Lighting designer Lyndon Buckley has been a user of LSC Lighting's Clarity software control for four years now and chose to use it for this production.
"I'm very comfortable with Clarity and it was particularly ideal for this production," he said. "I purchased Arkaos Media Master Pro to use alongside Clarity as it integrates seamlessly."
Lyndon also used Clarity to trigger audio cues explaining that the production had a composer who created a fantastic soundscape that followed the show. Hence it was easy to embed a lot of the audio cues into the lx cues in fact some lx cues did nothing but play audio.
"With Clarity it was really easy to incorporate lighting, projection and audio into the one control solution," confirmed Lyndon. "This was perfect for me as I was the only operator touring with the show."
Lighting equipment for the show included one LSC Clarity VX20 Wing, two Martin MAC 250 Entour, eight LED PAR cans, a HZ500 Hazer, 10 ETC Source 4 Juniors, 20 1.2kW Fresnels, 22 575w Profiles and four 650w.
The show played a two-week season at The Civic Playhouse, Newcastle before transferring to Studio 1, at the Australian Theatre for Young People in Sydney a week later for a shorter season.
For the scene of the Pasha Bulker actually grounding, a storm was created on stage using projection, lighting and sound effects for which Lyndon used the advanced timing capabilities of Clarity.
"Clarity has a really good way of editing timing within cues," commented Lyndon. "With the tight schedule we had, Clarity was the quickest to make changes or adjust. In fact I've just done another show with Clarity where the schedule was so tight I actually plotted during the dress rehearsal."
Touring equipment, transport and support was supplied by Silhouette Sound Studios, Newcastle. Consumables supplied by Clearlight Shows, Melbourne.
(Jim Evans)
