Brickman oversaw lighting on the On
An Island tour, including the Royal Albert
We recently posed the following questions to
get his take on lighting and ensuring accurate
reproduction on a High Definition format.
Pink Floyd concerts,
David's solo shows included, have always been
known for their elaborate light shows. How collaborative
is the creation process when designing the shows?
How involved is David?
Pink Floyd shows were always a highly collaborative
undertaking with many talented and creative
David's solo tour was exactly that, solo.
David was very involved in the overall visual
and audio feeling that he wanted to project.
As the master of many instruments, and
adding in the songwriting collaboration with
Polly [Samson], the solo tour was a triumph
in its artistry.
Knowing that this
would likely be released in High Definition,
was anything done differently in the planning
and shooting for the shows?
Those decisions were mostly made by David Mallet and
his team, who looked at every detail as to how
to capture the live show.
It was not an easy undertaking considering we
were not going to change the lighting or feeling
of the show.
Can you explain how
lighting is critical when it comes to reproducing
the show on disc, especially for High Definition?
The capturing of any show is critical when
you have that many cameras trained at the stage
with so many different angles.
The lighting is constant for the audience, whereas
the cameras are seeing everything differently.
No additional lighting, except for audience lighting,
One of the issues
raised by some with regard to High Definition,
and Blu-ray/HD-DVD in particular, has been the
treatment of colors. In particular, how colors
get augmented making it tricky to keep the blacks
black, the red and blues not overly saturated,
etc. Are these things that lighting technicians
need to be increasingly concerned with?
Not really. Once a show is up and running the
great challenge is for the director and the
post-production team as to how to "keep