LD Seth Jackson and set designer Jim Lenahan team up for the show. Says Jackson: "This is home for a year. Barry's done everything in his live shows, so this allows us to go somewhere different because now the limits of touring are off the table. It's a nice approach."
The DL1s will hang on the line sets over the main section of the stage on each side. "We're using them to do beam effects in the air, we're using them to light the band, we're using them backwards to light several legs of scrim that we're going to add imagery on to add depth from rear projection to scrim legs, and wherever else we come up with," Jackson explains.
Lenahan adds: "We're using DL1s more on scenery, not on screens as much. I like the idea of having layers of video, layers of lighting, and being able to see through some pieces of scenery, with video on them and see other pieces behind to give some depth - that's mostly what we're using DL1s to do."
Having used Catalyst on tours with Tom Petty and Sarah McLachlan, Lenahan is comfortable with the media server. Mode Studios is helping with content. "None of the screens are standard size, so everything we're throwing video on is unusual," says Lenahan. "We're doing lots of Catalyst looks in the show, much of it archival. I'm shooting some custom footage of a dancer behind the rear projection screen today so we can put the resulting high-contrast black and white image into Catalyst and colorize, tile and otherwise manipulate it. Barry loves this stuff."
Joining Lenahan and Jackson on the lighting team are Stan Green as Catalyst programmer and Michael Renken as moving lights programmer.
(Lee Baldock)
