SHAUMBRA MAGAZINE: How and when did you find Crimson Circle?
MARC: A long time ago in a land far, far away… I lived in Switzerland and found it in 2002 through a friend of mine. That was when the Shouds were still audio only, so we gathered every month with a potluck and all sat around and listened to the channels.
In 2003 Geoff and Linda came to Switzerland and together with some other local Shaumbra, I helped host the Seven Seals* workshop near Zürich. It was held in a circus and behind the tent there were seals which would be brought in as part of the circus acts. We met inside the tent and when Tobias started talking about the Seven Seals, the seals outside started barking and making all sorts of funny noises. It was hysterical!
A few days later there was another event at Lake Constance and my brother and I drove Geoff and Linda from Switzerland to the German border and handed them over to the host of that event. That was when Norma and Garret were traveling with them and we had some really good laughs.
SM: You’re in the U.S. now. How did that happen?
MARC: I came to a Shoud in Coal Creek earlier that year and I met my wife, Jane, on my travels in Colorado. And, as they say, the rest is history.
SM: What do you do for Crimson Circle?
MARC: I’m the Art Director for the Shaumbra Magazine and create the Magazine layout each month. That’s the main project that I do for Crimson Circle and enjoy it very much.
I’m also the Assistant Studio Manager and work with Peter Orlando to make sure everything runs smoothly with our state-of-the-art productions. And I create the stage designs with Peter, help solve technical issues and reset the studio as needed for the different productions. The same is true for the Villa Ahmyo in Hawai’i. Peter and I built the production studio in the Pavilion and we’ve also done a few Shouds and productions there.
And last but not least, I am one of the camera operators during recording events and Shouds.
SM: What skills did you bring to the job?
MARC: I have many skills! I’m a freelancer and love being creative on the computer with all kinds of designs, photography and video productions. I also enjoy doing physical work at the studio. Over time I’ve done many various projects for Crimson Circle. For instance, I created the first DreamWalker Death website, helped design the old Awakening Zone website, the old Adoula website, and a bunch of other projects. About six months before we moved from the meeting hall in Coal Creek Canyon to the studio in Louisville, I started doing camera work for the Shouds every month and since then I’m nearly always on the camera.
Because of all this, as well as reconfiguring, updating and even movingsome of the studio technology with Peter, I have a good understanding of how the studio is set up and how it is operated. I’ve also been cross trained for the Technical Director position to be a backup for Peter.
SM: What are your favorite parts of the job, and also the most challenging parts?
MARC: I absolutely love creating the Magazine each month. It’s fun working with Geoff and Jean and always exciting to see how it’s going to turn out in the end. I also really enjoy working at the studio, collaborating with Peter on creative designs for the stage, and sometimes even working in Hawai’i. I mean how great is that? It’s a joy to be part of the productions and the team that creates all these great product releases at this time.
What’s challenging is dealing with the energies during all the big productions, like we had this summer. The energies can be really intense and it’s taxing. You think it’s just about sitting there and operating a camera, but no, it’s much more than that. It definitely takes a toll, especially when you have one big event after another. That’s kind of challenging because I feel the energies coming in and flowing through me. I find it especially noticeable when operating the camera because I’m “in the zone,” not really thinking but following the talent (person on stage). Since it’s not so much a mental thing but more a visual one, I really feel the energies moving through and can be pretty wiped out after the sessions.
It’s a totally different focus than, for instance, being in the Technical Director’s seat. Then you’re having to ensure that the microphones are on and at good levels, that the tapes are running, that everything is streaming fine, etc. You’re much more occupied mentally with checking everything than with being part of the production. Being the Technical Director can also be challenging because you have to be careful to not get distracted by the material. In the Director’s position that Jean does, it’s a different focus too. You have to really pay attention to what’s happening, which camera is live and what you’re streaming. You have to be a little “ahead” of what’s happening to make sure everything is running at the right time. While operating the cameras, we’re focused on following the talent, closely observe framing and camera moves, totally in the moment. Each position is a little different.
SM: Overall, what do you feel passionate about in life, and is there anything you’d like Shaumbra to know about you?
MARC: I have a passion for design, which I combine with and let flow into everything I do. I love art, photography, architecture, graphic design, product design – anything related to design really. I’m just fascinated, or you could say, obsessed with it. I also love cars and driving them, that’s another huge passion. And, of course, being on this journey with all these other Masters at this time.
Marc may be contacted through his website: creativeaspects.net.
*Click for more information on the Seven Seals.