"Through the generosity of J.F. Canuel, VP of A.C. Lighting, we were offered a complete LED lighting rig for the show - whatever I requested was made available to us - including the new Color Block 2. These fixtures, with their GBA optics, 530 lumens of output and theatrical grade dimming made the design challenge seem, at least on paper, possible."
The whole project was 'green' focused. The creative team included Professor James McKernan, a dedicated advocate of sustainable theatre practice. His ability to create an industrial style set design from used/recycled materials and soft goods inspired us all, saved on the budget, and created a fully functional 'hanging rig' for the lighting. At the end of the day, there was literally no waste. Everything was returned to bins, or to where he had borrowed it.
Mackwood continues, "Director Gwen Dobie was fully supportive of the lighting challenge, with one caveat; before load?in, we had to set up a small portion of the rig in a lighting lab, then test intensity and colours on the cast. With the assistance of lighting design student Marieve Aube, and using the versatile Mac based Jands Vista Software with USB dongle, we were up and running with no more than the usual 'what is wrong with this equipment . . . oh, it's me not the equipment' moments.
"However, upon striking the first lamp, we immediately noticed a significant drawback. The Color Block 2, with its built?in diffusion (there to blend colours and reduce multiple shadows), has a discouraging amount of flare, especially when using the optional 'beam kits'. In a show with audience literally side?by?side with the performers and projections, we simply couldn't live with this amount of flare. The solution for our production was simple enough. We purchase a roll of black wrap, and wrapped every CB2, effectively creating a 2.5" snoot. This reduced the amount of flare to a workable level, and we were able to move ahead."
(Jim Evans)
