Imprints Rehearsal

Imprints came in on the same day as Alex, but I have been waiting on footage from their performance before analysing the day. In terms of on the day it ran as smoothly as Alex’s. I found the Philips Strand lighting desk can be very restrictive for the fast paced performance they put on.

Before analysing this is an area that I need to investigate further. Whilst I appreciate being in the gallery to view how the lighting looks during the broadcast I feel restricted by the desk as it is not necessarily the right device for live events. You can program in run orders but you can’t get full creative freedom on it like the desk placed on the studio floor that comes from a theatrical background.

I found during performances where I needed to make the lighting change dynamic difficult. Rather than flicking between lights to the beat I was limited to flashing the same set on and off, all dependent on how quickly I could click on, or type, the fixture numbers I wanted to effect. This is something I definitely need to review, I felt the lighting plan was strong but the execution of dynamism was nowhere near where I wanted it to be.

I am extremely happy with the over style of the lighting for the performance. I feel every subject was illuminated nicely, each popping out from the background with sufficient light for camera coverage. I feel like the dynamism in light was messy often, but this boils down to restrictions in the desk.

‘Oncoming Tide’ is just one example of messy timing with flashing lights, it just didn’t feel right. When executed effectively the dramatic flashing worked at times.

‘Box Wine Part 1’ sees the violinist step out of the lit area often. The narrow beams can be quiet restrictive so I don’t want the band to feel like they can’t move slightly more freely. The opening drop also seemed messy as the jump from dark to bright meant you couldn’t see the action to match the camera movements.

‘Box Wine Part 2’ continued this trend of awkward illumination and dynamism trying to keep up with the music. That being said the flashing was effective for parts of the song, especially towards the end. The way the light cut off to match the end beat was also something I felt worked really well.

Finally ‘Pirates And Thieves’ was probably the most promising of all the recordings, by this point the lighting was matching the beat much more effectively. The moments where performers were being back lit were nice, I need to find good opportunities to employ this.

Along with dynamism matching the beat the narrow beams of light caused problems. Subjects were restricted and meant sometimes not illuminated to consider their style of performance. For example the bassist chose to wear a large wool hat and looks down at his bass often, as a result his face was often in shadow. That being said it is a combination of compromising for the bands requirements and the band adapting for the performance space and nature of the project.


All issues aside I think it was a real strong start to the reaching the final lighting setup. I was extremely happy with the drummer throughout as his kit was well lit and his little movement meant the back light was always hitting the back of his head and popping him out from the darkness well. Saying that every subject was well illuminated, widening the beams will help to keep them lit nicely throughout their movements.

I have plenty of notes from reviewing this footage to take forward with me. Having seen this sets in stone that I need to look for an alternate for the desk, potentially bringing the studio floor theatrical desk into the gallery. I think once lighting gels are introduced and repetition of practicing songs I will get a better gage of lighting changes to match the tone of the song, without any obvious restrictions to stop this creative process.


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