"In previous years, the show depended heavily on a conventional rig with 3K and 5K Fresnels," said lighting designer Matt Endicott of Cornerstone. "For the first time, I requested a full line of Vari-Lite products, complete with VL 3000 Spot luminaires, VL 2000 Spot luminaires, VL 1000 TS, VL5 Wash luminaires, and VL6 Spot luminaires, because we were really blown away by the performance and flexibility of these lights. The set presented some challenges for lighting design, I usually prefer an asymmetrical look but this set had staggered, co-centric archways decreasing in width from front to back. However, the archways did provide a great sail for me to paint with the VL 5's."
He continued: "I was especially impressed with how well the VL3000's performed. I used them as backlight in several situations and was able to zoom wide to 60 degrees due to the low trim height. Because it was being broadcast for television, I used the VL 1000 tungstens to balance everything to 32 and rendered a true colour. I also wanted to have some dramatic audience shots so I built four eighty-foot trusses over the audience and hung the VL 5's and VL 6's, which really produced a clean and cool look."
Working on a limited production budget, Endicott valued working with VLPS Orlando account manager John Reid even more. "My experience with VLPS has been awesome. I gave John my budget and told him what look I was going for and he created a great package for us. My client is happy and I'm happy. It's a win-win situation for all of us," said Endicott.
(Sarah Rushton-Read)
