MCLAUGHLIN : I think the next big thing will be the total immersion of lighting fixtures into RDM . Audio has been doing the same thing for years with their software to control the audio systems . The more lighting integrates with video , the more we will need to be able to control all aspects of the rig from the ground .
PL & P : Do you find that the general trend of lighting equipment and concepts being more accessible to more people has had a positive or negative impact on your interactions with clients over the past few years , as far as discussing concepts , getting a clear idea of what they want their show or project to look like , etc .? How has that affected your work , for better or worse ?
FROOD : I ’ m not sure I would agree with your basic premise of the tech being more accessible . I will say , though , that the use of photo-realistic rendering programs like WYSIWYG for presentations is a double-edged sword . This is especially true for corporate work where all too often the client has been sold a picture of what they assume they ’ re getting and is disappointed that the colours and the rendering don ’ t match what they ’ re seeing in the room . Now in music , this is less of an issue . You ’ re working with clients who are creative , not necessarily visual , but creative . I always make a point to make my presentations on a conceptual level , because I know I can deliver what I ’ m presenting . At the end of the day , it ’ s not enough to just make it blue because the client wants it like that ; you need to know why they need it to be blue so you can help realize the end vision .
GORTON : Very positive . Collective knowledge and a larger populous excited about moving our industry forward is paramount and the only way to achieve that is through empowering people who are interested or just starting out with the tools to be confident , knowledgeable , and excited about their goals as [ lighting professionals ].
HERKIMER : I feel like it has been completely positive . My interactions with clients have been increasingly enthusiastic as it is becoming even more apparent what modern lighting can add to a show . With all the options available , it can certainly be a lot to wade through . You really need to know what you are looking for . As a designer , it is your job to convey that to the client .
MCLAUGHLIN : I have found that most artist and corporate clients have an idea of what they want as far as the technology goes . What they often don ’ t understand is the cost of realizing the projects they have created in their minds from watching TV shows and going to concerts by major artists .
PAQUETTE : The amount of pre-programming you can do now is incredible and has become an invaluable tool in getting ideas across to clients . The night before my first ever show with Roger Hodgson last November , we sat at the hotel with MA3D on the TV and I was able to show him ideas of what I was thinking for the show . He was amazed that we could actually do this and we started building the show that night .
PL & P : Considering things like a grasp of common technologies and tools , available education and training , etc ., do you think the barrier for entry into lighting design and operation is higher or lower now than it was , say , five years ago ? What ’ s specifically contributing to that , in your experience , and any tips or advice for people looking to get a start in concert lighting ?
FROOD : I think things are probably slightly more difficult for people looking to get into LDing right now and about the same for techs . It ’ s a little tougher for newer LDs because the bands are counting more and more on their touring income and as a result I think that a lot of bands are more risk adverse to taking a chance on an LD with less experience .
Advice ? For LDs , keep your promises realistic and over deliver and you ’ ll always have work . For techs , show up on time . It seriously boggles my mind that it even needs to be said , but experience tells me that it ’ s still often an issue . Also be a team player , and I don ’ t just mean team lighting . Crews that look out for the other departments are invaluable and will always be asked back .
HASLAUER : I think it is much lower . There are so many more products out there that have driven prices down and provided more opportunities to learn . Several consoles continue to make their software and visualizers available for free , which would allow somebody to become incredibly skilled on the console from the comfort of their home .
Spend time working in the shop for a rental company . The shop is an excellent training ground where there is less pressure to not make mistakes and many opportunities to develop a basic skill set . As an LD , you can get so much more out of a light if you have a full understanding of how that light works and even , to some extent , how to fix it .
PAQUETTE : I believe that the barrier is definitely lower now . There is so much information on the internet and some really good YouTube tutorials from companies like MA Lighting . If you are willing to take the time , you can learn a lot and at no cost . Step one is learning how to program . Step two is actually going out and doing as many shows as you can . It doesn ’ t matter what type of show it is – corporate , live music , whatever – you just have to keep at it and put yourself out there .
GORTON : The bar for entry is a really tough question . Opportunity and saturation of the market or specification you are trying to enter really dictates that bar , so it ’ s tough for me to say depending on people ’ s individual goals . Education and training is a mountain of a discussion in our industry . I find university programs don ’ t necessarily prepare people for the realities of the industry they are about to enter ; that being said , it ’ s absolutely crucial for others who may want to get into a very specific area or focus , and for others , school is simply the only way they know how to get involved , so in many ways it ’ s completely essential . Every journey towards a goal is unique and that ’ s something that should be celebrated .
MATHISON : I think that the barrier for entry into the field is diminishing as a general proficiency with technology , especially programming and networking , becomes more common . There are resources available that can allow anyone to learn basic lighting programming and design on their own , essentially for free . What will always be a barrier is having the type of personality that can excel in the very specific demands of the touring and live entertainment industries .
A mentor once told me that it ’ s amazing how far you can get by just not being an asshole . Only recently getting a start in stage lighting myself , I ’ ve noticed that my peers who are excelling the fastest are simply the type of people that other people want to work with . They are happy , motivated , hard-working , and detail oriented . If you ’ ve got the right attitude , most people are more than happy to teach you the hard skills .
MCLAUGHLIN : I don ’ t believe there is a barrier to getting into the industry and I also have found that LDs and lighting techs are open to sharing their concepts and theories much more freely than they were 10 or 15 years ago when , to stay current , many had to take time to learn how to program moving lights and understand computer systems . I find most of the younger techs and LDs I run into love to share .
Andrew King is the Editor-in-Chief of Professional Lighting & Production .
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