ADG Perspective

When I met Nick the fi rst time, he loved all of it, he loved the fun stu like the pole, the shoe wall, but he wanted more colorso really my only revision was to add more color. A LO more color. I used to say that my sets where predominantly grayblacksilver, which is common in award shows and music shows where Production Designers create a blank canvas for the lighting director to paint with color, allowing for many di erent looks and feelings. hen I recently was looking through my website and noticed that actually I have done a lot of bright color in my career. One of the biggest challenges on the whole ob was the large LED screen. he studio in East Harlem shares a building with a school and a fi re station only in NYC does a show share with students and cops, and the studio is OLD Metropolis Studios in East Harlem. It's not a stateofthe art studio with a grid that can take the weight of everchanging and heavy modern technology. his is an old sound stage which wasn't even originally built for that use, so the production had to involve a handful of engineers from both the shop and some local New York engineers for the riggers to come up with a solution for hanging and ying in and out in view a heavyass LED screen. hat was many, many Zooms. I was long a fan of the Letterman cityscape; I've still never seen a better one. Even when I was still living in the U, I would drool over that cityscape, 1'5 4' 4' '4 1'1 2' 5' 1'11 5'5 2'1 +' +' +' +' + +1' +1' +2' +2' +2' +2' +2' +4' +5' +4' +2' +' +' +2' +2' +1' +1' +1' + +' +4' +5' +4' +4' +5' +5' +4' +' +2' +1' +1' +1' + +' +1.5 +21 +1.5 +1' +2' +' D DESK +' 24 INCH LX BOUNCE CORRIDOR CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS2 CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS4 CS4 CS4 CS4 CS4 CS5 CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS1 CS11 CS11 CS11 CS11 CS11 CS11 CS11 CS11 CS11 CS12 CS12 CS1 CS14 CS15 CS15 CS15 CS15 CS15 COLOR BLAE 2 COLOR BLAE 2 COLOR BLAE 2 COLOR BLAE 2 COLOR BLAE 2 ' ' ' 1'11 LIGHTING INSTRUMENTS STORED ON WALL HERE GENIE GS15 +21 FEET MAX WORK HEIGHT GENIE GS15 +21 FEET MAX WORK HEIGHT X TABLE LED WALL H X TABLE TELEPROMPTER X TABLE AUDIO X TABLE AUDIO X TABLE PRODUCER X TABLE PRODUCER PIANO STORE DESK DESK DESK BAND BAND BAND BAND BAND BAND BAND BAND FLIGHT FLIGHT FLIGHT CASE STORE LIGHTING INSTRUMENTS STORED ON WALL HERE STORAGE STORAGE STORAGE STORAGE STORAGE STORAGE STORAGE STORAGE STORAGE FOOD PREP FOOD PREP COUNTERS COUNTER ' 4' 5' ' 5' ' '4 4'1 ' STORAGE '1 5' ' LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING LIGHTING AUDIO YAMAHA CL5 YAMAHA CL5 YAMAHA BAND MONITOR DESK NOTE LESS CHAIRS BECAUSE CHAIRS IM FOUND ARE 1 INCHES WIDE 15 AUDIENCE ' LX BOX LX BOX LX BOX LX BOX 1' 1' 1' 2'1 '1 ' STUDIO WALL TO BACK OF AUDIENCE BACKING FLAT STUDIO WALL TO BACK OF AUDIENCE BACKING FLAT STUDIO WALL TO BACK OF AUDIENCE BACKING FLAT STUDIO WALL TO BACK OF AUDIENCE BACKING FLAT STUDIO WALL TO BACK OF AUDIENCE BACKING FLAT SCENIC DOOR WALL TO BACK OF AUDIENCE BACKING FLAT 4'2 44'4 ' TO FRONT RIGHT CORNER LED SCREEN TO TO FRONT FRONT FRONT RIGHT RIGHT CORNER LED SCREEN TO FRONT LEFT CORNER LED SCREEN TO FRONT LEFT CORNER CORNER CORNER LED SCREEN SCREEN ' STUDIO WALL TO BACK OF AUDIENCE PLATFORM ' STUDIO WALL TO BACK OF AUDIENCE PLATFORM 1' STUDIO WALL TO CORNER OF AUDIENCE PLATFORM '11 14 AUDIENCE A B C D

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