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Lighting
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Equipment List
Note: This list is being made from memory and old paperwork almost 4 years after the tour, so I'm sure there are errors!
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#
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Item
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1
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Compulite Animator 48 Plus Lighting Console running 3 universes
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1
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Vari*Lite Mini-Artisan 2
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2
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48 x 2.4k LMI L86 Touring Rack; 36-circuit Pyle and 12-circuit Socpex connectors
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1
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96 x 2.4k LMI L86 Touring Rack; 36-circuit Pyle and 12-circuit Socpex connectors
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3
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12-circuit Relay Non-Dim Units built into each dimmer rack
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4
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12-circuit Relay Non-Dim Units built into each truss distro box
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9
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Vari*Lite ACS Rack (1 on ground, 8 in truss)
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24
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Tomcat 10' x 30" Box Truss, Black
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15
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Tomcat 10' x 20.5" Box Truss, Black
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2
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Tomcat 5' x 20.5" Box Truss, Black
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23
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Vari*Lite VL2C Moving Light
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32
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Vari*Lite VL4 Moving Light
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18
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Clay Paky Golden Scan 3/Stage Scan Hybrid (Custom Prototype)
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16
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High-End Studio Color M
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292
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ETC Source 4 PAR
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4
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8-Way DWE Mole
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6
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Wybron Scroller - 8-Way Size
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~450
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PAR 36 (around perimieter of ice, and in set)
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40
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Egg Strobe
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42
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Flourescent UV Light
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16
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12" Police Beacons
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16
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9" Police Beacons
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2
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Lycian 1290 2000W Followspot
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1
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Alumifax Mister System; Pipes around ice perimieter
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2
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DF-50 Hazer
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2
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F-100 Fogger
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Lighting Designer: Leroy Bennett
Animator Programmer: Troy Eckermann
Vari*Lite Programmer: Unknown
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More Lighting and Rigging Info
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The rig for the show consists of four main lighting trusses, each 60' wide, running side to side across the ice floor. These are spaced generally 40' apart, but are fully flexible to shorter distances depending on the size of the ice floor. The grid usually trims at 40'. On the end of each beam is an outrigger which holds two Studio Colors, a Golden Scan, and a speaker. Each main lighting truss (in 6 sections of truss) holds 72 Source 4 PARs for ice wash, 4 flourescent UV lights, and 14 moving lights.
Running along the center from upstage to downstage is a center-spine truss, along which runs the cable pick and all the distribution for the grid. Also hanging on this center-spine are 2 VL2Cs. Near each beam, a box hanging on the center-spine provides power for the moving lights and motors with custom-built relay boxes and two Vari*Lite ACS Racks. The center-spine also suspends the flytrack, which holds a motorized flycar capable of picking up two skaters in costume and flying them up and down the ice. It also lifts up the large "claw" from the claw-game machine sequence in the movie.
Around the edge of the ice are what we call "headers." These are simply footlights in a decorative housing, meant to look like the set. Ours are shaped and painted as legos to go with the tpy theme of the show. Each header contains six PAR 36 units.
The lighting grid and the headers also contain several police beacons which flash during the "Pizza Planet" sequence.
Finally, the set contains a few more VL2s used to light pieces in the set.
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The Set
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For the most part, the set is a proscenium area built from standard silver truss. It is about 70', maybe 18' deep, and probably 35' tall. I cannot remember what the front masking of the set was, although I think it was roll drops. The entire truss is filled with PAR 36 lights which chase during the Pizza Planet scene.
At the upstage of the set are five large sliding cycs. For the most part, these stay closed to allow for a full backdrop cyc, but they could open to allow scenic pieces on and off the ice.
The set also contains elements which can be used for two different scenes. One is the bed, another is the toy box, and the last is the poster. Each one is built out of silver truss and is covered on one side with drops or foam to appear like the furniture of Andy's room. When turned around, they become silver truss, filled with lights, as part of the Pizza Planet scene.
Even though taken care of by the lighting department, there were some more items which were technically set pieces. In the truss were 2 large windows which lowered down to the ice to signify the two different houses used in the show.
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Props
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Every Disney on Ice show is filled with huge props, many of which move around the ice by use of motors, being driven like a car from inside. Props for Toy Story were some of the coolest ever:
- The RC Car was a full-sized drivable RC Car. It could speed around the ice, and even had a built-in contraption so the car could do wheelies. The headlights were eyeballs which could blink and turn back and forth like RC's eyeballs.
- A 20' tall Toy Rocket ship with full blinking chasing lights (the claw toy machine)
- A 15' tall and wide van with working headlights, doubled as mom's van and the pizza planet truck
- The erector-baby toy, which was ridden like a bicycle and had rotating spider-like erector legs and a big spinning baby-doll head
- A large claw which is flown out over the ice and actually picks up two of the skaters and carries them back to the set
- There are many more...give me some time to remember!
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Audio
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Sound for the ice shows is kept pretty simple. All music and vocals are pre-recorded on either digital tape or hard-drives, so the whole show is controlled from a small mixing board, usually just 12-channels. The front of house is set up in two large racks, each two rack spaces wide by about 20 spaces high. In these racks are endless arrays of playback, equalization, delay, and storage equipment.
The audio system is comprised completely of Meyer Sound speaker cabinets. There are up to 44 cabinets used, depending on the size of the arena. Since the show is in the round, there is a speaker on the end of each lighting beam (for the middle seats), and two clusters over the ice (for the lower seats, and for subwoofers). If the arena is big enough, more speakers are hung out in the house to provide sound to the upper seats.
Amplication is provided by two more huge racks backstage. I cannot remember the make or model of the amps, but they contained 8 channels each of amplification, and there were 7 of those. Each is also controlled by a processor to get just the right levels to each one.
In order to get the show sounding the same all around the house, the sound department uses a Meyer SIM computer and numerous microphones set up all around the arena. Each microphone can report back to the computer what it hears, and the sound guy can make adjustments accordingly until each mic is reporting the same thing.
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