LD Marco Silva Relies On Hog 4 For Portugal’s The Voice
As part of the design team for the Portuguese version of The Voice, Marco Silva works with fellow LDs Ricardo Maia and Miguel Valerio to illuminate the elaborate production set. For the 2016/2017 schedule of rehearsals, Blind Auditions and Finals, the designer specified two High End Systems full sized Hog 4 consoles - one main desk and one back up - to control moving lights, LEDs and media server content on the show. For the Blind Audition segments, Silva also spec’d eight HES SolaWash Pro 2000 fixtures to elevate the visual production on the popular television program.
Implementing the Hog 4 platform for The Voice was a no-brainer for Marco. He comments, “The Hog as been my favorite console since 2001, and I’m very excited about all the recent developments and upgraded features of the Hog 4! I’ve been making extensive use of the plot view, which will soon be improved with Icons and other enhancements. Compound fixture scheduling was also an important feature, and very useful when we draw the Battles, since we made extensive use of multi-cell LED fixtures.
“Because the Blinds and Battles are recorded on a ‘live on tape’ format, we didn’t really need a backup console. From previous experience we knew the console is and has been very stable. Even though we pushed it hard on the Battles and on the Lives - using 28 Art-Net DMX Lines, and spending 12 hours a day programing each day of recording or broadcast, we actually didn’t have any issues at all. Of course, for the live shows we set up another Hog 4 backing up everything, but it was not even online with the DP8000 and Luminex devices. You can see how much I trust this console! On the Battles we were actually merging multi-cell LED fixtures between the Hog 4 and The PRG Mbox Pixel map, so we could have control of all channels on the console or via the Media Server.”
On the Blind Auditions, Silva placed eight SolaWash Pro 2000s in the rig, using four fixtures on the floor ‘for a big bold ray look’. Marco explains, “Due to space constraints we could only fit four on the ground, so we placed the rest around our set. I had been in Austin in February 2016, and demo’d the new SolaSpot Pro 2000 and SolaWash Pro 2000 at High End’s headquarters. I was amazed to witness LED fixtures with that much output! I immediately got a crush on the SolaWash Pro 2000. I even asked if they had it with gobos, which at the time was in development and is now available on the SolaWash FX 2000. I was really impressed with the fixture’s color system and internal shutters, and thought the strobe was amazing - it had that big bold lens look I really like.
“Later, Constantinos Vonofakidis from AED was kind enough to find us eight fixtures to include on the Blind Auditions, and they were great performers! Everybody from the lighting crew loved them, and we kept dimming the lights due to their incredible output. I think High End’s new LED technology is amazing - you are not buying a lamp anymore, the power consumption is much less, the output is very satisfying and the fixtures’ color temperatures are very consistent, because there’s no lamp hours to deal with!”
In closing, Silva says The Voice is ‘a big show with a lot of people’, thus the need for multiple LDs, and thanks the team that puts it all together, including LDs Ricardo Maia and Miguel Valerio, Crew Chief Bruno Louro, and lighting vendor Fx-Road Lights.