Saturday, October 09, 2010

Disney On Ice Deadline Today!

Today (tonight by 11:59pm) is the LAST day to get in your entries for the first set of Disney On Ice tickets. Our first winner we be announced on Monday!

CLICK HERE to review all of the ways you can enter. Also, the Lilo And Stitch Trivia will also end this week, so make sure to get your answers in on that!

If you have tagged us on Facebook, and I have not commented on your statuses that you are entered, please make sure to email me. If I don't get them today, I will for sure go through all of them tomorrow and make sure all of the entries are in. If I haven't commented, and you don't email me, that means I am not seeing your posts. THANKS!

Here is a behind the scenes look with the Lighting Designer for Disney On Ice, Patrick Dierson:


Disney On Ice presents Mickey & Minnie's Magical Journey features a cityscape, a pirate ship, a kingdom under the sea, a tropical coast, the African Pride Lands and more — meaning that Lighting Designer Patrick Dierson used a variety of lighting equipment and techniques in creating a show filled with energy and surprises. The new and familiar Disney stories appearing in this ice production include Disney’s Lilo & Stitch, Peter Pan, The Little Mermaid and The Lion King.

Also the lighting designer for Disney On Ice presents Beauty and the Beast and Disney Live! Winnie the Pooh, Dierson is no stranger to working with the best — he’s been on tour with pop sensation Shakira, and worked with many other musicians for VH1 and MTV, including the MTV Video Music Awards and Fashionably Loud.  He also worked with President Bush on the 2001 Presidential Gala in Washington, D.C., and received an Emmy® Award for his work on America: A Tribute to Heroes. He even works on the ice in a different capacity, for the National Hockey League’s annual ice spectacles.  Such events range from opening night ceremonies to banner raisings and jersey retirements. “I run the gamut,” he laughs.

Dierson was introduced to show business by his aunt and uncle, Broadway actors who would often let him come along when they toured. He would wind up “hanging out in the lighting booth,” he says. His childhood experiences left Dierson with a taste for variety, one of the reasons he is excited about Mickey & Minnie’s Magical Journey: “It’s like working on several productions all at once,” he explains. “It’s really fun, since you’re always working on something new.”

“This particular show is very water-oriented,” says Dierson. “Never Land is an island, Ariel’s story takes place under the sea, and Lilo lives in Hawaii.” Water-based special effects include making the ice look like the surface of the ocean for Captain Hook’s scenes, and then making it look like the bottom of the ocean for The Little Mermaid. Dierson says, “Each story has a different feel, and we project that with the lighting as much as possible. For example, Lilo & Stitch has a much brighter, lighter feel than the Lost Boys’ home in Peter Pan.”

The designer enjoys the collaborative process. “Coming up with different ideas; it’s very much an art,” he says.  “It's not all about the lighting; you’re adding to a process that other people are adding to, as well. The second you take away from one element, you take away from the whole. Ultimately you end up with something great, and something you can be proud of, and that’s really fun.” For example, “The music really sets the tone; it’s an important part of our lighting work.”

Dierson comments that part of the fun is also specific to working on the ice. “When you are working on an ice show, you immediately have this absolutely beautiful projection surface for imagery, which you don’t have when you’re doing television, for example.” Other elements also come into play, including the audience.  “The audience is often very close, and often very much a part of the show. You need to constantly take into account all of their perspectives so they can have a great experience.”

“At no point, though, do I ever want it to become a light show,” says Dierson. “It's never about just the lighting. It’s about keeping the focus, and enhancing, not distracting from, what takes place on the ice.”

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