American Cinematographer - October 2016 - 38

◗

Family Business
Right: In the same
performance from
"The Lyon Who
Cried Wolf,"
Hakeem stands in
the background
awaiting his cue
while Lucious and
Jamal start the
song, awash in red
and gold tones.
Below: Sommers
checks the set's
lighting.

allows us to combine textures. The
LEDs do have a tremendous zoom
range, which allows you to get patterns
coming from above, but you're always
going to get a sharper source out of the
older, more traditional instruments."
Part of the assignment is giving
each musical number its own distinctive
look. "We'll be in a theater in Joliet, and
we've got to put in a rig that can look
completely different for three different
acts," the cinematographer offers. "The
ability to put in a rig that's flexible
enough - we just couldn't do it without
the LEDs. The color-changing ability
of the spots and the washes on
discharge lights has been around
forever, but the ability to have a wash
38

October 2016

light that can be any color of the rainbow at the drop of a hat is a huge
advantage."
Moore adds, "When we create a
look for a performance, Paul has ideas
about the way he would like fixtures
placed on the stage and the color palette
for the song. We listen to the music
separately, and I come up with what
feels like an appropriate cue list for the
song, and then I program preliminary
looks, timings and effects. We typically
meet up for a brainstorm two hours
before call and do some more cueing
and editing, and then we go with it."
"Two hours to program before
call time - that's a big challenge,"
Sommers emphasizes. "A rock 'n' roll
American Cinematographer

touring act might have a couple months
to build a lighting plot and figure out
the choreography and timing!"
"So much is done to have the
songs on the show help further the
plot," adds Moore. "For me, it's about
feeling where the music takes you. If a
character is in a frenetic place or is
making a defiant choice, hopefully that
comes across in the palette and the
movement of the lighting in the performance.
"As our performances grow in
size, concept and scope, we're starting to
experiment with linear timecode [LTC]
that will fire cues on my console as well
as [the production's Unilumin] videowall rig," Moore continues. "I come
from a heavy background in theatrical
and modern-dance lighting design, so I
like to run performances live to get the
feeling right - but perfect timecode
playback really helps smooth versechorus-verse transitions, leaving me free
to trigger other live effects and moves.
"I think all programmers -
myself included - create and manage
LANs [local area networks] for their
stage setups," says Moore. "For our new
performance space [in the Leviticus
club], I built a rig of 16 universes of



Table of Contents for the Digital Edition of American Cinematographer - October 2016

Contents
American Cinematographer - October 2016 - Intro
American Cinematographer - October 2016 - Cover1
American Cinematographer - October 2016 - Cover2
American Cinematographer - October 2016 - 1
American Cinematographer - October 2016 - 2
American Cinematographer - October 2016 - Contents
American Cinematographer - October 2016 - 4
American Cinematographer - October 2016 - 5
American Cinematographer - October 2016 - 6
American Cinematographer - October 2016 - 7
American Cinematographer - October 2016 - 8
American Cinematographer - October 2016 - 9
American Cinematographer - October 2016 - 10
American Cinematographer - October 2016 - 11
American Cinematographer - October 2016 - 12
American Cinematographer - October 2016 - 13
American Cinematographer - October 2016 - 14
American Cinematographer - October 2016 - 15
American Cinematographer - October 2016 - 16
American Cinematographer - October 2016 - 17
American Cinematographer - October 2016 - 18
American Cinematographer - October 2016 - 19
American Cinematographer - October 2016 - 20
American Cinematographer - October 2016 - 21
American Cinematographer - October 2016 - 22
American Cinematographer - October 2016 - 23
American Cinematographer - October 2016 - 24
American Cinematographer - October 2016 - 25
American Cinematographer - October 2016 - 26
American Cinematographer - October 2016 - 27
American Cinematographer - October 2016 - 28
American Cinematographer - October 2016 - 29
American Cinematographer - October 2016 - 30
American Cinematographer - October 2016 - 31
American Cinematographer - October 2016 - 32
American Cinematographer - October 2016 - 33
American Cinematographer - October 2016 - 34
American Cinematographer - October 2016 - 35
American Cinematographer - October 2016 - 36
American Cinematographer - October 2016 - 37
American Cinematographer - October 2016 - 38
American Cinematographer - October 2016 - 39
American Cinematographer - October 2016 - 40
American Cinematographer - October 2016 - 41
American Cinematographer - October 2016 - 42
American Cinematographer - October 2016 - 43
American Cinematographer - October 2016 - 44
American Cinematographer - October 2016 - 45
American Cinematographer - October 2016 - 46
American Cinematographer - October 2016 - 47
American Cinematographer - October 2016 - 48
American Cinematographer - October 2016 - 49
American Cinematographer - October 2016 - 50
American Cinematographer - October 2016 - 51
American Cinematographer - October 2016 - 52
American Cinematographer - October 2016 - 53
American Cinematographer - October 2016 - 54
American Cinematographer - October 2016 - 55
American Cinematographer - October 2016 - 56
American Cinematographer - October 2016 - 57
American Cinematographer - October 2016 - 58
American Cinematographer - October 2016 - 59
American Cinematographer - October 2016 - 60
American Cinematographer - October 2016 - 61
American Cinematographer - October 2016 - 62
American Cinematographer - October 2016 - 63
American Cinematographer - October 2016 - 64
American Cinematographer - October 2016 - 65
American Cinematographer - October 2016 - 66
American Cinematographer - October 2016 - 67
American Cinematographer - October 2016 - 68
American Cinematographer - October 2016 - 69
American Cinematographer - October 2016 - 70
American Cinematographer - October 2016 - 71
American Cinematographer - October 2016 - 72
American Cinematographer - October 2016 - 73
American Cinematographer - October 2016 - 74
American Cinematographer - October 2016 - 75
American Cinematographer - October 2016 - 76
American Cinematographer - October 2016 - 77
American Cinematographer - October 2016 - 78
American Cinematographer - October 2016 - 79
American Cinematographer - October 2016 - 80
American Cinematographer - October 2016 - 81
American Cinematographer - October 2016 - 82
American Cinematographer - October 2016 - 83
American Cinematographer - October 2016 - 84
American Cinematographer - October 2016 - 85
American Cinematographer - October 2016 - 86
American Cinematographer - October 2016 - 87
American Cinematographer - October 2016 - 88
American Cinematographer - October 2016 - Cover3
American Cinematographer - October 2016 - Cover4
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