Interview with Massimo Tomasino, famous Italian Light Designer for the “A nome Loro” event in Selinunte where Pluslite products were installed
Hi, I’m Alberto from Pluslite and we are pleased to be here with Max Tomasino, one of the best Italian light designers of many national and international artists.
Massimo Tomasino began his career in 1989 in the theater, and from there his rise as Lighting Designer for Prose, Dance, Live Concerts, Operas, Operettes, Musicals, Videoclips, Parades and TV Shows projects. Massimo is also a university professor at the Academy of Fine Arts and at the A.I.L.D Ass. Italian Lighting Designer.
He boasts collaborations with productions, directors, choreographers, and follows several Italian, European and world tours of Italian and international artists, including Antonello Venditti, Ron, Nek, Renga, Carboni, Bertè, Nil Rodgers & Chic, Bob Synclair and many others …
Hi Max and thank you for granting us this interview shortly before the “A nome Loro” event, an event to remember the mafia victims at the SELINUNTE Archaeological Park where Pluslite products are present as a lighting system, including:
VERO300 Beam Spot Wash 3in1 300W White LED Osram, 5°-45° linear zoom, 15kg
MINIART Moving Head Wash Beam Zoom 7×60W Osram RGBW LEDs 2.5°-60° Electronic Zoom 9Kg
SMALLY Beam & Wash Zoom Led Single Pixel Control 7x40W 4IN1 RGBW LED zoom system 3°-45°
PIXTRIP Strip pixel mapping outdoor RGBW LED
A scenography whose background certainly dominates with the magnificent temple, and with the PIXTRIPs with which you wanted to partially redesign it.
Did you already know Pluslite products?
Hi everyone, yes I have tested them and already used them for other events, in fact as soon as they told me that there were Pluslite products I immediately gave the OK to the production and to the Rental company.
Of course many would say a 300 LED (VERO300) outdoors at 8-10m high, are you sure? But having already tested them, I know about the quality and efficiency of the product and therefore I was on the safe side, so much so that in the afternoon the effect could already be seen with the sun.
The power of the VERO300 as well as its versatility with its gobos and prisms make it a very reliable hybrid Beam Sport Wash machine, as well as being a compact machine.
Together with its brother the MINIART Beam Wash 7×60 RGBW with similar functions and with a large 2.5° to 60° zoom aperture, the Beam Wash SMALLY 7×40 RGBW with its pixel control, a small machine from which you think you have no expectations but I have to say that after using it, expectations increase and you do an excellent job, and with the PIXTRIP pixel strip RGB, we have recreated this magical scenography that you will then see in this evening’s show.
What are you using as a light control console?
MA3 absolutely modular, very versatile and very fast, among other things, I created everything first in the studio having found all the fixtures on Wysiwyg, I loaded the CADs as per the stage plan and location, I connected the console, loaded everything and created the positions and I found my work much simplified, why is this? If a light designer colleague of mine wants to use them but doesn’t physically have the machine, he puts them on Wysiwyg or Capture, now the ones everyone uses, and you can try the products there also because the yield is very precise and similar.
It often happens that we hear that the machines that should be used for events are decided by the technical data sheets created by the light designers and this is always in favor of machines from more renowned brands. Do you think that this is a fundamental thing for the work of a rental company or a light designer or do you believe that in any case based on the machines you have, clearly if you test them, try them and verify that they have their own value, such as or however equated to the work to be carried out, can they equally work efficiently?
Exactly Alberto, this is always what I say! I mean, I won’t mention the name of the brand now, but there are some companies that 15-20 years ago weren’t at certain levels and sent me products to the studio to try, and after trying them, I told them, this is so-so, this is not good, this is good. But I used the good product and like today there were people who told me…<<but why use that product from that brand that no one knows about>>. I always replied…<<Look, I don’t give a damn what brand it is, who uses it or who doesn’t use it, I see the product, if I like it I use it!!>>. The fact is that now this house is at certain levels but 20 years ago it was almost at zero, so for this reason I’m telling you if I had a product here that I wasn’t satisfied with I would say NO
…you would have told it the production and the rental company…
..of course and what I always say, the technical data sheet is just a parameter, but the machines must be tested, without remaining fixated, for me it can be called in another way.
…trying is believing…
exactly, but it’s like with anything we use, like clothing, I use that jacket because it’s from Armani and maybe I don’t use the other one that isn’t a well-known brand, but maybe that one is better than other one and if you try it All right!
Clearly I believe that machines have a technological value, a technical value for the success of an event but then the true value, the most important one is always the person who makes them work and the technical staff who installs them, and here we have one of the best exponents who manage to give value to the functionality of the machines.
Thanxs. Of course because we try to steal everything the machine can do. I’ll give you an example a little while ago I had at the SMALLY Wash Beam pixel control creating its own effect, combined with its opening and closing zoom and its single pixel control it allows us to create tricks and games that we use for shows , and in any case it is normal that the machine allowed me this based on its functionality, so this is certainly important.
Alright Max thanks for your time and good work!
Thanks to you and the friends of Pluslite.
Selinunte 25 May 2024
