I find automated lighting programming is always lots of fun as I am a self-admitted “lighting geek.” However, all programmers find there are times when it can be tough to get our juices flowing when working on a show. Whether it is programming yet another song (they all sound the same after a while), working with the same rig over and over, or just doing too many gigs back to back, we all find ourselves stuck in a rut at some point in our careers.
Of course, these episodes usually pass quickly, but it can be interesting to examine how they occur and what to do about them.
If you have ever worked in a permanent venue, then you have probably found yourself stuck trying to come up with new looks using the same fixtures on the same stage. Sometimes it is totally acceptable to use the same ballyhoos, stage looks and chases for yet another production. Who is going to know that you used the same audience bally with last night’s client as you did today? Nevertheless, it is very important that you make a conscious effort every once in a while to program some new looks. Yes, you still need a standard audience ballyhoo, but why not build it differently on the next event? Challenge yourself to not use the effects from your console and instead only use chases or loops. Throw out your usual color palettes/presets and create new ones based on how you feel today and the show you are working on. I bet you will create at least one new color that you adapt into your standard set of colors.
By pushing yourself to be creative and doing something differently, you will expand your horizons and find more enjoyment with every keystroke. In addition, the show will look much better due to the new, fresh programming. Of course, if you have been working on the crew all day and have only an hour before doors to program, then please do rely on your old standards. In all other situations, it is important to balance the old with the new to keep you from getting stuck.
A few years ago, Chris Stuba contacted me to help him with an upcoming ZZ Top tour. He has been the band’s LD for many years and he wanted to try a new idea. He hired me and Troy Eckerman to program the show as we saw fit. Chris gave us his normal cue lists and requested that we keep the cueing intact but to insert our own creative interpretations of the lighting and video. So Troy and I sat down with a visualizer and a media server and programmed for a few days. At rehearsals we showed Chris what we had come up with. Since the cueing was the same as he was used to, he could immediately run the songs with no problems. Chris did make some modifications to our initial looks, but for the most part he used what we provided. This technique worked well, giving the show a new look and providing Chris some creative ideas about where to go from there. In subsequent tours our influence was still apparent, even though Chris did all the programming himself.
Whether you’re programming a tour or a theatrical show, at some point you will find it difficult to help the LD to determine what to do next. Maybe you have already done your share of slow audience ballys and do not want to do that again. Or maybe there is another drum solo and you are lost about how to make this one stand out. Musicians tend to be very repetitious in their work, and I have always wondered why LDs always want something new. I have learned that a good method to get unstuck when working on an all-too-familiar section of a show is to take a break. Relax for a few minutes and take the pressure off. Then think how you can approach this song differently. Is there a gobo that you have not used, or a new focus that could be created? How about being daring and turning off most the fixtures and going with the “less is more” principle? Of course, each situation will be different, and you should always consult the LD, but with a little break you can usually start back with a fresh idea.
I received an email recently from Mark Jenkins asking about how to learn the “personality” of a lighting rig. He says that after setting up the system all day, he is pretty burnt when he sits down at the console. This makes it difficult to get started with his programming. Furthermore, he finds that after programming for a little while he figures out what works best with the particular rig. From there his looks tend to get better as he has a better grasp of the capabilities.
Whenever I can, I take the time to just play for a bit with the lighting rig before I start programming. I usually do this as I am building my “standard” position palettes/presets. I will put in my headphones and listen to music. Then I program to what I am listening to and create some looks, effects, chases, etc., and get to know the rig. Usually these looks are thrown away and never used in the show, but sometimes elements of my playtime will make it into the production.
I find it extremely valuable to take the time to familiarize myself with the layout of fixtures and staging. This is similar to a racecar driver taking a few laps in his car to become familiar with the track. By forcing myself to be creative “on my own dime,” I am able to see what is possible without having to worry about the specific confines of the show. This is the key factor in this technique: spend some time programming the lights simply to acquaint yourself with the rig with no pressure to use the programming later. Just be sure that you leave yourself enough time to program the show and that you are not “playing” for hours on end.
It can be difficult to determine how to get yourself out of a creative rut, however there are many great techniques for jump starting your creativity. When you feel that you are stuck and unsure of what to do, take a breather and try to think in a different direction. Alternatively, you might seek out guidance from others, or just play to see what is sparked. Ultimately, you have to break free from the rut and get the show programmed, so it is important to be prepared for these situations. Try to look at them as learning experiences and you will find yourself unstuck in no time.
