SCOTT PASK

Scott Pask is a successful theatre set designer and has designed sets for Book of Mormon, Something
Rotten, Mean Girls and many more. The reason why I have chosen Scott Pask as practitioner is that
he designer the set for Mean Girls which consists of a giant screen similar too my set concept. The
Mean Girls set comprises two stage-wide curved walls with sliding doors and panels. The top screen
is set back to create depth and dimension. The images are delivered by using five disguise gx 1 media
servers. The gx is connected to the 22 NovaStar NovaPro HD processors and are triggered by a
combination of timecode and cues from the lighting and sound department. All this contributes to the
show feeling slick from beginning to end.

Gx 1 media servers

Smart content:
Stunningly forceful for its size, the power density of the gx 1 takes generative content to the next level
with higher resolution and better frame-rates. Experiment with interactive and responsive design and
discover unimagined new ways to connect with your audience.  

Small but mighty:

The gx 1 comes with a single VFC slot, so you can scale up to one 4k output or four HD outputs.
With fewer outputs, the server can focus more energy on producing generative content – so not only is
it more compact, it’s extra smart too.

Create visual impact:

The gx 1 comes with a license for Notch – a tool that not only brings the freedom of real-time, but is
also extremely flexible. Whether you simply scratch the surface, or explore its deepest limits, bring
your creativity to life.

Pixel-perfect playback power:

Push Every Pixel™ means that the gx 1 has enough power to fill every physical pixel of its outputs
with at least two simultaneous layers of content. Take your show to the next level with the ultimate
playback power.
“Casey had a very clear and absolute vision for the stage design and Tina Fey’s script changes
location so fast it’s often hard to keep up,” explains Finn. “Our design approach had to balance this
speed. Casey sees video as a crucial element of the detailed choreography of Mean Girls, an extra
layer of narrative, so content has to move and change to the same beat and count as the performers,
yet still convey a believable environment.”

“When we first saw the model box we knew that the video surfaces had to be LED rather than
projection,” Finn continues. “We wanted to use colours and tones that would be unavailable with
projection and we needed levels of brightness that would easily compete with stage lighting. This
allowed us to create increasingly subtle content such as dark brick walls, dark blue night skies and
moonlit gardens, while still having the impact we needed on stage.”

FRAY Studio’s where responsible for the video content and they are a British video design team and
they worked close with the shows director and choreographer, Casey Nicholaw and the set designer
Scott Pask, to create a sophisticated look.

Disguise is a crucial tool which allows them to bridge the gap between the creative and technical
while syncing video content so it can be triggered across a network and timecode, light and sound:
“These days, working with disguise is second nature for us,” says Finn. “Mean Girls is not as complex
as other shows we’ve designed. However, it was quite a jump for us to move into designing and
programming for an LED surface as opposed to projection.”

In this photo the screen design is very similar to the concept I have in my set.

Having done this, I have a better idea of what equipment I now need to go forward to make my design
reality.