INBOX
the other fixtures in the rig. It’s a lightweight fixture without the lightweight output. They also take up zero space, ride six in a box and like the 101’s can be chained together. All of this is important on a tour where truck space is at a premium.”
ONE CONCEPT, ONE VISION The idea to incorporate video into the show came from Korn’s Lead Singer, Jonathan Davis, with panel details and layout hashed out in conjunction with Bullock while touring Asia. “The combination of the EC-20 and LC
balanced out perfectly,” Bullock said of Martin’s 20mm and 40mm pixel pitch LED panels. “All of the floor towers and video in front of the backline needed to be small and unobtrusive and the EC-20 was the only product with the resolution and modular design to fit the bill.” The largest single screen was 40’ wide and
hangs off two lighting trusses with the lower resolution LC panels placed all the way upstage so that all of the LED screens appear the same visually. “When programming the video sections of
the show, I used video as a light,” Bullock said. “It wasn’t a matter of content first then the lights, or vice versa. When I programmed and designed it, they were built together and being controlled from one desk gave a very tight feel to the entire show. It was one concept, one vision and the final product I think reflects that. It is something that is hard to explain. In my time working with Nine Inch Nails this was something we tried and succeeded in refining, to have a complete, tightly-knit show.”
P3-200 VIDEO PROCESSING Video processing was handled via a P3-200 System Controller, Martin’s advanced video signal processor that allows LED screens to be treated like lighting instruments through DMX control of brightness, colour, pixel mapping and more. “The EC-20’s modular design has made this a
very fast and easy show to build and take down, and the ease of the P3 processor to configure and test the system has proved invaluable,” commented Bullock. “The quick adjustment to the mapping system has allowed the floor
towers to be moved everyday as needed. It only takes moments to correct the total image over varying screens of different types whereas in the past this was a big issue to correct. The P3 has made this a trivial problem.”
OUTSTANDING CREW The entire lighting and video package for the Path of Totality tour was supplied by Upstaging, Inc., whom Bullock once worked for. “John Huddleston, John Bahnick, and Chuck Spector have always gone above and beyond the call of duty to make any show I’ve designed a perfect project,” Bullock said. “Getting the Auras in time for this project took everyone at Upstaging and the team at Martin - Gary Mass, Scott O’Conner, and Noel Duncan - working together. It wouldn’t have been possible without their effort. I think everyone from both parties who have seen the final project can agree we all pulled off a cutting-edge project.” Bullock praised the Upstaging lighting and
video crew of Crew Chief Mike Ponsiglione and Troy Smith, who handles dimmers and control. “It’s an outstanding crew from Upstaging and I value highly the input of both Mike and Troy. It was great to have just the small team of us do a cutting edge project, something all of us had wanted to do.” Bullock reports that every piece of gear has had a 100% performance rating with no spares used, video gear included.
COOPERATION Bullock concluded by stating: “This project is a perfect example of one of the ways our industry is developing. The synergy of lighting and video designed together and run together is a demonstration of what is possible with the new technology available. “Three people are doing what would
have taken five in past shows, and lighting and video are once again blurring the line between departments. It is possible to push the envelope of what can be done without having to spend £60k a week. The cooperation between manufacturers and lighting companies allows people like me to do what we do best - design. This show is for everyone who made it possible.”
www.martin.com TPi JANUARY 2012 • 19
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