As the leading global production services solution provider PRG is continually working on some of the most creatively challenging projects; developing the next generation of technology and redefining the industry as well as our company. Keep track of it all in our news updates and case studies. We will also be posting articles and videos featuring some of our industry's compelling creative thinkers; designers and luminaries.

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Fujinon XA99x Lens

Exclusive Fujinon Customer, Production Resource Group, Adds 58 Lenses to Arsenal for High-end IMAG Production

Customer support, long zoom ratio and image stabilization reasons behind premier live event video company’s brand loyalty

As part of the company’s overall expansion of video touring production services, Production Resource Group LLC (PRG) recently purchased 58 additional FUJINON lenses for use on its newly acquired Grass Valley LDX80 Première cameras. PRG Nocturne, the largest non-broadcasting purchaser of FUJINON lenses, has selected only FUJINON lenses since the company’s inception in 1981. They have over 200 FUJINON 2/3-inch field lenses, HD ENG-style, and 2/3-inch HD robotic camera lenses in their extensive inventory.

As part of PRG’s recent acquisition of over $50 million in new equipment for PRG Nocturne, part of its recently rebranded PRG Music Group, the company placed orders for 21 FUJINON XA99X8.4BESM ultra-wide field production lenses, 27 ZA17x7.6 BERM ENG-Style lenses, and 10 ZA12x4.5BERM wide-angle remote control lenses to service its continually expanding touring production business. PRG Music Group focuses on providing integrated video and lighting solutions for worldwide tours, festivals, concerts, and corporate events.

Mickey Curbishley, CEO of the PRG Music Group, stated, "We’re making this initial investment of over $50 million in new, state-of-the-art video technology to ensure that PRG clients in the concert touring, film, TV, and corporate events markets will continue to have access to the finest equipment available. We are pleased to include a significant purchase of FUJINON lenses in that investment and are proud to have such an excellent working relationship with FUJINON. This ongoing relationship is an important part of why we are able to offer excellent images to our clients.”

According to David Lemmink, General Manager and Director of Engineering of PRG Nocturne, the customer support they’ve enjoyed along with the FUJINON’s state-of-the-art optics have kept PRG Nocturne confident they are offering their clients the highest quality imaging technology available: “Fujifilm produces the most exceptional products in the industry, but they also provide unparalleled support. When we’re on a global tour with the biggest acts around, from Bon Jovi to The Rolling Stones, to Paul McCartney, they can’t stop in the middle of a show and neither can we. FUJINON has never failed to satisfy our desire to provide the best video imagery for the biggest names in entertainment.”

Several PRG executives singled out their sales contact, Chuck Lee, Technology Manager, for the Optical Division of FUJIFILM North America Corporation, as someone who provides them with unmatched customer support and ensures they’re always able to perform at the highest level. “Throughout our long history with Fujifilm, Chuck’s always been there for us, making sure the lenses are performing exceptionally and putting forth the extra effort it takes to see that our clients receive the best possible video imaging from us,” said Lemmink. “His above-and-beyond care about what we do and the quality of our work and FUJINON’s superior lens technology are two of the biggest factors in maintaining our long-term, exclusive relationship.”

Having invented IMAG (Image Magnification) for concert touring over 30 years ago when working with the band Journey, PRG Nocturne knows how to deliver a great IMAG experience for touring musical acts and corporate events. The long zoom range and rock solid image stabilization features of FUJINON lenses are critical in producing pristine IMAG video for live events. “Our FUJINON lenses allow us to show the audience an up close and personal view from any seat in the arena or stadium,” continued Lemmink. “I personally believe the combination of Grass Valley cameras with FUJINON lenses represents the best in the industry. It gives us superior imaging combined with top-of-the-line lens technology.”

The newly purchased FUJINON lenses will be part of PRG Nocturne’s 10 new HD Flypacks equipped with Grass Valley LDX Première advanced imaging cameras and Karrera K-Frame S-series switchers. The next XA99X8.4BESM ultra-wide lenses will be delivered at the end of April, in time for U2’s next tour that begins in May in Vancouver. PRG will have a total of four XA99x’s on the upcoming U2 worldwide tour.

PRG Nocturne’s HD Flypacks have been used so far for video projection and production duties for The Rolling Stones, Maroon 5, Paul McCartney, the Eagles, The Script, and many other major tours.

Banks performs on Letterman in Lighted Mirror Box by PRG

R&B Artist Banks Performs on Letterman

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For her Late Show with David Letterman appearance last week, Banks, an R&B singer, who performed "Beggin for Thread" stood inside a two-way mirror box built by PRG. Designed by Rob Sinclair, with production management by Brian Cross at Monotone, Inc., the mirror box was the eye-catching centerpiece of her performance, even getting host David Letterman to comment that it "was beautiful." Jump to 2:53 in the stunning performance video to see the real magic.

For more on Banks, follow her Soundcloud below. 

Pac-Man Commercial Build

Pac-Man Commercial Build

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PRG was pleased to work once again on the Bud Light Up for Whatever campaign, this time to create something memorable for its Super Bowl ad, a human-sized Pac-Man. They turned to PRG and Hargrove, Inc to bring the concept to life. PRG handled the lighting, audio, and video portions as well as site coordination and permitting and Hargrove provided the scenic design and art direction for the project. The Pac-Man maze for the ad was 76-feet deep by 85-feet wide and was built on a parking lot in downtown Los Angeles for the two day commercial shoot.

For the dots in the maze, LD Steve Richards employed 250 Martin Professional LED Rush PARs that would shoot straight up through holes and Plexiglas embedded in the deck. Using a tracking system, the dots would be turned off as the Pac-Man ran over the top of them. In the center of the game a panel of 7mm video modules under Plexiglas was used for the cherry that the Pac-Man would target to gain the upper hand over the ghosts that chase him through the maze.

Richards created for truss positions at 20-feet high at the four corners of the game maze for his key and backlighting positions with 24 PRG Best Boy Spots 24 Robe Pointe luminaires. On the ground below and mounted level with the top of maze, he used 36 PRG Bad Boy Spots along with 36 Pointes. These positions gave clear shots across the maze to highlight the Pac-Man as he negotiated the maze and depending on the camera shot could act as key or backlighting as necessary. The lights could also wash the surrounding buildings with pattern washes and aerial beam effects over the top of the maze. The lighting was all networked via the PRG Series 400 Power and Data distribution system. The lighting control was via a MA Lighting grandMA2 console that were programmed by Matthew Shimamoto. Video control was handled via a PRG Mbox media server controlled via a PRG V476 console.

Football Fan Central

National College Football Championship Fan Central

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Fan Central was a hub of activity for fans of both Ohio State and the University of Oregon. Covering over 500,000 square feet at the Kay Bailey Hutchison Convention Center there were interactive experiences, sponsor booths, meet-and-greets with current and former players. There was even a regulation 100-yard football field that was the site of clinics, pep rallies, national Media Day, and more. PRG provided eight video projectors and screens around the Fan Central space to project both video and audio content as well as sponsor information. PRG also provided automated and conventional lighting to highlight the sponsors and displays around the massive convention center space. The conventional lighting was used for highlighting displays while the automated lighting was used to create excitement as well as to project the two school’s team colors across the fans. Integral to all of the lighting and video equipment were two truss spines, each over 400′ long, to provide hanging positions and to carry the over 2,400′ of fiber optic cables connecting the space, which covered 3 convention halls.

The football field, which hosted fan ‘receiver for a day’ activities and youth football clinics, was converted into the Media Day venue by PRG. The two teams took turns meeting with national media on the 100-yard field. PRG created five interview booths for the coach and four key players with truss, a remote controlled camera as well as integral audio and video feeds. Reporters gathered in front of the interview booths to ask questions and take photos. PRG technicians took the video feed and sent the imagery up to three projectors that were seamlessly blended on a 10-foot high by 50-foot wide projection screen. Each player and coach had their images enlarged for the fans in the bleachers and the PRG audio technicians had five isolated audio feeds so the fans could tune into the channel assignment for each player. PRG also lit the field for the crush of media interviewing the entire team and coaching staff on the field. ESPN and the Big 10 network also broadcast live from the event.

Wheel of Fortune

Wheel of Fortune

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It takes a lot of planning and hundreds of people to bring the Hawaiian tapings of Wheel of Fortune to life. Check out how the production elements came together for the Hawaii shows that are airing this week. Whenever the show goes on the road for remote shoots, they turn to PRG for the lighting, audio, and rigging.

PRG has been supporting the location shoots for Wheel of Fortune since 1994 and have done nearly 100 remote productions for the show. This particular Hawaiian shoot took place in September 2014, with the equipment prepped and loaded in containers at the PRG Orlando shop. Those containers were then shipped via train to Long Beach, CA where they were loaded onto a container ship to Hawaii. After arriving in Oahu, the equipment containers were put on barges to the big island. The production elements are extensive; especially since the Hawaii production is all shot outdoors where we have to consider the weather and location as we build a studio in the scenic locale.

Grand Canyon Experience

Grand Canyon Experience

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PRG was onsite in Phoenix, Arizona for Super Bowl XLIX to support a range of events and activities leading up to the big game, including one of the most ambitious of undertakings – bringing the Grand Canyon to downtown. Super Bowl Central was the epicenter of fan activity in Phoenix and the Grand Canyon Experience was the marquee attraction. Built to replicate a specific climbing section of the canyon, fans had fun scaling the walls alongside the cooling waterfall, while an incorporated LED video screen showed all the Super Bowl coverage. VP of PRG Services, Orestes Mihaly headed up the project and takes us on a behind the scenes tour of the build.

Ram Rebel Reveal

Ram Rebel revealed at the 2015 NAIAS


Check out this video of the 2015 Ram Rebel reveal at the North American International Auto Show. PRG was on hand to support with audio, video and automation solutions to help realize the vision of producer Laura Leigh and design by O2 Creative Solutions. While lifting and timing such a heavy load in the confined space of Detroit’s Cobo Center was no easy challenge, we were able to provide a seamless solution by cueing the smart variable speed chain hoists, automated LED video screens, and turntable through our Stage Command System.

Queen and Adam Lambert

Queen and Adam Lambert

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For the Queen + Adam Lambert tour, PRG worked with design firm Stufish and designer Ric Lipson to create the scenic and staging elements. The design for the show included an enormous metal letter “Q” at the back of the stage that framed the video screen. The Q was fully automated by PRG Scenic to take “a bow” at one point in the show. The scenic elements were all designed to cleverly store in stage carts for easy transport via truck, but then are able to pivot out of the cart and be easily flown into place for quick assembly and dis-assembly. PRG also created an LED tube solution that resembled neon which outlines the Q and the other gold-painted scenic elements.

One of the touches that Production Manager Joe Sanchez really appreciated was the PRG Rolling Deck, which allowed his crew to assemble at the other end of the arena while rigging, video, lighting, and scenic elements were put into place. The PRG Rolling Deck is a work smarter solution that allows for quick and efficient assembly, which then can be rolled into place allowing all the production team to at the same time. The PRG scenic solutions included the main stage, runway, and B-stage as well.

At the top of the show, Lipson and his team worked with PRG to realize their design of a large Kabuki drop with a snifter from PRG to pull the falling drape away into the Q in a matter of seconds for a fast reveal of the legendary band.


Britain's National Television Awards

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Live from London’s O2 the National Television Awards, produced by Indigo Television, is among Britain’s leading award programs. PRG was pleased to support LD Dave Davey and supplied the lighting package for the second consecutive year.

For this year’s National Television Awards, PRG was pleased to once again support Dave Davey, one of British television most prolific lighting designers. PRG, who has worked with Davey on a number of high profile TV shows including The X Factor, Britain’s Got Talent, and The Royal Variety Performance, supplied a crew and lighting package for this year’s NTA production.

PRG originally became involved with the NTAs during the mid-’90s when the event was in its infancy and started working with Davey in 2014 when he was approached by Indigo Television to light the show for the first time.

The PRG lighting package included 17 PRG Best Boy Wash and Spot luminaires, 24 Clay Paky Alpha Beam 700 automated ACLs, 52 Clay Paky Sharpys, 25 Philips Vari-Lite VL3500 Spots, 53 Philips Vari-Lite VL3500 Washes, eight GLP impression 120 RZ automated LED wash lights, and six Lycian M2 2.5kW followspots.

Lighting control was operated by programmers Bill Peachment and John Ford. The rig for this show was split between the stage and audience lighting, which was controlled on one of the consoles, while the effects and media servers were controlled on the other. Dave Hallett headed up the lighting crew and PRG’s account manager for this project was Kelly Cornfield.

PRG also handled lighting for the red carpet at the VIP entrance. This was the domain of Gordon Torrington and Sam Healey who used 80 PARs to provide an even wash all along the carpet with color correction to balance for the TV crews and photographers. SGM P5 LED floods were used by the designers to add a some color to the exterior of The O2.

See more photos in a slideshow

Longines LA Masters

The Longines Los Angeles Masters Grand Slam

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The American leg of the Masters Grand Slam Indoor was held in Los Angeles, bringing together elite show jumping horses and luxury lifestyle entertainment. During the four-day event, held at the Los Angeles Convention Center, guests got to experience world-class sporting competition, combined with a prestigious social event. PRG, working closely with creator and producer EEM World, provided all of the crew, lighting, audio, and video requirement as well as all of the technical and logistic coordination for this event. We provided 154,000 watts of sports lighting that included the PRG Best Boy Wash; over a mile of truss; 14 miles of power and data cable; 165 chain motors; and 23 trucks of equipment. This first American Masters Grand Slam Indoor stop on the circuit was a great success.

Collaboration Between Grass Valley and PRG Continues on the Latest Tour-ready Video Systems from PRG Nocturne

Collaboration Between Grass Valley and PRG Continues on the Latest Tour-ready Video Systems from PRG Nocturne

New York and Montreal—March 3, 2015—Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, and Grass Valley, a Belden Brand, a leading producer of broadcast video equipment today announced that they have extended their long-term collaboration with the integration of Grass Valley’s newly introduced Karrera K-Frame S-series switcher and LDX Première advanced imaging cameras into PRG Nocturne’s latest live event video production systems.

“PRG Nocturne has utilized Grass Valley gear from its inception and has wholeheartedly embraced the Grass Valley product line,” says David Lemmink, General Manager and Director of Engineering of PRG Nocturne. “We designed our new integrated video platform for live-event production with substantial input from our clients. It was clear we needed to deliver a true tour-ready broadcast-quality solution. Grass Valley was there once again to provide several of the essential elements we required – including their new K-Frame-based Karrera S-series switchers and LDX Première cameras.”

“Clearly, PRG Nocturne is one of the leaders in live-event video productions and we are proud of their continuing our collaboration,” said Stephen Stubelt, Vice-President of North American Sales, Grass Valley. “Just as they take feedback from their end-users, we take the input from PRG Nocturne’s engineers and technicians to deliver products that help them better support the artists they work with on a daily basis. It really is a very direct working relationship that reflects our interest in addressing the needs of the end-users.”

With the recent acquisition of Chaos Visual Productions and its integration into the PRG Nocturne and the PRG Music Group, PRG is making this initial investment of video equipment to better support their clients. This investment will focus on providing the live event industry with the latest video technology that ensures that PRG clients will continue to be the best equipped in the industry.

Mickey Curbishley, CEO of PRG Concert Touring, states, “We’re making an initial investment of over $50 million in new, state-of-the-art video technology systems that will be based in our facilities in Los Angeles, Chicago, and London. PRG Nocturne clients in the concert touring, film, TV, corporate events, and permanent installation sectors will have access to the finest equipment available. We are especially proud to have such an excellent working relationship with Grass Valley. Because of this relationship, we are able to offer solutions that are uniquely designed to meet the needs of our clients and are unmatched by anyone, anywhere.”

PRG Nocturne has packaged these new systems into smartly packaged, ruggedized tour-ready video flypacks. “I have been refining our flypack designs for the past 30 years,” states Lemmink. “We understand the real world road needs of our clients and we, I believe, have put that expertise into our newest HD flypacks. We’re giving video directors and engineers the utmost in control in the smallest, most rugged, industry-leading touring package.”

PRG Nocturne clients are already recognizing the new PRG Nocturne system. Johnny Hayes, Video Director for Maroon 5, is taking one of the very first PRG Nocturne HD flypacks out on the road. “This system is great; PRG Nocturne really took their own road experience and coupled it with a lot of ideas and concepts that go to what the crews on the road need to properly do their jobs,” says Hayes. “It’s a well-thought through system that will save us time and labor as well as standardizes video control systems. I see these systems having a long-life on the road.”

PRG Grass Valley Collaboration

Grass Valley’s Karrera K-Frame S-series Switcher and LDX Première cameras an integral part of PRG’s industry-leading live event video production system

The Karrera K-Frame S-series switcher features a new compact frame, new controller module with Image Store still/movie storage and dual multiviewers, and the new triple mix/effects (M/E) module. The S-series provides outstanding operational efficiency and performance due to scalability, processing power, and flexibility. It features all the processing capabilities to improve production values as any Grass Valley switcher based on the K-Frame video engine. In addition, the Karrera K-Frame S-series offers multiformat support, including 1080p and 4K/UHD, with no change in hardware or software.

The LDX Première can switch between 1080i and 720p, and offers a very powerful feature set including the Contour Equalizer, which allows for tweaking the crispness in the shadows, mid-tones, and highlights independently— offering the possibility to better adapt the contour enhancements to specific customer requirements.

Bryan Venhorst, Chief Engineer, PRG Nocturne adds, “Grass Valley gear performs great even under the most demanding environments and offers us a true broadcast solution for our clients. It’s always been our goal to provide our high-profile clients with the most dependable and reliable gear packaged with experienced crews and 24/7 support.”

PRG Logo

Formation of the PRG Music Group Announced

The Music Group Team will be supported with a $50M investment in new video equipment

New York, NY—February 19, 2015—Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, announced today that it is combining several business units to create the PRG Music Group. This new division will be under the leadership of Mickey Curbishley, CEO PRG Music, and will focus on providing integrated video and lighting solutions for tours, festivals, and concert events around the world.

“We are bringing together leading industry veterans, technology experts, and the operational know-how of PRG Concert Touring, PRG Nocturne, and Chaos Visual Productions into a single integrated organization,” says Curbishley. “The PRG Music Group is and will be the ‘go-to’ production resource for our clients. The goal is simple—we want to make it as easy as possible to do business with PRG.”

In addition to integrating the three teams, PRG is making an immediate investment in the latest video technology to ensure that PRG clients are the best equipped in the industry. “We are investing over $50 million in new gear”, continues Curbishley. “We are pairing new equipment with our newly combined team to better serve our clients. We have some of the top talent in the business and by combining these three teams into one group we are now stronger than the sum of our parts.”

Bob Brigham, President of PRG Nocturne states, “We are making a major investment in new, state-of-the-art video technology, including HD flypacks and cameras that integrate the latest technology from Grass Valley, Ross Video, and Fujinon; additional PRG Nocturne LED video modules and our proprietary LED processing. These systems will be based in our facilities in Los Angeles, Chicago, and London. PRG clients in the concert touring, film, TV, and corporate events will see a remarkable leap forward with these PRG Nocturne HD systems.”

John Wiseman, Senior Vice President of PRG Nocturne, agrees that the new HD systems extend PRG Nocturne’s industry leadership. “For years, PRG Nocturne has defined the state-of-the-art for video technology in our industry having supported acts like Paul McCartney, Bruno Mars, KISS, Linkin Park, Bon Jovi, Katy Perry, and many others. The new HD systems along with our new V-12 LED video modules, new line of V Series video processors, additional V-Thru transparent LED video panels, and the exceptional service delivered by our talented staff establish a new standard for the markets we serve.”

In Memoriam - Joseph P. Harris

In Memoriam Joseph P Harris

It is with great sadness that we announce the passing of PRG Board Member and award-winning theatrical producer, Joseph P. Harris.

Production Resource Group (PRG) respectfully marks the passing of Joseph P. Harris, an award winning theatrical producer and general manager, who has been associated with over 200 Broadway productions. Mr. Harris died peacefully at home in Greenwich, CT on Wednesday. He was 87 years old.

During his 54 years on Broadway, Mr. Harris served as a producer, general manager and initially an assistant general manager of both plays and musicals.

Mr. Harris was born in Manhattan on July 2, 1927 and moved to Queens during his childhood. He graduated from Forest Hills High School and was drafted into the Army.

After returning home from serving as part of the occupation forces under General MacArthur in Japan, he started his theatrical career as the Assistant General Manager onFinian’s Rainbow, in 1948, working alongside his father, the general manager, Charles Harris.

During his career Mr. Harris crossed paths with many artists, including the legendary Bob Fosse, producing Fosse’s Chicago and the revival of Sweet Charity starring Debbie Allen. Sweet Charity brought him the first of his three Tony Awards, the 1986 Tony for Best Reproduction of a Musical.

“He is a loss to the industry and to anyone who knew him.” said Dick Wolff, former President of Jujamcyn Theatres. “Joe Harris was one of the nicest, smartest, fairest theatrical personalities I met in my time. We had many good times and laughs together.”

He was the company manager of the 1951 musical, A Tree Grows in Brooklyn, starring Shirley Booth, and his first general manager credit was for the 1952 revival of Golden Boy, starring Lee J. Cobb and Jack Klugman.

Throughout the 1950’s Mr. Harris was the General Manager for numerous shows including the musicals Can-Can and Silk Stockings, both with music and lyrics by Cole Porter; Li’l Abner, directed and choreographed by Michael Kidd, with music by Gene de Paul and lyrics by Johnny Mercer; and The Most Happy Fella with book, music and lyrics by Frank Loesser. Straight plays he general managed during this time included Two For the Seesaw with Henry Fonda and Anne Bancroft, and The Miracle Worker, again with Anne Bancroft and a young Patty Duke.

Mr. Harris was an early member of The Broadway Show League, playing softball weekly in Central Park for years against other Broadway show teams. His son Joseph recalls being at the games as a youngster, and being entertained by Lucille Ball, the star of Wildcat at the Alvin Theatre, while his father played third base for the Wildcat team on the field.

Wait Until Dark, in 1966, signaled the beginning of a prosperous two-decade collaboration with Ira Bernstein. Shows under their management tutelage include: Pippin, The Apple Tree, 1776, The Norman Conquests trilogy, The Act, and Sophisticated Ladies.

In 1968, Mr. Bernstein and Mr. Harris began producing shows, their first venture being Golden Rainbow starring Eydie Gorme and Steve Lawrence, which ran for 383 performances. Other successful producing credits for Mr. Harris & Mr. Bernstein included Bob Fosse’s Chicago, On the Twentieth Century and The 1940’s Radio Hour. On the Twentieth Century received a Tony nomination for Best Musical in 1978, and The 1940’s Radio Hour was nominated for the Drama Desk Award for Outstanding Musical in 1980. In 1980, they also produced The Roast, directed by Carl Reiner, written by Jerry Belson and Garry Marshall, and starring Peter Boyle and Rob Reiner.

He was involved with many celebrated hit shows during his tenure on Broadway. In his role as general manager, Mr. Harris helped launch the musicals Mame starring Angela Lansbury, directed by Gene Saks; the original Sweet Charity, directed by Bob Fosse and starring Gwen Verdon; Sophisticated Ladies with Gregory Hines and Judith Jamison; and My One and Only with Tommy Tune and Twiggy. Successful plays include Noises Off; Glengarry Glen Ross; Pygmalion with Peter O’Toole and Amanda Plummer; andThe Merchant of Venice with Dustin Hoffman. M. Butterfly, with John Lithgow and B. D. Wong ran for 777 performances and garnered the Pulitzer Prize for Drama as well as the Tony Award for Best Play.

In the later years of his career, Mr. Harris produced a number of Irish plays with his cherished friend, Noel Pearson. Foremost among them is Brian Friel’s Dancing at Lughnasa, which won Mr. Harris and Mr. Pearson the 1992 Tony Award for Best Play, and was nominated for a Drama Desk Award for Outstanding New Play. Other Friel plays Mr. Harris and Mr. Pearson produced on Broadway are Translations and Wonderful Tennessee.

Someone Who’ll Watch Over Me by Frank McGuinness, nominated for the Tony Award for Best Play in 1993, was another of the Irish playwrights produced by Mr. Harris and Mr. Pearson in the 1990’s. Their final production together, a revival of An Inspector Calls by J. B. Priestley, won Mr. Harris his third Tony Award, for Best Revival of a Play and the Drama Desk Award for Outstanding Play Revival in 1994.

One of Mr. Harris’s fondest roles was as a mentor to those coming up in the industry. Many current theatrical professionals received their start on his shows and remember him warmly. “Joe was very much a second father to me, said Frank Scardino, Executive Director of the Johnny Mercer Foundation and a theatrical producer/general manager. “In a significant way, he was instrumental in the direction and success of my career. We remained close for 40 years.”

In addition to having been a member and serving on the Board of Governors of the Broadway League, Mr. Harris was the first Chairman of the Board of the Directors of the Johnny Mercer Foundation. He also served on the Board of Directors for Production Resource Group and was a long-time member of the Shubert Alley Irregulars.

Mr. Harris was a student of song lyrics and knew hundreds of them by heart. Late night sing-a-longs in the lounge at the Pierre Hotel proved his prowess among challengers and he often gave the piano players a run for their money in trying to remember tunes that Mr. Harris easily had in his arsenal. Family members fondly remember his always singing snatches of songs and talking about the beauty of a Johnny Mercer lyric or the humor in one by Cole Porter.

When the NY Giants (baseball) moved west to San Francisco in 1958, Mr. Harris’s loyalty survived a 3-hour time difference to continue rooting for his team. With the advent of cable and sports TV, Mr. Harris could be found watching west coast Giants games late into the night. One of his final joys was seeing them win the World Series this past October.

Mr. Harris would say that his finest and longest lasting collaboration during his time in the theatre was with Geraldine Delaney, a Broadway dancer, who was introduced to him while she was performing out of town in the original Guys and Dolls as a Hot Box Girl. They were married in December 1953, during a holiday break of Wonderful Town, in which she was appearing, and spent the next 39 years together, raising a family in Pomona, NY. Geraldine passed away in 1992.

He is also preceded in death by his mother and father, Jenny and Charles Harris; his brother, Charles; and sister, Jane. He is survived by his children: Jeremiah, James & Katharine, Joseph & Katherine, and Jennifer Mary; and 6 grandchildren: Robert, John, Mary Kate, Joseph, Elizabeth and Delaney.

In lieu of flowers, contributions may be made to the Actors Fund of America, 729 Seventh Avenue, 10th floor, NY, NY 10019 or Special Olympics New York, Attn: Donations, 504 Balltown Road, Schenectady, NY 12304

Chaos Team
1/6/2015 Press Release

PRG Announces Acquisition of Chaos Visual Productions

Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, announced the acquisition of Chaos Visual Productions. Headquartered in Burbank, CA, with an office in Bedfordshire, U.K., Chaos provides full service video production for live events. Both PRG and Chaos have built a solid reputation in the industry for combining innovative technology with an international team of highly experienced industry professionals.

“Chaos Visual Productions will be joining forces with PRG Nocturne,” says Mickey Curbishley, CEO, PRG Concert Touring. “It is very exciting to consider the creative and technical solutions that will result from this acquisition which brings together the world’s two most innovative touring video companies. It also creates a single team of the most respected; experienced; and talented minds working in video production today. PRG Nocturne and Chaos, under PRG’s one roof, will create a powerful production resource for our clients in the music industry.”

Through this acquisition, PRG increases their industry leading expert production talent pool with the addition of industry veterans John Wiseman, Nick Jackson, Marty Wickman, and Valdis Dauksts, who will work alongside Bob Brigham and Ron Proesel of PRG Nocturne under the leadership of Curbishley.

Chaos clients will benefit from PRG’s global, multi-disciplined, and integrated platform of lighting, scenic, audio, video, and technology solutions focused on the specific needs of the music industry. “This is a great move for our people and our clients,” comments John Wiseman, President and CEO of Chaos. “I anticipate we will work successfully and creatively together. The opportunity to work with PRG allows us to be part of the best team in the industry and deliver outstanding results for our clients on a global scale.”

Curbishley concludes, “The addition of Chaos Visual Productions into PRG will further strengthen our continued growth and reinforces our commitment to artists, designers, and production managers. We are very pleased to welcome the Chaos team to PRG.”


Drake vs Lil Wayne

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For the recent Drake vs. Lil’ Wayne Tour, PRG was back again supporting production designer Guy Pavelo’s vision. His lighting design included vertical towers of PRG BAT Truss with PRG Bad Boy Spot luminaires on either side of the stage and more BAT Trusses with PRG Best Boy Spot luminaires over the stage. Pavelo got massive beam looks out of the rig through his use of the Bad Boy and Best Boy BeamFX pattern wheels. Always ahead of the cutting edge, Pavelo employed six of the new Bad Boy Followspot Controllers for precise coverage of the artists. The controllers allowed him to cue his followspots as he would any automated light. His rig also included PRG Mbox media servers feeding imagery to the massive video walls.

See more photos in a slideshow - Photographs ©2014 Todd Kaplan

Linkin Park

Linkin Park The Hunting Party Tour

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Linkin Park continues to break new ground, with a string of No.1s and platinum awards, and audiences are clamoring to see the band in action on The Hunting Party tour. The band’s tour is again in the expert hands of long-time production manager Jim Digby. Digby in turn was delighted to extend his relationship with video services vendor PRG Nocturne for the tour, along with video director Skip Twitchell and the band’s DJ and visual designer Joe Hahn. The tour specified PRG Nocturne’s V-Thru, PRG’s proprietary display product which offers a wide range of design possibilities due to its incredible 66% transparency.

“We saw V-Thru on Nine Inch Nails’ tour and were immediately bowled over,” says Digby. “The great thing about transparency in this form is that video content and lighting interact so seamlessly, that it’s a whole new ball game for show design.”

PRG Nocturne originally manufactured the screen at the request of Nine Inch Nails’ production designer LeRoy Bennett who was looking for a way of achieving his vision and wasn’t finding it with the existing ‘low-res’ transparent screens. Working with Ron Proesel, technical designer for PRG Nocturne, they designed and delivered the solution with V-Thru, and Linkin Park is the latest benefactor of the technology.

“It was Joe Hahn who initially saw the potential,” says Skip Twitchell, who pilots a Panasonic AV-HS400A switcher during the show, alongside video engineer Jason ‘Spikey’ Harvey. “Joe had seen some clips of it and was fascinated by the transparency, so we put together this cube design where we have both a back and front surface that surrounds Joe and the drum riser, plus another area in the middle.

Twitchell explains, “Being far enough in front of the tour, we set up a V-Thru demo at PRG’s LA facility and invited Ghost Town Media, Linkin Park’s regular content creators, to see exactly what it can do. They liked what they saw and were able to visualise what they’d achieve with one screen in front of another. Consequently, they were motivated to produce some 3D-looking content that took the best advantage of the product.”

The standard sizing of each V-Thru panel is 4.5 feet tall with a fixed six foot width. Its pixel pitch is 28mm, however, due to PRG Nocturne’s custom lensing method, the end result appears much ‘tighter’ than 28mm, according to Twitchell, who is also a fan of the product’s tourability. He comments: “Aside from the fact that the frames holding the pixels are 66% air, the reason that they can be so transparent is that the header above the screen contains everything – power supply and onboard transformer – needed to run a full column, with the cabling trunked down vertical support rails.” The tour’s video crew chief and LED technician is Jordan Goodfellow.

Whatever USA

Whatever, U.S.A.

Paskal Video1

When Anheuser-Busch’s marketing partner Mosaic asked PRG ‘Are You Up for Whatever?’ PRG answered with a resounding yes. For this unprecedented experiential marketing event the town of Crested Butte, CO was transformed into a completely immersive experience for 1,300 social media fans of Bud Light. Mosaic relied upon PRG to handle all the production and logistical solutions needed to realize their ambitious goals, including converting the local ice rink into an EDM event space with a complete lighting/audio and video rig plus a full venue surrounding 360˚ projection screen. Out on the main street, Elk Street, a full mainstage with rooftop patio at one end of the street was erected and at the other end of the street an entry arch, again with rooftop access was built. All totaled PRG worked on 15 separate locations setting up and supplying equipment, crew and coordination. For the entire scope of production elements—crew, lighting, video, audio, rigging, and camera packages as well as all of the logistics and coordination in multiple venues throughout the town PRG’s team brought solutions that realized this incredible concept and created an unforgettable one-of-a-kind experience.


World-Class Technical Team from PRG to Deliver THE MARVEL EXPERIENCE

Los Angeles, CA – Hero Ventures, a Los Angeles-based entertainment company, announced today that technical elements for The Marvel Experience, an epic-scale, immersive adventure experience in which guests step into and interact with the world of Marvel’s Super Heroes and Super Villains, are being led by Production Resource Group (PRG).

“The Marvel Experience has evolved into an amazing, premier touring experience, complete with unique technical elements such as 3D 360˚ video projection, first-person ‘live’ interactive gaming and a dynamic 4D motion ride. It became apparent early on that we needed an elite team of seasoned professionals in entertainment production that could offer us real solutions to help execute our complex vision – that’s why we went to PRG,” said Hero Ventures’ Chief Production Officer, Jason Rosen.

The team assembled by Jim Lehner, PRG Senior Vice President, Special Projects, and Duke Durfee, PRG Creative Director and Design Manager, will be handling all the coordination and supervision of the design and construction for the project. While The Marvel Experience’s technical requirements pose a unique set of challenges, PRG’s global reputation has been built on its ability to bring innovative solutions to a wide range of projects including Broadway’s groundbreaking Spider-Man: Turn Off the Dark, Olympic Opening & Closing ceremonies, key elements of Universal Studios’ Harry Potter attraction, Super Bowl Halftime Shows and an exhaustive list of global concert tours.

“Traditional entertainment design is evolving,” explains Jeremiah J. Harris, Executive Producer of The Marvel Experience and the Chairman and Chief Executive of PRG. “Technology, guest interaction, and immersive storytelling need to be balanced seamlessly together to realize the next generation of experience-based entertainment. For Marvel Entertainment and Hero Ventures, that means taking the world of Marvel directly to fans, on a scale never before toured, and letting them enter that world fully. This is the future of entertainment; the guest doesn’t have to travel to an attraction in a fixed location, the attraction is brought to them. Of course, that takes a considerable amount of logistical planning, innovative problem solving, and meticulous coordination.”

That same proficiency is evident in the complex control network the PRG team has designed to integrate all of the technical aspects of the production. In this case, bringing everything together “under the Dome,”The Marvel Experience is a touring complex that covers over 140,000 square feet and features seven interlocked, air-inflated Domes, with the largest towering over six stories high. Developing these new custom made Domes was a unique engineering feat in its own right. As much like a concert tour, they had to be designed to travel from city to city, being built and deconstructed in a matter of hours. As guests enter the Domes they instantly become an integral part of the story. While on their quest, guests will experience hands-on interactive games and a variety of show systems from 3D, 360-degree stereo projection to atmospheric lighting and audio, animatronics, virtual and augmented reality, and projection mapping—all while being interconnected to the experience via RFID in the form of a technologically advanced “tracking” Super Power Band. The crowning jewel of the experience is the final battle featuring the largest touring, motion-based attraction in the world where guests are able to participate in the outcome of the mission.

“Tracking animation, the movement of the seats, the movement of the lights, the audio levels, and combining everything else into one cohesive experience is a challenge uniquely suited to PRG,” says Lehner. “We worked closely with the animation group and scenic fabricators to make sure that what you see and hear throughout blends with both the on-screen and physical elements that you are sitting in and walking through—and blurs the lines between fantasy and reality into what Hero Ventures is calling Hyper-Reality. Every cutting-edge, high-tech feature was designed and installed to make The Marvel Experience one that visitors will never forget.” “Creating a themed-entertainment attraction that will redefine the ‘state-of-the-art’ requires a team of talented set designers and technical engineers to envision, produce, and execute,” notes Durfee. “For example, Electrosonic provided groundbreaking audio and video design solutions that enabled the interactive exhibits, live gaming and virtual experiences to become a seamless immersive environment. It is this type of innovation that differentiates The Marvel Experience from the typical traditional touring shows.”

The culmination of the experience is an epic interactive finale in which Hero Ventures collaborated with MediaMation, the leading manufacturer of 4D/5D motion theaters, to develop a traveling, 4D motion ride. “Designing a 4D motion ride for a theater-quality ‘Dome’ experience presented exciting new challenges for our engineers and technicians,” according to Dan Jamele, VP and Chief Technical Officer of MediaMation Inc. “The unique requirements of this large scale, portable MMX®4D attraction included custom seat “tilt” angles, ensuring that the entire audience stayed fully immersed in the action regardless of where they are sitting. Executing 4D effects such as wind and water spray also required new and innovative solutions in this unique environment. Working alongside Hero Ventures and PRG on a project of this stature is really a unique opportunity that MediaMation is proud to be a part of.”

The Marvel Experience lands in Phoenix on December 19th and runs through January 3rd before moving on to Dallas, San Diego and San Francisco with more cities to be announced shortly. Tickets are available both at and at

Headquartered in Los Angeles, California, Hero Ventures, LLC develops and produces live entertainment experiences that delight and surprise consumers through innovative technology. The Company has brought together the best creative and business minds in animation, interactive technology and the live event space to create dynamic, unparalleled productions to share with audiences around the world in unique and unprecedented ways. Governing Board members include Oscar winning film producer and co-owner of the NFL’s New York Giants, Steve Tisch; Los Angeles Lakers legend and NBA 2-Time Hall of Famer, Earvin “Magic” Johnson WWE Senior Business Advisor, Basil V. DeVito, Jr.; Shamrock Holdings CEO, Stanley Gold; Guess Jeans Co-founder Maurice Marciano; Enlight Media’s David B. Miller; Parker Capital’s Junfeng Li as well as Hero Ventures’ founders Rick Licht and Doug Schaer and Partners/Executive Producers Michael Cohl of S2BN and Jere Harris of PRG. 

ABOUT MARVEL Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit © 2014 MARVEL


Today’s Innovative Technology, Tomorrow’s Industry Standard

Attendees at the LDI 2014 show in Las Vegas found a range of new lighting products from Production Resource Group, L.L.C. (PRG) that were all developed to provide practical yet innovative solutions to the challenges of live event production. PRG understands that true innovation must enable producers, designers, and technicians to ‘work smarter’ – to accomplish more, with greater efficiency, at lower costs. Those visiting booth #2137 over the next three days will be among the first to see the true ‘work smarter’ solutions on offer from PRG.

Quickly becoming a hot topic on the exhibit floor after its unveiling is the PRG RH+A ReNEW LED Retrofit Assembly. This LED light engine is designed to work with the Electronic Theatre Control (ETC) Source Four® ellipsoidal’s lens tubes and shutter assembly. By merely swapping out the tungsten light source of the Source Four the ReNEW user immediately cuts their energy and HVAC costs yet increase their output. The ReNEW produces over 8,200 lumens of output, making it an LED option that truly exceeds the output of the 575W Source Four ellipsoidal with clean even field of light.

Taking under 60 seconds to change each unit out, it is also a time efficient solution to changing out whole rigs to efficient LED. The ReNEW LED Retrofit Assembly is available in 3,000K tungsten and 5,700K daylight color temperatures. The ReNEW exemplifies smart innovation that acknowledges the need for effectively balancing time and money when upgrading technology.

In keeping with their ‘work smarter’ approach to innovation, PRG’s Bad Boy Followspot Controller is a clever accessory that turns the output and highly desired features of the PRG Bad Boy Spot luminaire into a manually controllable followspot. The operator has control over the pan and tilt of the luminaire as well as local control over intensity, iris, zoom, and edge control. Of particular note by designers is that the lighting console controls all other internal functions of the luminaire like color or gobo. The console operator can also take over several of the functions assigned to the local followspot operator like intensity or zoom.

A high visibility LCD screen gives the followspot operator precise feedback on the levels for Intensity, Iris, Zoom, and Edge. There’s also a dial that allows the operator a level control for the LCD screen to minimize light pollution in sensitive applications. The already in-demand Bad Boy Followspot Controller has been used for many applications where an automated followspot brings more responsive and artistic control including fashion shows, television programs, and concert tours.

Making its North American debut at LDI the PRG Best Boy Wash luminaire; a feature-rich wash light that sets the new standard for its class. Joining the award-winning Best Boy® Spot and the Bad Boy® Spot luminaires, PRG again redefines what an automated light should be, with the introduction of the Best Boy Wash luminaire. This dynamic new wash light features a 1,500-watt arc source that generates an unmatched 60,000+ lumens of light output, far brighter than any other available wash light in its class. With a beam size iris, that works hand-in-hand with the 6:1 zoom, the Best Boy Wash offers unrivaled beam versatility in a single automated fixture and unlike other wash lights, the Best Boy Wash includes a super fast and ultra rich CMY color system and a rotating, indexable gobo wheel with four wash gobos to add effects to your wash beam. Optimized for television and film applications, there is a dedicated minus green filter and a unique color temperature wheel that allows designers to vary color temperatures down to 3,200K and up to a very cool 8,000K. The color temperature wheel, paired with the minus green filter on the fixed color wheel, is ideal for on-camera lighting.

In addition to these products, we are introducing the new PRG Used Equipment web site – PRG ProShop. PRG ProShop enables users to more easily browse the available inventory of used equipment from PRG, to find what they are looking for, and make inquiries to the UES team. In addition, it is built on a robust ecommerce engine that will allow us to continue to enhance the user experience over time. PRG ProShop will be promoted to LDI attendees this weekend and launched wide next week.

PRG work smarter solutions to today’s complex practical production needs are truly uncompromising on innovation and performance.

11/17/2014 Sports Events

Dr. Steelhammer

After a spectacular TV event last weekend, Wladimir Klitschko (38) from the Ukraine remains the world champion of the IBF as well as the IBO champion and WBO/WBA and „The Ring Magazine“ Superchampion. In the sold out o2 World in Hamburg, Germany “Dr. Steelhammer” Wladimir Klitschko, knocked out his challenger Kubrat Pulev (33) from Bulgaria in the 5th round by a hard left jab. In the o2 World alone, 14,000 fans watched the event, 150 TV stations worldwide broadcasted the fight with an estimated 100 million people watching the battle on their screens, most of them in the US (HBO).


PRG was responsible for broadcast and effects lighting as well as sound, video and rigging. The video projection developed into a real eye catcher. The running-in of both opponents was accompanied by a media projection, produced by several synchronous running media servers. Purpose was to animate the content in a way to create a dramatic 3D-effect. 


Another highlight was the technical implementation of the camera editing on to the according content situation. Therefore the editing in the OB vehicle during the appearance of Klitschko was triggered by a media server; this allowed an exact camera editing. 

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