Has Worked With: Burning Spear french tour (3 times), U-Roy french Tour, Zizi Jenmaire, Noir Desir, Dir En Grey, Kagerou, French Championship of Magic, ...
Has Worked With: WWE, Smucker's Stars on Ice, Tim McGraw and Faith Hill, Van Halen, Linkin Park, OAR, Motley Crue, Damian Marley, Aerosmith, Phish, Lynyard Skynyrd
Comments: Member of IATSE Local 55. Bachelor of Media Studies Production Tech '08. 6 yrs of show production exp. All shows above were with local crews. Video guy!
Anthony White( profile # - 6940239 )
LD / ME / Programmer / AutoCAD / Wysiwyg, Concerts, Festivals, Corporate Meetings, and Special Events.
Has Worked With: Everlast Productions, BVI Promotions, Southern A/V, Festivals of lots of bands and running on the fly.
Has Worked With: Blues Traveler, Big Head Todd and the Monsters, Robert Randolph and the Family Band, Al Green, Tower of Power, Kris Kristopherson, Los Loney Boys, Del McCoury Band
Has Worked With: Ultra Music Festivals, Global Gathering Festivals,
Tiesto, Ferry Corsten, Paul Van Dyk, Sasha &Digweed, Eric Morillo, Bad Boy Bill, Carl Cox, Under The Influence of Giants, Tommy Lee, Papa Roach, Xzibit, The Drifters, Chubby Checker, and many more
Phone: Email for phone info E-mail:Click here to E-mail Base: Boston, Massachusetts
Comments: In the business since 1999, vast relationships around the country, strong experience in large video and multimedia shows as well as design and production management. Also experienced in Video Production Management, Supervising Production Management, Stage Design, Set Design, Mutimedia Design, Video Camera Operation, Video Switching
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Karl Jennex(
profile # - 6940220 )
Audio Tech, Lighting tech
Has Worked With: Musical Theater West, The Theatre @ Boston Court, Pasadena Plathouse
Comments: PROFESSIONAL ATTITUDE, UNLIMITED IMPORTATION PERMIT, CANADIAN AND AMERICAN LICENCING, 5,000,000 INSURANCE, CLEAN RECORD, VALID PASSPORT
Stan Green ( profile # - 6940075 )
Design, Direct, Program, Lights, and Catalyst
Has Worked With: Sarah McLachlan, Barry Manilow, Avril Lavigne, Tom Petty & The Heartbreakers, Third Eye Blind 2.5years, The Black Crowes 5.5years, Jimmy Page & The Black Crowes(1st tour), The Robert Cray Band 6years, Etc.
Comments: BFA Technical Theatre/Lighting Design at Emerson College Co-owner/Artistic Director for Tandem Dance Inc. - Modern dance company in Boston Whole Hog and MA programmer
"lil" Jimmy Bomann( profile # - 6940161 )
Guitar/Bass/keyboard tech, stage manage, L.D., whatever needs to be done to make the show happen.
Has Worked With: Lou Reed, MINISTRY, The Go-Gos, The Doors, The Calling, Michelle Branch, Third Eye Blind, David Lee Roth.......
Comments: Currently house L.D./Production manager for 750 seat arena, looking for touring gig. Clubs, arena, festival no preference. Hard work and accountability is what I offer with experience and well rounded skills. Preference is lighting but I have skills and qualifications with all facets of production.
Comments: I have extensive experience working in busy roadhouses as house electrician (ETC), sound engineer, stage manager, flyman, and rigger. Eager to tour!!
It becomes obvious at a certain point that a band needs a "full crew" - for example if you suddenly start selling out coliseums worldwide... But, when and how should bands at the club and small theatre level invest their money? And since this article is geared at those musicians reading it, this means how do YOU invest your money in crew when you do shows?
This Series of articles is geared specifically at evaluating the position of Lighting Designer or LD. In this piece I'm answering the question: What does a Lighting Designer do?
We all know what this lighting person does right? They walk into the club and push buttons on the lightboard during the show to make it all flashy like! Well, if you have hired your friend "Bob" to do this job, then it's likely that's all that's going to happen. But if you have hired a professional lighting designer who thinks of lighting as an artform, then that's only a small part of the job they do.
When a band hires a Lighting Designer, ideally, the band has a conversation about their vision of what they do onstage. Often this part never happens because the band doesn't really have a vision. They have invested so much time and energy in the making of the music, they haven't developed a visual statement to go along with it. It then becomes the Lighting Designers job to work with the band and develop that vision. Sometimes, creating this visual statement can be as simple as selecting specific intense colors for specific songs (like for singer songwriters). Other times it can involve programming moving lights with complex patterns so they move the way the song FEELS like it's moving, and sometimes it involves working with an entire creative team of stage and set and costume designers to get a coherent look for the production. This vision is an important part of a band's "personality" onstage, and audiences do react to it.
In a conversation I had recently with The Presidents Of The United States of America (I'm hoping they hire me for an upcoming tour), they told me they are a "turn the lights on and play" kind of band. The problem they have had in the past, is they have hired Lighting Designers that want every moment of their show to be a big production, and that's NOT what they want. My philosophy is this: This artist is my CLIENT, and while it's my job to visually enhance what they do onstage, it's also my job to make the band feel comfortable in the onstage environment, because if they are not, they can't give their best performance. Lastly, since they are my client, it's my job to give them what they want, because if I don't, I won't be working for them for long. The trick is to balance these three (often conflicting) goals. For the Presidents, this means selecting what colors are up when you "turn the lights on", and helping select, with them, what part of the set to "run the big production looks" in.
This is really like any relationship in that it requires good communication. It's an ongoing and evolving process to understand where the band is artistically and keep in synch with them.
After some of the vision is established, hopefully the Lighting Designer can walk into the space, evaluate the lighting system in place, and add any additional production that's needed or warranted by the show at hand (strobes, moving lights, special projected patterns, the list of possibilities is huge). After this, an LD needs (potentially) to regel (change the colors in the lighting instruments) to match what the band needs according to the vision they have for that show. He or she must do a focus. This involves climbing around on ladders and stuff to make sure the lights aim at where the band is going to stand, as well as getting other lights aimed into patterns (beams that fan or cross, or are parallel to each other make these patterns). Hopefully these patterns are both "cool", and useful to the LD in terms of creating the effect of motion as he or she switches from one to another, and in terms of drawing the audiences eye to specific place onstage. In shows where there are moving lights, there should be some time spent in programming those instruments in order to make sure they generate the looks needed onstage when they are needed. (With up to 25 parameters per moving light to set, this can take some time, and doing it "on the fly" won't give you the best results.)
Then, finally, there comes the running of the lighting console during the show. This is the part of the job most people traditionally think of AS the job, and it's important enough that I've done an article JUST on that.
So, a lighting designer shouldn't JUST push the buttons on the lightboard, ideally, there is a lot more to the job.
John Schlick is a full time LD who lives in Seattle when he is not touring. His website is www.eXotic-Lighting.com, and you can contact him at John_Schlick@hotmail.com with any questions about the lighting business (or to hire him).
(No material in whole or in part from this article may be modified, copied, reproduced, re-published, uploaded, posted, transmitted or distributed in any way)
