Entertainment lighting is one of the mystic arts. Most professionals guard their secrets with circular answers and indirect language. Based on the foundation of education, Eye Dialogue seeks to teach others how to design, knowing that consumers will spend more if they understand how lighting works. Dana Davis, an educated and charismatic Charlottean, called me about lighting the annual fundraiser for the Mint Museum Gala. Naturally, I started rambling about design techniques and modern trends. Answering all of her questions, she was hooked and we began the design dialogue.

Hart Witzen Gallery is one of Charlotte’s many fine art galleries and studios. Built in a brick warehouse, the architect designed a dozen corners much like an abstract vertical stair case around the room. Walking through the space with Dana, the room was filled with raw potential. I love corners. Corners are the best place for narrow par fixtures. Accenting these corners adds emphasis to existing architecture. When down lighting most of the light is lost on the floor so it is inefficient, and the fixture is easily scene which kills the mystery. Much like knowing the punch line before hearing a joke, when one knows the source the impact is lost. Obviously I am not a big fan of down-lighting unless I can hide the fixture in the ceiling. So I placed 8 Opti RGB’s on the floor uplighting corners around the room. Creating an expanding column of light, the beam from each fixture seemed to reach for the sky.

Learning to recognize the potential of a space is the most important skill in the lighting designer’s tool box. Anyone can throw a bunch of lights up and make a space look cool, but maximizing the potential of a space within the budget is both cost effective and demonstrates the designer’s talent. Behind the stage, vertical recessed coves made large 20’ light boxes hiding access doors to private studios. A light box is created when two light colored (preferably white) walls are both parallel and close together. By lighting both corners of the 3-wall light box, the beams of light bounce back and forth between the walls. Exploding with illumination; proper light boxes both control the light spill and increase the effectiveness of a fixture.

The light box coves broke up the long wall behind stage into three sections. The middle section was reserved for the video team, but the two outer walls were mine. Unlike corners, I don’t like narrow pars on long walls. Lighting design must contain purpose and I hate random light shooting off into space . . . unless the entire design is chaotic. I have seen designs use lighting stripe effects but one light is always off which drives me nuts. However, I love cove lights on long walls. Long walls should have smooth even washes. Lining 22 color changing cove lights on each wall complimented the intense light boxes. Expanding the stage the length of the room, the speakers were adorned in a gorgeous backdrop.

The gallery had a couple dozen fixtures in the ceiling: ETC Source 4 Junior Zooms and Altman Fresnels. Three point lighting was used on the speaker at intensities of 100%, 80%, and 60%. Because the audience was 360° around the stage, I didn’t attempt to use a more dramatic design. Each piece of art was intentionally too intense. The event was an auction; I wanted to make sure no one could miss the beautiful art displayed on the walls.

Finally each table was lit with a Par30 narrow flood. The center pieces and food were second to the art. No matter what anyone says, properly lit food taste better. Also, the center pieces, typically at eye level, provide an elegant background to the conversation. Reflected light provided ample illumination for the aisle. By keeping the focus on the art, décor, and food; the purpose of the event is established.

Socialites will always have fun whether they are in the presence of presidents or the homeless. The décor is necessary for the voyeurs and those whose social skills require a topic of conversation. The most successful businessmen and professionals typically spent more time developing their profession than their social skills. Event design is to make the guest both feel comfortable and provide objects of beauty to create a positive mood. A positive environment filled with beauty is fertile soil for generosity. Put patrons in a good mood and their generosity will grow; give them an uncomfortable setting and they withdraw.

Outside the entrance, a large tent was assembled. Beneath the tent, ten tables displayed the smaller pieces for the guest. Limited rigging locations made the fixture placement less than ideal. Schedule 40 pipe was dropped from the three short cross beams at the top of the tent. With some creative focus, each table was cross washed. Because of the lack of options the differential between the room lighting and table lighting wasn’t enough for my taste. Last year they didn’t use any tent lighting at all; a good general wash is better than nothing. I prefer dramatic presentations, particularly at a charity auction when price is negotiable.

Successful annual events are always well branded. If one doesn’t recognize the name; next year, the email or flyer will end up in the junk mail folder. I cannot emphasize the importance of self promotion, particularly at its own event. It is like making an award winning commercial and forgetting to put the name of the company in it. Sure your friends and clients will know of your greatness but no one else will know who entertained them without some serious research. Sometimes I can’t remember what I did last week much less last year. Effective branding leaves an impression and assures future success. The Mint Condition Gala presented the art of a famous stained glass artist. On the tent ceilings, I used an Illusion 250 which is one of American DJ’s pro-line kaleidoscope fixtures. I overlaid the effect with a custom gobo by Rosco in a Source 4 leko. The 50° S4 barrel extended the image beyond the 40° kaleidoscope effect. Impactful from the moment guest entered the tent, the Mint Condition Gala was branded in everyone’s mind when they were coming and going.

The night ended with a set by DJ Scott Weaver. The DJ booth was encircled with 4 sticks of box truss uplit with blue LED par30s. The blue light extending beyond the top of the truss sticks cast peculiar shadows on the ceiling near the DJ. This light brought attention to the DJ area, encouraging guest to journey the entire length of the tent without taking the shortest route indoors. People tend to travel the shortest distance and typically feel awkward wandering around aimlessly. Creating interest at different ends of a space initiates a natural motion which provides opportunity to make contact with friends and to meet someone new. The healthy social environment creates new networking opportunity and communal excitement. Heightening people’s senses opens people’s hearts; creating a connection with humanity and encouraging each person to help another. Even if the fundraiser doesn’t do as well as expected, the touch of humanity assures that each individual will remember the evening and the charity. That memory transcends the moment and brings awareness of the charity to each individual, fertile ground for effecting growth and future success.

Due to the success and longevity of the auction, few guest staid to dance. For the dozen or so late night shakers, I positioned 4 scanners on top of the truss. The movers scanned the ceiling creating the party feel with spinning gobos and color changes.

Beautiful and successful, the event hosted a broad range of art lovers from young to old. The only anticipated complaint was the room wouldn’t be bright enough. Waiting . . . waiting . . . waiting . . . score, no complaints. The Mint Condition Gala had never used a lighting designer before and a barrage of compliments came my way. The event is put on by a committee, so I will not be working with the same people next year. Hopefully I have taken my own advice and left an impression on enough people to be invited next year.