November 2012 Issue
Showtime

Jason Mraz 2012 Tour

Jason Mraz 2012 tour photo by Steve JenningsLighting Co
Upstaging

Venue
Various (tour)

Crew

Lighting Designer: Paul Normandale

Lighting Director: Joel Reiff

Lighting Crew Chief: Steve Schumi

Lighting Techs: Joanne Wooi, Mike Turner

Video Content Creator: Mark Calvert

Video Director: Peter Thornton

Production Manager: Rodney Johnson

Tour Manager: Matt Swanson

Stage Manager: Jacob Raggio

Rigger/Camera Op: Jeremy Caldwell

Engineer/Video Crew Chief: Bill Callison

LED/Camera Ops: Paul 'Meatlap' Bange, Simon Cadiz

Stage Crew: JD Brumback, Steve Bodie, Adam O'Toole

Creative Direction/Animation Producer: John Munro

Managing Director/Project Manager: Mark Calvert

Art Director: Matt King

Technician: Martin Harvey

Set/Staging: Upstaging

Video Co: XL Video

Video Content: Immersive Ltd.

Gear

2 MA Lighting grandMA Full console

2 Catalyst media servers

27 Vari*Lite VL3000 fixtures

18 Clay Paky Sharpys

82 Martin MAC Auras

4 Martin MAC III AirFX fixtures

9 4-lite Mole Fays

2 Reel EFX DF-50 Diffusion hazers

3 F12 LED Screens (24' x 11.5')

1 Full HD Flightpack/PPU w/ Sony HXC 100 cameras


For more photos by Steve Jennings please go to http://plsn.me/JasonMarzonline

Designers Insights, by Steve Jennings

Joel Reiff (Lighting Director):

“I first started working with Jason in February of 2011. We did a handful of band shows and a bunch of shows with just a duo, so when they geared up to do a full-on tour, I knew the vibe Jason was looking for.  Which really helped when (Lighting Designer) Paul Normandale and I programmed the show.

“Every night is a different show.  Songs come and go, and just when you think they’re gone for good, they reappear in a new arrangement.  We might do the same song from one night to the next, as there are some ‘standards,’ but they will be put it in a different order in the set and often revamped.  Keeps you on your toes…  We started out with about 30 songs, but ballooned to about 45.  Jason likes to keep it fresh.  During soundcheck, he’d often check with our sound man or me to see if there was anything we wanted to hear — I’ve never had an artist so concerned with making sure we got what we needed to make his show look or sound as good as possible.

“I’m on a grandMA Series 1 console, an old faithful.  I love it, but it may be time to move on to the Series 2.  A Catalyst media server handles the content.  At the beginning of the tour, we were given 19 sets of content for specific songs from Immersive [the video content provider] based on outlines/ideas provided by Jason.  For the rest of the material, we then decided which songs would be best suited for I-Mag and which for straight lighting.  As songs were added, we mixed it up.  The key was to keep the focus on Jason and the music and make the show as organic as three huge screens and a hundred or so lights could be.

“We did a field test on the new Martin Air FX 3K, a very bright light. They were a bit limited for our purposes, as the only place we could fit them in was behind our video walls.  Still, it was nice to have them.  The crew had to do a good bit of work with them, but I think once they get all the bugs fixed they’ll be a really nice fixture.

“I’ve known Paul (Normandale) for years by reputation, and the opportunity to work with him was a blast. Working with a guy like Jason is a real pleasure, he brings it every night and truly cares about each show.”






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