Kilmurry's design for the Hozier tour is based around a warm tungsten atmospheric feel, using old school Edison bulbs dotted around the stage which gives a wonderful glow to the performers.
"I've been using Avolites consoles since I started out in lighting in 2001," says Kilmurry. "I trained in Ireland and the first console I used was a Pearl 2000. I chose the Sapphire Touch for the Hozier tour in the UK and US this year as I find the cloning/exchange fixture works very well and I can get around it much quicker than other consoles. Everything I need seems to be a few less button pushes away."
The Sapphire Touch is designed for ambitious shows, with more submasters, more flash and executor buttons, and the power to control larger, more challenging rigs. The two wide screen touch monitors offer a huge workspace area, expandable further with Sapphire Touch and Sapphire Media Wings.
"I really like that I can see all of my fixtures on one page, all of my pallets on the other and select anything I want very easily without changing pages or layouts," Kilmurry continues. "My favourite feature on Titan is the double tap pallet feature. It makes recording pallets exponentially quicker when programming from scratch. Colours, Gobos, Beam Focus and groups can be programmed in minutes.
"The customization feature for the pallets and playbacks is also a nice addition to the console. I like being able to see the colour of my pallet not only by text but by the actual visual colour that is stored there, and being able to write into the desk exactly what is in a playback as opposed to typing it. I also really like the path fixture window. I set it up as you see the rig, meaning there is no need to make a stage view, grid or plan in a separate window."
For the UK shows, PRG supplied the Sapphire Touch. In Ireland, Just Lite and Production Services supplied the console, and in the US, the Sapphire Touch was supplied by Christie Lights and PRG.
To create his looks, Kilmurry is controlling a diverse rig. "I'm using par 64s and 4 Lite Moles to back light all seven musicians," he says. "I also use Mole Richardson Mole Beams, which I'm a big fan of as they create a large shaft of Tungsten light which gives a spectacular effect for live shows. All this Tungsten in conjunction with Martin Vipers or Robe's BMFLs, Martin Atomics and some LED movers and pars gives me the ability to make it really punchy or very mellow at any time during the performance."
(Jim Evans)
