Andrew Leonard, lighting designer for both shows worked closely with console programmer and live visuals operator Peter Canning from High Resolution Lighting. PSI's project manager was Ciaran Tallon, and it was the first time that Dublin and Belfast based PSI has been involved with either show.
The series producer was Billy McGrath, and the production company in both cases was Sideline Productions for TV3. Twenty episodes of both shows were shot in two two-week slots, with a two-day changeover in-between, and the sets for each production were designed by Anita Barrett.
For Take Me Out, the crew installed a centre box truss just in front of the stage onto which was rigged 30 Vari*Lite V*L1000 Tungsten moving lights for front keys to highlight each of the 30 girls standing in their pods. There were also 30 PixelPARs in the actual pod set pieces.
Upstage of this was a back truss measuring 21m wide. Running along each side of the auditorium was a 10m side truss, and above the FOH position were two 9 metre wide trusses giving additional audience lighting positions and for drapes.
Back lighting each contestant from the back truss was an ETC Source Four 15-30 zoom in white, and another Source Four 25-50 zoom in red. When anyone pressed their buzzer to indicate disinterest in the prospective date on offer, the appropriate Source Four would light up, plus the PixelPAR in the requisite colour.
These cues programmed by Canning were triggered via MIDI from the Virtuoso console which was integrated with the contestant's buzzer system.
In addition to these fixtures, PSI supplied Robe ColorSpot 700E ATs & ColorWash 700E ATs, V*L3500 Spots, more PixelPARs & Source Four zooms, 1.2K fresnels, ARRI 2k & 1k fresnels, floor PARs, 800W Red-heads along with 30 x Chroma-Q Color Block DB4 LED battens.
In the changeover days to Family Fortunes, all the V*L 1000 Tungstens were removed and a VL 2500 spot package and extra Robe ColorWash 700E ATs were added. The trussing was reconfigured, with the back truss remaining, but the box being converted into straight lengths. The set was also completely different.
For Andrew Leonard and the whole creative team, the challenges included delivering the best possible shows that were also comparable in terms of production values to the UK versions - but on a far more expedient budget. He says, "PSI were a real pleasure to deal with - no issue is too big or small for them to deal with quickly and efficiently. The equipment is in superb condition, and I've actually known Ciaran for some 20 years now .... He is a true professional who knows exactly what's required on the gig."
(Jim Evans)
