Flynn also took control of programming the Hippotizer HDs—not part of the original plan, but, he says, “I was happy to get in on the action. I have done extensive Hippo programming in the past, so it wasn’t an issue, and when it was all up and running, the show looked awesome. The pictures really don’t do the real product justice. The wow factor was an 11.”

Almost everyone onboard had worked together with one another in some capacity. We were also fortunate to have Jeff Riedinger, Kenny Keene, Garland Purdy, and Joachim Krause of Las Vegas Rigging in charge of the scenic and lighting rig. Mark Anson, the technical director, was wonderful in making sure that everything we needed for lighting fit together with all the scenic elements into a schedule that proved to be really fluid over the load-in. There were seemingly very few surprises. Last, but not least, the great guys with LMG really helped when “those lighting guys playing with video” needed something extra and/or ideas if something slightly awry required a “factory reset.”

“After a very simple circle hang and a unique network setup by Adam, delivery of the client’s objective was done one time and during standard hours, eliminating the need for overtime,” says West. “The flexibility of the Hippotizer network playing back all the audio files synchronized with the DL.3s meant total control of the visual experience FOH to speed up the process and increase the visuals. With FOH control, the design was executed to the degree it was presented to the production company and end client. With our additional software images and skilled programmers, the client was extremely pleased with the additional looks of non-stock images and enhancements the design team was able to create in seconds to add extra excitement into each and every presentation. Even last-minute changes were executed with no pressure on the event.”

Some things we learned: A cyc projection ring this large tended to get “inflated” by the enormous air conditioning system in the expo hall when they turn the A/C on full blast, thus making the collage a bit off only minutes from doors. Softening the fixture focus a bit helped alleviate this on the first day, and by the later shows, we had corrected for this. Keeping the spare DLs on the network backstage was something we knew from past work was important, but on this event, with the amount of data, it was downright crucial. It was a beautiful site when we tilted up the DL.3s onto the cyc projection ring, and they were almost perfectly aligned to one another.

The time spent creating a 3D model of the set and fixtures in the studio had paid off. The venue had four large-support pillars we had to shoot around, and not one DL fixture had to be moved or relocated from its intended use. The building of three different collage types (1x5, 1x7, and 1x8) was a timely endeavor that Hillenkotter, Flynn, and I tag-teamed to get done. Once the collages were built, the fixtures could quickly jump from one collage type to another.

My mind becomes a blur when I imagine where these technologies will lead us next. Regardless, I know it will always take a dedicated team of talented individuals to bring forth spectacles of this size.

“Overall the event was massive in size and scope, but at no time was the vision of the project compromised,” concludes West. “With the tools available to designers today, all we have now is our imagination to guide us. I credit this design to the risk I took to push technology and the tools past conventional use. It felt like a small tour or summer stock as I found new uses for tools that had primary uses in some people’s minds. Take a risk, and enjoy the benefits.”

Todd Street Production

Principals

Michael Portnoy, Project Account Manager

Janyce Ferrara, Executive Producer

Mark Solan, Scenic Designer

Digital Stage Chicago Crew

Joe West, Principal Lighting Director

Adam Dunaway, Visual Designer/
Associate Lighting Director

Warren Flynn, Moving Light Designer/Programmer

Jens Hillenkotter, Barco High End Systems DL.3 Digital Lighting Designer/Programmer

Christopher Nye, Master Electrician

David Haar, Moving Light Technician

Steve Dubay, Green Hippo/Video Technician

Paul Hancock, DL Technician

Nathan Davis, LED Technician

Sachem Arvidson, Element Labs Technician

Video/Cameras

35 Barco High End Systems DL.3

12 Barco High End Systems DL.2

1 Barco High End Systems Axon
Media Server

2 Green Hippo Hippotizer HD v3
Media Server

1 Green Hippo HippoCritter v3 Media Server

6 Barco FLM HD20 Projector

1 Barco ImagePro HD SDI

1 Barco MatrixPro 8x8 Switcher

400 Element Labs Versa TUBE HD

32 RGB Lights FlexiFlex Hi-Res LED Drape

6 Sony BRC-700 HD Camera

2 Sony BRC-300 Robotic Controller

Lighting

27 Philips Vari-Lite VL3000 Spot

27 Philips Vari-Lite VL3500 Spot

10 Martin Professional MAC 2000 Wash

48 Morpheus PanaBeam XR2

40 Philips Color Kinetics ColorBlast 12

8 Philips Color Kinetics ColorBlaze
72 Striplight

2 Robert Juliat Manon Followspot

60 ETC Source Four Ellipsoidal

112 ETC Source Four PAR

1 ETC Sensor+ 96x2.4kW Dimmer Rack

Control/Networking

2 MA Lighting grandMA

4 MA Lighting grandMA NSP

2 Barco High End Systems Wholehog 3

4 Barco High End Systems DP8000

3 Barco High End Systems DP2000

1 Barco High End Systems Hog3PC
Programming/Playback Wings

1 Barco High End Systems Hog3PC Super Widget

2 Netgear 24-Port JumboFrame
Business Switch

2 Netgear 16-Port JumboFrame
Business Switch

8 Netgear 8-Port JumboFrame
Business Switch (two for grandMA and Wholehog 3 networks)

Adam Dunaway is a Chicago-based lighting and projection designer who holds BA and MFA degrees in Theatre Design and Technology. He is the principal designer for Dunaway Designs and a design partner with Digital Stage Chicago and DK Productions. Recent designs include digital lighting video systems for Jamie Foxx’s 2009 US tour and Chris Brown’s 2010 Brazil and UK tours, as well as the upcoming Bermuda Music Festival, an annual R&B event he’s been glad to be a part of for the past eight years with Great Sound and Lighting.