- #WHO WAS IN SWEDISH HOUSE MAFIA HOW TO#
- #WHO WAS IN SWEDISH HOUSE MAFIA FULL SIZE#
- #WHO WAS IN SWEDISH HOUSE MAFIA TV#
The ambition is not to just build a big night club. Music affects you, but if you at the same time see something while you listen to music, it adds an extra dimension. I always want to produce that creative moment when the audience is touched, says Hesse. The goal of a production is always to leave something behind. I try to absorb these things, and I always try to think – how can I adapt this to a show? How can I capture different feelings, modes and scenses? In the theatre or live bands, the light is a part of the artist/stage in another sense. When you work with electronic dance music, the light is often facing out into the audience. They all have a great way of working with light. I live in Gothenburg, Sweden, and I visit the Opera from time to time, go to art galleries and check out underground raves, says Alexander. In order to get inspiration for different elements and settings, Alexander sometimes searches for new influences in another field of lighting. We control the luminaire down to pixel level, and it drives a lot of data. A strong connection to all processors is key, so we have a dedicated network-guru working on set just with this. There cannot be a weak connection, during the show – that would make all my cues late or effect the flow of the show, says Hesse. Every unit in the show is connected, and needs more power and fibre to send faster signals to and from the luminaires. Above all, the possibility to control different light units has increased.
This, so that all the luminaires are assigned to know what to do.
#WHO WAS IN SWEDISH HOUSE MAFIA HOW TO#
The lighting designers need to know how to code and program lighting, in the same way as one code and program a website. Data knowledge within lighting technology has developed quite rapidly in recent years. Not only do you need to be a luminaire expert and a creative soul, but you also have to know a bit of code to produce a show like this. The profile of a lighting designer has changed over the years.
#WHO WAS IN SWEDISH HOUSE MAFIA FULL SIZE#
The show was run from 2x Grand MA2 full size with 15x NPUs to processed all the data. This show had 97 universes, so you can imagine that's a lot of channels and data that is sent out. In one universe you can have a maximum of 512 channels. When you plan and program the light you have a workspace where you sort your luminaires. In this show we had some advanced luminaires, that can have up to 93 channels each. Basically, a Blinder has one channel, and that channel has 1 function, Hesse explains. So of course, all of this must be carefully planned before we go for the real thing.įor a production like this Alexander uses highly advanced luminaires, far from the everyday kitchen lamp. We had 82x GLP x4 bars 20 & 8x BB3 lasers in each ring, 56x Chroma Q CF 12 II around the truss in each ring 8x motors so that each ring could lift and rotate it. This show had three big rings on stage, Alexander explains. All of this gives the artists and mangers an impression of how the stage will look once it is set.
#WHO WAS IN SWEDISH HOUSE MAFIA TV#
The program connects lasers, luminaires, renderings, videos and control desks and is operated like as if it were a real show on a TV screen. The entire show is first programmed in a 3D-world, using a programme called WYSIWYG (first stage simulation). The work for the scene – behind the scenes I just have to trust that their creative crazy geniuses knows what they want, laughs Hesse. It’s very important for them to feel a part of it all. As a lighting designer and lighting director, it is my responsibility to guide the artist’s requests on how to program creative lighting in their show. We all have very clear roles and responsibilities in the team, explains Hesse. The show is a massive production, and involves a lot of different expertise. So their attitude towards the lightshow was “we need to have something big, bold and Iconic!”. In this case, the artists have had a break for almost six years. Lighting is a crucial part for these types of acts, and the artists are keenly aware of the importance of having a music and light show that is tightly synced, says Hesse. There are 16 acts in total in which Hesse’s team has produced lighting design, 3D-animation and video in close collaboration with the artists. The Electronic Dance Music (EMD) group is on tour in most of Europe, Singapore, Mexico and South Korea. Alexander has just arrived back in Sweden for a short pause in the come-back tour with Swedish House Mafia.
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