Today we interview Pedro Yagüe, with more than 22 years of experience in the world of lighting, Pedro started in the technical world to then devote himself fully to lighting design.
Some of his most recent works have been: Carmen, at the Teatro de la Zarzuela; Don Juan, in a co-production of the Classical Theater; or your last participation with King Oedipus in the novel project City Theatre.
Today we sit down to talk to him and his latest experience with ETC cuts, Source Four LED Series 2. You stay?
Several years dedicated to lighting and a lot of projects behind you. You could tell us some of your last most important projects.
Some of my last designs that I've done during this season ... I could start by telling you Carmen at the Teatro de la Zarzuela. After this production, I made a Don Juan, a co-production with the Teatro Clásico.
For this summer I have new projects, I will be in Almagro and also in Teatro Liceo with The Human Voice under the direction of Paco Azorín. The last thing I've been involved with has been King Oedipus, a new project called Theater of the City. As a first project, because it will be done in successive years, they have had the idea of three Greek tragedies with three different artistic projects that have helped us to do something different.
Right now I am involved with a new project that I'm raising in Seville.
For your latest production, 'Oedipus Rey' - under the City Theater project - you have had several LED cutouts from ETC, the Source Four LED Series 2 What did you think of how these cutouts work?
They have seemed better than I thought. I have been pleasantly surprised. Until now I had some reluctance in the use of this type of LED cutout, and the truth is that I thought that much progress has been made in this field of LED lighting especially in the trimming model.
A few years ago, they had tested with other models of other brands, but so far was not convinced with the performance. And I was surprised because I thought I was not going to use them because it was not a great assembly, but they have been very favorable and they have served me well.
I think that the cut itself has a shine that I thought it did not have - when it comes to intensity I mean - and I was pleasantly surprised. It is a very interesting device.
Now that you have worked with them, do you think they have helped you in your style or have they given you new ideas when developing your latest production?
Each montage is a world. I have a defined style when it comes to color, I try to work more with cold or clear light correctors. It is difficult for me to use color, but it is true that for this Greek tragedy, for some moments that I had in mind, I have been working on intensity and tones in rehearsals and I have reached that point of the tonality that I had in mind and I have been able to translate it.
One of the characteristics of these cuts is the possibility of being able to access the color in a different way. For this production and for the colors that you had in your design, was it easy for you to find the colors?
The world of color is complicated, both in conventional and in changing the color of the device. We work with the pallets directly from the table, but they are not real to the physical gelatine, they approach.
Working with the technician we had at the table, we had no problem finding the color. I had very clear what I wanted and I found a blue-green base. From there, I worked in small variations from one blue to another type of blue. Once I found it, it was easy to do it.
It is a very interesting field because you can see all the possibilities it has for the combination of colors.
Do you think that working with this clipping has given you some different opportunity?
In this show, as we worked on three different projects at the same time, it has given me more color.
I thought that this color would never have used it with a filter, but when researching on the subject of color, I have found tonalities that I never thought I would have been able to find.
If you had a complete LED equipment would you opt for it or would you prefer to combine it with conventional?
Each montage and show is a world, so depending on the project I had, I would say yes or no. Now I have a project with a dance company where I work with a lot of color, since it is a family show and the costumes and props are very visual and colorful and this type of apparatus I think would be very useful to find the color combination that in another I could not find it.
The fact of having this type of focus is very interesting for this type of shows, especially spaces where they change a lot of space or scenery.
For your last production you have had an ION ETC table, from the EOS family, to operate with these cuts, do you think it is easy to control the color and record this type of devices through these consoles?
I think so. ETC tables I've known them for a couple of years, I worked with them, and I had never used them with this type of equipment. For the technicians who have worked in this production, it has been supersingle. And the search for tonalities has also been very simple. They are devices that combine very well with this type of projector.
Thanks:
Thanks to Pedro Yagüe for his participation and his time.
Stonex is the official distributor of ETC, among other well-known brands. With more than 30 years of experience in the entertainment sector, Stonex offers integral solutions for the entertainment, entertainment and architectural sectors, including design, supply, installation and maintenance of scenic equipment and lighting for professional use. In addition Stonex distributes the main brands of the market exclusively in Spain.