"On this show, you have to be prepared for anything and everything," says Healy. "Some performers will want fast and exciting, while others will want the lighting to be subtle so as not to distract those onstage. But no matter what, it has to look good on camera. This show definitely runs the full gamut of lighting."
He continues, "It mystifies me that lighting instruments keep getting brighter. Cameras are getting so good at picking up detail in low light that bigger and brighter instruments are just not needed anymore."
Healy has been the lighting designer for America's Got Talent since its debut in June 2006. Now in their fifth season, he has developed a consistent design plan for how the lighting comes to life during the 'Final 48' round of competition in Hollywood.
"The design phase really starts with the set layout and camera locations which will ultimately define the parameters of the design. With typically 12-17 camera locations throughout the theatre, all angles have to be considered. If the director wants to cut to a wide shot of the theatre, a backstage shot of the host, or a close-up of the judges, we have to have the lighting to support the shot. Unlike other projects where a designer simply focuses on lighting the performance, we have to light all possible shots for a live broadcast.
"To do this, I count on reliable instruments and a great crew; Joshua Hutchings, Matthew McAdam, Darren Webb, George Harvey, Don Winters, and Steve Olenicjak. You really are only as good as your crew so my advice to anyone starting in this business is to surround yourself with the very best people"
In his lighting design, Healy is using the VLX Wash, VL3000 Spot, VL6 Spot, VL2500 Spot, and the VL1000 Arc luminaires.
(Jim Evans)
