4th Edition
Concert Lighting The Art and Business of Entertainment Lighting
1. The Rise of the Concert Lighting Field
2. Touring Personnel (Unions are a side note)
3. The Importance of Business, and Effective Communications
4. Pre-Production
5. The Design Stage
6. The Designer’s WorkBox
7. Writing Music Cues
8. Life on the Road
9. Venues and Local Lighting Equipment Theaters, Amphitheaters, Arenas, Casinos,
Festivals, Fairs, and Racetracks
10. Working Outside the United States
11. Risk Assessment and Safety
12. Finding Solutions
EQUIPMENT DESIGNED TO TRAVEL
13. Lifts, Hoists and Roofs
14. Lighting Trusses
15. Lighting Consoles
16.Protocol, Control, and Ancillary Enablers
17. Conventional Lighting and Accessories
18. Portable Dimming and Distribution
19. Automated Lighting
20. LED Lighting
21. LED Screens, Projection and Media Servers
22.Lasers, Smoke and Pyrotechnic Effects
DESIGNING WITH TOURING EQUIPMENT
23. Master Designers
24. Designers’ Perspective: Art vs. Business
25. The Artist Perspective (and the Producers’)
26. Live Broadcast, Film and Video
27. Looking Forward
Biography
Jim Moody is the Head of the Technical Theatre Program, Technical Director, and Lighting Designer for The Theatre Academy at Los Angeles City College (A Professional Conservatory Program). Considered one of the founders of concert lighting he received the first Concert Lighting Designer of the Year Award from Performance magazine in 1980. Active also in television, his work has been recognized with two Emmy nominations and one team award.
Paul Dexter has been the lighting and set designer for such concerts and concert tours as Rick James, Motley Crue, DIO, Ozzy Osbourne, and Elton John, Paul McCartney, and Rod Stewart. Paul is president of his own design firm, Masterworks Design, Inc. His recent activities include touring the world with REO Speedwagon as production and lighting designer, production designer for Heaven & Hell and architectural lighting designer for Activision Motion Capture Studios.
