New Windsor, New York—July 7, 2010—Jay-Z’s Blueprint 3 tour brings together the artist’s urban edge, innovative video technology and live camera content creation that keeps Screens Director Drew Findley and Video Director Dirk Sanders on top of their game. The city skyline video wall set, designed by UVA’s Matt Clark, offers multiple video surfaces to create compelling imagery throughout the show but the real technical magic is in the complex video system. Sanders and Findley take full advantage of the capabilities afforded them by combining the Control Freak Encore DMX Bridge system with the PRG Mbox EXtreme® v3 media server.  Production Resource Group (PRG) provided a five-server system for the tour which has played arenas and stadiums around the around the world.

Sanders, who manages all the live camera feeds from backstage, explained the flow of the video system. “I am responsible for the cameras and the line cut which in turn becomes a source that Drew uses for content. Drew then controls the output of the Control Freak system and the Mboxes,” he said.  “The Mboxes, the cameras and the director’s line cut, are inputs into the Encore System. Encore’s output is what goes to the screens. At front of house, Drew blends the content with the cameras to create the looks and effects.”

Findley believes that this video system provides the maximum creative flexibility. “Every song is approached differently. From front-of-house, I can select what outputs are routed where. Our Encore system has 12 layers; I can take one layer and make it an Mbox and make another layer a camera. I can have multiple media servers on one surface. The power of multiple Mbox media servers is a big advantage, especially when it comes to doing effects with live cameras. There are quite a few camera effects where I need the same camera on three to five layers, all with a little bit of a different effect layered on top. If I used a single Mbox I’d be using all the processing available to get a 1920 by 1080 camera output.  It becomes really useful for me to take an additional media server and put it on a layer in Encore to create a ‘content background’.  I can take another Mbox and have that one do an effected camera-look. I use keying effects inside the Encore to composite the images from the multiple Mboxes. I can even take yet another Mbox and feed that back to Dirk so that he can use that content in some of his side screen cuts where he wants to mix in with some of the camera looks.”

“Drew uses my camera cuts through the Encore and Mboxes in a number of creative ways that are heavily effected,” noted Sanders. “By communicating constantly during the show I know where he is going next which allows me to get the shots set up that will work for best for each effect.” Sanders added, “It gets a little wild.  Mbox has fantastic live capture capabilities so we can get cameras to the screen through Mbox and do effects directly on them. The Mbox has been really reliable and road-worthy.  It has allowed the design to progress as the show has progressed.”

“Crossfading on the same layer allows me to write looks and cues without having to know exactly what look I am coming from or what look I am going to,” said Findley.  “Being able to set a crossfade time while I select the video files gives us a live element to the show, just like the lighting.” Mbox has native HD-SDI, SD-SDI and DVI outputs built-in, avoiding the altered color and added frame delay caused by convertors required most other servers to format the video.  In addition, it has true genlock.  With other media servers you must use a convertor to genlock the output for synchronization. Mbox actually uses the genlock signal to alter the output from the computer insuring that multiple Mboxes will all draw the same frame at the same time. In addition, Mbox has native SMPTE Timecode inputs, so locking video files to SMPTE is as simple as plugging in the audio line, renaming a file and setting the play mode.

Findley’s favorite Mbox feature on the Blueprint tour has been Virtual Screen crops. “This feature is somewhat hard to explain but extremely cool if you have a number of video surfaces that will use one Mbox for playback,” he noted.  “I was able to create screen crops for every tower, face of a tower, and groups of towers so I can instantly target content and cameras wherever I need them. I can define my ‘screens’ and then on a per-layer basis decide if a piece of content will playback on the whole output or just in one screen. Later I can redefine the screen layout and all my programming will update, meaning I can move my screens around in the pixelmap and I don’t have to reprogram.”

Findley has been pleased with PRG’s support throughout the tour. “PRG has upgraded the Mbox computers and the graphics cards so I am able to do quite a bit more now with the same software.  The Mbox is the most complete media server solution out there and PRG’s support has been over the top throughout the tour.”

PRG’s involvement with the new degree program will be extensive, including training and equipment. They will provide equipment valued at approximately $500,000 to ensure that students are working with the most current and widely used entertainment technology.  In addition, PRG will assist in recruiting leading industry professionals to work with the students.  The training provided by PRG will include the university, the two colleges and the RiverPark Center staff.

“PRG has long supported a wide variety of educational efforts in our industry,” explained Jere Harris, Chairman and CEO of PRG. “This is truly an exceptional collaboration that will offer students the chance to get both a foundation of real world skills along with the opportunity to learn while doing. That kind of training is rare and invaluable.”

PRG is an ideal match for the program spearheaded by RiverPark Center’s President and CEO Zev Buffman, a Tony-nominated Broadway producer with more than 40 Broadway shows and 100 National Tours to his credit. Buffman and Harris have known each other for close to 30 years, having first worked together while Buffman was producing Broadway shows.  Together, they bring the program unmatched professional experience and unique insight into the requirements that should be included in the degree curriculum.

Both PRG and RiverPark, where several of the classes will take place, will educate students in the different aspects of producing and supporting a professional theatrical production. The non-profit regional performing arts and civic center, RiverPark Center, has nearly 100,000 square feet including a state-of-the-art 1,479 seat auditorium (Cannon Hall), the 300 seat multi-purpose Jody Berry Experimental Theater, an extraordinary outdoor entertainment patio on the banks of the beautiful Ohio River, meeting rooms, and a bricked center courtyard, making it the premiere civic landmark on the downtown Owensboro riverfront.

Working closely with designers, producers, programmers, engineers and production managers, PRG has developed innovative products and technologies.  Their proprietary products have expanded the creative possibilities of designers and producers with revolutionary advances in scenic automation, lighting control, and video control. “We will be able to bring to students equipment they might not have the chance to work with in any other academic environment,” noted Tim Brennan, Vice President of PRG. “We are very proud of our products and of the depth of inventory of other manufacturer’s equipment that we can provide.  The technology these students will be exposed to will be amazing and will give them a real advantage going forward.”

Program participant junior and senior college students will also be given the chance to apply for PRG’s internship program.  The PRG internships cover all aspects of the entertainment technology industry, including lighting, audio, video, scenic fabrication and automation. “We are proud that our internships are so highly regarded.  This year, we received more than 1,000 applications for 40 intern positions,” said Richard Rubin, Recruitment/Internship Program Coordinator for PRG. Positions are available throughout the year in locations in North America and many former interns have gone on to become permanent PRG employees.

PRG is excited to be collaborating with Buffman and Cheryl King, President, Kentucky Wesleyan College; Father Larry Hostetter, President, Brescia University; and Larry Durrence, acting President of the Owensboro Community and Technical College on this innovative program. “This is an industry that is all about people and PRG is pleased to have the chance to work with these fine institutions,” commented Harris.

For more information on PRG, please visit www.prg.com.

For more information on RiverPark Center, please visit www.riverparkcenter.org

About Production Resource Group — Production Resource Group, L.L.C., (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 31 offices in North America, Europe, Africa and Asia.

About RiverPark Center — RiverPark Center RiverPark Center is a non-profit organization that strives to improve the quality of life by hosting and presenting diverse arts and civic events, with a focus on arts in education.

Faris previsualized the concert at PRG’s Los Angeles depot so that Yeoman, Vecchio, the producers, director and other designers could see the possibilities before they staged the concert at the Greek Theatre. “We brought in Bryan to design the actual concert and he did a masterful job,” noted Vecchio. “It became obvious what PRG’s strength and specialty was; it was the complete integration of the video, the visuals, the effects and the lighting. Rather than using multiple subcontractors, we realized that PRG could do it all. That was really the magic that PRG brought to it and made it so successful.”

Vecchio particularly liked the PRG Bad Boy^® spot luminaires.  In fact, beyond its versatility as a light, it also worked as a scenic element. “The Bad Boy was amazing because we were able to incorporate it into our stage look,” said Vecchio. “It is incredible what we could do with the Bad Boys; they are a powerful tool.”

Another key element in the concert sequence was the use of video. PRG provided a Barco NX-6 LED video wall as well as VersaTUBEs.  Faris chose the PRG Mbox EXtreme^® v3 media server to manipulate images and create a complete show. “Bryan was really able to react to any suggestions that came from the director or the DP. He could immediately program new looks on the fly,” said Vecchio.

“PRG’s knowledge and suggestions really helped add layers to the whole concert. Simple ideas like truss lighting, things that just added a beautiful textural look to it all. Just things that they do in concerts all the time but wouldn’t necessarily occur to us lighting the stage for the film,” pointed out Vecchio. “PRG was incredibly professional from the planning stages all the way through to the completion. We never had any kind of hiccup.”

For more information on PRG, please visit www.prg.com.

About Production Resource Group—Production Resource Group, L.L.C., (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 31 offices in North America, Europe, Africa and Asia.

“For all these different shows we take our ChamSys systems; it is not just recording a show and programming a show, but having a console that can expand and contract to whatever show we are doing and changing to completely different shows throughout the day,” said Robinson. “The ChamSys console has handled it fantastically, it has been rock solid.”

Robinson’s team, Lighting Director Jeff Wilkin, Programmer Anthony ‘Geddy’ Kordyjaka and Programmer John Buck, each work on a pair of ChamSys consoles controlling everything from standard single channel dimmers, moving lights and LEDs to multiple DMX universe needs. The built-in bitmapping of the ChamSys is a particular favorite feature. Of Buck’s use of ChamSys as media server, Robinson said, “Programming the video to the LED walls and units is something new to the WWE. Our ability to handle all of that and have a stable console that performs for us every day has been huge.”

PRG Distribution North America supplied six ChamSys MagicQ 100Pro consoles to Upstaging, Inc., the lighting supplier for the WWE tour. John Huddleston, Managing Director of Upstaging, Inc., said, “Jason Robinson is a real pro; he knows what he wants and is very creative. I think the MagicQ is a great desk. It is versatile and it is easy to use. The gear has to be first class on the WWE tour, and the ChamSys has been just that. Also, the support from PRG Distribution has been really very good.”

Robinson added, “It has been fantastic working with PRG Distribution; 24 hour service, anytime we need help or a problem, within hours we have whatever we need. They are on top of everything. Right from the start when we changed to the ChamSys, they were at Upstaging whenever we needed them.”

For more information on PRG Distribution, please visit www.prgdistribution.com.

About PRG Distribution North America—PRG Distribution distributes entertainment technology product lines from leading global manufacturers to dealers in North America, Europe and Asia. PRG Distribution North America stocks and distributes these products and parts from a dedicated warehouse in Dallas, Texas to dealers across the US and Canada.

At 60 ft tall, 27 ft diameter and 75,000 lbs, the tornado display is the largest effect in the hall. The 40 ft vortex of swirling air and vapor rises continuously from the floor and is able to be controlled by guests through a series of dampers that shape the air column. From the balcony level, guests can activate lasers to cut through and reveal the airflow patterns of the illuminated vortex.

PRG constructed the fully interactive tornado to meet stringent building codes and artistic qualifications. One of the biggest challenges for PRG was the sheer size of the structure. “One of the major challenges with the tornado exhibit was that we couldn’t fully test it anywhere except at MSI because it was so big and so complicated,” noted Wilson. “PRG had to get it fabricated and installed as early as possible so if there were any problems we would have time to correct them. They had to think carefully about how they were going to get the pieces into the building.”

PRG also engineered and fabricated the avalanche disk, in which guests trigger a 20 ft avalanche to reveal how granular materials behave and better understand how avalanches form. The avalanche takes place in a 20 ft diameter disk set at a 23° angle to horizontal.  When rotated by guests, they see how granular materials can act like a liquid as well as a solid, which is a key concept to understanding an avalanche. “PRG’s approach to the avalanche was a game changer for us. We were considering building the avalanche disk as a single piece. The concept of building it in small pieces, bringing it into the hall and assembling it, and then pouring a special urethane compound to make the final disk surface was all PRG’s idea, and it was brilliant. It saved us a lot of time, a lot of money and it also allowed us to do a full test in their shop,” said Wilson.

While the avalanche disk may not be as imposing as the tornado, it is no lightweight at 16,500 lbs.  Building loads are an important consideration when working at MSI. Wilson explained, “It is an old building and PRG had to—and did—take very seriously how they were imposing physical loads on the building.” PRG could not exceed a maximum load of 250 Pounds per Square Foot (PSF) for floor loading. Since the avalanche has dynamic motion, they needed to subtract for the live load, meaning PRG really only had 150 PSF. Both the tornado and the avalanche displays were fabricated at PRG’s New Windsor, NY facility.

For more information on PRG, please visit www.prg.com.

For more information about MSI or Science Storms, visit www.msichicago.org. Science Storms is brought to guests through the generosity of The Allstate Corporation, The Allstate Foundation, and The Grainger Foundation. Additional major funding has been provided by the United States Department of Energy.

The Museum of Science and Industry, Chicago

The Museum of Science and Industry, Chicago (MSI) offers thousands of fun and interactive exhibits and one-of-a-kind, world-class experiences to inspire the inventive genius in everyone. Through its Center for the Advancement of Science Education, MSI also aspires to a larger vision: to inspire and motivate children to achieve their full potential in science, technology, medicine and engineering. Come visit and find your inspiration! MSI is open every day except December 25. The Museum is supported in part through the generosity of the people of Chicago through the Chicago Park District. For more information, find MSI online at msichicago.org or call (773) 684-1414 or (800) GO-TO-MSI outside of the Chicago area.

About Production Resource Group — Production Resource Group, L.L.C., (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 31 offices in North America, Europe, Africa and Asia.

Bauman worked closely with PRG, testing gear for the complex setups. “We brought the Bad Boy in really, really early in the process to test it,” he said. “PRG really addressed our needs with this light and they made some custom glass for us. That was a huge benefit to us, because I don’t think that we would have gotten that kind of attention from a lot of other vendors.”

Intensity at long distances was critical for the Sepulveda Dam setup. “There was just a massive amount of area that had to be dealt with and we only had a few days for shooting there, so we had to really move very fluidly,” Bauman explained. “The Bad Boy certainly is the brightest light that you can get with the biggest amount of throw. They became an incredibly helpful element and were an incredible time saver.”

John Crimins, Additional Lighting Programmer, handled the lighting at the dam and agreed with Bauman about the Bad Boy fixtures. “The main challenge was getting backlight to throw 300ft across the set,” commented Crimins. “The Bad Boy was the superstar unit of that set. Any other unit we could put up on those walls for backlight wouldn’t work, even the 20kW’s up there fell off a lot at that distance. The punch of the Bad Boy worked out really well.” Crimins added, “I think that the Bad Boys are a great choice for film work.”

For the interior expo sequences, the film used an LED video wall instead of a green screen for the background content. The enormous curved Pixled F-11 screen was provided by PRG. Used in two separate configurations, the screens measured 70ft x30ft and 80ft x20ft. Bauman asked Lighting & Media Programmer Joshua Thatcher to choose the media server for the setup. Bauman explained, “The Mbox ended up becoming a critical player because of its use of layers, which really saved us. There was a lot of visual artwork that was getting delivered at the last minute; literally the last minute, 20 minutes before we were going to roll for that sequence. In the Mbox, Josh separated the art into layers and was able to quickly manipulate it and make it work for the screen. For the Hammer sequence, almost all of the content was created in the Mbox. The Mbox performed flawlessly. I went into this not wanting to like the Mbox; but it really blew me away.”

Thatcher agreed, “One of my concerns was that I needed the layer capabilities because on films you don’t have a lot of programming time, it has to get put together and go. With PRG’s Mbox, I got twelve layers and I could crossfade on the same layer. The layers were significant in the Hammer portion where I had to separate compiled composite content into individual pieces so I could move lettering around on the fly. It is really about finding the right tool for the job. The Mbox performed well; it definitely has a place in film work.” As far as the overall support he received from PRG, Thatcher added, “PRG is a big company but when I was dealing with the Mbox, I got one on one treatment. They got me the gear as early as I needed it and I had the personal support I needed. They took care of me very well.”

Lighting Programmer Scott Barnes, who was tasked by Bauman to layout the massive moving light rigs of the Stark/Hammer expos, worked closely with Thatcher and agreed with his assessment of PRG. “PRG is great,” he said. “The cool thing about PRG is the army of guys that are just there to help you, either at the shop or coming to the set or location. There was just a lot of support. There is never a ‘no we can’t do that’, it is always ‘yeah, we can do that; we can make that happen’. It is easy working with those guys.”

Bauman agreed, “It was the first time that I had really worked with PRG in depth, beyond renting some moving lights. They were always very accommodating. Their support was very good and it really worked out great.”

For more information on PRG, please visit www.prg.com.

About Production Resource Group—Production Resource Group, L.L.C. (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems for these markets from more than 31 offices in North America, Europe, Africa, and Asia.

The kezia, available in two models, are hard-source LED spot luminaires that offer high quality, tunable white light which eliminates the need for color correction required by other LED sources and significantly reduces the power required for lighting. The kezia unit uses Gekko’s kleer colour^® LED array optimized for film and video image capture, with color temperature presets calibrated at 2,900K, 3,200K, 5,600K and 6,500K. It incorporates Gekko’s color-feedback system, which ensures consistent color temperature as ambient conditions change and as the unit ages. Unlike other lighting products, the color temperature remains constant as the light is dimmed. It also ensures that you will get the same consistent white light every time, even when using numerous kezia units.

The kezia are much more efficient than tungsten fixtures.  The kezia 50 is equivalent to a 250W tungsten unit but it consumes only 50W of power; and the kezia 200 is comparable to a 1000W tungsten unit but it consumes less than 200W. Operating with a fraction of the power required by traditional lighting, kezia also produces significantly less heat and has no requirement for color correction filters. Interchangeable lenses allow either luminaire to be operated in fixed-focus mode with 20º, 60º or 80º beam angles. Unlike wash fixtures that use LEDs, the kezia spot luminaires can be accurately cut with barn doors, just like a standard tungsten light. The kezia 50 and 200 hard-source LED spot fixtures are both operable under local or DMX control.

“Our LED lighting systems deliver a uniquely powerful combination of creative freedom, accurate color temperature control and energy efficiency,” said David Amphlett, Managing Director of the UK-based Gekko Technology. “At NAB, what impressed visitors most about the Gekko products was our ability to achieve exactly the effects they require, quickly and reliably. Our systems can achieve extremely accurate color within the white spectrum and dynamic color effects that lighting directors find exciting and very usable.”

In addition, the Gekko karesslite^® 6006 and karesslite 6012 Dual (daylight/tungsten switchable version) were also on display in the PRG booth. The karesslite 6012 is based on a 6×12 emitter measuring 23.6”x11.8” while the karesslite 6006 incorporates a 6×6 emitter array measuring 11.8”x11.8”. Power consumption is correspondingly halved to 40W, allowing more than three hours of continuous operation from a single rear-mountable V-Lock battery. The karesslite 6006 can be used as a single soft light source or combined with additional karesslites into a larger multiple light source. Available as daylight or tungsten, the fixture has on-board dimming as well as built-in DMX.

For more information on PRG and Gekko Technology, please visit www.prg.com.

About Gekko Technology Ltd.—Gekko Technology designs and manufactures LED lighting products for the global film, television and photographic industry. Gekko is committed to supporting users with innovative products, including unique functionality and the advantages of minimal weight, low power consumption and long life. High component quality and build quality are key drivers. Gekko Technology products include kisslite^®, lenslite^®, kicklite^® and george^™. Credits include Casino Royale, Quantum of Solace, Death Defying Acts, Mamma Mia, Golden Compass and television drama such as Desperate Housewives, Waking the Dead, New Tricks and The Commander.

About Production Resource Group—Production Resource Group, L.L.C. (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems for these markets from more than 31 offices in North America, Europe, Africa, and Asia.

The high walls of the set created an interesting challenge. “I did something that I have never done before,” said Katz. “Every single light overhead is a moving light. We were able to get in some incandescent light because we have a lot of incandescent VL5s overhead. I think with moving lights you just need a little pinch of incandescent salt.”

Automated lighting programmer Aland Henderson chose the PRG V676® lighting control console to program the 110 moving lights on the show. Henderson noted, “Tim Rogers (programmer for Fela!) was doing a show on the V676 at the same time. So we were the first and second Broadway shows to use the new console.  It was fantastic. I love having all of the buttons up on top. The amount of data that you can have, with eight touchscreens, is awesome.”

Henderson worked with PRG’s R&D staff to refine the shutter control function. “Most of our fixtures had shutters, which we used extensively,” explained Henderson. “PRG improved the shutter control on the console for me.  I have always been taken care of well by PRG. I definitely feel that the V676 is a good choice for theatre work. I find that it makes my programming faster. And, I’m comfortable leaving the desk behind for the crew that runs the show; it’s easy to understand.”

Katz agreed that the console was the right choice for the show. “The V676 console worked really great. It worked out extremely well, because there are so many things that can be done so much faster on the V676. I think that it’s a good console for theatre work; certainly as we used it for moving lights.”

PRG has worked with Katz on a number of projects over the years. “The support has been incredible. If we called 911, they were there,” Katz said.  “I can’t say enough nice things about PRG’s support.”

For more information on PRG, please visit www.prg.com.

Gurdon, Production Designer Bruce Rodgers and Screens/Graphics Producer Lee Lodge collaborated on the NFL Network Production with executive producer Ricky Kirshner and director Hamish Hamilton, translating that vocabulary into an integrated, cutting-edge design. “I wanted to develop the visual impact of the stage floor itself, and extend that out into the audience in a three-dimensional way,” Gurdon explained. “I wanted to create a background for camera close-ups and have the audience and the stadium itself be part of the spectacle and the set.”

Gurdon’s lighting programmer for the event was industry veteran Michael “Oz” Owen. Due to the severely limited rehearsal time on-site, Gurdon and Owen spent five days at PRG Essential Lighting’s pre-visualization studio in London, programming the show. Owen also worked with Video Content Programmer Jason Rudolph to insure that the lighting and the LEDs in the stage floor were completely synchronized. Owen and Rudolph both used PRG’s Virtuoso® control consoles. “I always prefer using a Virtuoso,” Owen said. “In Miami, I had three; one in the band/stage rehearsal tent, one in the ‘design’ cabin and one front of house. With PRG, I feel really comfortable because there is always plenty of support.”

Rudolph added, “I used the Virtuoso because it made it so easy for Oz and I to sync our cue lists. He could export his cue timings, and I could import them directly into my show and edit them as needed.” PRG also engineered a HTP (Highest Takes Precedence) data merge for the lighting and the video systems. “The merge,” explained Rudolph, “was there so that we could control the color blocks either via the media server doing pixel-mapping, or from Oz’s Virtuoso console. It gave us more programming options.”

In addition to Gurdon and Owen, the lighting team included Lighting Directors Rich Gorrod, Bob Barnhart and David Grill. Peter Radice provided additional lighting programming. Full Flood Inc. coordinated with PRG on the lighting equipment and crew. The PRG technicians supervised the volunteers who were responsible for setting up the lighting on the field. Several members of the PRG crew have participated in as many as ten Halftime shows.

Gurdon was very pleased with the results. “We had a very good rig, with no reliability problems at all. You need to know you can rely on things working. PRG was great; I work with them all the time and I find they provide great service and great crews. I always know PRG will deliver; I couldn’t ask for more from them.”

For more information on PRG, please visit www.prg.com.

About Production Resource Group — Production Resource Group, L.L.C., (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, special events, theatre, television and film, trade shows, and installations, such as theme parks, museums, retail stores and performing arts centers. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging, and scenery and automation systems, for these markets from more than 31 offices in North America, Europe, Africa and Asia.

Davis, one of the oldest and most respected AV companies, provides all aspects of audiovisual and computer management services for associations and corporations throughout North America and Europe. “Davis’ resources and expertise in meetings and convention services, particularly their proprietary presentation and speaker management system, adds depth to our Corporate and Tradeshow Services division and gives us an enhanced presence in the Denver market,” said Scott Hansen, Senior Vice President, PRG. “With the addition of Davis, PRG is continuing to respond to our clients’ desire to have a single source solution—audio, video, lighting, and staging—with experts knowledgeable across market sectors.”

“We are delighted to be able to offer the full range of PRG products and services to our customers and we look forward to helping grow PRG’s presence in the meetings and convention services market,” said Tim Dyer, president of Davis. Dyer has been named general manager of PRG’s rental facility in Denver.

For more information on PRG, please visit www.prg.com.

About Production Resource Group—Production Resource Group, L.L.C. (PRG) is the world’s leading supplier of entertainment technology to a wide range of markets, including concerts, corporate events, theatre, TV and film, special events, and permanent installations, such as theme parks, museums, retail stores, and performing arts centers. PRG provides integrated services and equipment including lighting, audio, video, scenery, and automation systems for these markets from more than 31 offices in North America, Europe, Africa, and Asia.