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A Celebration of Light and Art

In Lighting Design by images310 / December 3, 2014

Los Angeles

The pressure to be creative is high when the client is Adobe. Mistyka Garcia is well aware of this. The owner of SO Events to has been producing the final night event of Adobe MAX Bash, the after party of the company’s annual conference in Los Angeles, for the past four years. Images has been privileged to have been chosen as the lighting designer of each one.

The event is attended by 4,500 people and is the talk of the conference before and after. It’s up to Garcia and her team to fulfill Adobe’s annual vision for the event in a creative and unique manner. Last year, the theme was “Street Fest” and the event featured cirque style entertainment along with interactive activities. This year it was “Celebrating Creativity Through Art, and featured more modern performance art along with interactive and visual art installations.”

“The challenge about doing this event is how to keep the event fresh and exciting year after year, not just for the creative people, but for sales, marketing and developers,” Garcia says. “This means that for some, the party is about the creative element and for others, it’s the networking. The common thread is always to celebrate creativity.”

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As guests walked in, a graffiti artist painted a custom mural inspired by user-generated art from the conference on a shipping container. Large letters spelled out C-R-E-A-T-E while a gobo projection “painted” the ground before it. As guests got further into the huge space – normally a parking lot in Downtown Los Angeles – there were many lighted treats waiting for them.

One of the main highlights this year was a large skull with video mapping that involved Adobe software. “My client was inspired by the work – a large skull called Shogyo Mujo that was mapped with a series of images and textures,” Garcia recalls. “We partnered with Bart Kresa who has done a lot of work within the event industry.

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Around the perimeter of the space, pods of creative lighting were set up for guests as lounge and dining areas. The Images team had a lot of fun lighting these. The one nearest the seafood station with blue lighting gave off an effect of moving water, while another was an art piece ala Jackson Pollock. We used UV instruments to accent the neon paint.

The highlight of the event for the client is always the dessert tent. Knowing this, our lighting team worked overtime to create something that would draw both attention and cameras.

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Swirling projections behind the candy sculpture added to the “Wonka-esque” atmosphere while instruments called “Solaris” ran through their design sequences adding light and motion that could be seen perfectly through the clear top tent from anywhere at the event.

“The client always wants this area to be special,” Garcia says. “It came out perfect. As Images was installing the lighting, I knew the client and guests would be totally wowed. I think it turned out amazing as far as lighting.”

And it was a success as well for Garcia in terms of visual eye candy – the event was snapped hundreds of times over by Adobe’s very social media savvy audience.

A Prescription for Great Lighting

In Lighting Design by images310 / November 14, 2014

HBO Getting On Party 2014

Last week, our team at Images enjoyed bringing light to a dark comedy. The event was the premiere of the second season of Getting On. The  HBO original series takes place at an extended care unit where no one should ever be so unlucky to be sent and so the event featured actors playing nurses and doctors who dispensed prescriptions for candy pills along with laughter. Held at the Avalon Nightclub in Hollywood, designer Billy Butchkavitz was in fine form exploring his dark side with some light humor, and of course great design.

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Our first task – light the step-and-repeat red carpet arrivals which was set up in the parking lot. For this, we wanted our lighting to be designed for the cameras. While it looks bright in person, this type of lighting evens out skin tone, making everyone look great, and enables the cameras to get clear images of elements both in the foreground and the background (which, as you can see here, refers to the show’s branding, an important part of any premiere event).

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From there, the lighting shifted to a more dramatic tone at the selfie station. Guests could take photos in front a replica of the hospital entrance while sitting in wheelchairs (remember, we did say it was a dark comedy).

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The next stop along the way took everyone into the “pharmacy.” We lit this area in the same orange tones with texture that set the overall color palette for the night.

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The existing architecture of the pharmacy was lighted using a special soft light called MR16 with a dichroic filter. These filters produce light that is perceived to be more saturated and are used in theater and architecture.

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Guests were given a prescription by these pharmacists of questionable degree and certification, yet no matter what was ailing anyone that night, the cure was laughter.

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Each of these vignettes was perfectly engineered with lighting that gave off that oh-so-flattering fluorescent pharmacy-doctor’s-office vibe.

HBO Getting On Party 2014

HBO Getting On Party 2014

Inside the ballroom, there was drama – the architecture and lighting – and laughter – the preview of the show. The lighting on the ceiling medallion was done in-house by the Avalon, which we then augmented with textured lighting. We were able to find the same pattern as the mums in the linen and layered that pattern with lighting over the tables and floor. We added orange light to the architectural columns and the theatrical proscenium, placing everything on a dimmer system so we could control the lights during the viewing, and bring them back up again after it.

While the comedy may have been dark, the event was perfectly lighted … doctor’s, er, designer’s orders!

Photos: Gabor Ekecs

Pure Imagination: Lighting + Design

In Lighting Design by images310 / October 31, 2014

Anything you want to do, do it.

Want to change the world? There’s nothing to it!

— Willy Wonka, Charlie and the Chocolate Factory

There is nothing to changing the world if you are Willy Wonka. Or, if you happen to be a member of this amazing event team that created two totally different worlds in the same tented event space within 18 hours. Even then, it took our talented team a lot of “Wonka” ingenuity to pull off this feat!

7- AndrenaPhoto-SoniaSharma-EmptyVase-022_resizeThe first event: An underwater theme

xAndrenaPhoto-SoniaSharma-EmptyVase-072The second event: A candy fantasyland

The objective: Transform a lush underwater theme featuring a full-blown water show, and a live mini-Broadway revue, into a whimsical candy factory with hard sets and another live stage show.
The timeframe: 18 hours
The setup: The team of event professionals led by producer Sonia Sharma of Sonia Sharma Events had worked for months to cleverly layer the technical and design aspects of each event so they could be peeled back, turned off, or strategically moved and now it was time to make it happen.
The lighting: Given the time constraints, the physical layout of the space, the design complexity as well as all the costumes, performers, and sheer magic needed, this dual-event weekend was nothing short of a Las Vegas extravaganza.

“Between the tent and the water show, this was as close as I’ve come to mixing theatrical production lighting with event lighting. They were so integral,” says Images’ Curt Stahl. “We needed to make it all look seamless between the entertainment, lighting, design and production. It was challenging yet, in the end, made this job all the more rewarding.”

To design this private birthday event attended by 180 guests, Sharma brought in Revelry Event Design as co-designer who then brought in the rest of the team. Starting three months out, everyone worked to get their own design together separately and then came together to begin to create the puzzle of installing the second party first so elements could peel back once the first party was over. This would be the only way to create such complex designs within the time frame.

“The process was very technically involved,” Stahl says. “There were a lot of meetings with the design team, riggers, set constructors and the rental company to nail down the design aspect, review renderings and create diagrams.”

Images also had to work closely with the entertainment producer, Douglas Johnson from Entertainment Plus Productions. Theatrical lighting was required for every element of entertainment, especially the water show which was heavily technical with lasers, moving lighting, video projections, water walls, fountains and wet and dry stages.

FROM THE BEGINNING

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At the entrance, embellished with a stunning floral sculpture by The Empty Vase,  and around the perimeter of the tent, Revelry had installed hedges for privacy and creating borders. For added drama, our team spent four days installing miles of twinkle lights in the hedges.

3 -AndrenaPhoto-SoniaSharma-EmptyVase-005 Cocktails for the first event were held in a lounge area designed just outside the entrance of the dining tent.

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In this area, several water shows took place — a short version during cocktails, and a longer show following dinner. A video screen behind the show displayed images that complemented the show.

While all of this hinted at what was to come, nothing could really prepare guests for the experience of walking into this environment.

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We lighted the space entirely in shades of blue in keeping with the underwater theme. Pinspots flown on a truss system made the placesettings and vibrant colors of the floral design pop. Patterned gobos of playful bubbles decorated the floor while the entire environment seemed to sway with the motion of the sea thanks to Revelry’s ceiling treatment – seaweed cut from lightweight fabrics that moved as if with the ocean’s currents. Revelry’s Tuxedo Shade chandeliers were covered with blue fabric, and hung in groupings of three throughout the tented structure.

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A 120-by-120-foot video screen displayed an underwater scene and additional wall treatments included a bar with mirrored port holes. During dinner, we provided theatrical lighting to back-to-back entertainers. These included those on the stage, and those off stage — specifically aerialists who performed from above. The lighting for the stage was flown on a ground-supported truss that held all the other scenic elements, décor, chandeliers, and performers. Another truss was installed outside for the outside entertainment show.

AndrenaPhoto-SoniaSharma-EmptyVase-046_resizeThe lighting design for the entertainment stages and all the decor was thought out and configured so that it could be reused, regelled, and reprogrammed from the same position as much as possible for the next event … which would be happening in just 18 hours!

THE CHANGEOVER

From undersea to over-the-top … the transformation of the space into a fantasy candy land began late Saturday evening after guests left. Our crew worked through the night and into the morning to reconfigure everything anew and THIS is what guests saw as they entered the space the next evening!

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Where before there had been yards and yards of blue draping, was a hard set of this fantastical candy factory. What was hard to believe was that it had been there all along. During the day, the draping was removed, other elements put in place and the facade relighted in a completely new configuration.

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“I’m not afraid of color,” Sharma says, which we love! It was fun to make this world of color come to life with lighting. The lighting changeover here included turning off the ultraviolet lights that made the under the sea creatures glow and turn on a series of LEDs that washed the new entrance with a series of color sequences. Inside the tent, the flowing “seaweed” had been removed for a clean ceiling treatment. The flooring and dance floor, flowers, and more were replaced. The lighting had also been pre-installed. “There would not be enough time to come in and install anything new,” Stahl says. “So we turned off what wasn’t needed for this look and then refocused what was. We reprogrammed the LED color shifts and swapped out new gobos and lighting textures.”

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The only area of the event that remained the same for consistency was this fantasy children’s play area complete with carnival rides and games. Here, the clear top of the tent area was festooned with twinkle lights and gobos created a pattern on the ground that separated the area with lighting.

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Back inside the main tent on the last evening, all the stops were pulled for the live stage show. We installed and ran intelligent lighting, Broadway-worthy lighting effects such as a scrim silhouette effect, and video mapping.

5- Chocolate-Wall_resizeAnd finally … dessert. Of course it could be nothing short of fantastic and it was. A custom sculpted chocolate fountain wall featured a live, working chocolate waterfall as well as built in cave which guests could enter and help themselves to a variety of desserts.

To sum up the imagination behind these events and the accomplishment of this team we have to go back to Wonka, who sang it best …

If you want to view paradise
Simply look around and view it
Anything you want to, do it
Want to change the world, there’s nothing to it

There is no life I know
To compare with pure imagination
Living there, you’ll be free
If you truly wish to be.

The team
Sonia Sharma Events: Design and Production | Revelry Event Designers: Design | Andrena Photography | The Empty Vase: Floral Design and Floral Sculptures | Wolfgang Puck Catering | Images by Lighting| E+ Entertainment | Classic Party Rentals

An Evening in the Garden

In Lighting Design by images310 / September 9, 2014

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This year, the planners of the annual gala at the Huntington Gardens wanted to evoke a sultry Southern evening. Given the unusually warm weather of Los Angeles that week, it seems the weather was in collusion with the theme.

A deck of white-washed planks installed by Town & Country Event Rentals laid the foundation, literally. From that beginning, layer upon layer of design elements were added, ending with the lighting. To create the feeling of a night on the patio, we added string lights across the entire deck space and also horizontally stacked them artfully between the pillars of the facade behind the band. Colorful paper shades added a sense of celebration.

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Teal accents made the iconic architecture pop and mirrored the teal shutters that were added to the cabanas and back bar.

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The guest of honor — the library itself — glowed softly from across the way thanks to our architectural lighting.

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Cabanas outfitted with Adirondack chairs and comfy pillows had been built into the deck design. We added uplighting in white and accented them (four in all) with more paper lanterns.

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Extensive landscape lighting brought the beauty of the Huntington’s lush landscape out and added much to the feeling of dinner in the garden as a full moon kept watch.

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And finally, the details! In addition to geometric gobo break up patterns on the dance floor, another lighting detail we created was putting the Huntington’s new logo in lights. Laissez les bons temps roulez!

 

Lighting Inspired by a “Thread” of an Idea

In Lighting Design by images310 / August 25, 2014

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As designer of the HBO Emmy after party for the past 16 years, Billy Butchkavitz uses rich textiles for his design inspiration. This year was no different, however, the textile inspiration was more specific than ever. It was a jacket designed by the Spanish fashion designer Paco Rabanne in the sixties. Educated as an architect, much of that discipline found its way into Rabanne’s fashion design and the jacket was a colorful study of geometric shapes.

imageButchkavitz took what was a thread (literally) of an idea from Rabanne’s work, and expanded it into a stunning look for this event. And for the first time, he used a lot of white space, rather than layering pattern on pattern, color and color. Dubbing this his “white party,” Butchkavitz designed an event at which the white spaces were an important juxtaposition for the color, shapes and architectural elements.

For us, as the lighting designer, this was key information that would drive all the lighting looks and choices, down to the selection of lighting equipment. For instance, more LEDs than ever were used because of their ability to project a crisp white or color and to sequence colors throughout the evening.

The transformation of the space – a clear-top tent, installed over a fountain at the Pacific Design Center – began from the ground up with a custom carpet of structured geometric boxes of color. The architectural undertone was enhanced by a series of large block-like arches that created “cabanas” for lounge areas as well as framed a central sculpture.
Instead of using layers of patterned fabrics and wallpaper as he had in the past, Butchkavitz turned to Images to create a lighting palette that would do the same without the use of hardscape. He wanted layers of textures created through lighting. In addition to gobo break up patterns of various geometric shapes in carefully selected areas, the arches were top lighted with conventional lights, and uplighted with LEDs.

The central “chandelier sculpture,” created and installed by an artist, featured organic shapes which contrasted with the geometrics of the carpet. As the main feature, the lighting of it was crucial. We worked closely with the designer to add LED lights to the sculpture’s spirals that softly fell from the ceiling to the ground.photo1 cropped

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It was these arches that would carry out the other directive put forth by Butchkavitz — that the lighting on these architectural elements would direct attention to different areas and actions. To accomplish this, the lighting sequence for the evening began with the arches lighted in white. When something was happening on one of the three entertainment stages, the arches throughout the area began to sequence, with color rolling from one column to the next in the direction of the stage. When the entertainment began, the sequencing stopped, and all arches but those in the given area stopped changing color and remained white. Once that happened, all lighting energy shifted to those areas and was designed for maximum energy and color pop.
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For this star-studded event, the guest list included lighting as its star. This was an event design not only made lighting a collaborative effect with the design, but placed it front and center.

Photos: Gabor Eckes

Reveling in a Celebrity Wedding at Vibiana

In Lighting Design by images310 / August 19, 2014

In the wedding and event industry, it is an honor to be featured in the wedding bible, Grace Ormonde, Wedding Style. We were there this month thanks to the team at Revelry Event Design who empowered us to turn up the emotional volume of this event with our lighting. The combined team effort of everyone involved was this jaw-dropping event at Vibiana; a birthday for Robin McGraw, the wife of TV’s Dr. Phil.

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Revelry’s goal with the design was to create an experience that allowed guests to transition from intimate boutiques and replicas of famous storefronts to a grand space via the main hall of Vibiana, the stunning event venue. With more than 10,000 square feet of open space and vaulted ceilings, this required build-outs of the storefront walls and heavy drapery. Several bars were placed through Vibiana including a secluded wine tasting lounge. Guests were invited to shop until they dropped (on the house) in Christian Louboutin, Victoria’s Secret and Chanel. An exquisite pattisserie resplendent with delicate desserts was set up in its own area as well.

The client’s vision called for a comfortable setting in an elegant ambiance. Chef Neal Fraser of Vibiana complemented their detailed lounge vignettes and mirrored furnishings with a dramatic buffet including approachable cuisine from the client’s home-state of Texas.

As for lighting, we worked with BARTKRESA designs to create a digital projection at the far end of Vibiana as guests walked in. We then repeated that pattern in soft gobos on the domed ceiling. Uplights around the perimeter where the walls had been draped added beauty and color. We did the same in the stores and in the wine tasting room, yet we provided a different set of stronger, more defined gobos for the floor to create a “tiled” entrance. At the end of the evening, none other than Katy Perry performed. We were thrilled to provide her live performance lighting. The show was incredible!

In all, this was one of those once in a lifetime events! No doubt the birthday girl had a fabulous time, but the icing on our cake was working with Revelry and being in Grace Ormonde. Ooo la la!

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Photography: Yoshi Morimoto Photography | Event Design: Revelry Event Design |Floral Design: Celios Design | Venue: Vibiana | Catering: Neal Fraser at Vibiana | Invitations: Lehr and Black | Desserts: A Wish and a Whisk | Tabletop: Casade Perrin | Party Rentals: Classic Party Rentals | Sound for Katy Perry: No Static AV | Lighting Design: Images | Digital Video Mapping: BARTKRESA Design | Celebrity Host: Dr. Phil | Celebrity Guest: Robin McGraw | Entertainment: Katy Perry

A Lighting Design Liberace Would Love

In Lighting Design by images310 / July 24, 2014

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Every year, HBO hosts a Golden Globes after-party event (held early in the year) that is centered around a theme, usually one of its nominated television series or feature films. This year’s theme  was the HBO film Behind the Candelabra, a film about Liberace starring Michael Douglas and Matt Damon. It was was up for four Golden Globe Awards and took home one for Best Miniseries / Movie. All the more reason for Billy Butchkavitz to help HBO pop the champagne.

Along with projections of champagne bubbles, Billy brought in other elements as homage to Liberace’s over-the-top style. He played off of many of his signatures — chandeliers, textures, rhinestones, oversized props, and lots of glitz and glam. For our lighting design, we picked up on the vintage baroque angle and created a lighting color palette of champagne and red with gold accents.

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It all began with scaffolding the pool of the Beverly Hills Hilton. In the past, this pool has been incorporated into the event design, but this year Billy’s design required the extra space for his vision of large-scale extravagance. Walls were built that were as tall as the hotel, hiding the pool deck walls, and turning them into décor elements. These walls were then draped with a luxurious, red and gold print fabric. We placed lighting at the top and aimed it down for dramatic effect. Gold chandeliers were hung from the walls, and to make them really stand out, we built custom Plexiglass boxes with gold frames for effect.

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In lieu of extensive video mapping, we created the big wall visual using conventional lighting; several gobo rotators created a solid projection of overlapping moving damask texture. It was certainly unusual, in this day and age of high-tech, to actually go old school and recreate a look by using old technology, but of course it worked beautifully!

The same  approach was taken with the HBO logo. We used automated fixtures to project the logo, overlapping it with MAC III projectors that have branding capabilities. We spent time ensuring they were lined up exactly so that it looked like a single image. This created a more intense image, and served as a great backup if needed.

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Leopard print lounges were placed around the event perimeter, with candelabra-shaped gold dividers between them. Uplighting was used on these dividers to bring attention to the décor. Circular lounges were also placed throughout the space, offering contrast to the red and gold printed dining tables where we had placed soft candle lighting. A gobo of champagne bubbles was used to light the entire space for one last textured element. Together, the various patterns and colors worked together to create a uniquely textured space that was as extravagant and lavish as Liberace was.

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The inspiration!

Photos by Gabor Ekecs

There Will Be Blood: Lighting the True Blood Premieres

In Lighting Design by images310 / July 17, 2014

 

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Blood, vampires, and a dash of playfulness – all perfect ingredients for the annual HBO True Blood premiere parties. As far as lighting a premiere event goes, this was one time that the phrase, There Will be Blood, was true!

Each year since the first premiere event, Images has had the pleasure of working with designer Billy Butchkavitz. Through many of the events there is a common – ahem – vein – that runs through them. The color red, naturally, a gobo projection of the logo often repeated several times, often a central tree and cemetery scene, some fun interactive element with the guests and of course, given that the designer is Billy B, each one has a wicked sense of style. While many elements stay the same, Billy works closely with HBO to ensure the event design always captures the essence of the upcoming season.

And while vampires live forever, not so for cable shows. We show our last respects with this photo essay of all the True Blood premiere events. We may be saying goodbye and fangs for the memories, but we’ve learned that there really is no keeping a good vampire down.

2008
We begin our retrospective at a unique venue — the rooftop of ArcLight Hollywood’s parking lot. Nothing like starting out with a challenge! Billy designed a central tree, surrounded by a small graveyard. With no rigging points from which to hang our gear, we got creative by rigging the hardware to light trees and pipe and base. Gobos in monochromatic tones added interest to the lighting design, beginning a trend that would continue through each year’s premiere event.

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2010

This year Billy added an intricate and very realistic backdrop to the party at Boulevard 3. To light it as realistically as possible, and ensure that no seams would be seen, we used uplights which filled in any creases and helped create dimension. Gobos added texture to the ballroom surfaces and patio area while smaller areas were detailed out with candles and projections from the show.

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2011

Overall, Billy gravitated towards a monochromatic color scheme with the True Blood premieres. Being emerged in one color for too long presents a challenge as the color becomes a neutral and actually the eye and mind no longer recognize it. To avoid this and keep the party vibrant we used accent colors. The venue, the Hollywood Athletic Club (formerly Social Hollywood Athletic Club) was lighted in mainly red in the foyer with an added touch of candlelight for accent. In the main room, Billy did the opposite with a wall of candles and just a touch of red in the design elements. Centerpieces were a nod to the Southern locale of the show, and its town, Bon Temps.

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2012

The year we did this event at the Lure Hollywood Nightclub was one of the darkest parties we have ever created, both literally and figuratively! The affect of blood dripping from the walls was achieved through video mapping.

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2013
Back again at the Hollywood Athletic Club, red was the prevailing color all the way around. An addition of ethereal creatures in hanging “coffins” created a chilling effect.

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2014

Billy’s designs always begin and end with texture which we play off of with lighting and gobos. Back at the Hollywood Roosevelt Hotel, the event once again featured a central custom-built tree. To create texture in the space around it, we layered gobo light patterns that covered nearly every surface. This, coupled with the texture used in the upholstery, furniture, and pillows, created an elegant space. Once again Billy used a scenic backdrop alluding to the show’s Louisiana locale to which we added uplights for a daytime effect. And the addition of Astroturf for grass was one of his brilliant touches that truly transformed the space into a Southern landscape.

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True Blood 2008 – 2014 RIP. We will miss lighting these inspired premiere events. However, we rest easy knowing that nothing lasts forever … except perhaps every episode of True Blood which no doubt will remain in syndication for decades to come!

All photos by Gabor Ekecs

 

A Fantasy Lighting Design

In Lighting Design by images310 / June 9, 2014

Shining Light on an Underground Annual Nightclub

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For an event that is known for its striking combination of music, artistry, and performance, it was only fitting that the lighting for the third annual Myth Masque Ball be as masterful and playful as the evening itself.

Held at the venerable Los Angeles Theatre in the city’s newly revitalized downtown, our Images team worked with Jack Strauss from No Static Pro Audio to create an ambiance that was both sensual and mysterious, true to the fantasy nature of Myth.

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The event attracted masked and costumed attendees who had found their way to the somewhat secret entrance via an alleyway where a lighted gobo over the door read “Myth.”

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Slow and ghostly music greeted guests as they entered the venue. To enhance the eerie vibe, lights were low with the exception of blue uplighting on fixtures alongside the corridor. At the end of the corridor, guests were taken to the next level thanks to a combination of radiant color and electronic music.

During the 48 hours before the first guest arrived, the space had been transformed from an undecorated space to a fairy tale ball. According to Lonnie Thompson, lighting designer, “Being in a theater had its pluses. The team there is used to housing large stage productions, so we were able to tie into existing power to run everything. This eliminated the use of a generator…or rather, three.”

Being that the ball was held on multiple levels of the theater and featured several alternating themes, our team team incorporated the use of both intelligent and conventional lighting fixtures. Conventional fixtures were used to complement the already impressive architecture of the historic building. The intelligent lighting fixtures were used on the lower level of the theater, to breathe life into the dance floor by creating a high-energy nightclub look.

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Set between the grand ballroom and the dance floor was the theater itself, where live performances occurred throughout the evening. Here, as in the grand ballroom, we illuminated the stage with the use of conventional lighting fixtures. During individual acts on stage, spotlights from the balcony highlighted the artists.

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Myth Masque was the quintessential lighting designer’s dream — it allowed us to truly influence the crowd with diverse lighting techniques and color variances. “The overall vibe of Myth Masque was an ‘Eyes Wide Shut’-meets-underground-urban Los Angeles,” Thompson says referencing the cult classic film by director Stanley Kubrick. Images took to this vibe and designed an evening of lighting and color, playing with emotion and beauty, to create an event that was mythic in its theatricality but totally real in conveying the world the event producers wanted to create.

Lighting a Rustic Wedding in Ojai

In Lighting Design by images310 / May 30, 2014

XOXO wedding Braedon Photography

For this simple yet utterly charming wedding held at the Ojai Valley Inn & Spa, we were honored to work alongside wedding planner Sonia Hopkins of XOXO Bride | Weddings and Events.

Sonia’s concept is best summed up in the piece that appeared this week in Style My Pretty: “There is something to be said about using your surroundings and playing into the tone of the venue rather than over-designing a space just because you can.” We agree! And so for our lighting design, we followed her lead with a clean and simple look just right for the venue.

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Photos: Braedon Photography.

To see the entire wedding, click here …