Why Worry Set

4 11 2008

I have a busy, busy week ahead, so there’s not much time to go into detail, but here are a couple pics of what out set has looked like the past couple weeks. It comes down sunday and is replaced by the Illusions set that I designed for Buckhead Church last year. It feels nice to have a set that you designed but someone else built!


Anatomy of a Set #3

28 10 2008

Please forgive me! This has been sitting in my drafts folder for like 4 weeks!

Alright, here is the current set. I have been playing around with this concept for a while (I am usually juggling about 15 different concepts at a time). We had a ton of 2x4x6 foam blocks left over from our ‘Playing God’ set a year and a half ago, most of which were already carved into this wave form for our ‘Judgement Call’ series last october. Continuing with the wave form factor, we layered the blocks on top of each other to for a sort of massive wave design on the xy axis and a semi-circle on the z. We side lit them with Mac 250 washes with wide lenses, so we got some really cool gradients as each side of the wave took a different color.

The other main element was all of the truss work. We used 8 sticks of 12″ box truss on stage, each with a coemar parlite inside for warming. In front of the proscenium, there were (2) 20′ segments that were raked back and towards the center of the stage and the other (2) 20′ segments made up the “v” truss in the center, which served as a major focal point, but had to fly out of the way so that our projector could project the message. Over the audience we had (3) 12’x12′ truss diamonds with chauvet LED pars inside the truss and spandex in the center. A lot of the punch of the warming came from a product that we had used in the past, but recently found a great distributor for – coroplast. It comes in 4×8 sheets, so we simply scored it on one side every foot and bent it around the truss. Very cool look for really cheap.

Check out some pics – let me know if you have any questions!

And here we go…

7 09 2008

Ok, so you can all stop freaking out and reminding me to blog now – I’m back, at least for tonight. What have you been doing for the last, oh, 4 months, you ask, that I would be away from blogging for so long. The answer is a lot and not much at the same time. It’s definitely been an interesting blend of busyness and recharge as the summer always is, but things seem more on the busyness curve right now. I have a couple things that I am going to try to blog about over the next week or so – mostly set stuff, but I thought I would catch you up on at least may-early august with this post. At church, we decided to go with a rather simple look for a while – you could call it a palette cleanser of sorts, after all the video and punch sets we did earlier in the year. I basically wanted to do something a little more based on my love of modern interior design, but mix in a more organic element as well, so I designed these asymmetrical panels that I painted a full stage vine/floral on. Here are a couple pics of it in action:

They were basically made of 2x2s with coroplast and muslin as the backing/diffusion. It was a bit of a tedious project, as most of mine seem to be, but overall I think it turned out nicely. It definitely set the stage well for the set that we just put up a couple weeks ago (more on that later).


The other big event that I did earlier this summer was a camp in Panama City called Big Stuf. The theme for the summer was Broadcast, so after a creative meeting with their team and a bunch of other people from our parts I went to the drawing board and came up with 3 or 4 concepts that would work with the theme. From there, Jamie (BS Creative Director) and I sorta hammered out the final design. The idea was for it to be really bright with lots of ¬†saturation and depth. I’ll show some pics first and then explain a bit:

Like I said, we really wanted to have a lot of saturation, so I chose to use (10) Martin Mac 2k Washes and (12) Mac 700 Profile Spots. In addition, we used (93) Chauvet LED Rain 56s, (30) LED Rain 64s, and (52) Chauvet COLORstrip LED bars either on stage or over the audience – a lot of bang for the buck. I had so many fixtures, I completely filled up all 4 universes on the Hog II with Expansion wing that they rented for the summer. The stage had LEDs everywhere – in addition to (13) Samsung 1080p 40″ LCDs on a 40′ truss arch and (12) Samsung 1080p 50″ Plasmas that made up the center plasma wall (Brad Sitton and Brad Weston’s baby).

One of the things that we were really conscious of when designing the room was that we had to engage the whole room and not just create a stage experience (break through the “fourth wall” if you will). We did this by surrounding the screens with truss that was warmed with LEDs so the could turn any color and by hanging (2) 20’x30′ truss rectangles inside the soffets that were covered in spandex material and lit from the inside. We could totally change the whole color of the room from song to song or cue to cue.

It was a huge ordeal to put together in the 3 or 4 days we had to load in for the 10 week camp, but the interns were amazing and it all came together really well. (minus terrible power issues that we ran into – definitely a learning experience for all of us).

So there you go…you are officially caught up to August at least – I will try to post pics of our current set as soon as I get some quality ones.

The Anatomy of a Set #2

6 04 2008

So here we are again – a new month, a new set. The concept stage began the end of february/first week of march with several concept drawings which I took into my concept meeting with our production director Chris. Some of them are complete thoughts and others are more bits of ideas that have been floating around in my head for a while. These meetings are usually really cool because I tend to be more abstract while Chris tends towards concrete, so usually I can come in with and idea and Chris will have an amazing way of implementing it.

Here’s what we left with (4) weeks out:

For the most part, I didn’t want to do anything with aspect ratio video for a while, so I wanted to do something with a versa-tube look and was really inspired by the form-factor of Coldplay’s XY cd. Obviously this much versa-tube (250 tubes) would cost upwards of $60,000 and could cost as much as $20,000-$30,000 just to RENT for the 9 weeks that we want to have this set up for (a couple one-offs, a short series and a long Buckhead capture series), so we turned to an idea that we used for our set last easter and decided to use projection for these panels instead. The object on which we would project? What’s round, white and about 2″ in diameter – that’s right – PVC…1,000 linear feet of it. As you can see from the above sketch, we built 4’x4′ frames, painted them black, and screwed 8 PVC tubes to each frame (it’s funny that this one sentence in actuality took almost 2 full work days to complete). I wanted to build them modular for a couple reasons.

1. We could change the design if we needed to really easily simply by moving squares around

2. We could have more people working on more projects at the same time and have more of an assembly line set up

3. I had no idea how we were going to get it all in the air if we built the whole structure on the ground first

Once we got everything built, the panels went together rather quickly, but this was an incredibly long process.

The other big piece of this design puzzle was the American Idolesque towers that line our proscenium and sit dead center in the camera 1/2 shot. Honestly, I had no idea how we were going to build these and it would have taken us forever, but God definitely knows what He is doing and one of my volunteers, Mickey, has a guy who does high-spec welding for gasoline tankers. I drew up some specs and sent them his way and the welders pulled it off to perfection! We started talking to them about it on last wednesday, had specs to them on thursday, they had materials monday, welded it tuesday and delivered it wednesday…amazing! The columns are made out of 1/4″ aluminum and lined with velum paper. I lit each of the columns with 3 Coemar ParLite LEDs and lit the wall behind the column instead of the actual column so that the column would light evenly without any hotspots. I did the same thing with the center, but use left over foam that we had used for a previous set as the reflector.

We also planned on doing a lighting change, but thankfully, we decided to push it back to this coming week to save our team from killing themselves with another 20 hours of work. I’ll post more pictures when we are done with that.

The video portion of the set is done with (2) Christie S9 projectors with .8 lenses controlled by PVP at front of house. We are using (2) mac minis as slave nodes so that we can have one image stretched across both screens instead of the same image repeated on both panels. The secret is using high contrast loops.

Here are some photos that Tyler snapped quickly this morning:

Whew…that was a brain workout. I hope you enjoy! What do you think?

The Anatomy of a set…

12 02 2008

Sorry for leaving you guys hanging! Set build + Married Life Live = no time.

This is absolutely my favorite set we have ever done. It feels like a really complete thought design-wise…lots of texture, depth, and punch. The idea was actually birthed from a lack of resources if you can believe that. I had drawn up two ideas that we were pretty confident in, but between North Point and Buckhead, we didn’t have to screens to do it. So in typical creative fashion, this set was birthed on a napkin in a booth at Moe’s. We wanted to do something completely different and sorta were inspired by the CMT look from this year (horizontal trussed faced with LED wall panels), but renting LEDs is a huge expense when you consider it is somewhat like renting a house – no long-term gain. We decided to invest in chain motors instead and I can’t be happier that we did!

This is the final sketch that was finished the week before we put in the set…

I like video sets, but for the most part, we are all tired of jumpbacks. The basic idea behind this set to make it stand out from other video sets we have done is to use little to no jumpbacks as content. Rather, we are using only solid colors, texture and gradients with MAYBE one jumpback in a whole set so that it is a huge impact when we use them. This idea sorta formed by watching a Gorillaz concert on MHD or Rave where basically the whole band was in silouette with color behind them (no keylight). Over all, I really love the look of this set.

sorry…I’m gonna get technical again…
The set is made up of (6) 50″ Panasonic Plasmas and (6) 42″ Plasmas. The different sizes was actually a compromise as well, but it actually worked out to our advantage, because the 42″ end up looking further away than they actually are. The 50 inchers and (6) Mac 250 washes w/ wide lenses we hung on a 30′ stick of truss that goes straight up in the air behind our proscenium for the message. The 42 inch plasmas are hung on a pipe rigged to (4) sticks 10′ truss that are bolted to a 28′ wide riser that the drums and keys are on as well. It moves all the way to the back of the stage with the help of 2 backstage managers and 2 camera guys to get out of the way. We also ended up taking the doors under the screens off their hinges and putting (2) 8×10′ screens masked to 16×9 in them, similar to what we did in our destinations series. You might also notice in the pics below that we changed our rigging for the lights over the stage. We have (2 oval trusses that we parted out to make the 2 semi-circle trusses and truss warmed with LEDs (I love curved truss).

The final piece of the puzzle that definitely ties it all together is the netting we used in the background. Our production director Chris was watching a Jewel concert on tv a couple months ago, and she had something (I think it might have beenAtomic Design’s Burrito wall), but it was incredibly textured and looked sorta like military foliage netting. Well, apparently you can buy a 32×16 panel of it for a little over a hundred bucks and it is the coolest texture background for cameras I have ever seen! It lights so well, actually the less lights the better because you pick up on all the texture. Just goes to show you that you get a big bang with a little money if you just keep your eyes open.

Here are a couple pics of the set…enjoy and let me know what you think! I am still waiting on your set pics!


Questions? Comments?

January Set

6 02 2008

Ok, sorry I’m lame and still can’t find the charger for my camera, but I found out today that our production director, Chris, had a couple – so here you go.

This set was up for all of January (a one-off vision cast message by Lanes Jones, our campus pastor, a missions talk by Andy and a 2 parter called Just Ask) and we took it down on Sunday afternoon. ****Side note, if you have volunteers – USE THEM – we are always reminding ourselves that they are our most untapped resource and they helped us strike our entire set and put in place the infrastructe for our current one in under two hours!**** This set was made up entirely of the IKEA LED strands that we used for Christmas. They were a seasonal item, so we bought them out! Not kidding, I called, found out when they were getting a shipment, and sent a friend to buy every single one – which amounted to about 50 strands. One of the things I really liked about these was that they had a cool-white, glow, but they also took light extremely well when off. I found myself using them off more than on, but that sorta gave the lights more punch when they did come on.

(Warning: Technical Stuff)
They were lit from the side by 4 Mac 250 washes with wide angle lenses and 4 Coemar Parlites to add a little bit of demension. I had them tied into my dimmers, so they were completely dimmable, but there were usually two per dimmer because I had to use an edison to stagepin adapter for each set.

Whew…that’s over, sorry about that. Maybe it is the designer in me that is constantly craving change, but I was glad to get to the end of this set. I really liked how different this set was for us. It was consistent in the backdrop, but yet not systematic at all. The strands looked great it camera shots and we were able to do some pretty cool camera work with them as well. It had a great wintery feel to it, which was great because of the number of topics we squeezed into the month. As I’ve said before, we are a video church with a rear-projection, full-proscenium screen, so to get around that we stayed outside of the Hi-def lines and connected a couple strands to the middle of the set to fill it out. In all, I really like this set, but as usually for me I’m ready for that next thing. I can’t wait to let you see what we are building right now! Set builds both give and take energy from me…is that possible?

Check out some pics and comment it up!


As Promised…

22 12 2007

A couple looks at our Christmas set…¬†