With a bit of negotiating skill and convincing arguments, you can also provide your clients a little more light on various occasions than just simple beam and flower effects. Exactly at this point my brother and I could convince the bridal couple and so the scope of the lighting technology increased accordingly. Since the bridal couple chose the Neue Brüderkirche in Kassel for the dinner together with their guests and the following party - a popular event location for many years now - we did not want to distract from the old venerable building or even draw attention to our light equipment. This meant that the traverse, which is permanently installed in the church, was no longer necessary for classical lighting of the dance floor. After a little deliberation, exactly eleven metres of one-point truss, several cubes and associated slings were used at the end, which we pre-assembled in our warehouse in the form of two window frames. In the church we fitted each window frame with a spot moving head and fixed the wired element to the existing traverse. Another four beam moving heads got their place on the altar and with a total of 15 LED spotlights the existing light in the church was supplemented.
With this light set-up with eight moving heads and 15 LED spotlights, it was out of the question, that a light control software had to be used here. A DMX console, where the light is supervised by the DJ in parallel or even a sound-to-light solution was not an option, which was also explained in the preliminary talks. Thus all devices could fully unfold their specific effects: during the common dinner static scenes provide for a cosy light tendency with discreet coloured accents, where however after the opening dance I created a intensive and live made light show.
The corresponding project in DMXControl 3 was by the way again no new one. For this event, I did only small optimizations of the programming (among other things I combined two Softdesk pages to one) and on site my main focus was the adjustment of the movements and positions. Ten movements, seven fixed positions and ten different gobo effects for the moving heads as well as a certain amount of different dimmer chasers and static colours, combined with blind and strobe effects on the keyboard were enough to create a different mood from the light for each song, but also within a song. So I didn't get bored with the light PC any more than I did with the guests on the dance floor. And in retrospect I was really amazed how much more can be less sometimes.