Thankfully, I’ve been given a wonderful variety of opportunities in the world of theatre in which to hone those skills. It was the beginning of an continuing process of understanding what it is to design. Trying new colours, new angles and new concepts. And there I was, skills dulled by years of “flash and trash” having to dig down and pick colours that weren’t primary! From that show forward, I began to be more forceful in the application of “design” to my designs. At the front of the room, was the closest thing to a proper theatrical set I’d lit in a long time. They had decided to turn the whole room in a western town and had hired an Arizona set building to provide mountains, rocks, tumbleweed and the like. That changed for me when I did a show for a pharmaceutical company at a resort in Arizona. You knew that no matter where you put the lights, you were going to be asked for the same bright ballyhoo and the same dark blue video look. And when the desired result was so often the same, the process of designing the show could be the least fun aspect of the job. Joshua: When I was designing corporate shows, the “design” was all about efficiency: efficiency of set-up efficiency of programming and by extension, predictability of result. LEE: What determined your passion for design? Tell us about the moment when you decided this was going to be your career. In 2009, I joined Cirque full-time on IRIS. My relationship with Cirque started with providing contract design & drafting services on Cirque du Soleil’s BeLIEve. From 2005-2009, I served as Product Manager and primary feature designer for WYSIWYG, the 3D visualization, plotting and paperwork software. Since graduating in 2003, I’ve had the pleasure of working with Canada’s more prestigious theatre companies, including the Stratford Festival, Shaw Festival, National Arts Centre, Soulpepper, and Canadian Stage Company. As luck would have it, the National Theatre School of Canada in Montreal was opening a new Master Class for lighting design and I was accepted as the first student in a 2-student program. Having toured the world, including shows for Canadian and American military personnel in Kandahar, Afghanistan (there’s a theory that I was the first “lighting designer” ever in Afghanistan) I decided to change focus from corporate and live music to theatre. After a very short flirtation with education at a Toronto college, I began teaching and ultimately designing lights for corporate productions. As fate would have it, there were a lot more jobs available for lighting technicians and my 14-year relationship with light. Joshua: Born in the Southwestern Ontario town of Chatham, ON, I moved to Toronto in 1997 with ideas of becoming a Stage Manager. LEE Filters: Tell us a little bit about yourself, Joshua. We had a chance to talk to Joshua about his career and his experiences working on “Iris.” Streamlined workflow with new iPad app and landscape iPhone view allowing you to review the Swatch book and spectral charts on one screen.Joshua Hind is the Assistant Lighting Designer & Project Manager for Cirque du Soleil’s latest creation, “Iris” playing exclusively at the Kodak Theater in Los Angeles. Professionally designed palettes to get you started, plus the tools you need day-to-day. Review detailed information about each colour, including spectral charts. Slide through the colours for inspiration, then tap to add to your palette. Innovative colour picker and all the information lighting designers need. The complete LEE Filters range of lighting filters and gels on one screen. The up to date and complete LEE lighting filter swatchbook The LEE Swatch Book is also available on iOS & Android App stores - scan or click on the QR codes below This handy, pocket sized sample listing is a must have for any lighting designer, studio photographer or gaffer. There is also a handy numeric lookup at the back allowing you to search by colour number. The new LEE Filters Designers Edition Swatch Book ( ADVFSDN ) contains the entire LEE Filters range in chromatic groupings.
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