When lighting designer and technician Malte Hauge became involved in the preparation of comedian Andreas Bo’s Original set design at an early stage, he was able to participate in the perfect format and scenography; at the same time he could meet the technical challenges in order to achieve the vision of technical consultant Thomas Scharling and the artist himself.
“I’m a fan of surprising the audiences,” explains Hauge about his refined yet downplayed design. “Instead of having one big SGM LED screen, we have divided the screen surface into three equally large segments to generate new opportunities for interaction between Andreas Bo and the video content.” Between the three screen surfaces are beams of light, adding to the depth of the scenography.
With 69 scheduled performances (which are expected to reach nearly 80 with extra shows throughout the country), it is essential for the designer to feel confident in the gear. “These modules are reliable and solid, making me feel secure with the product during transportation and execution of the show,” says Hauge.
The 45 LS-4.6 LED screens are mounted in 3 x 5 modules (144x240 cm) yet are driven as one screen from a Mac Pro running QLab, and pre-mounted on three movable podiums for quick and easy setup. Through each podium top, two vertical aluminium tubes carry the screens secured by half couplers. This results in a physical slimness, adding a refined option for costume changing behind them.
It is Hauge’s most accomplished task to ensure correct light setting on Andreas Bo and add punch to his comic timing and the atmosphere of the show. The integration of the LS-4.6 screens on stage builds the illusion, effectively adding more persona to the one-man show. Photographer and editor Per Dreyer has facilitated this illusion in the most accomplished manner, making the audiences almost forget that only Andreas Bo and a video projection are in front of them, when met by a fully equipped rock band or three exponents in Greenlandic drum dance.
“My biggest challenge has been to avoid my other lights being drowned out by the output of the LED screens, when at the same time trying to conceal the lamps. I have reduced the screens’ output intensity to only 35%, and even then the lamps at times struggle to keep pace when the full video surface is brightly lit,” notes Hauge, who has also provided special instructions related to adjustment of iris and framing of the follow spot in order to keep away as much light smudge on the screens and distortion of the image as possible.
While still aiming for perfection by correcting minor details for intensities, colours and timings after each show, Hauge is very satisfied with the result and the balance he has accomplished between ease of handling, ‘rider-friendliness’ and value-for-the-money. Great praise has gone out to the technical skills behind this show, overwhelming the audience with the massive use of video, making the comedian a constant ‘actor and co-actor’ on stage.
Hauge has been more than satisfied with the SGM LS-4.6 LED screens. “It is an extremely lightweight and elegant LED module, providing space and atmosphere to the scene image. Furthermore, the pixel pitch [of 4.6mm] is ideal even for the front row to have a good image without the use of a canvas in front of the screens,” he concludes.