For the maximum punch from a small package, Ball opted to use the Martin MAC 300 washlight and MAC 250 spotlight, rounding the rig out with ETC Source Four profiles, which were fitted with Morpheus ColorFader colour changers and used to provide a precisely-focussed, colour-changing coverage cut to the gauzes supplied by set designer Mike Woodages. The entire rig was controlled from one of Colourhouse's Avolites Pearl desks.
To overcome the voltage difference, Colourhouse turned to fellow White Light Group member The Moving Light Company. "Dave Isherwood from MLC built a special mains distribution box for us that provided crossed-phase power for Colourhouse's Fusion dimmers and 120V power for all of the moving lights, colour changers and DMX distribution. A six-way rack on a transformer then ran the low voltage units in the set and the starcloth. MLC also prepared the MACs to their usual high standards, configured to 120V and pre-addressed for us."
The result was that everything worked flawlessly on arrival - even one dimmer rack which "took a bit of a hammering in transit!" The rig lit both the conference and the cabaret, which featured Des O'Connor. "Both M&E Supervision, the production company, and the client were over the moon with the end result", says Ball - who is now looking forward to discovering which exotic location next year's conference will take him to.
(Lee Baldock)
