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    Asia 69 - Lighting, Scenic, Video Design

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    Asia 70 - Lighting Design, Scenic Design

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    Asia 69 - Lighting, Scenic, and Video design

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    Asia 70 - Lighting, Scenic design

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Asia 70 Scenic Design
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The scenic production design for Asia 70 was fraught with challenges but in the end it turned out a beautiful project that had a contemporary yet elegant appeal to it. I designed the stage to be multi leveled, and threaded through the design was a southeast asian theme, pagoda, and mountainous farm ledges with foliage everywhere. The centerpiece was a beautiful, multitiered-interiorly-lit plexiglass mountain, lined with lenticular perspex to diffuse the light well.
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The tree obelisks were another interesting piece which was interiorly lit. I used the latest Adobe CS6 photoshop high res features for large scale prints that were printed directly on the clear plexi front. The contoured stairs were all lined with aluminum and I side lit them with varilite VL5s. ShowFX's Dave Mendoza did a fantastic job fabricating this one for us and scenic install super, Mike Fortescue, head carp Derek Armstrong, and art director Arte Contreras were key in getting the set there and installed in time for the show.
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Scenic Crew:
Scenic Production Designer: Christian Choi
Director: Pierre Seguin
Production Manager: Guy Conger
Stage manager: Phil Guirin
Art Director: Arte Contreras
Art Director 2 (Drafting): Kristen Merlino
Head Carp: Derek Lotec Armstrong
Scenic Fabricator: ShowFX
Show FX Installation Supervisor: Mike Fortescue
Asia 70 DVD Lighting Design
Asia 70 was a blast! Thank everyone for your incredible efforts in making this beautiful show what it was. I designed the lighting to light most of the structures internally which gave them a gorgeous glowing quality. PRG supplied the show with 14 Badboys and they were as bold as ever. It was the first time I used the Color Force fixtures and I must say I was totally impressed with the output on camera. I used 4 in each obelisk, 2 on each side, and they internally lit quite well for television.
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In most of the medium and closeup shot backgrounds were the contoured stairs, so I wanted them to either be interiorly lit or reflective. The reflective option was affordable in this case so it worked out side lighting them. Whenever you side light sets on camera, it takes a good amount of control to watch contamination levels coming from the sidelights onto the fronts of faces. Warm colours can help at obvious times, as can lowering levels on one side. Programmer Andrew Giffin does a fantastic job of managing these levels while Programmer Mark Butts managed the stage automated rig.
Lighting Crew:
Lighting Designer: Christian Choi
Lighting Director/Stage Programmer: Mark Butts
Lighting Director/House Programmer: Andrew Giffin
Gaffer: Nate Murphy
Crew Chief: Scott Amiro
Automated Tech: Arnold Pereire
Emergent Asia 70 Photo Montage
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Asia 70 Lam Thuy Van - BG/Rose Purple
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Asia 70 Red Lav
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Asia 70 Thien Kim Closeup - Congo Blue Red look.
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Asia 70 - Bang Tam, Lav Blue
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Asia 70 - Bang Tam Wide shot
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Asia 70 - Scenic Rendering of Ctr Mountain. This was a preliminary proposal rendering I did to sell the centerpiece mountain. The centerpiece was fashioned after a farm tiered asian mountain as you see in villages that are perched upon mountainous regions. I wanted the mountain to be able to accommodate dancers walking from one side to the other. Also, it was part of the idea to have a river running through the gorge of the mountain.
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Asia 70 - Scenic Rendering of Tower
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Asia 70 Green Prerender
LSA Magazine Coverage of Asia 69
Sharon Stancavage from Light and Sound America just covered our work on Asia 69 in a fantastic article for LSA's June issue. Thank you Sharon. Stay tuned for the link to the article.
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Asia 69 Lighting
I designed Badboys and the newly released "Bestboys" into the rig. Luckily for me, It was the 3rd show ever that the Bestboy's were on and they were stellar, thanks to PRG. I particularly loved the zoom and gobo selection. To me, Vari-lite has always had amazing gobos, really workable patterns for television. Matt Cotter was awesome at getting the gobos to shine, especially on the header and counter oppose in their rotations. A lot of programmers don't know how to set up pallets like that, but he does, which takes texturing to a new dimension.

I loved the Impression XL, the new impression fixture, and hung a few between each of the curved video strips, as well as used them for under lighting the presenter shells. The upstage area was uplift with about 36 or so of the new Color Blast RGBA fixtures which were great for TV. The colour warmth and rendition is incredible.

The guys at Pechanga were a real pleasure to work with. The rig went up fairly quickly for being a laterally curved truss rig. I got to use my new Sekonic Zoom master L758 Cine on this gig and wow, what a fantastic meter.
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The image above was Cardin's performance, and as you can see, the visuals were tightly integrated into the lighting cue structure. Zach Alexander did a superb job at fitting it all, and rolling with the punches. Whenever we do an Asia show, it's usually all out full bore, fit as much into the box as you can, while you can. This show was no exception. Claudio Mattia designed much of the package pieces, so we could give the show a dignified look between performances. Intros, and songs were all highlighted, as were presenter topics. It lends a show an Oscar night feel when this is done.
Asia 69 Scenic
Asia 69 was a huge success as Emergent's first full design, which included lighting, scenic, and video design. I designed the set almost entirely parametrically, from the presenter shells to the stars, to the header, even the screen surround was designed with quick reconfiguration in mind.

I used the Weaire Phellen packing algorithm to pattern the sides where the surfaces would intersect the pack. It was quite an interesting pattern which produced an irregular sided honeycomb effect. As I like to use internally lit pieces for scenic, I lit the interiors of the presenter shells with the extremely bright new Impression XL LED fixtures. They were quite nifty, as they stood only 1.5 ft off the ground.
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One of my favorite pieces on this show was the spandex header/closedown that I used physics simulation to design the flow and stretch of the spandex around the aluminum contours. When you design tensile fabric structures, you really need to see how the fabric will stretch, and how it will light up prior to fabrication. A lot of surprises popped up initially that needed adjusting in order for the design to be a viable one. The surfaces were initially intersecting at odd points and such which were adjusted. ShowFX fabricated the piece and it turned out looking stunning. When I first saw it, I was blown away at how they managed to get the piece so precise in dimension.
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The use of LED throughout the set made it shine in just the right places. I've always been influenced by the use of light channels and visually "alive" sets so I used quite a bit of 6mil LED screen from "Visions Lighting"
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Asia 69 Lighting Crew:
Lighting Designer: Christian Choi
Video Operator: Terrance Ho
Gaffer: Robert Kerwath
Lighting Director/Automated Programmer: Matthew Cotter
Mbox/Visuals: Zach Alexander
Conventional Programmer: Hubert Tardif
Automated Tech: Chad Smith
Automated Tech2: Thomas Folden
Lighting Equipment Provider: PRG LA
Asia 69 Scenic Crew:
Scenic Production Designer: Christian Choi
Director: Pierre Seguin
Production Manager: Guy Conger
Stage Manager: Kris Richardson
Art Director: Mai Sakai
Head Carp: Derek Lotec Armstrong
Scenic Install Supervisor: Mike Fortescue
Scenic Fabrication: SHOWFX
Additional Scenic Engineering: Dave Mendoza