Max for live lighting6/23/2023 “They gave a massive output for just twelve fixtures, and with such a compact body and light weight,” he commented. Six were positioned on the back truss, and six were ensconced in the set. There were limited places in the set where lights could be rigged, but with multi-functionality in the fore, “The Pointes could effectively be four lights in one and were an obvious choice!” he stated. To light the show, Rowan sought out a small and dynamic fixture, and Robe’s Pointe fitted the brief perfectly. These were then brought to life by tailor-made animations, individually mapped to the teeth and eyes. The centrepiece comprised of 25 custom video panels making up the ‘teeth’ of the devilish, onerous grin of the Feed Me character. The show’s overall visual design was originated by the artist and crafted for the stage by Netherlands based Creative Director Auke Kruithof of animation/VFX company Studio Rewind in collaboration with art collective Sober Industries. ![]() ![]() “The completely bespoke new set was inspired by Chris Cunningham’s ‘All is Full of Love’ for Bjork, so we needed fixtures that could be fed with video animation… and could also move,” explains Rowan. Initially brought onboard to operate the house rigs over the top of the synchronised shows, Rowan was delighted to be asked to submit a design for ‘With Teeth Version 3 upgrade’, for which he specified Robe Pointes and CycFX 8s. Rowan joined the Feed Me team as an operator back in 2012.
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