The architectural design of the Insomniac Events Electric Daisy Festival’s bassPOD stage consisted a 65-foot high trim and a width of approximately 250-feet.
Erik Mahowald spent countless hours delving into every nuance of the stage design long before it was ever constructed, he was tasked with making it come alive and accenting all its power with light.
“Once we received the architectural design from Stufish Studios, my team and I closely evaluated the size and material of the structure,” said Mahowald, head of Bending Lite Productions. “ Since the structure is built out of metal, it presents lots of unique opportunities when it comes to lighting.”
Mahowald and his team (programmers Josh Gregoire, Trevor Weidenbacher, Alex Vanroon, and Aaron Attarzadeh, along with stage manager, Lawrence Barcello) made the most of those opportunities, creating reflective effects off the stage’s metal structure, and dramatizing its features with combinations of shadows and light, while also ensuring that their show flowed in sync with the video content from Wolves Visuals.
“One of our biggest goals with lighting bassPOD was letting the architecture be seen clearly,” explained Mahowald. “We did not want to detract from the brilliance this structure has to offer. Lighting from multiple angles is key in lighting a giant metal structure, using fixtures to uplight, front light, back light, and sidelight played an integral role in the success of illuminating bassPOD. The variety in placement also gave us multiple options to light such a reflective structure. Since this is a three day show, we wanted as many tools as possible to vary the lighting of the structure. We also used a variety of fixture types to ensure BASSPOD was lit properly, while also keeping in mind operation for such a fast paced style of music.”
Helping Mahowald achieve this goal were 120 CHAUVET Professional Color STRIKE M motorized strobe washes, which were supplied by 4Wall Entertainment.
“Color STRIKE Ms were used as a multi-purpose fixture,” said Mahowald. “At times they were used as a wash to light the structure, while at other times they worked as a strobe to accent the sounds of bassPOD.”
Mahowald stayed away from looks with multiple colours as to not distract the stage, opting instead to cover the production with vividly coloured monochromatic palettes. He also created some dramatic effects by covering the entire area in stark whites.
“Due to the reflective nature of the structure and overall design, the use of multiple colours and textures at the same time can diminish the overall look of the structure,” he explained.
Dark space and shadows were also key to creating the dramatic effects. “Darkness is one of the most important parts of any design, especially when you want to create moments and drama,” he observed. “Within bass music there is a significant opportunity to go full bright all the time, however when it comes to creating special moments, darkness is key. We placed many fixtures behind the structure to create brilliant shadows in breakdowns of songs. This is one of my all-time favorite looks, as it changes the entire look of the stage instantly.”
“Lighting a structure like this one is all about moments,” Mahowald concluded.
