By James Moody, Paul Dexter

Prepare to pack your baggage and cross on journey with the main relied on and entire textual content for live performance lighting fixtures. With a different concentrate on rock and roll, find out how to use machine aided drafting, relocating luminaires, find out about the folk and the heritage that formed the sector and extra. extend your layout percentages through studying approximately cross-media use of live performance lights suggestions and their program in movie, video, theatre and the company international. From snagging these worthwhile contracts to figuring out the simplest gear to take advantage of to designing a express, live performance lighting fixtures: concepts, artwork and enterprise covers every little thing you must be aware of. * New info on desktop aided drafting and visualization courses, relocating luminaires, electronic luminaires and media servers, LED luminaires, new Protocol units and extra to maintain you modern with the main innovative traits * every thing a certified must comprehend from battling for contracts to the bits and bobs of designing a exhibit through present major designers: Jeff Ravitz, Andi Watson, Paul Dexter, and mythical Broadway dressmaker Richard Pilbrow * the way to mild rock-and-roll concert events and use a similar innovations in movie, video, theatre different medias * Interviews with 3 proven, multi-platinum traveling recording artists

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Extra info for Concert Lighting: Techniques, Art and Business, Third Edition

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Direct Contact The third method of employment is to work directly for the group or artist. Although the trend of groups owning their own equipment has faded, Supertramp’s equipment spawned the lighting and Business sound production company Delicate Productions in Camarillo, California, which remains in a highly marketable position to this day. Working directly for the artist does have advantages, but in the long run you may feel trapped just working with one artist. You could also become involved in the infighting that plagues so many artists’ personal organizations.

Video Director This would seem like a straightforward position—a person who places the cameras and calls the shots that will appear on the screens—but often it is much more complicated. A large amount of recorded media must be placed on the screens, as well as live shots. Some tours even add live satellite images and answer questions called in by the audience right on the screens. Throughout all of this, coordination with the lighting is critical. Calling the shots on the tour is one thing, but is the video director in charge of the overall direction of the lighting and video?

There was a time when artists thought that all the little things, such as limos, gifts, and special meals, were the result of the local promoter’s being a nice guy or a fan of the band. The truth is that all of those costs come out of the artist’s pocket in the settlement. There are so many ways to split the take—minimum guarantees, promotional tickets, additional advertising, catering costs, extra ushers or security … the list goes on. The person doing the 18 ■ box office settlement for the artist must be trained because a definite, specialized set of skills is required.

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Concert Lighting: Techniques, Art and Business, Third by James Moody, Paul Dexter
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