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Old 05-30-2007, 11:19 PM   #1
Lin@
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Default Article about Emma...

...the lighting designer.

Just found this and I think it's very interesting. Especially because Damien is referred to as "an alternative-rock band from Ireland".
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Old 05-30-2007, 11:34 PM   #2
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Lin@, the link takes me to the front page of the site rather than an article... maybe tell people how to find it on the site?
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Old 05-30-2007, 11:38 PM   #3
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Sorry, I had the same problem earlier on...
And I can't remember how I got to the site, so I'll just post it here:

Quote:
Originally Posted by etcconnect.com
“For me, light is music,” says Swedish lighting designer Emma Westerberg, who recently finished a three-week North American preview tour with an alternative-rock band from Ireland that played to sold-out big-city club crowds. Even with limited space in the touring truck, Westerberg kept her lighting-design standards high. She stowed her compact ETC Congo jr lighting control console with her on the tour bus, or when she flew, checked it through in her luggage.

Westerberg demonstrates how a good basic rig, combined with a powerful compact console can create a sophisticated lighting show. To provide the ideal lighting accompaniment to a varying nightly songlist, Westerberg deployed 12 Studio Beams (six on the flybar, six on the floor as sidelights), a sharktooth cyc, four six-cell groundrows, six four-light Moles, three Diversitronic strobes, three half-sphere rotating mirror balls (placed on the floor) and six ETC Source Four® ellipsoidal spotlights with irises, all controlled by the Congo jr console.

Designing for a performer who likes to change things up each night meant that lighting would differ from show to show. New songs would be introduced without warning. Song order would be moved around. Westerberg had to be ready to work on the fly, using the Congo jr board’s generous hands-on faders to react quickly and improvise whenever an unplanned song arose. “Congo jr gives me direct access to my sequences. And with no set song list in a touring-show context, I really need to be fast,” says Westerberg. “The Congo jr makes it easy for me to work as a lighting designer. I can design spontaneously, responding to the mood of the music and the intent of the lyrics. This desk lets me focus on my art, rather than on console commands. I can concentrate on what’s going on onstage instead of having to focus on complicated actions on the board.”

No stranger to moving lights either, Westerberg has been designing for twelve years, serving as assistant lighting designer at the Stockholm Royal Opera and the National Opera Oslo as well as touring with ballet companies and other concerts. This recent tour bore her signature lighting-design style – what she explains derives from the European or Germanic school of lighting as opposed to what some call an Anglo Saxon or American one: “I paint with big brushes – groups of lights dedicated to certain parts of the stage – rather than choosing to scatter lights individually in a more pointillistic, sieve-like effect.” Westerberg measures out large chunks of space for illumination. “If you take the color away, it would be very naturalistic – broad swaths of light, like what you might find in a dramatic sunlight effect.”

“I don’t like gobos,” says Westerberg, who prefers playing with deep, contrasting colors -- as minimal as two per song -- to create optical illusions of depth and dimensionality. For one of the tour’s moodiest alt-rock numbers, she set saturated red light against a bold blue background. The effect was to sculpt the musicians out of space as one continuous form – as though light not only had musicality but mass.

The Congo jr’s ability to apply times to manual changes allowed Westerberg to paint the band and the set as the music demanded. She could assign a time to a palette and change the colors in some but not all of the lights. Climactic moments in the music could be met with equal drama in the lighting, and then changed subtly as the music again changed. “The Congo jr is so much easier than any of the other boards I‘ve worked with. I like the way this console is built up,” Westerberg continues. “It’s so logical. I can set the times for every parameter and not even think about it.”

Westerberg owns her own personal Congo jr, which she’s taking on the road again as the show goes out for an extended six-week tour, starting mid-February. She’ll be adding more moving lights to the rig and increasing the conventional count as well. With the full functionality of a bigger Congo and operating the same powerful software, as well as an optional add-on Master Playback Wing for more than 40 faders and two LCDs for full playback capability and complete control of all masters and Direct Selects, Congo jr exceeds her needs. “The Congo jr can handle any rig,” says Westerberg. “I’ll take it with me wherever I go.”
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Old 05-30-2007, 11:48 PM   #4
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where does it mention damien tho
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Old 05-31-2007, 02:11 AM   #5
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the article doesn't specifically mention him, but pics of the band are up on her website

http://www.photonprincess.com/4451/

i noticed the lighting had become more elaborate, but it never occurred to me that they had hired an actual lighting designer. she must have been doing lights back in november and december, too. that's when i first saw the "snow" effect during eskimo. i think the hanging caged lights were new this time around though..

nice find, lina
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Old 05-31-2007, 03:09 AM   #6
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Quote:
Originally Posted by SisterMidnight
the article doesn't specifically mention him, but pics of the band are up on her website

http://www.photonprincess.com/4451/

i noticed the lighting had become more elaborate, but it never occurred to me that they had hired an actual lighting designer. she must have been doing lights back in november and december, too. that's when i first saw the "snow" effect during eskimo. i think the hanging caged lights were new this time around though..

nice find, lina
well then she's been working since August cos the snow effect for Eskimo was used in the Vicar St gigs and at Electric Picnic. loved that effect at the time, Go lighting designer!

Last edited by eamo_rice; 05-31-2007 at 03:48 PM. Reason: i can't spell stuff
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Old 05-31-2007, 04:15 AM   #7
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I love her work!!! Both the Beacon(s) and RCMH were enhanced tremendously by her lighting
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Old 06-01-2007, 01:21 PM   #8
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She's been around for a little while. And she's very very nice and rather funny, too.
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Old 06-01-2007, 07:39 PM   #9
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what she did with eskimo was phenomenal. Moved me to tears!
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Old 06-02-2007, 08:41 AM   #10
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To be honest I liked it better when Damien said "can I have the lights down please? I can't see people"
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Old 06-02-2007, 12:24 PM   #11
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Quote:
Originally Posted by Nine
what she did with eskimo was phenomenal. Moved me to tears!
I totally agree. And I still get goosebumps when I think of the Amie-->Space Jam-->Sex Change-->Cross-Eyed Bear performance in Munich. Such an incredible atmosphere!
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Old 06-02-2007, 04:45 PM   #12
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Amazing!
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Old 06-02-2007, 05:38 PM   #13
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Quote:
Originally Posted by Lin@
I totally agree. And I still get goosebumps when I think of the Amie-->Space Jam-->Sex Change-->Cross-Eyed Bear performance in Munich. Such an incredible atmosphere!
It was pretty amazing, but that really low bass-hum was physically painful after some time...
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Old 06-02-2007, 05:42 PM   #14
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^ Oh that's the best bit!
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