For anyone who missed this session at LDI 2024, this article is your synopsis!
On December 8, 2024, I had the honor of moderating a panel discussion with two phenomenal creatives, Erica D. Hayes, a lighting designer and programmer, and Zach Berget, COO and show director at Wasted Potential. Together, we explored the intricacies of designing and producing artist-centered music acts, diving into how to balance creative vision, efficient workflows, and the ever-present reality of budgets.
This session was hosted in front of a live audience in the LDI Podcast Studio in Las Vegas, marking one of four live recordings for the Artistic Finance podcast. It was an incredible opportunity to learn directly from two experts at the forefront of live music production.
If you couldn’t make it to the panel, here’s what you missed:
Vision: Where It All Begins
Who drives it, how it’s shaped, and how it evolves into a full-fledged production? For both Erica and Zach, the artist’s vision takes center stage, but their roles as designers are to take that vision and transform it into something practical and executable.
Erica explained that mood boards and concept decks are essential tools in visualizing the story. They provide a framework for translating abstract ideas into concrete elements that resonate with both the artist and, by extension, the audience. Her work as a lighting designer has to match with the style of the artist or production designer, and this happens by sharing graphics of the intention, and sometimes visualizing in pre production looks that match.
Zach emphasized the importance of collaboration, noting how details like choreography, lighting, and laser design must align to create a seamless experience. Vision and reality have to coexist, and it’s pertinent that a show director communicates to all departments what the visual intention is.
Workflow: From Concept to Execution
How do you turn vision into reality, and what does the process look like?
Zach broke down the phases of production, starting with concept development, moving into budget meetings, and finally creating visual decks to ensure alignment between all creative and technical teams. Erica added that after the show ends, there’s still work to be done—archiving paperwork, debriefing with teams, and preparing for the next time that project remounts.
When asked about tools, both panelists stressed the importance of software like GrandMA, especially its 3D mode for previsualization, albeit using visualization software paired with it for client facing visuals. Erica explained that learning these tools is crucial for syncing all visual elements, from lighting to video to lasers.
Budget: Creativity Meets Constraints
One of the most challenging aspects of any production: budgets!
It turns out that neither Erica or Zach have ever been given a carte blanche budget. Erica explained prioritizing needs over wants helps stretch a budget and deliver a design that looks like a million dollars. Zach talked about the importance of clear communication with clients to manage expectations. If there is an idea that can’t be achieved in the way a larger budget would allow, the client can help decide how to adjust the look of the resulting product.
When asked if budget ever limits creativity, Zach replied, “It’s not about what you can’t do—it’s about finding a way to make the most of what you have.”
Audience Q&A
The audience asked some fantastic questions, including one from lighting designer Katerina Swartz. The question was, “How can students studying theatre lighting break into the concert or TV industry?”
Erica and Zach encouraged these aspiring designers to reach out to professionals, build a strong network, and learn software like GrandMA to be ready to jump into a gig.
A question I asked was, “If you were to cold pitch an artist like Katy Perry, how would you go about it?” Zach mentioned that he would first have an idea for a visual to present to her, and then he would tap into his network to get that meeting. Erica said she would communicate clearly with people that work with Katy Perry that she too wants to work on those gigs. And if Erica were to run into Katy Perry at a party, she would compliment and then directly communicate that she wants to work with her.
Regarding audience participation and the importance of attending conferences: an attendee spoke to the panel afterwards which led to an internship with Wasted Potential. How’s that for a pitch for being proactive at LDI!
Conclusion
Based on the insights shared by Erica and Zach, it was clear that their success lies in their ability to balance artistic vision with logistical realities. This down to earth mindset means that any designer, programmer, or show director can learn from them.
If you’d like to dive deeper into this conversation, you can watch or listen to the full session at artisticfinance.com/178. And if you enjoyed this, mark your calendars for LDI 2025, where I’ll be moderating more Artistic Finance sessions like this one.
Thank you to Erica, Zach, and everyone who attended in person. And a special thank you to Ebony Madry for conceptualizing this panel, even though she couldn’t join us due to a last-minute gig with Shaboozey on Saturday Night Live!
Thanks for reading!