Professional Lighting & Production - Summer 2018 | Page 31

Stereophonics’ Scream Above the Sounds Tour
BC: I think it’s put me at a very significant advantage. It’s much eas-
ier for a client to come and talk to one person about [their overall]
vision than to talk to a video person and the LD. And you when you
get on tour, it’s much easier to have one person that deals with it
than having to corral different departments.
I really like the idea of being able to run the video and lighting
at the same time to make sure all the cues happen in time. It just
makes sense in my mind that the lighting desk should run the video
content, but that being said, there have been certain shows where
it’s been necessary for the video team to run the video content. For
example, we had to do that on the Avril Lavigne tour in 2008 be-
cause the video content we had was way beyond what we had for a
media server, so we had to have a video team to run it.
PL&P: While you’ve done some theatre work, much of your
design and direction over the years has been concert-related.
What is it you enjoy most about concert lighting vs. lighting
for other disciplines and applications?
Stereophonics’ Scream Above the Sounds Tour
Summer 2018 | 31