The Starlight Story
	"What a fool I used to be" (The truest words I ever wrote, and they get truer every day) – Neil Peart, Ghost Rider

I first started following the stars and skies while a freshman in high school. My fascination for the heavens has stayed with me ever since that first all-nighter watching the Colorado skies, and trying to make sense of my first star chart. I moved to Utah late in 1989. On my first date with the woman I was to later marry, we went to the Hansen Planetarium to see a laser show. I didn't realize then that I was paying a visit with destiny. During the laser show with Digistar showing its best (St. Louis, the Shuttle Launch, the 3D star traveling effect, all the effects that we have come to know very well) the burning desire to know how this was done began to heat up. January the following year I began work for the Hansen Planetarium and it was as part of the operations team I got my first taste of my future. I enjoyed all of my 3 years doing this. It gave me my closest perspective to what the planetaria, as the end user of this Digistar technology, are really all about. However, I still wasn't programming or learning Digistar, although I was closer to it than just being 'the customer'. I began my efforts towards production when the Production Manager, Fred Babcock, gave me the chance and set me up with my first account on a Digistar I. This was followed by (the next big break) programming the intro sequence for Evans & Sutherland's (E&S) 1992 Digistar Demo to be played at the International Planetarium Society Conference (thanks to Diane Beam and Mark Palmer believing in and supporting me). Realizing the need for more production value in planetarium shows, I also took a job at Oasis Stage Werks, one of the top lighting and staging companies in America. They handle everything from the New York Ballet to Garth Brooks, and through them I learned invaluable lessons in the field of staging and lighting that I now bring to the all dome theater. Working under the owners (Gary (Frog) Justesen and John Lopez) I now can tap in to this close relationship and have them as advisors when necessary. In 1996 it became clear to me demand for Digistar programming was growing greater than new creations/programs were being developed! Also, E&S needed programming support for a show to be played at a technology exhibit during the 1996 Olympic Games in Atlanta (this show came to be known as 'Nightwalk'). I had the privilege of working with Stan Pitcher, Neil Mayor, Carol Keay and the E&S team, developing some new ways to 'do some tricks'. This marked the beginning of my official operation as Starlight Productions. Starlight could not have started without the enormous help and support of the ever so clever and supportive crew at E&S. I seemed to have proven myself. At this time, answering the call from E&S for help in the training arena, my first training engagement for Delta College Planetarium in Bay City (Gary Beckstrom) took place. Since then, I have been to various corners of the globe to provide training support for E&S. As word spread. I found myself getting a customer base and this training proved to be very valuable to me: The more I trained, the more I realized that Digistar's potential has not really been tapped. I would like to add that without all the folks out there that I have either trained or programmed for I would not be this far along . They are all truly geniuses at heart, mind and soul, and I sincerely thank them. Taking a short sabbatical from Hansen Planetarium in '97 to expand my experience, I took up a position as Director of the Omnisphere at the Coca-Cola Space Science Center in

Columbus, Georgia . This gave me the opportunity to get to know Kevin Scott, perhaps one of the most awesome, sincere, genius that I have ever encountered. Many of you who may be reading this already know, we ALL wouldn't be where we are without Kevin. In the year 2000, my dream came true:. (with much thanks to E&S and Terrance Murtagh) Starlight (I) got my own Digistar II Front End System! I stood there looking at this machine in my studio, amusedly thinking that at one time I wanted just to know 'how this thing worked'. I thought of all the people that have helped to this point. If you are reading this, you know who you are. . . I have you to thank. And now to the present . . . Recognizing that the demand for Digital Theatre content and training has increased over the last two years, I have taken action to meet this demand. We at Starlight have added to our tool set a 128 track Digital Audio Work Station, a modest PC rendering farm and drive array, DPS Perception NLE Video System and a studio to house all this with the Digistar II. We offer a wide range of capabilities and tools, along with a history of professional and quality production talent. If we can't handle it, then we'll find someone who can. I want to take a moment to acknowledge some of the silent partners. These are people who throughout the years have helped out in one shape or form. Scott Frederick, Laserist, Friend, Godfather to my girl Audrey. He was the first to show me many ways of 'The Show'. Diane Beam, Cosmologist, Friend, Best Star Show Associate anyone could ask for. She gave me my first real chance at the 'Planetarium Gig'. Fred Babcock, again, thank you. Mark Palmer, genius of the mind heart and soul. Ryan Wilde, many thanks for the CPU's and friendship, time and conversations. Nathan McEuen, brother, friend, carpenter, sound engineer, Musician, a true all in one kind of guy. Chris Carpenter and family, they donated materials to help build about 50% of our new home. Without Ryan, Nathan, Chris and many others, Starlight Studios would not exist. Casey Stack, honestly, if it weren't for him, I think that I would be out of business right now. He came along just at the right time and provided a road map to success. Thanks Casey, I do believe it is working. And to Seth Jarvis, a person who I currently work for at the Clark Planetarium. Here is to the future! Please take some time to look around my site. I am confident you will find points of interest. If not, you may have something I need. With my exposure to all the genii out there, I find that I have many to thank for where I am in my work. It has been and always will be a goal of Starlight Productions to help spread good knowledge and content and to promote the development of the creative mind. If everyone was exposed to the kinds of people I have been exposed to, then imagine the kind of world it would be. I also would like to invite you to come to my classes, not only to learn what I have to teach, but to mix with others from around the country and even the world, that share the same passion of excellence in our quest! A sincere thanks, Aaron McEuen President, Starlight Productions