Lighting Co
Epic Production Technologies
Venue
Various (Tour)
Crew
Lighting Designer: Scott Holthaus
Lighting Director: John LaBriola
Lighting Crew Chief: Kevin Parsley
Video Content/Creator: Scott Holthaus & Brainbow
Video Director/Crew Chief: Rob McShane
Media Server/Soft LED: Jim DeStefano
LED Techs: Aaron Wagner, Stephan Hambsch
Production Manager: John Lafferty
Tour Manager: Pete Beattle
Video Company: Chaos Visual Productions
Truss Company: SGPS/ShowRig
Gear
2 grandMA lighting consoles
2 Catalyst media servers w/2 hot backups
32 Martin MAC 2000 Washes
26 Martin MAC III Profiles
20 Clay Paky Sharpys
32 Atomic 3000 w/Atomic Colors
40 Elation Impression
6 Lycian M2 spots
6 Wybron Eclipse Dowsers for M2 spots
4 DF-50 hazers
1 Sony MFS 2000 Switcher
2 Sony D50 cameras
3 Sony XC-999 Lipstick cameras
4 Barco FLM R-22 projectors
2 side rear projection screens (16’x20’)
10 SoftLED curtains (100mm)
12 moving LED walls w/WinVision 9.375mm LED
Production Perspectives:
Scott Holthaus, Lighting Designer:
“It was great working with Blink 182. They were so receptive to new ideas. (hell, nobody said no to anything except the giant robots with Sharpys for eyes that would battle Travis during the drum solo!) All of the production crew were pros, and the pre-production was a breeze. Rehearsals just flew along, and John (LaBriola) ran with my ideas and added his own good taste and style to create a blasting show we were all happy with. Our great and tireless production manager John Lafferty did everything to make the tours production a success.
“I used Brainbow Inc. of Los Angeles to do the video content. I met with them and knew right away they would be the right company when I showed them my crappy cartoonish drawing sequences…I wanted, and they would create, these wonderful motion graphics that fit perfectly.”
John LaBriola, Lighting Director:
“My first tour working with Scott (Holthaus) made for a truly incredible experience. His design enabled endless ways to really flash and trash, something the band’s music and personality naturally invites. Having the lasers, truss spot shutters, video and lighting all running off the grandMA also enabled me to structure the best ‘all-around’ timed show I’ve ever programmed. Having complete control of all elements ensured spot-on blackouts and accents. We also put a lot of focus on leaving much of the show’s programming ‘unstacked,’ enabling as much live interaction as possible. It was imperative that the show still remained organic, not becoming over-programmed.”
{mosapa album=”Blink182″}
