I like to say I make the magic happen. But it’s really the lighting.
The majority of my work is in Convention Center General sessions. I work closely with the camera team to ensure that they can do what they need to do. With modern lighting LED lights and consoles it’s easy to tie in a convention’s color scheme into the lighting looks. I’m resourceful and have made the proverbial silk purse out of the sows ear.
I started out in theatre so I can inject some lighting drama if necessary. I worked in educational films for a while, so I am aware that sometime the record takes priority. I can also take a plot drawn up in a room somewhere and build it out and artfully focus it, like I have for booths on exhibit floors. I’ve been involved in a lot of projects and shows over the years.
Most of the time the console is the one that comes off the truck: But my preferences run in order: Hog, Chamsys, GrandMA, Onyx, AVO (if we must) Leave the ETC Eos and Ion back at the shop please.
The Intercontinental New Orleans Ballroom isn’t all that big, but we shoved a LOT of lights in it for the size and the amount of time for the load in. It was all about space. And it opened with a midi timecode opening that had to be programmed overnight on a Hog500.
This was a fun show early in 2006 in the Ballroom upstairs at the George R. Brown Convention Center. How old is this picture? All that beautiful color are scrollers. There are a couple of older movers, perhaps Martin Mac250s or early Robe Spots but that color. those are scrollers. And the board was probably a Jands Hog Echelon or 500.
With LEDS and pixelmapping consoles, we are living in the future.
This was a fun one from a long time ago. There were a couple custom gobos. But the real interesting take was, having no particular plan for the cyc when I walked in I recreated the ethanol molecule out of different focus Source 4 Par lens for a backdrop.
