In most situations, copying is a bad idea. I have taught my son that copying from someone else’s paper in school or copying data for a book report from a web page is wrong. If I were to copy a previous article and submit it as a new one, PLSN would almost certainly reject it.
Many of today’s greatest spiritual teachers such as Ram Dass and Eckhart Tolle teach the principle of staying focused on the present moment. They explain that the past cannot be changed and the future is uncertain. The only thing that any of us truly has is this very moment.
I truly love working as an automated lighting programmer. In fact, I often say that “show business is in my blood.” I have been driven by a strong passion to always do my best when I contribute my skills to a show. Furthermore, I was raised by my parents to find a career where the paycheck feels more like a bonus. I often forget that I am getting paid to wiggle lights or press buttons in front of a crowd.
Imagine a time when automated lighting consoles did not have effects engines, fanning abilities, and other automated functions. That was the case back when I started programming. These programming tools were not widely implemented. We had to create complex chases and positions by hand using math and other methods. Many of these methods are long forgotten; however, they are still very useful to this day. The understanding of how these processes work can still be a viable way of programming today to help create more complex programming when they are combined with modern console functions such as effects and fanning.
Working in the entertainment industry allows many opportunities for interaction with celebrities of all types. I have had the privilege of meeting rock stars, actors, models, politicians, and even an astronaut who walked on the moon. Celebrities come in all types and working with them presents some unique situations and challenges.
Last month I was hired to program the COTT 2008 music awards on the Caribbean island of Trinidad. While the initial concept and plan for the show was very straightforward, there were many surprises that left me well equipped with material to write about the experience. The show was a typical awards-style TV shoot with five cameras, a podium, and twelve musical numbers. I was in control of automated lights, LEDs, media servers, and more. Conventionals were controlled from another console. The LD had done this show the year before but could not attend this year because his pregnant wife was due any day. So it was up to me and the superb crew to help the locals make this show spectacular.
Jason Badger has found a unique niche as a specialty automated lighting programmer. For over 10 years, he has been programming major attractions and rides for Disney parks around the world. As if this is not enough, he also spends his free time working in the Los Angeles area on other types of productions. However, what is distinctive about Jason is his work on Disney attractions. I wanted to learn more about programming theme park attractions, so I interviewed him about his specialty.
Recently I journeyed to the Mecca of Illumination to study at the feet of the master guru of LEDs. I trained with the legendary leader for weeks and meditated on the growing energy of LED lighting programming. My teacher enlightened me about the ever-increasing importance for an automated lighting programmer to master the Zen of controlling LED products. Through focused visualization, the guru shared an assortment of methods, tips and essentials to help me find my own path of LED illumination.
A good automated lighting programmer will always prepare for the tasks at hand long before the trucks are loaded. Most lighting companies will prepare the fixtures, cables, truss and more prior to the first load-in. In the same manner, an automated lighting programmer should prepare the show file and console configuration before arriving on site. There are many important procedures and provisions that you should follow when you are beginning a new project.
Imagine this: I was working on a stadium concert for a big rock band in an indoor stadium. We had a well known LD and were just about to start the first rehearsal with the band. Our front of house technician came walking out to the consoles wearing only his shorts. With no shirt and no shoes he paraded across the floor and right up to the LD. Then he took his seat and waited for the rehearsal to start. I am sure you can guess the LD’s reaction; no one was surprised when the FOH tech was replaced just a few days into the tour.
The world of stage productions has really grown complex in the last 10 to 15 years. Not only have automated lights become standard, but so have digital audio consoles, complex show control systems, motion control and networking. Often these systems must be synchronized via MIDI or SMPTE to ensure a reliable and repeatable production. While it can be amazing to sit back and watch a programmed light show run automatically, it is also a bit disheartening to walk away from a desk and have the show continue.
Walk into any venue after midnight during pre-production for a show and you will find several creatures dressed in black lurking in all areas. These “people” often only come out after dark and seem to leave the venue once the sun comes up. They usually work in darkness and yet they wield total control of the atmosphere, at least in terms of lighting. The cast and other crew members often only see the lighting crew and automated lighting programmer as their paths cross, coming and going from the venue. The lighting vampires often seem confused as they exchange “good mornings” with the other staff members at 9 p.m. There are many pros and cons to working the “late shift” as an automated lighting programmer and also many things to consider as you switch from “normal” work times to overnight, then back to normal.