Keeping pace with Gryffin and reflecting his energy with colours and motion was a stage production by Lighting Designer Julie Reux, content creator/VJ Eddie Perez, and TM Jonny Stiegler.
“Everything about any show I do begins with balance,” said Reux, owner of Black Lantern Creative. “Our team wanted to give every visual aspect of the show a unique character. At the same we wanted everything to create this single, seamless cinematic visual feel.”
Contributing to this was a collection of 4Wall Entertainment-supplied CHAUVET Professional fixtures that included 90 Color STRIKEM motorised strobe/blinders, 30 COLORado PXL Bar 16 motorised tilting battens, 12 Strike 1 units, and 12 R2X Washes.
Run in 74 channel mode, the Color STRIKE M fixtures were flown on stage left and stage right vertical truss, as well as on three rows of raked overhead truss. From these positions, the fixtures filled a variety of roles, including audience lighting, strobing and creating special effects.
Throughout the show, Reux intensified the overall effect of the production by contrasting the movement of his lights with dark spaces and shadows. “In a lot of my EDM builds, I like to cast shadows from different places so that it feels dramatic and tense for the audience,” he said. “Many of my designs this year have been focused on edging/framing portions of production to either mask the object, or give it some flare. Most of my programming relates to the BPM sync of Gryffin’s music,” he continued. “We’re able to ramp up the energy of the show with layers per fixture type to big epic looks for the audience. The Color STRIKE Ms orchestrated the music syncing, without them, we wouldn’t have had such dynamic moments.”
The COLORado PXL Bar 16 fixtures were used to line the edge of the artist stage deck. There were some moments in the show when Gryffin withdrew into the dark. When this happened Reux created a sort of halo ring effect around him.
Reux’s design called for a relatively small number of fixtures. “My approach is always simple,” he concluded “I’m not much for adding a lot of lights just because I can. I wanted to frame the center portion of the production to give as much depth as possible. I’m all about seamless looks.”
