"When these arrived on the market, my prayers were answered," said Kerr. "Building on top of the basic work horse rig, are an arsenal of "specials" or better known as "my expensive toys", from flame lights, fibre optics, LED fixtures, moving mirrors, water effects, DHA wheels, gobo rotators, candle effects and so on."
All of this equipment (combined with other luminaries) is used predominantly for the windows - they are stored for 9 months a year and then called upon for a demanding 18 hours a day for 8 weeks straight schedule.
"The Selecon Pacific 90º Fixed Beams were a great investment, as we swap from metal halide bases utilised for trans seasonal windows to incandescent bases for full dimmer control for the Christmas institutional windows. In the past we have hired narrow lens trays from Clearlight Show when tight dramatic downlight has been required for special launches."
He added, "Some people are surprised that entertainment equipment is employed within a display window environment, however with daylight pouring in from outside, only theatrical lighting tools can offer the high lumen output, the shaping and control demanded to achieve the magic."
Although Stage One maintains a moving light inventory, their use is dictated by the seasonal theme. "I won't use a mover just for the sake of it - I still prefer the art of focusing a profile and the magic that a controlled beam, a texture break up and some split colour gel can create," continued Kerr. "I find that too much moving light and associated effects can actually distract and camouflage the actual crafted animated movements within the windows."
(Jim Evans)
