wish hosted by my brother's Youth Group, gear bummed from place of employment as a donation, my personal stock, ETC demo, and two other people. Large conglomerate of gear. I just wish I could have gotten the rig up higher. Smartfade ML on demo from ETC used for control. 4x MAC250 Entour, crapload of LED pars from a guy I designed a band rig for (he came with his stuff to help), some PAR46s, pinspots, mini strobes, and blinders. I was something of the producer and coordinator for this show, I also did the poster (attached) and lined up a lot of other stuff. My brother booked most of the bands (all played free, charity show).
Attachments
It's March 15th! I think that means I need to listen to the Ides of March!
*sigh* that was the first concert I ever worked...
TupeloTechie
Active Member
thelightguy87
Active Member
spansets, steel slings, and pipes from the flysystem. we balanced the weight on 2 pipes.
thelightguy87
Active Member
i really like that rig, the 4 macs seem to cover a lot more than it seems. but overall it looks clean and organized for a small gig like that. That's something i tend to look at whenever i go to a concert. but that could just be me.
Looks like it was a great show, do you like the smartfade for a show that size? i haven't used the ML console, but I have yet to like the smartfade.
Looks like it was a great show, do you like the smartfade for a show that size? i haven't used the ML console, but I have yet to like the smartfade.
thelightguy87
Active Member
Another show I did on January 3rd for the band The Lifeline. This show was at the Metro in Chicago. I provided the LED pars on the floor.
There were 5 HES Studio Beam 250's Don't really remember what conventionals they had, it was all S4 Pars, I didn't like the house rig.
Console was a Hog500 for the house system, and the LED pars were run from Enttec Lightfactory.
I cued the opening track with the pars, Hazed the room out as much as i could in the 10 minute changeover. The LEDs had a decent beam and certainly gave the backlight effect i was looking for.
The first picture is for a song called romeo and juliet, and its got a very loopy riff to it, I almost regret using the color bounce so early on in the show, but it certainly fit the song, so it was worth it. I just wish this venue had some ACLS.
One of the pictures is pretty much straight white, they had a spot in one of their hit songs that had a huge tension moment, so we grew in intensity and movement until hit a hard note and I went to a blackout, kind of a cut off feel, and then 8 counts later I through on all white as bright as possible as the singer cranks a really high pitch. I don't know if this explanation helps, but this is the band that i'm specifically designing to the music and touring with. It was quite a bit different from being a house LD and getting new bands every couple of days to do lights for. I hope to have more shows when the band gets back from the south by southwest festival in texas.
There were 5 HES Studio Beam 250's Don't really remember what conventionals they had, it was all S4 Pars, I didn't like the house rig.
Console was a Hog500 for the house system, and the LED pars were run from Enttec Lightfactory.
I cued the opening track with the pars, Hazed the room out as much as i could in the 10 minute changeover. The LEDs had a decent beam and certainly gave the backlight effect i was looking for.
The first picture is for a song called romeo and juliet, and its got a very loopy riff to it, I almost regret using the color bounce so early on in the show, but it certainly fit the song, so it was worth it. I just wish this venue had some ACLS.
One of the pictures is pretty much straight white, they had a spot in one of their hit songs that had a huge tension moment, so we grew in intensity and movement until hit a hard note and I went to a blackout, kind of a cut off feel, and then 8 counts later I through on all white as bright as possible as the singer cranks a really high pitch. I don't know if this explanation helps, but this is the band that i'm specifically designing to the music and touring with. It was quite a bit different from being a house LD and getting new bands every couple of days to do lights for. I hope to have more shows when the band gets back from the south by southwest festival in texas.
soundlight
Well-Known Member
With any more gear, I would have wanted desperately to borrow the Hog 1K from work, but this rig is just the size that the SFML was designed to work. It's one of those love it or hate it consoles, and I love it. For two of the bands, I did alot of songs ahead of time with the MACs in my garage, and programmed those in to playbacks. Dropping things on to the faders was a piece of cake, be it a static look or a movement look. I ran the strobes, regular parcans, and pinspots off of a regular smartfade (a 2496, also on demo) that was sitting next to it. The regular smartfades have DMX pass thru so you can link an ML and a regular and busk your conventionals on one and rock your movers on the other.
The SFML was also easy to busk on, IMO. I can tap select keys and palettes in a hurry, but as there are no text labels, you just have to remember what everything is. I got pretty good at that after all of the preprogramming I did. But if you want to talk about the SFML discussion, Esoteric's thread on the SFML is the best place to go. Good points from both sides there.
Next year I'm getting better trussing and putting less copper up there (there was a hellacious amount of cable for just two sticks of trilite) so I can get the truss higher. The truss was on Applied 12' crank stands. I may upgrade to L16s next year as well because those will give me a more stable base. Also on the "next year" list is a full backdrop that I can uplight with LED cans (there were 4 LED56s that my other guy brought that didn't get used due to lack of setup time).
soundlight
Well-Known Member
loudguyrick
Member
Mr. Hirsh, the one in the lower right corner of the first page is my favorite. Love the low-level back lighting. The color of it also adds to the scene, especially when you contrast it with the starkness of the silhouettes.
Rick Beaule'
Penns Manor High School
Musical 2009
Rick Beaule'
Penns Manor High School
Musical 2009
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