“Programming a film is different, because we are always looking at intensity levels on everything: the band, the set, the audience. We still had the thousands of cues, just like the touring show. We ended up changing some of the stage and set pieces after the first two months of programming in 2011. We also changed out the fixture types in a few places. It is always a challenge for focuses in the round. You really need to walk the room’s 360 degrees when updating graphic focuses. We moved the console several times during the programming and playback. This gave us a better perspective for the 360-degree gig. Sometimes paying attention to the lighting system was a challenge. It was very spread out. On top of that, when the fire, lasers and video were all going, there was a lot to look at.”
—From Troy Eckerman, who joined LD John Broderick and programmer Rob Koenig in a conversation about Metallica Through the Never with Debi Moen for “Designer Watch,” PLSN, Oct. 2013.
