The new generation of pixel-mappable motorized battens are opening unprecedented opportunities for designers to transform the stage in ways that would have been almost impossible to imagine not long ago. Arranged along the deck, these modern linear units can create mysterious, almost mystical looks in which performers appear to be floating on a field of light rather than standing on a stage. Flown in the air, they can create waves of light that dance across the stage or an entire venue.

Steven Douglas, the widely acclaimed, award-winning Irish lighting designer, has been among the early adopters of next-gen battens. Using these fixtures for clients like The Killers and Hozier, he has opened windows into some of the vast design possibilities they hold forth for designers. Impressed with his forward-looking work, we talked to him about the new possibilities in batten lighting.

You have used pixel-mappable motorized battens in quite a few designs lately. Fixtures like these were not readily available just a few years ago. So, how have they changed your approach to design?
“They’ve definitely been a great step onwards in terms of output from previous iterations of linear battens going all the way back through to 20 years ago. The output and additional attributes that have been added over time have really changed the way shows have looked. I don’t necessarily start out on a project thinking I need to use a certain fixture, but prefer to see what the design needs to achieve its end goal and then choose the fixtures appropriate to that.”

Oftentimes, designers like you are positioning these fixtures on the deck and lighting their clients from the ground up, so to speak. What do you think this kind of lighting adds to a show? Does it change how the audience sees your client?
“With this type of effect, when they are positioned on the floor, etc., they end up becoming more of an aerial effect type fixture rather than a key light source, I think. On the first few years of Hozier I had positioned batten fixtures on the side trusses and around an octagonal-shaped truss to achieve straight shafts of light surrounding him so as to isolate him away from the band visually for a certain song.

“On the second iteration of the design, we moved them to the floor and changed to the newer battens because of the addition of zoom capabilities with these fixtures. Also, we were able to achieve the separation of the artists with our new automated screens now so could reassign the lights for different purposes.”

When you do this kind of deck-up lighting, how does it affect how you use other lights in your rig?
“Yeah, like anything that would be considered an effect light. You always have to be cognizant of the other fixtures rig to make sure you are getting the most out of the effect you are trying to achieve.”

You’ve also used motorized battens to frame scenic elements on stage, the way you did with The Killers’ Las Vegas residency. How is it different using the battens for this purpose as opposed to standard LED sticks?
“On the Vegas show the set structure was based around the shape of the Welcome to Las Vegas sign so I wanted a way to fill the centre space of it with a sheet of light, the battens were the perfect fixtures for it as they lined the structure perfectly, and gave us multiple options of looks having so many in such a small space.”

The new generations of battens are used a lot for creating movement on stage. But can you overuse features like pixel-mapped chase and pan-tilt movement? Any advice on using but not overusing these features?
“Like any effect or fixture, I think you’ve got to find the most impactful moment in your show for when to use it. Overuse will just lessen the impact of it. For most of the Hozier show, we just used the battens as a zoomed-out line of fixtures to give an edge to the performance area and waited until the second-to-last song to zoom them down for maximum impact.”

Do you have a favorite kind of look that you like to create with motorized pixel-mappable battens?
“I think everyone loves that tightly zoomed-in, random movement, open white look that these units are great at! Another thing I love is the solid straight line you can achieve with these units. Also, the light curtain effect has really been amped up by the newer fixtures’ output.”