Professional Lighting & Production - Winter 2019 | Page 20

that platform, but lately, I’ve made a commitment to use the
MA software for everything, just because it’s such an accessible
platform in case we ever had an issue.”
Another key advantage with the grandMA is its networking
capabilities, which have been especially helpful with this heavily-
programmed show. “I really do love that we’re able to bring in
a lot of different elements to automate everything to a single
control point, which would be QLab,” Moore tacks on. “Also, the
control aspect of being able to trigger macros and get songs
triggered with protocols like Art-Net is key.”
The grandMA3 light interfaces with Qlab on an Apple Mac
Mini (with a redundant backup) and Resolume on a MacBook
Pro, which sends Art-Net into the MA3 to achieve the video-style
effects on the Pixel Bars when desired. Qlab also fires Art-Net into
the console and triggers timecoded AVL playback via the Allen &
Heath SQ5 48-channel digital mixer using MIDI.
“If we were to use another platform [than the grandMA],
that’s a lot of network information for one port to be handling,
A RENDERING OF THE ABSOLUTE DANCE STAGE DESIGN
so the support on the network side was big,” adds Moore. “Our
set-up streamlines the whole operation so it’s not exhausting to
operate, and we’ve got enough options and control to handle
pretty much anything that might come up.”
For the U.K. dates, the supplemental equipment from Adlib
includes a sizeable rigging package. That’s because many of the
venues on the Australian leg were theatres with their own pro-
duction infrastructure; the U.K. leg, on the other hand, includes
some arenas and multi-use facilities.
They also picked up a Robe BMFL spot fixture with Follow-Me,
an Art-Net-based calibration software package that can turn
moving lights into followspots with remote control capability.
“That helps us maintain some consistency for the arena shows,”
Moore offers. “The followspot for this show in particular really adds
a huge part, rather than having a bright stage wash to light the full
stage, which lessens the impact of the lighting design.”
Using Follow-Me gives the “followspot” a wider range of mo-
tion, making it better able to follow the dancers into the crowd
than a spot operator could.
On a typical show day, Moore would put together the control
and networking system at FOH and then step back for his more
20 | Winter 2019
administrative duties; Tomlinson handles virtually everything
else AVL-related. “He’s really the champion of the whole thing,”
Moore acknowledges. “He’s got a lot to do and always gets it
done. He’s actually done every Next Step show ever and is such a
great asset.”
Pivoting from the lighting to video elements, Moore explains
that the latter is particularly important in bridging the live show
with the series. Outside of a few bits of live dialogue between
numbers, the vast majority of the show’s story arc is propelled by
video.
“The live shows have always been more of a showcase of
The Next Step dancers rather than just a recreation of the series
onstage,” Moore offers, “but it’s still based around the TV show, so
the video component is a big part of it. It’s kind of the common
denominator behind the design, having that video to support
our overall narrative and connect the dots between the live show
and the series.”
The producers behind Absolute Dance hired a production
company to film a series of individual interviews with a “get to
know the dancers” type of theme, which include the cast members
offering a tour of their home or showing fans what they like to do
in their downtime from the dance studio. Of course, they also use
video to promote the upcoming seventh season of the show.
Beyond that, though, Moore adds that video supports the
overall production design, with custom content produced to
create a specific mood for some of the dance numbers.
Relaying the various video components are a 16 x 9-ft. flexible
LED wall with a 5-mm pixel pitch, as well as a Christie DHD800
projector shooting onto a white scrim for the pre-show content.
On a day off between shows on the U.K. leg, Moore takes
some time to reflect on his overall design and share some per-
sonal highlights. “There are a few that I’m pretty proud of, to be
honest. I challenged myself on a few numbers to just not have
everything on – to create cool looks without having everything
going, moving, and flashing. It gives an ebb and flow to the
show, and if you’ve got enough production, there’s no reason
you can’t play with those dynamics,” he offers.
He points to a few numbers where the Pixel Bars are the only
visual element, which puts the onus on the deep, enveloping
colours to set the mood. Those then create strong contrasts with
the more robust group numbers, where the whole rig gets a
more intensive workout.
One example of that minimal approach being particularly
effective is Shelby Bain’s solo, who plays Amy on the show.
“Shelby’s solo didn’t need a lot of lighting to support it because
there was already so much drama onstage,” says Moore, who
then shares some interesting insights into his overall approach
to designing for Absolute Dance.
“How I create my art and express myself with lighting and
video, these dancers do that with their bodies,” he muses. “I was
trying to figure out a way to work with them that would really
highlight and enhance what they’re doing without only focusing
on the music; the colours and vibe also need to coordinate with
what they’re doing.”