TuneYards: Tour Design Concept. Please enjoy videos in 1080p HD
As the final project for my Concert Lighting course, I designed and previsualized a full tour package for The Tuneyards.
The rig keys to the GLP X4 Bar 20 fixtures, creating a sense of a breathing, organic, and immersive “room” around the artists. This roaring ballad, “Powa,” emphasizes the central rig’s fixtures over the outer truss positions, creating an intensely intimate emotional experience, balancing steadiness with the dynamics of the music. Programmed on ETC Gio and previsualized in L8.
“Moteur Action Remix” by Yelle: Concert Design Project.
Drawing inspiration from Yelle’s wild romp of a music video, my design matches its vivacious energy with rapid shifts, bold colors, bouncy focus effects, and dynamic jumps in angle.
A course project for Concert Lighting Design, designed and programmed on an Eos Classic console by Mitchell Jakubka.
Song: "Moteur Action (SOPHIE & A.G. Cook Remix)" by Yelle, music video edit. Original music video linked here.
“Marie and Rosetta” at Cygnet Theater. LD: Anne McMills
I interned under the fantastic Lighting Designer Anne McMills and ALD Winston Limauge, and served as a lighting programmer for Cygnet Theater’s “Marie and Rosetta,” a powerhouse production about the African American woman who invented rock and roll music. Precise, carefully layered color and intensity effects brought the atmosphere of her energetic concert performances to the small space, engulfing the room in emotion. Programmed on ETC Ion.
“Bury a Friend” by Billie Eilish: Concert Design/Programming Collaboration Project
Billie Eilish’s “Bury a Friend” forms a deep, moody, surreal headspace for the listener, and I sought to visualize that in light. An emphasis on darkness is contrasted with spikes of saturate color and cuts of stark white; immediately creating an uneasy atmosphere. The piece makes heavy use of carefully timed intensity/zoom stabs and warbling “breakdowns” to support the bassline. These are paired with staccato angle changes and a technique of “building up and breaking down” elements of a look in time to the music, all to support the melody and vocals. Focus effects were carefully layered over top of these elements to translate the swoops, rings, clashes, and pauses in the music into a kinetic, visceral flow. Additionally, the “Eyelash” shape formed by cuts of light is both a visual metaphor for an “eye into her mind,” and a tongue-in-cheek pun on the singer’s last name.
Designed by Mitchell Jakubka, programmed and played back live by Amanda Frazier on Hog4.