CMU School of Drama


Wednesday, October 05, 2011

Time To Spare For Indianapolis Opera

Live Design: When I began assisting Jeff Davis, one of our first projects was a production of The Magic Flute for Indianapolis Opera. The opera demands both fire and water effects as part of the plot. I inquired about the use of moving lights, and Davis said that, although Indianapolis Opera had sufficient budget to rent moving lights, he did not think there was time in the production schedule to program them.

2 comments:

Sonia said...

I have to say when I read the first half of this article I was impressed by the Indianapolis Opera's tight operations and how they adhered to it. I was even more impressed as I read on and realized that they tried something new and completely changed it. Because especially in situations such as this, where a company has done something a certain way for so long, sometimes it is hard to break out of that routine even if it is for the better. However, the whole paragraph when he is explaining the math, I got totally lost just because Im not really a lighting person anymore. I hope that other houses can learn from this and maybe tweak their system in order to produce a cleaner product as well.

Robert said...

This is amazing that they are doing this all offline and roughing it in. I wonder if they had used a GrandMA or a similar type of lighting desk that uses 3d and would allow you to rough in the entire show without doing that math that they are explaining. They where doing it on a much older disk that did not have any way for you to import a 3d model and the 3d things were very hard to set up. I have heard of a lot off big shows do this type of thing doing with a lot of it offline in a visualize and then going to the event and just tweaking things a little bit. This just shows you if you prepare enough it will save you a lot of timing the space.