Where is the Industry Heading – Andrew Griffin

What a week and weekend huh? First there was USITT all week and then the iPad get launched on Saturday! I think it is time to come back to reality. What better way to come back down by kicking off the month of April with the monthly column, Where is the Industry Heading. This month brings an interview with a lighting design located right here in Washington, DC, Andrew Griffin.

I have had the pleasure of meeting Andrew once at a watering hole of choice downtown back in thanksgiving.  Since then Andrew has been just as busy as myself in, around and out of town.  Andrew just flew into DC Sunday for the Helen Hayes Awards that happen tonight, Monday April 5th.  Andrew was nominated for Outstanding Lighting Design, Resident Production for his design of A Midsummer Night’s Dream, Synetic Theater. Good Luck Andrew we’ll all be awaiting the news view twitter!

In regards to paperwork, how has that changed from when you started to where you are now?

I’m still a “young whippersnapper” so the methods haven’t changed too largely, it’s always been Lightwright and Vectorworks for me. What I will say is I am beginning to do more on paper and less on the computer though. I used to try do everything paperless, I had my Lightwright file, my Vectorworks file, I did all the prep work, magic sheets, everything was in the computer. But I found myself losing touch with things. Now when I design, I do the rough plot, sections and first draft of the paperwork by hand. It really puts it all in my head and helps me to understand the scope (and it’s easier to throw to an assistant to draft if you are swamped). When I am assisting, I always have an instrument schedule in my back right pocket, and a channel hook up in my back left and carry a pad of paper. I can answer questions faster and I am not depending on a computer, and honestly it’s not that hard to spend 15 minutes with a computer to reconcile it all at the end of the day.

What are your thoughts on LED’s in general for use within the industry?

I think once it’s better and more affordable that I am all for it. It will make theatre’s more efficient, and really provide some wonderful ways to enhance designs. All that said, we need to make sure that as people are in school learning the craft that they don’t learn to become dependent on this kind of technology (or any for that matter). I find that as automation and technology begins to dominate our field you have people saying things like “Well I can’t do it without….” “If I had X I could do Y” etc, and that gets really frustrating to hear.

What challenges do you face with the ever changing console architecture?

Really just learning to talk the board. I am typically in the world of ETC Palette consoles (Eos / Ion / Obsession II) so by and large the vocabulary is the same, but the capabilities are so great. I try to skim through the manual and play with the offline editor when I am faced with a new console. It’s also so much harder to go backwards. I lit a show on an Ion console and the next week lit a show on an Express 125. You start calling for things that aren’t there and if the operator doesn’t know palette – for example calling UNDO when you’re on an express when you really mean RELEASE – and you get to miss those features. But you learn little tricks to make those older boards bend and pretend to be better consoles.

Does 3D rendering provide a reliable method for developing a concept while designing out a production?

For the lighting designer – at home individually – yes. It allows you the freedom to play and conceptualize. I don’t think the renderings are shareable yet, though. I know I’ve seen some portfolios that have computer renderings of light, and then you see the pictures from that show and they are so different: the colors are off a bit, it doesn’t take amber drift into consideration, the gobo rendering isn’t perfect, etc. People sometimes get married to the ideas they see in meetings. They especially get married to computerized images because the assumption is the computer is infallible and what is printed must be capable in reality. I still think bringing research images, and rough sketches (I do pastels sometimes) are a great way to show your intent.

Do you feel that projection media is a form of lighting or should it be considered a separate field?

It is a separate field. I can’t think of one successful show in which we used projections that there was no projections designer. Whenever productions try and roll another designer already on the project into that projections role it just doesn’t work. Invariably they will be needed for their primary discipline during tech, where most of us are really doing our job, and then the projections suffer. It’s hard in these times because companies want to save money, but the reality is it’s a separate discipline and so you really need a designer whose primary field is projections to solve the problems and interact with the rest of the team to get everything just right.

Looking back at a past production, how would you change it with some of the latest technology out on the market today?

I don’t think I would.  You do all your shows to the best of your ability with what is available to you at the time. While you learn from your limitations, you don’t have to dwell on things you wish you’d been able to do. I think there is a particular importance of designing with limitations, and while technology can solve some problems and enhance the design, I don’t think technology ever trumps design.

What new or upcoming technology has the potential to change the lighting industry?

It’s so hard to say really. Technologies are moving so fast and influencing each other. I really think LEDs are the biggest mover is terms of dealing with how approach color and light, but, when I think of “to change the lighting industry” I don’t really look at the stuff that’s out there now. It really hasn’t changed anything. Take LED’s, sure they are brighter and more efficient, but how is it different than putting a Morpheus CMY fader on a unit? It’s more vivid, yes, and more intense, but the approach is still the same. It’s not like when color changers were first introduced and suddenly one light could change colors in a scene without a person on a light bridge changing the color, or the introduction of the moving lights that could refocus itself on scenery as the scenery moved. I think the next 5 to 10 years are going to be really interesting seeing what technology develops out of what is out there now in conjunction with the unending imagination of designers.

What advice can you give to a beginner looking to make it in the industry?

First and foremost you have to love doing this, and you have to love every aspect. It’s not just about lighting and the art, it’s about running your own business. Be ready to network at opening nights, send your resumes frequently (and frequently never hear back), keep your website up to date, carry your portfolio on your iPhone just in case because you have to make the most of every opportunity, and being able to see opportunities in everything, even rejection, is important. Don’t be a jerk, smiles and laughter is lot better yelling. It is possible even for talented designers to get blacklisted from theaters because of their bad attitudes. Don’t stop learning. Assist all you can, and assist openly with learning in mind. Finally, when it comes to your work, you need to know how to critique yourself. After every show I do I give myself a grade and write about what I liked that I did and what I thought could have been better. It’s really helped me develop my eye.

Do you have any tech-table rituals or traditions?

Something I have picked up from a designer I assist in DC, Arts and Crafts time, which is the time I make my magic sheets and set up groups. I really prefer to make my magic sheets by hand while doing a channel check at the table. I typically print anywhere between 9 and 12 ground plans on 8.5×11’s, have my box of crayola markers (you’re never too old) and just have some quiet time with the board op hopping through channels and making the sheets. The combination of calling the number, writing it down, and placing the number on the ground plan really helps me get the plot into my brain, and also really gives you command of the magic sheets. I have done them on the computer, but often find myself searching for obscure channels later that I wouldn’t typically search for if they were done by hand. Also, using 9 to 12 8.5×11’s taped to your desk means people tend to not put their stuff all over your table. Finally, I stand for the majority of the time while I cue. I will sit from time to time, but for some reason or another I am typically standing while I tech.

What is your favorite gel color and why?

I cant really say I have a favorite. It changes from show to show, week to week. I like to try new colors to keep myself from getting dependent on one color, and if I see that I am I will cut it from my color palette for a few shows to ease the dependency. The last show I did the favorite color was L729, a beautiful green with a touch of blue that really made a graveyard sacrifice scene just right (I love my job). Prior to that it was L712, which is kind of like the L201 of lavender in my book. Not too saturated, but just enough to really give that punch and drifting on the cool side of the spectrum. But I could really go on for a while on my feelings about color, I’ve been really looking at it in a different way recently and it’s lead to some wonderful results.

More about Andrew:

Since completing his undergraduate degree, Andrew has been a full time Lighting Designer and Assistant based in the Washington, DC metro area. He is one of the principle Lighting Designers for Synetic Theatre, for whom he has designed: Host and Guest (DC and New York) Dante, Dracula, A Midsummer Night’s Dream which received numerous Helen Hayes Award nominations including Outstanding Lighting Design, and this summer he will design Othello for Synetic at the Kennedy Center. Andrew has also created designs for companies including Olney Theatre Center, Woolly Mammoth Theatre, Toledo Opera, Studio Theatre, Michigan Opera Theatre Children’s Chorus, Imagination Stage, Forum Theatre, Rorschach Theatre, Journeymen Theatre, Washington Shakespeare Company, and the Delaware Shakespeare Festival.

As an Assistant, Andrew’s work has been varied in both Theatre and Opera. He has been the Resident Assistant Lighting Designer for Michigan Opera Theatre in Detroit, MI since the spring of 2007, where he assisted on the world premier opera Cyrano, written by MOT General Director David DiChiera, and has remounted productions for the company in both Chicago, IL and Lansing, MI. In DC, Andrew has worked as an Assistant Lighting Designer for Woolly Mammoth Theatre, Olney Theatre Center, Round House Theatre, and the Folger Shakespeare Theatre for designers including Donald Edmund Thomas, Colin K. Bills, and Dan Covey. For more see his website, www.andrewFgriffin.com.

Where is the Industry Heading – Edward Warren

This months interview for the continuing column, Where is the Industry Heading, I got a chance to talk with Edward Warren.  Edward is a fellow lighting designer based in London, England and runs his own lighting design firm, Next Level Lights. You may know Ed from his twitter name, @edforever. Ed takes a a couple of moments to talk with me about technology and where he thinks the lighting industry is heading.

In regards to paperwork, how has that changed from when you started to where you are now?

The only time I’ve ever really used paper is to sketch down initial ideas or notes, or to look at print outs of plots. Everything else has always been computer based. Paper is annoying and just ends up gathering in the bottom of my bag or being thrown at sound engineers in the form of paper aeroplanes.

What are your thoughts on LED’s in general for use within the industry?

Obviously the environment issue is a massive factor. Anything that draws so little power but still has a such a strong effect can’t be bad. The trick with LEDs is making them look different to what everyone else is doing. Far too many people are lazy with them and everything ends up looking the same.

What challenges do you face with the ever changing console architecture?

None really, its getting easier. Once you get over the initial hurdle of finding out where certain buttons and functions are located you realize they all do pretty much the same thing but in slightly different ways. Using a new lighting desk for the first time, to me is like playing a computer game. I love it. I’ve tried my best to learn as many different types of desk as possible, its just a question of finding the one you’re most comfortable with.

Does 3D rendering provide a reliable method for developing a concept while designing out a production?

As a touring LD you don’t always get the production rehearsals you dream of. Using visualizers has saved me countless hours of work, which then takes the pressure off on the first few dates of a tour as you’re not wasting time messing about with fiddly bits which can be a bit stressful. Still, I’d prefer to have those production days. Nothing beats real life.

Do you feel that projection media is a form of lighting or should it be considered a separate field?

All depends on what you mean by projection media. I saw Phoenix last year and Jojo the LD was running projections and lights from his desk. He didn’t use projections in the conventional sense (ie visuals to match the songs), he sometimes used it as a spotlight, he sometimes used it as front light, he sometimes used it to create asymmetric shapes that matched the outlines of the backline on stage. It totally blew my mind. I bet he had production rehearsals!

Of course if you were to use imagery as standard then that’s all down to the individual designer. Some LDs are great at coming up with visuals as well as lights and tying them together. I myself prefer to work closely with video people I trust to create a complete design that complements the whole show.

Looking back at a past production, how would you change it with some of the latest technology out on the market today?

I never look back and wish I could change something. Lighting is constantly evolving and I am always learning so for me it’s all about looking forward and making the next thing I do even better than anything I’ve done before.

What new or upcoming technology has the potential to change the lighting industry?

Again, as technology evolves things get easier. Just like how I can imagine its a hell of a lot easier now than it was 20 years ago. Things get smaller, more compact, more powerful, more effective, more versatile, easier to use. On the flipside because of this it’s easier to fall in a trap and just coast along. The real trick is to not get lazy or complacent and always challenge yourself.

What advice can you give to a beginner looking to make it in the industry?

Come in with a completely blank slate, don’t be afraid to ask questions, and be nice!

Do you have any tech-table rituals or traditions?

On the day of a show I go around breaking as many mirrors as I can while walking under ladders. For bigger shows I do this while opening umbrellas indoors. Hey, I’m still here aren’t I?

What is your favorite gel color and why?

You can’t beat a bit of 181 congo on a backdrop with white bits in it. I’m all about the Congo.

More about Edward Warren

In 2003 I had nothing to do so I started selling t-shirts for a friend’s band on tour for £20 a day, not including days off. After a while I got asked to switch on a strobe at a certain point in the set and I never sold t-shirts again. I started touring with more and more bands teaching myself as I went along and taking up the advice of many a house tech and LD. Jump to now; I run my own lighting and production company, Next Level Lights, and get to tour and work with a load of amazing bands who, I hope, like what I do.

A few bands I’ve worked/am working with:

Florence and the Machine, CSS, Band of Horses, Mumford and Sons, Metronomy, Four Tet, Fleet Foxes, Lykke Li, Laura Marling, Mystery Jets, Klaxons, The Big Pink, Peter Bjorn and John, The XX, Wild Beasts.

Where is the Industry Heading – An Interview with Steve Shelley

This months Where is the Industry Heading Column is an interview with noted Lighting Designer and drafting symbol guru, Steven Shelley. In addition to Mr. Shelley’s design talents and drafting template genius, he has also found time to write a book for the lighting industry, A Practical Guide to Stage Lighting which just recently went into it’s second edition. Look for a review of Mr. Shelley’s latest book here on iSquint very shortly.

In regards to paperwork, how has that changed from when you started to where you are now?

Night and day. When I started it was legal pads and lots of mistakes. Copies were photocopies at best, or mimeographs. When I started at American Ballet Theatre, we used the new Macintosh computer and the application “Multiplan” to re-sort the paperwork.

What are your thoughts on LED’s in general for use within the industry?

Eventually they will pull even until the next source takes them over. Right now they are still pretty expensive. Yes, you get a great long-term bang for your buck, but for short rentals, they are still more in the “eye candy” genre as far as I can tell.

What challenges do you face with the ever changing console architecture?

It’s not easy to catch up. With all the different variations and new approaches, it seems that having a console operator fluent in the specific console is now more critical than ever before. While this is the nature of the beast on moving light consoles, it’s now becoming more prevalent on consoles solely utilizing conventional fixtures as well. While I can appreciate that, there are times of frustration when I can no longer figure out how to merely turn a fixture on. And neither can the newbie console operator.

Does 3D rendering provide a reliable method for developing a concept while designing out a production?

It may do so to illustrate a concept for a client. Otherwise I find it more time consuming than mentally producing the 3D rendering with mental images translated to my own notes and the light plot.

Do you feel that projection media is a form of lighting or should it be considered a separate field?

I think projection media is a form of scenography, and as such, a separate field. I have nothing but respect for projection specialists and, in the heat of a production period, I’m thrilled they are there to help collaborate on the piece, and assume the responsibility for the creation of that facet of the visual look for the show.

Looking back at a past production, how would you change it with some of the latest technology out on the market today?

In most cases, I would consider changing stuff on previous shows if it reduced the amount of power, cost, gear, load-in time, or replication time. In some cases that might be as simple as color changers; on other shows that might be replacement of specials with fewer lights and programmable mirrors. There are a few shows that I would consider swapping out gear for movers, but to do so would then potentially result in the need for more time to re-program the replacement units. In my experience, making these kind of changes must be carefully considered within the big picture, rather than as a quick-fix “knee-jerk” reaction.

What new or upcoming technology has the potential to change the lighting industry?

Right now it seems to be the light sources. No doubt, though, it will be something completely different than what anyone can postulate today.

What advice can you give to a beginner looking to make it in the industry?

Be polite. Smile. If you don’t have a passion for this, get out. Don’t hesitate to ask questions when you need to. Don’t feel like you deserve something; you will have to work for it.

Do you have any tech-table rituals or traditions?

Define the location of the tech table as soon as you walk in the door. Then they can be set up without waiting for your placement instructions. Always have a trash can to distinguish from archives. Pack up your stuff before the final tech; you don’t know how quickly the tables will need to be struck after the end of the rehearsal.

What is your favorite gel color and why?

Gam 850 among many many others. I like blue.

More about Steve Shelley

Steve Shelley is a freelance lighting designer. He’s also the designer of the Field Template series of plastic drafting stencils, the Vectorworks toolkit SoftSymbols, and the author of “A Practical Guide to Stage Lighting, Second Edition” published by Focal Press. He lives in New York City.

You can find Mr. Shelley at most trade shows and conferences wearing the lime green cap, a smile and key chain versions of his popular Field Templates.  You can find more information about Mr. Shelley and his templates at www.fieldtemplate.com.

Where is the Industry Heading: An Interview with Gregg Hillmar

This months column, Where is the Industry Heading is an interview with Gregg Hillmar. You may have heard my talking about Gregg recently with the release of his latest book, Light Plot Deconstructed, which is a tutorial guide for Vectorworks and developing a light plot with in the software. Gregg is also an accomplished lighting and set design right here in the commonwealth of Virginia.  He also teaches what he practices as the lighting design professor at Randolph-Macon College.

In regards to paperwork, how has that changed from when you started to where you are now?

In “Ye Olde Days,” I traveled with 100’s of sheets of printed blank forms. As a show was designed then altered, we filled in all of the paperwork by hand, again and again and again. The rise of the personal computers in the ’80’s changed that- I initially used a word processor or spreadsheet to keep paperwork up to date. Eventually I developed a Filemaker database that I used for years. Lightwright then evolved into my favorite computer paperwork program.

But‚ we were still entering all of the information “by hand.” Its much faster than pencil and paper, but it was still manual entry. The new generations of CAD (Vectorworks in my case) developed ways to output information that could be imported into paperwork programs. Lightwright and Vectorworks have now made that a relatively painless operation; changes in one program automatically update the other, so while making the choice is still the designer’s job, the programs now take some of the drudgery out of the process. Networking abilities also allow M.E.’s to share info with designers and others using the programs, another time and effort savings.

Now, if only we could do something similar with cueing software…

What are your thoughts on LED’s in general for use within the industry?

Well, we’re at an interesting point. I think LED’s have great potential, and work well for “flash-bang” and other situations where the light itself is the visual element. I don’t think LEDs are going to be replacing incandescent lamps anytime soon as traditional lighting sources, tho. Designers need the ability to change color, intensity, beam size, shape, and angle as we have since the advent of “modern” theatrical lighting in the early 20th century. LEDs don’t meet some of those needs well enough- yet…

What challenges do you face with the ever changing console architecture?

Keeping up with the nomenclature and knowing “how to talk the board” to an operator during techs.

Does 3D rendering provide a reliable method for developing a concept while designing out a production?

As a scenic designer, yes I think so. Lighting a 3d model is still not the same as lighting in real space, tho. While I can use the results to talk to a director, I’m not happy with it as a “reliable method” of communication about a Lighting moment.

Do you feel that projection media is a form of lighting or should it be considered a separate field?

It’s definitely a separate field that combines elements of both scenic and lighting design and technology.

Looking back at a past production, how would you change it with some of the latest technology out on the market today?

Beverly Emmons and others have worked to make some of the original plots from Jean Rosenthal and other important designers available online. Looking at those and thinking about my early designs, I am struck by how we’ve moved from few instruments to many- from the broad stroke to a fine line. The sheer amount of illumination has also changed over the years. Plots I did with 70 instruments now would need 170. Or more.

But for me, cueing is the biggest difference. One of my first professional designs used racks of autotransformers and rotary dimmers. There were cues that took 6 or 8 people to accomplish. The whole show had maybe 60 cues, and that felt active to the crew. A year or so back I designed a musical that had more than 60 cues in the first number, and once the stage manager and board op got the rhythm, it was not difficult. That is the technology that I’d most like to redesign an old show with.

What new or upcoming technology has the potential to change the lighting industry?

Colour mixers and remote shutters‚ I want to see these things even in non-moving lights. Where now I have to double up instruments; one for act I and one for the same area in act II with different cuts and colour‚ Add the cost savings of using LEDs and, -if affordable- instrument like that could change the industry.

What advice can you give to a beginner looking to make it in the industry?

WORK! Even if for nothing! DO THEATRE! I see so many people interested in theatre that don’t do summer stock because they can make more money working at the fast food place, or who think working for little or no money is demeaning. The more theatre one can do- even if not getting rich- the better they will be. LOOK and LEARN!

Do you have any tech-table rituals or traditions?

There is always a stash of ATOMIC FIREBALLS (cinnamon “jaw breakers”) at the tech table- or close by. I buy ’em direct so they are always fresh‚ and hot!

What is your favorite gel color and why?

Don’t know if it is a favorite really, but most of my plots have R69 in it somewhere. I just love the blue-green combination, especially if I can contrast it with a reddish-blue from another angle. Its not just for moonlight anymore.

More about Gregg Hillmar

Gregg Hillmar is a scenic and lighting designer based in Richmond, VA. His work has been seen in 100’s of productions at theatres all across the country. Dance and opera designs include national tours and major regional companies. Non-theatre work includes galleries, exhibits, and shows for clients such as The Library of Virginia and The Science Museum of Virginia. Gregg is a recognized and published consultant in Vectorworks, a 2d/3d CAD software package, including the book LIGHT PLOT DECONSTRUCTED. In his copious free time, Gregg teaches at Randolph-Macon College in Ashland, VA. Gregg is a member of United Scenic Artists Local 829, the union for professional theatrical designers and artists, and can be visited on the web at www.hillmardesign.com.

Where is the Industry Heading: An Interview with James Bedell

This month, I interviewed James Bedell, a lighting designer that got his start in the theatre world and has since found a wide variety of work in the architectural and corporate lighting markets.  Not to long ago, James got involved in design high end residential, commercial and retails spaces all around the world. More recently, he is a lighting designer for Abercrombie and Fitch working with head of lighting design Andrew Thompson. He continues freelance work, recently designing pop-up stores for Diet Coke in NYC and Boston.

In regards to paperwork, how has that changed from when you started to where you are now?

When I started everyone told me YOU MUST USE LIGHTWRIGHT. Everyone expects spreadsheets to look a certain way there MUST be a Channel Hookup, Instrument Schedule and a Color List. All those things are still necessary but not necessarily sufficient. I find my paperwork evolving on a case by case basis. I do more architectural work now than entertainment. So I don’t use Lightwright any more, I use MS Excel because it’s common, and I know whether I’m walking into a regional theater in Rochester or a new store in Tokyo people will be able to read the file.

Light plots are obviously a must for theatrical productions and Vectorworks is still my weapon of choice. That said architectural paperwork is generally created and maintained in AutoCad, which I use far more often.

But when it comes to paperwork now, I’m becoming more and more obsessed with documenting design decisions for future replication. When I have to light a 4 story mural, and have my boss, my boss’ boss, and my boss’ boss’ boss sign off, I want to make sure it looks the same a year from now. That means lots of documentation of barndoor apertures, lots of images, and concise readable documents.

What are your thoughts on LED’s in general for use within the industry?

LEDs are the future of lighting design there isn’t much question about that. But there are some big barriers to wide acceptance. First off all theatrical LDs and Architectural LDs see this issue almost completely differently. Since I sit somewhere in between I get to play both sides of the fence on the one hand the simple tech geek in me loves seeing all the new toys, and in entertainment projects I like to test them out. But for architectural applications, you have to be more careful and bin matching (so that 3000k really means 3000k) is still not where it needs to be.

What challenges do you face with the ever changing console architecture?

Since I do less entertainment work now adays I feel like I need to come back to console land and relearn everything. Most of my advanced lighting control needs surround LEDs and scenes in an architectural application. But the next time I do a big show, I’ll need to sit down with a programming pro and decide what console is right for my project and my lighting style. When I work on a show, particularly a theatrical production I find myself inserting dozens of cues, cue 25 morphs into cue 25.9 because I decided to build in a 4 step fade. I love to bring cinematic transition to theatrical work, and often, especially with limited budgets your cueing structure can go a long way to enhancing the look and feel of a show.

Does 3D rendering provide a reliable method for developing a concept while designing out a production?

I think 3D rendering is subject to the law of diminishing returns. The time it takes to build proper renderings often doesn’t justify what you can do with a pencil and scale ruler. The technology for rendering has gotten better and better, but I need the whole process to happen faster or it’s not worth it.  If I can sit with a plan, elevation, and section, my swatch book and a pencil and do the same thing in 1/2 the time, then I’ll do that.

The only caveat there is the client. Sometimes, a detailed shining rendering in 3D sells them on your concept in a way words and sketches can’t…as a communication tool sometimes it is totally worth the time investment.

Do you feel that projection media is a form of lighting or should it be considered a separate field?

Projection media isn’t lighting design. But just like the scenic designer or working with an architect, they are an integral part of the design team. Far too often I see projection design and implementation back-ended on a production to the detriment of all the other design disciplines.

Looking back at a past production, how would you change it with some of the latest technology out on the market today?

When I did the Crown Point Festival a few years ago, in the interest of the budget I ended up trying to use what was in house and minimize my rental. This was the wrong move. In the end, I would have done more every production on the roster if I had a moving light package LED wash lights and a kick-ass programmer. Instead I tried to go low-budget theater on it, and gave everyone headaches.

What new or upcoming technology has the potential to change the lighting industry?

LEDs and lighting control systems are still the most rapidly evolving technologies out there. Both in the architectural and entertainment worlds. Is anyone specifying the same LED fixture and console they were 5 years ago? No way…the technology is moving way too fast for that.

Look for LEDs to get brighter with better white color matching, and look for consoles to become more and more user friendly, more software based, less button pushing.

What advice can you give to a beginner looking to make it in the industry?

Diversify. I love theater and dance, deeply. If I could do nothing but lighting dance everyday, I’d be a happy guy. But the truth is this industry’s main growth sectors aren’t in traditional theatrical entertainment, but in architectural lighting and in so-called “architainment” a major retail trend is surrounding the idea of “the experience economy” these are major opportunities for LD’s so, I would say, think outside the theatre.

Do you have any tech-table rituals or traditions?

I can’t say I have a tradition. But I do need a wide berth at the tech table. When I light a production I become something of a surrogate director, I love to stand up, point, move my hands around….really explain what I’m going for. Tech is fun for me…

What is your favorite gel color and why?

This is an odd one, but R53 became a favorite of mine when I coordinated lighting at the Schimmel Center at Pace University. There was a ton of even turn over, and lots of corporate conferences to light so I found myself experimenting with new key light and wash light colors. I found R53 to be the color that highlighted various skin tones when mixed with an N/C key light. And I didn’t go to Yale, so I don’t have to use L201 for everything.

More about James Bedell

James studied lighting design at Pace University, where he went on to become lighting coordinator for the Schimmel Center for the arts. Coordinating the lighting needs for a wide variety of clients from Inside the Actor’s Studio, to MSNBC, the Beijing People’s Theatre and a wide variety of corporate, theatrical, and dance clients (he even got yelled at by Kanye West once). James developed his skills while lighting a wide variety of off and off-off broadway productions in NYC. Since then he’s moved into architectural lighting. Three years ago, he began working for Tirschwell and Company, designing high-end residential, commercial and retail spaces. More recently, he is a lighting designer for Abercrombie and Fitch working with head of lighting design Andrew Thompson on flagship stores around the world. He continues freelance work, recently designing pop-up stores for Diet Coke in NYC and Boston.

You can read and learn more about James at his websites, jamesbedell.posterous.com or www.build2sustain.com.

UPDATE: I corrected James name, sorry about that!

Where is the Industry Heading: An Interview with Phil G. Gilbert Jr.

This month, we bring you our continuing column, Where is the Industry Heading with an interview from Phil G. Gilbert Jr. Phil is a lighting designer that is based out of New York City but travels the states designing lights for theatre, dance and corporate events. Phil took time out of his hectic schedule to sit down and talk with us about his views and opinions on the direction the industry is heading with new products and how to get ahead in the industry.

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Where is the Industry Heading: An Interview with Cat West

In our continuing column, Where is the Industry Heading we sat down with Cat West. Cat toughs herself more of a console programmer rather then a designer but from time to time finds her herself designing lights in the fly.  Cat has worked in the entertainment industry for over 10 years working as a wholehog specialist for High End Systems for 4 years.

Currently, Cat is the Lighting Director and programmer for IO Echo, an LA based band while also working with ACT Lighting on the west coast by providing GrandMA training classes. Cat also runs a website with Joe Cabrera called ConsoleTrainer.com which provides tips, tricks and training materials to console programmers at no charge.  Why you may ask, it is Cat and Joes way of giving back to the industry they love.

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Where is the Industry Heading: Interview with Mark Wynn-Edwards

In this months column of Where is the Industry Heading, we bring you an interview with Mark Wynn-Edwards, a freelance lighting designer and console operator out of Hull, England. Mark has designed and/or ran lights for such clients as Rod Stewarts, Sum 41, Soilwork, Opeth and Jamie Cullum to name a few.

Mark was kind enough to take time out of his current tour with Paloma Faith to sit down and chat with us about Where the Industry is Heading. To read the entire review: (more…)

Where is the Industry Heading: Interview with Rob Sayer

In our continuing column, Where is the Industry Heading, we interviewed Rob Sayer, a lighting designer and production manager located in the United Kingdom. Rob brings years of real world experience from the live event, theatre and corporate event world. Rob has designed and operated lighting for theatre performances, music festivals and large corporate events for blue chip companies while traveling all over Europe.

Rob also runs a lighting website called On Stage Lighting where he shares tips, tricks, technology, practices and education in the world of stage, theatre and event lighting.  On Stage Lighting is a useful resource to help to those new to lighting.

To read the entire review: (more…)

Where is the Industry Heading: Interview with Ken Billington

In Our continuing Column, “Where is the Industry Heading”, we bring you our latest interview with Broadway Lighting Designer Ken Billington of kbany.com. Mr. Billington has been designing lights on Broadway, The West End and around the world almost his entire life. He shares his wisdom with us about some of the latest technologies in the industry and how it has changed over the years.

Click through to read the entire interview.

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Where is the Indusrty Heading: Interview with Jim Hutchison

In our continuing column called Where is the Industry Heading, we bring you another interview of a professional lighting design, Jim Hutchison with Alive Lighting.  Mr. Hutchison is the Chief Design Consultant and founder of Alive Lighting. Jim has years of experience in the Entertainment Lighting industry, and has years of collegiate teaching experience, helping young designers visualize their careers in design. Jim is also a member of United Scenic Artists of America Local 829.

Click read more to read the entire interview. (more…)

Where is the Industry Heading – Interview with Swami Candela

In a new column here at iSquint, Where the Industry is Heading, we asked working professionals in the lighting industry questions about some of the latest technologies and trends in the industry.  We start this column with an interview with a well known lighting designer and professional, the Swami Candela.

The Swami was gracious enough to take time out of his busy fortune telling, design and consulting schedule to answer our questions. To read the interview in it’s entirety, click the read more link.

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