Pictured above, ETC ION XE 20 Programming
Overview
I was lighting designer for The Wonderful World of Dissocia, I also took on a leading role towards helping with set design as my role on Pippin was more relaxed I had a bit more time to work with Jamie. I also needed to know what I was lighting so it was in my benefit to deal with and build some of the set features.
Sound recordings
During Pippin tech I was able to assist Nathan by running a cast recording session for audio to be used within the sound design for dissocia, this included setting up mics and the recording software and keeping track of files.
Vectorworks
I created the vectorworks for dissocia based on inital concept drawing and mettings with the director.
Pictured above, Initial set concepts sent by the director
The idea that was given was “an exploded flat”, we wanted to design a set that resembled chaos inside her head with many items flying in the air to create a backdrop. Realistically we never had time to create the ton of flying objects but we were able to be realistic and pick a couple that would still be effective.
Pictured above, Lighting and set views from the final vectorworks
Prop & Set Finding
Pictured above, Items of set sourced internally and externally for the producion
Lighting Design
The lighting design for dissocia was a challenge because effectively I was lighting two different spaces as when curtain was drawn I lost access to a considerable amount of fixtures so I had to allow myself enough flexibility between spaces.
As mentioned for Pippin, I was working closely with jack the LX designer for the musical to reduce changeover times which meant I repurposed a lot of the exiting rig and infrastructure we both built and used.
Pictured above, Lighting Visualisation of different spaces within Augment 3d
Pictured above, Production lighting based on the spaces visualised above
Noteworthy Specials
Lampshades
Using dimmable pendants I was able to create flat lampshades as a special, this was something I knew I wanted from day one when Jamie asked for flying set based on a flat enviroment.
Seachangers & Parcans
At the start of my design process I also knew the source 4s with sea changers we built for pippin were going to be used as a special backlight which was used many times during the show including one of the most effective scenes which was the bombing scene.
The Parcans also on truss one were originally put into my design for a section in the script that was cut however they were then repurposed and perfect for the explosions.
Inset Lighting & Haze
The set being a large and chaotic as it was gave me ampoule opportunity to hide lights within the set, I custom mounted both one of my own lighting bars as well as a hazer into a sideways on wardrobe which allowed me to hide it with the top door closed.
This allowed me to light in the set but also create a special effect being able to light the haze as it comes out of the set piece.
There was also a further Core Par 80 hidden in the set further up to make it look more even.
Toilet Special Effect
When hunting for props and set items I came across a toilet which was perfect for the flat, having several openings it was also perfect to put things in, originally I was going to stick a Core Par 80 in it as an uplighter but decided a smoke machine would be funnier which could be set off when any of the toilet joke lines were said.
Other Specials
Other specials on the production included:
- Wardrobe Light
- Phone Light
- Deck Light
- Bed Light
- US Booms
- DS Floor Lights
- Sunstrips
- Ladders
Programming
During Tech I programmed the show in close collaboration with Lauran the DSM and Matilda observing as lx op. I was the more confident programmer and since we had limited time and a director who knew what they wanted I thought it was best. I decided not to preprogramme so I could better serve the needs of the director.
I made heavy use of magic sheets and direct selects for speeding up programming. I also opted to use pixel map media to create effects on the bar fixtures.
Pictured above, One of the lift scenes with LX
Pictured above, Various lighting states during the production
Conclusion
The shows went really well, had no issues on the LX side of things and the operator handled the show professionally. I really liked working with a bigger rig and the freedom to make some really nice looks.
Time was a very restrictive factor however we did what we could and brought it all together
