Like the knack LeBron has for three -pointers and Yo Yo Ma has for the cello. The undisputed master of the giant lighting rigs that transform EDM (Electronic Dance Music) festivals into stunning visual delights, he defines their scale in programmer’s terms. “It’s not uncommon for us to use 70,000 parameters (fixture attributes) on a big show – that’s 136 universes of DMX.”
3 comments:
It is so interesting to hear more about the lighting designs at EDM festivals and rave events because I have always been intrigued to see the connection that ravers have over the music and the concert experience. Part of the reason that makes these concert experiences so incredible, and what separates someone listening at home from someone who is at a concert like this, is the added visual experience that lighting gives. Also, while I always knew that the lighting rigs had to be larger than what we regularly use in theatre, I don’t think I ever really realized the scope of how massive these projects really are and how they have to incorporate vastly different lighting equipment and design elements to truly be effective. Personally, for any concert experience I have- no matter the genre or the size- I think the theatricality of the performance that is being put on really shapes how I leave the venue- and lighting plays a massive factor in that for me.
The amount of programming and planning that goes into designing rave and EDM shows is incredible. I have had the opportunity to go to one of these type events and I could not believe what I was seeing. The article mentioned that a show could have something around 136 universes of DMX in one concert rig. This, of course, is a lot of lights but the addresses can add up quickly when a rig is dealing mostly with intelligent fixtures. I liked how the article gave a shout out to the CMU alum, Jules Fisher and his accomplishments. Although I do not see myself going into a lighting design career, lighting design will always hold a special place in my heart and I will always have a fascination with it. After reading this article, I really want to seek out some of these lighting designers and ask for the opportunity to shadow them during a concert to see how this type of design differs from theatrical lighting design.
It is always very interesting to hear professional opinions and designers thoughts. Steve Lieberman seems like a very humble person, and he also seems to be a very creative designer. It appears that he used to be a festival and/or a concert designer, as well as nightclub lighting designer. I am very interested in lighting design, especially concert lighting design, as I am a fan of music, however, I struggle with the technical areas of sound design, and I generally enjoy them less than I do with the lighting area. In the future I am looking forward to learning more specifically about this area and how it differs from the lighting design prevalent in theatre. I have also learned more about dance lighting design over the past couple of years, and I would like to learn more about how it is similar and differs from that of the world of theatre.
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