More than three dozen broadcast and cable networks in the US and Canada telecast Stand Up to Cancer. The show, staged at LA's Dolby Theatre, featured celebrity guests, music by Lupe Fiasco, Jennifer Hudson and Common, The Who, the Dave Matthews Band, and Ariana Grande, and inspiring stories about patients who have benefited from the research supported by the organization. Atomic Lighting of Lititz, Pennsylvania provided the Clay Paky fixtures.
"This show really means a lot to me," says Brad Hafer, vice president of account management, at Atomic Lighting. "Stand Up to Cancer is about something real - it's not just done for ratings. It made us all feel that we were contributing something to the cause."
Allen Branton was the lighting designer for the special with Felix Peralta, Daniel K. Boland and Darren Langer the lighting directors. Peralta worked closely with Branton on the show design. "We've been associated with Stand Up to Cancer before; its message is a very powerful one and the show has high production values, but not flashy ones," he explains.
The Sharpys were used as strong beam lights and for their Sharpy dappling technique, Peralta points out. "Giant white walls acted as video projection surfaces, which we enhanced with accents of color or Sharpy dappling - treating the scenic pieces with the high-output fixtures to create a nice effect that you can't get with a hard-edged light. It was a big part of the look of the show."
Since the special was "a strong, video-driven show," Peralta teamed with Laura Frank, screens producer and media programmer, on the media canvas. "She and I like to make sure the lighting and video stories come from the same centre, that the transitions are the same, the colour schemes complementary or matching," he explains. "When lighting and video play together both are much more powerful."
Frank, who is the principal of Minneapolis-based Luminous FX, says Kurtis Kennington of Digital Flodur designed the media content creating "about a dozen looks for the show, plus the band. The entire set was projection mapped so the environment was video driven." Looks included themes of science and technology to support certain speakers; the band was often accompanied by photomontages of cancer survivors.
"The show was as much about lighting the people in the audience as those on stage," says Boland. "We made sure everyone was lit, the colour temperature was fine. During rehearsal we keyed at least six positions for the people making speeches and introducing the videos, including one on a round extension into the audience."
Francesco Romagnoli, Clay Paky Area Manager for North and Latin America, concluded, "This was a very important show for a lot of reasons and we were proud to be a part of it. All the lighting professionals involved in this show are great talents and we always enjoy working with them."
(Jim Evans)
