Most of those who work in corporate theatre say they love what they do: designing interesting projects in a variety of locations and at a wide range of budgets. And it’s often reuniting with people—an interesting client, a long time collaborator, or a respected technician—these designers say is the best part.

Few actually have an evangelical feeling about the products themselves. Unless you’ve got an unhealthy relationship with pharmaceuticals and their marketing strategies, or a childlike love of cars or computers, it’s often the work itself, and not the subject matter, which is most engaging. “Man, I can’t wait to hear what big pharma has planned for quarter three” is not something most self-respecting designers would mention to peers. “I certainly hope the brand extension this bank is planning is as exciting as it sounds” would be the muttering of someone seriously in need of a few weeks off.

However, Unlimited Visibility Lighting Design’s (UVLD) work for John Deere might be the exception. UVLD founding partner John Ingram recently replaced the 1963 tractor on his Virginia farm with a John Deere 5203 with a 533 loader, making chores “not only safer but, at times, fun,” he says. Ingram splits his time between lighting shows and dealing with his farm, so the continuing opportunity to light John Deere’s Agricultural Division’s Dealer Introduction is especially welcome. This year, the show took place for an audience of over 4,500 at Omaha’s Qwest Center and provided challenges unique to the project and the product line.

Executive producer Curt Reed of See Our Solutions (SOS) led the team with a clear mandate. “It was simple and understandable,” says Ingram. “The tractors were the stars of the show, but we’ve all lit gigs where such a simple concept is elusive. Curt is the kind of producer with good lighting ideas and valuable guidance. He asked for a ‘visual intersection of lighting centered on the floor at a couple points’ during this show. He wanted it during both video and live segments, and it had the ring of something that wouldn’t work, but it did. His vision began with his direction for the scenic and video design, and the process became truly exciting as we were able to combine the visual elements coherently in the show.”

The set, designed by Jerrod Smith of Designsmith Collaborative, placed the audience in the round, with one central globe of high-resolution projected video using the proprietary PufferFish system as well as nine 8'x8' FlexiFlex medium-resolution LED ceiling grid sections. Six 12'x36' front-projected screens handled the HD content, executed by video crew chief Tom Fouche and Corporate Image Associates.

Ingram partnered with UVLD associate lighting designer David Rees on the show from beginning to end. During rehearsals, Rees programmed wash fixtures and conventional lights, and during the run of the project, he operated the entire system. “This gig was cued to both track and tractor movement,” Ingram says. “There were many live adjustments and compensations to make, and David used his years of experience to evaluate these split-second decisions.”

UVLD’s Paul Sharwell was charged with programming all the spot units. “Any lighting designer will tell you that the ability to hide a ‘flaw’ can be equally important as making a fabulous look,” says Ingram. “This is intuitive for Paul.” The team was supported by head electrician Pete Campbell of CLS Productions, Inc., assistants Gerry Walls and Heath Goodwin, and a local crew.