Congratulations to Oscar Dominguez’ Emmy-Winning Design for The Voice!

Congratulations are in order to lighting designer Oscar Dominguez of Darkfire Lighting Design and his lighting team for Season 3 of NBC’s The Voice for winning the 2013 Creative Arts Emmy for Outstanding Lighting Design/Lighting Direction for a Variety Series.  Oscar’s team for The Voice is comprised of lighting director Daniel K Boland, lighting director Samuel Barker, and media server operator Craig Housenick.  Major congratulations are in order for your beautiful work!

Oscar Dominguez has been using Chauvet Professional fixtures to create his stunning designs for The Voice since Season 1 of the show’s history, starting with the COLORdash Batten Tri and the COLORado 1 Tri Tour.  Oscar and his team from Darkfire Lighting Design used COLORado and COLORdash to bring pure eclectic color and intensity to the performances given on The Voice while giving the audience a stellar experience both live in studio and at home in broadcast.

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Oscar’s work in Season 2 of The Voice brought over 500 Chauvet Professional fixtures into the lighting rig:  over 350 COLORdash Batten Tri units, 60 COLORado 1 Quad Tour fixtures, 48 COLORado 1 Tri Tour units, and 44 pixel mapping Epix Bar fixtures helped Oscar and his team to create the vibrant designs that audiences across the world have come to expect from The Voice.

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Season 3 of The Voice was another milestone for Chauvet Professional and The Voice, as Oscar’s lighting rig incorporated the first 86 Nexus 4X4 pixel display units.  Oscar and his Darkfire Lighting Design team designed some of the most spectacular broadcast lighting in recent history, gaining him the Creative Arts Emmy that his work, his team, and The Voice deserve.  Bravo from Chauvet Professional to you and your team, Oscar!

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About Oscar Dominguez, from his About page at Darkfire Lighting Design:

Oscar Dominguez, the founder and head designer of DARKFIRE INC, is the man behind the exciting visuals of NBC’s THE VOICE, THE BACHELOR and SHARK TANK. With over 20 years of experience lighting live and episodic television, he is one of an elite group capable of producing the large scale lighting spectacle that top-rated TV shows demand. Oscar was recently nominated for an Emmy for his work on THE VOICE LIVES Season 2 and with his team has created an impressive body of work.

DARKFIRE works closely with producers, art directors and videographers to create a lighting plot, budget and equipment recommendations. New technology appears on the marketplace every week and DARKFIRE’s technicians check out its viability and compatibility with modern cameras. The expectations of the TV viewing public have never been higher and the range of traditional and LED based fixtures has never been wider. A generation raised on  excellence in concert lighting wants the same look and texture in their favorite weekly TV show. Fortunately modern camera technology has allowed designers like Oscar to re-create the looks that were previously only possible in live concerts.

Lighting for television is a collaborative process; with the convergence of set, lighting and special effects, the business of design is becoming more specialized. DARKFIRE continues to take a leading role and with every show renews its mission to bring visual excitement to millions of television viewers. 

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LD Profile: Oscar Dominguez

Six questions with Oscar Dominguez, venerable lighting designer with more than 20 years of experience and visionary behind Darkfire Lighting Design. Dominguez’ projects include many of TV’s top rated shows such as “The Voice,” “Lopez Tonight,” “The Bachelor,” “The Bachelorette,” “Wipeout,” “Shark Tank,” “America’s Next Top Model,” “Are You Smarter Than a 5th Grader,” “Fear Factor” and more.

1. How did you get started?
My father was a manager for a restaurant across the street from this little sound stage in Van Nuys, California, and he pleaded with them to take me in for a day, which they did. So, I started working and doing little things, like cleaning the stage and mopping the floors — I was 17. A day came when one of the electrics didn’t show up for the call at the studio.  I was told, “here’s a wrench, now go up the ladder and see what you can do.” I started working my way out, became the house gaffer and learned from the other lighting designers working there. I started very low.

2. What do you think is the next big thing in the industry?
We need to figure out how to come up with one mega diode, a magical diode that works more like a traditional light. For output, people mention the number of LEDs, but this means sacrificing the purity of the light. I think we should witness a different approach in the way LEDs are utilized in fixtures. A lot of lights are designed by engineers, but we should see engineers and LDs working together and create an LED that would perform flawlessly. The LED is useful for its velocity in color change, but needs to stop being a two-dimensional light and morph into a 3D LED, to emit a light the same way a conventional light does.

3. Do you have a favorite fixture (and why)?
My favorite light is probably the source four Leko. It is an incredibly flexible and versatile instrument. If I had to I could light an entire set with just that fixture. If we are talking about the CHAUVET® lights I use, the COLORdash™ Batten Tri lights proved to be an incredibly reliable fixture and a useful tool. I hate to love it, but I do.

4. What has been your favorite design/project?
“The Voice” — one hundred percent. It is my favorite and most intense project, at the same time. I love lighting for music and this has allowed me to really experiment. NBC has been extremely supportive and let us go deep. There are high expectations, there is a lot of stress and zero room for failure. Creativity is very important – every week you have to come up with new stuff.

5. What was the biggest unforeseen obstacle that you’ve faced in one of your designs, and how did you overcome it?
I remember I worked on this award show, and I forgot to draw the audience lighting. Somehow it happened, but I learned from it and from then on I knew I had to double check on every step.

6. Complete this thought: A show without light is like…
… radio.

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