Jared Moore Keeps Hogs In The Television Spotlight
      
      
    
    
    
    Date Posted: 6/28/2021
    

For all six seasons of  Fox’s award-winning television series Empire, lighting programmer Jared  Moore used a variety of Hog control products for the show’s diverse performance  settings and other scenes. The American musical drama was one of the  most-watched series during its long run through 2020. After a quick run on the  US shoot for Warner Brothers The Batman, Moore next turned his focus to  work on Power Book IV: Force, Starz's spin-off based on original Power character Tommy Egan.
Jared began his career  in 2002 as a freelance LD in Chicago, coming of age through the theater scene  and designing for a modern dance company on ETC desks. In 2013 he transitioned  into television and film work, where he learned of the Hog platform. He says,  “I was told by another programmer that all the film guys used Hog. I worked on  the ABC show Mind Games where I used a Hog III - that’s where I learned  the console. Transitioning to the Hog 4 platform when I booked the Empire gig was a natural step.” 
As an IATSE Local 476  member, Moore’s resume saw him brought in as lighting programmer for the  opening 2015 season of Empire. Still called a ‘dimmer op’ in the  film/television world, he was a production constant through the series, working  with various DPs and gaffers, and eventually purchasing his own Road Hog 4  desk. “I was even in the backgrounds for a few scenes,” he laughs, “as part of  a quick clip. The director wanted a shot of somebody pressing a button. That was  the joke – me in the background!”
“I knew Empire was going to be a cool project because it dealt with the music industry - like  a soap opera drama but with a concert live aspect. As the show evolved budgets,  concepts and performance all got bigger. We used more and more gear and refined  the system through the seasons, and Hog lighting control was a big part of  that. We usually had two or three music performances in each episode, and I  needed the Hog and multiple DP 8000’s to handle 40+ universes.”
Moore more recently  purchased an HPU from his preferred console vendor LightParts, and occasionally  relies on the Hedgehog 4X as a location-based console. However, he says the  Road Hog 4 remains his most valuable control tool. “Because we were changing  locations so much the size was very important. I could pick it up and move it  by myself. And the giant touchscreen is great! With my background as a lighting  designer, the semantics of setting up the board doesn’t necessarily appeal to  me, but with the Hog you just plug it in, get it going and grab control of  these multiple universes, and be rocking in no time. I know I can get it going  fast, and that’s why I like the Hog platform so much. And the Hog has never  failed me! I grew up using ETC desks and often still do for normal stage sets.  We still use a mix of ETC and Hog desks … Hogs for anything rock n’ roll or  that has a high universe count as well as media servers.” 
Jared says as Empire evolved, his Hog system with the DP8000 external processors allowed expansion  and control of ever-increasing fixture counts. “Sometimes we’d go into a club  around the city to shoot a performance and I’d grab their rig as well as  install my own, and we tended to use a copper-based network – console to DP8K  to DMX out. The thing with film is that the continuity must always be there. We  would shoot a concert from all different sides and different sizes, and when  they’d cut away to a dialog scene, they’d dub the music out! That’s when I  learned time code and got into the Hog Time Code Widget. I relied heavily on  that for the later seasons, so performances would play back precisely each  time.”
In closing, Moore says  that his work on Empire was a fabulous experience and learning ground.  “In any shoot, the Director of Photography is the #1 boss, along with your  gaffer who serves as onsite LD, so there’s a chain of command. But people  started to realize that I was a designer at heart, and began to give me  artistic input that other programmers might not get. I wasn’t just pushing  buttons – that was great!”