Broderick's main concern was to keep the lighting in check for the seven isolated cameras: "All the cameras were simultaneously recording, to give the director maximum flexibility in the editing room, we had to constantly grab fixtures and perform edits to keep the best possible looks across all seven cameras at the same time," said John after the show.
Programming the additional 22 Vari*Lite VL6Bs and VL5 Arcs, which John specified for the filming, was Patrick Dierson on a grandMA console with another grandMA running as a tracking backup via Ethernet. "The grandMA has great graphics capabilities," said Broderick. "It allows me to have instant access to fixtures, which is invaluable in a show such as this where we were constantly updating and altering looks live. This was my first time using the grandMA console but it certainly won’t be my last. I've been really impressed with what I can achieve," said Broderick.
