Alan Pilukas Email & Phone Number

Pasadena, Ca, Us

Pasadena, California, United States

Providing techincal and creative guidance for the themed entertainment and film and television industries.

Sun Valley, California, United States

A brief sojourn harnessing the artistry of film and theater special effects for large scale public experiences.

Los Angeles, California, United States

A return to the world of systems and live events, as well as film and television. My main focus was the continual improvement of system design, field deployment, and budgetary quote. I developed tools and built a library to codify and preserve institutional knowledge.

Burbank, California, United States

My first foray into world of virtual production compelled me to adapt my lighting background into the world of LED. It is not surprising how many of the leaders in this realm have their roots in stage lighting. I worked to promote the use of the HELIOS LED processor's use in virtual and live production, with key emphasis on the GhostFrame feature set. I accomplished this through presentations, training sessions, and the creation of printed and dynamic visual materials. This work leaned heavily on my abilities to communicate highly technical concepts to audiences of diverse backgrounds.

As Rise of the Resistance neared opening, an opportunity arose in the form of the newly-created position of Show Systems Designer. The intent was a single point of coordination for the efforts of all of the show technical disciplines to create a cohesive design. As the projects I joined were already in flight, the day-to-day encompassed drawing review and coordination, vendor negotiation to harmonize (and occasionally re-work) systems designs, and to share knowledge and best practices between project teams who might not otherwise interact. And some weeks it meant grabbing a mouse and crafting drawing packages to meet ever-constricting deadlines. I again found myself most productive and most creative when straddling multiple projects.Notable Projects - Mickey & Minnie's Runaway Railway (Disneyland Resort), Zootopia Land Expansion (Shanghai Disneyland Resort)

Glendale, Califorina

My first five days as an Imagineer involved a day's training, picking up a laptop, getting several vaccination shots, and climbing on a flight to Shanghai. I was starting a six-month adventure with a large number of my friends and colleagues to open Disney's newest park. Our team would perform the final integration, testing, programming, and turnover of the dramatic re-imagining of the classic Pirates of the Caribbean ride. We also watched in wonder as a muddy construction site evolved into a living, breathing park.Returning from China, I was immediately drawn into a new chapter of the Star Wars legend. Initially a team of two, Show Control would unify the technical show systems for three major attractions, each of which was being simultaneously duplicated almost 2,500 miles away. As the team and work increased, I focused my efforts on delivering the marquis attraction, Rise of the Resistance.My life in Disney Show Control ran the gambit from design and planning, spending hours with vendors and contractors making notional physical, and finally working with the creative team and programmers to add the spare of life to the inanimate.Notable Projects - Star Wars: Galaxy's Edge - Rise of the Resistance, Millennium Falcon: Smuggler's Run, Black Spire Outpost (Disneyland Resort / Walt Disney World), Pirates of the Caribbean: Battle for the Sunken Treasure (Shanghai Disneyland Resort)

Burbank, California

As my experience grew at Thinkwell, I advanced into a technical direction role. Sadly, most of the work from this period remained in the development stage. There are some brilliant museums and cruise ships waiting for the opportunity to be built. I did join the long honor role of those who tried unsuccessfully to breathe life into the fabled Monkey King theme park.

Burbank, California

I joined the AVCI team at Thinkwell, with my primary focus being Show Control. I was now the same room with architects, conceptual designers, project planners, and art directors from film and television. I was exposed to and participated in multitudes of conceptual design work that included theme parks, museums, and cruise ships. I learned important lessons on how early technical involvement can inform a project without stifling the creative process.Notable Projects: Hunger Games Live Tour, Warner Bros. Stage 48 in Hollywood, and Warner Bros. World Abu Dhabi.

Fullerton, California

After much pestering and cajoling, a chance to work in Disneyland finally arrived. I would join as a consultant technical director - a green badge contractor - and would handle special events and infrastructure projects. Under the mentorship of a great friend, I would learn the ins-and-outs of the park and experience some of the great backstage lore.As an independent contractor, it led to me briefly form my own S-corporation and learn the minute details and payroll and tax withholding. It also reminded me that as much time as I spent at the park, I was not truly a part. This realization came home months later when the projects dried up and I was no longer needed.While this time in the park did not translate into the permanent position for which I hoped, the experience and connections paved the way for a much larger role in the not-to-distant future.Notable Projects: Frozen Meet & Greet, Party at the Pier Limited Time Magic events, and Main Street Bypass Corridors.

Irvine, California

Departing Las Vegas, I joined the Tom Ruzika's team of lighting designers, where I received my indoctrination in themed entertainment, theater facility design, and high-end architectural lighting. Theme parks had always remained an elusive goal, but would now form much of my path for the coming decade. This was also a great education in how many amazing projects never come to fruition and that the same amount of creative effort goes into an unrealized design.Notable Projects: Star Trek attraction at Red Sea Astrarium in Jordan (unbuilt), Paramount Park in Alhama de Murcia Spain (unbuilt)

Las Vegas, Nevada

Departing Cirque, I was offered a place on a team of renegades that provided Cirque and countless other clients with innovative and intricate automation systems. Led by Scott Fisher, I joined a cast of familiar faces and immersed myself in automation and project management. FTSI was unique in designing and fabricating all of their mechanical and electronic components in-house. I still love working somewhere where you witness the transition from drawing to precision-machined component.Among a diverse portfolio of projects, two stand out in particular. The first was was a winch system for the NASA LANDIR facility in Virginia which allows the simulation of aircraft and spacecraft landings - gentle and otherwise. As a failed aerospace engineer, this was pretty cool. Second, and far better known, is Spider Man: Turn Off The Dark. The flight sequences are as beautiful as in any film - and were performed live over an audience 8 times a week.Other Notable Projects: Radio City Music Hall, Lincoln Center for the Performing Arts, Carnegie Mellon University.

Las Vegas, Nevada

Three Cirque resident show creations in three years may not be a record, but it might qualify you for some therapy coupons. This was still a time when I felt sleep was for the weak - something I have since outgrown.Moving a few blocks to the south allowed me to work for Cirque directly, ending the sometimes strange half-life of casino/Cirque employment. This show also brought a lengthy list of unique challenges - a limited budget (by Cirque standards), the rebuilding and refurbishment of an existing venue, the refurbishment of existing lighting fixtures and controls, and the usual highly-secretive aspects of a Las Vegas illusion show.I'll leave history to render the final verdict, but I was proud to have worked among a team that gave their best to realize an ever-changing vision.

Las Vegas, Nevada

After 6 months of performances, I was getting restless.Realizing this, an opportunity arose to help complete a Beatles-themed lounge opening alongside LOVE. The venue would feature advanced interactive elements incorporating lighting, sound, and projection. A cohesive control system was lacking to effectively marry the technologies. A colleague and I detached from the main show and performed the final integration.

Las Vegas, Nevada

Two years later, the door opened to work with the Beatles. I said yes without hesitation.The move up Las Vegas Boulevard allowed me to build on my operator skills and to shape an innovative lighting control network and to help realize one of the most elegant LED effects yet designed. This extraordinary year would include an in-depth exploration of special effects systems and a chance to refresh my coding skills.

Las Vegas, Nevada

Ending my commercial entertainment sabbatical, I had the good fortune to join an amazing group of friends to create what is still one of the largest, most complex, and most impressive production shows on the planet. Helping to bring this creation to life required all of my skills and a host of new ones, as well the need to ignore any concerns about working at height. Many wonderful hours spent on the follow spot and console ClearCom party lines; and an equal number cursing bad dimmers. This truly was a drink from the fire hose to learn networking, lighting technology, and documentation at the largest scale.

Alma, Michigan

A unplanned career shift brought me to a picturesque college campus in the middle of Michigan where I would spend a year and half working with a talented faculty and equally-talented students on a variety of performances. This was a enjoyable adventure that added facilities management and road-house scheduling to my list of experiences.

Farmington Hills, Michigan

Returning to my home state, I made my first serious forays into show control, large architectural projects, and foreign travel. I blended my Whole Hog programming experience and computer coding skills to yield advanced AMX control systems for retail entertainment centers in Sweden, Spain, and even far-off Arizona. I also spent a fascinating summer of 2001 in the renovation of Terminal 7 at JFK, seeing parts of the airport no civilian will likely again.Projects of note: Heron City in Stockholm, Sweden; Heron City in Barcelona, Spain; British Airways Terminal 7 at JFK Airport in New York, and the Chandler Fashion Center in Chandler, Arizona.

Torrance, California

Working at Obie offered a practical master's course in design and production for large-scale rock-and-roll tours, auto shows, and myriad small events with some of the industry's pioneers. I spent countless hours on exhibit floors in Detroit, Chicago, Los Angeles, New York, and Miami programming and focusing lights. Elsewhere I would be found strapping lights to tree branches, rooftops, or a variety of questionable "structures" for special events. I honed my CAD and documentation skills creating designs for teams in far off cities I would never meet. I sharpened my programming chops in my living room on borrowed Hog consoles.

La Jolla, California

San Diego, Califorina

San Diego, California

Williamsburg, Virginia

I found time away from live entertainment did not suit me. Fortunately, the opportunity to spend another summer in Williamsburg with good friends arose. I was able to dip my toe into less-familiar technical pursuits - sound design and carpentry - while pondering my next move. Thanks to the kindness and sharp eyes of a faculty member, my next destination would be graduate school in San Diego.

Alexandria, Virginia

I was offered an opportunity to repay one of my best experiences during high school by returning as an instructor. I worked a sometimes frantic schedule with a dedicated group of instructors as we herded eager students from site to site, using the fabric of Washington DC as our classroom. I met fascinating students and teachers from across the country and the island nations of Micronesia and Palau.

Williamsburg, Virginia

In contrast to the arid high desert of New Mexico, the summer of 1993 was spent in one of the more humid climates imaginable. I spent the summer immersed in living history - Elizabethan England onstage and Colonial America off.

Santa Fe, New Mexico

In the summer of 1992, I traveled to beautiful Santa Fe where I learned the true meaning of repertory production and the art of focusing stage lights in the afternoon sun. I was privileged to spend a few months working for the great Craig Miller.

Mfa, Lighting Design

Ba, Political Science