With the assistance of Entec Sound and Light, a package was put together that included a grandMA full-size for programming, a grandMA light for playback, an MA NSP to distribute the DMX and act in conjunction with an in-house PC as backup system, and finally a second PC as media server running grandMA video.
In line with the method favoured by theatrical productions today, the rehearsals didn't stop for lighting rehearsals. The show's production electrician, Martin Terry, wrote the cue points into the lighting script during rehearsals and ran the show on the grandMA light console, keeping the cue list at the correct point of the show, while at the same time the grandMA full-size was used to programme the looks live.
Alan Meggs, production manager, said: "I was amazed at the efficiency this system allowed for programming more than 300 cues in such a short time. Each cue typically had multiple timing parameters to ensure the cross-fades could draw the audience's focus correctly. Matching the different types of fixtures such as the video, LEDs, conventionals and moving light shutters was easily and quickly managed."
(Jim Evans)
