You're A Star's lighting was designed by Andrew Leonard and programmed by Peter Canning. Canning also co-ordinated the supply and design of the VersaTUBE feature and the Catalyst system used to run it, via his company Zencorp.
Dublin-based Zencorp specializes in digital media and LED fixtures and control systems. The company purchased a quantity of VersaTUBEs from UK and Irish distributor Projected Image Digital at the end of last year which have been in constant use ever since.
Leonard and Canning came onboard for this - their first - You're A Star series, having worked on a special charity edition of the show last year. For visuals, they brought a new, revitalized contemporary look and feel to compliment the new vibes, deciding on a circular truss and an essentially rock 'n' roll lighting theme with some serious 'bite' to it.
Wanting something extra special for the final, Leonard and Canning decided to build VersaTUBE into the set, wrapping it around the sides of the stage and dipping it under the lower end of the circular truss. The idea was to run specially produced content to create a wall, of movement, colour and patterns, which could also incorporate text and key words. The feature was also ideal for sweeping, wide-angle camera shots, and a great background filler for close ups.
Canning commissioned digital animation and graphic designer Derek Darlington of Rocket Science to produce custom content for both the semi final and the final shows. Working on three - four clips per song, he produced approximately 40 that could be mixed and matched as desired. He paid specific attention to the Raster Map of the VersaTUBE feature as a whole, ensuring the clips were perfectly pixel accurate.
Darlington produced a massive selection of effects and used a variety of software - 3D Studio Max, After Effects, Flash. The files were saved as QuickTime movies and compressed using Sorrenson 3 software, which is compatible with the Catalyst. The Catalyst was triggered by Peter Canning from his Avolites Sapphire 2000, on which he was also controlling over 60 moving lights.
The effects were spectacular, says Leonard, "Having the VersaTUBEs as a big blocky effect gave me real scope to build the atmosphere, tension and energy levels onstage, which then permeated throughout the audience."
(Sarah Rushton-Read)
