Buyers guide: Lighting control

  • Buyers guide: Lighting control
    Andrew Strachan, head of lighting, Gearhouse Arabia.
  • Buyers guide: Lighting control
    Luke Bonner, head of lighting, Protec.
  • Buyers guide: Lighting control
    The Eclipse lighting team. From left: Junder Luzon, Jeffrey Escamillas, Darren Hodge, Duncan Shortt and Jamie Obillos.
  • Buyers guide: Lighting control
    Terry Miranda, chief lighting designer and MD, Lighthouse Productions.
Published: 16 March 2011 - 6:05 a.m.
By: Brooke Sever

Some of the region’s most well-known lampies dish the dirt on their favourite desks – and the console-of-choice seems to be a bit of a two horse race.

Andrew Strachan, HOD lighting, Gearhouse Arabia
Hog 3/GrandMA 1

My absolute favourite really depends on the application – but the grandMA 1 and Hog 3 are the two main players for me.

The iPC is one of the new one’s they’ve brought out - it’s like a hybrid, so it has the Hog 3 inside and it’s Windows based. It speaks to the WYSIWYG, so you can incorporate your design into it and do a lot of the work – the colours, the pallets, the positions – in the warehouse.

I like the Hog 3 as well. A lot of designers haven’t taken to Hog 3 and have stuck with the Hog 2, but we use the Hog 3 all the time because it really is amazing.

Everything you couldn’t do on the Hog 2, you can do on the Hog 3 – especially all the shortcuts. If you’re programming a show from dusk, with the Hog 2 you’ll get out of there at 3, 4 o’clock in the morning but with the Hog 3, you can be finished at 1, just because of all the shortcuts.

Everything is a lot faster, a lot easier, a lot more manageable. The grandMA is really the king of the desks right now. We don’t have the grandMA 2 yet because we tend to buy desks on demand... and the grandMA 1 is still so popping up on riders.

It’s great that everything just networks together and I’d say that’s what makes it probably better than the Hog’s – they’ve really put a lot of thought into what it needs to do and they’ve really made it happen.

I would never choose to design on just an iPad, or something like that, I want that surface to touch.

It’s like a painting that you want to produce and you want to be able to control the lights at any time and bring up a certain look and then you want to make it a certain colour and the idea is that the desk is laid out how you want it.

You need those surfaces to be able to do that and if you’re fiddling on a little tablet, you’re not able to because it’s just not big enough.

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