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Illuminate the dance floor and watch
the people move
Ever since the ancient Greeks decided to build their theaters and
schedule their performances to take full advantage of the sun’s
light, entertainers have realized the power lighting has to create a
mood that captivates an audience.
Why Lighting?
DJ lighting borrows elements from the stage but uses them in
different, usually more abstract ways. On stage, the spotlight will
move to follow the action. In a DJ setting, the movement is not so
specific, but is definitely more intense—beams of light flashing and
scanning across the floor can reinforce the rhythmic movement of the
music, in turn helping people enjoy the dance experience more.
Composition or specific placement of lights can create a variety of
effects on stage, from placing the action in a certain time and place
(midday in the desert, city alley at midnight, etc.) to accenting the
emotion of the play (for example, sharp, jagged shadows as a
background to a murder mystery). When it comes to light placement, DJ
lighting relies more on symmetry, or having lights that balance each
other on various sides of the dance floor. Time and place may seem
irrelevant to a dance-oriented lighting setup. But think about it:
isn’t a color wash on a wall or floor kind of like controlled
moonlight? And those pinpricks of light bouncing off your mirrorball
seem an awful lot like rotating starlight, don’t they? Moonlight and
starlight illuminate but also leave a lot to the imagination. Thus,
lighting can be a powerful tool as you attempt to carry the crowd away
to a different place for a little while.
Color is Primary
What are the essentials to using light effectively for DJs in the
twenty-first century? We asked a number of DJs for their input, and
one thing came up repeatedly as the most important consideration:
color.
Nick Burke, owner of Sound Decision DJs (Millersville, MD), 37-year
entertainment veteran and Gear & Equipment Board moderator for
ProDJ.com, says of color, “...it’s the way atmosphere or mood is
set up by the lighting. Color fill is an absolute must...” Taking it
further, he adds, “I do use oil-wheel projectors, fiber-optic light
smears, even gobo projectors. Moving heads are great because they’ll
put light just about anywhere.”
“Fill—first and foremost, is always fill,” states Chicagoland DJ
Al Deneau. “Effects are simply effects, whereas a good fill will
actually create more ‘mood’ and ambiance.”
The reason for this is the proven psychological effect of different
colors. Mobile Beat columnist Jammin’ Jim Kerins, who runs both DJ
and band entertainment services, gives his explanation: “Obviously
all of your favorite movies utilize the talents of a colorist to give
cinematic productions a certain look that will promote various
feelings and emotional responses. This should not be lost on us. Even
at an elementary level, cool colors slowly mixed together or faded
into one another will promote slow dancing...not to forget pastel
colors, which illuminate with a soft glow when it’s time for close
body contact.” On the other hand, “...certainly bright reds, and
yellows, will turn up the party heat.”
Turning Mood into Movement
Static or slowly-mixed colored light can set the mood, like the
background of a painting. Programmed or sound-activated moving
fixtures can then get your crowd up and moving on the dance floor.
Offering some specifics on how to ramp up the event, Kerins says, “I
think it’s imperative to be able to control room lighting, and to
get the dance floor as dark as possible, while maintaining lighting at
a reasonable level in the back of the room for non-dancing guests...As
soon as the first real dance song begins, immediately, and in
synchronization, bring down the dance floor house lights and turn on
your light show to indicate that it is definitely party time. This may
seem simplistic to some, but people are often self-conscious about
dancing at the beginning, and a dark dance floor gives confidence to
those soon-to-be-inebriated dancing guests. Plus a dark room will
showcase your way hi-tech, supercool light show...”
“Weddings in Chicagoland rarely want a ‘big’ light show,”
reports Deneau, “but they want some pizazz, so creativity really
becomes your best friend. The fine line between ‘awesome’ and
‘too much’ can be easily crossed. Subtle mood enhancing lighting
is the key with weddings. Corporate events can really benefit from a
creative light show, from custom gobos with the company logo to
highlighting the speaker with lighting...”
Palette for Your Lighting: Special Effects
Of course the “effect” of any kind of lighting depends on the
actual physical atmosphere in which it is projected. That’s where
special effects come into play. “Fog (or haze, when practical) is
the single best thing one can do to enhance lighting, change moods,
and create excitement,” states Kerins. “Many of those expensive
beams can go to waste unless there is particulate matter to render
them visible.”
How far do you go in adding to the atmosphere, though? Lighting
engineer and DJ, Jeff Johnson (Northcoast Lighting and Crystal
Entertainment, Townsend, MA) has wide experience to share: “We do
use all of the foam, fog, bubbles, flames, and so on...Be careful,
because with the fog, bubbles, foam and confetti it can make a real
mess and create a safety hazard...Be very paranoid when using this
stuff—safety comes first. Even if it’s a little $39 fogger, it can
still set off alarms and create a hazard if not placed right. In foam,
people can trip and fall...Real fire or pyro? Call a real pyro company
to do it that is licensed and insured...Simulated flames rock! Safe,
cheap and effective—a sure shot every time.”
On the other hand, for many DJs, less is more. “Fog and haze are my
only ‘special effects,’” says Deneau. “The well-timed blast of
fog along with an awesome light sequence will always enhance the
show...light haze throughout the night (even cigarette smoke) helps
keep the beams alive and three-dimensional. Confetti would be nice,
but many places here are not allowing it—as well as fog or haze,
which is too often overused by inexperienced operators.” Burke
concurs: “I do not get into foam parties or lots of confetti as most
of my venues frown upon the clean-up required after such things. I use
haze as opposed to fog as it’s less offensive and a lot more subtle.
I’ll use flaming bowls for a tiki-bar or luau environment.”
Tools with an Impact
Like every other aspect of your DJ show, it is imperative that you
treat lighting seriously, if you decide to add it to your bag of
tricks. In Johnson’s opinion, “...the size doesn’t really matter
as long as you provide what you promise to the customer and make it
look professional...Do not use stuff from the mall or Wal-Mart!”
Lighting and special effects are certainly tools you should consider
using, according to Kerins: “I feel that DJs often give 98% of their
thought, effort and execution to the music portion of their shows, and
only 2% to the visuals. What we must realize is that the average
partygoer does not know if you’re using a $99 CD player or Denon’s
best. However, everyone will notice great lighting, and this is what
will separate you from other less professional DJs. With the
proliferation of high-quality, inexpensive lighting, there’s no
reason for any DJ not to have a small arsenal of great lighting
effects.”
There’s a myriad of choices when it comes to the realm of lighting
and special effects. For basic information on the full range of
companies that supply foggers, bubble machines, “dancing”
fan-inflated items, as well as high-tech luminaires, consult your copy
of the Mobile Beat Gear Book 2004. An expanded lighting section and
separate listings for special effects are included
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