Production Resource Group LLC (PRG), the world’s largest supplier of technology and services for events and entertainment has appointed Tom Van Hemelryck as CEO of PRG Central Europe, the umbrella name for PRG Belgium, the Netherlands, France and Spain.
Van Hemelryck brings more than 20 years of experience in the entertainment industry and has been part of PRG since 13 years, during which he engaged various international positions within the last ten years.
He will mainly focus on harmonizing and optimizing the internal collaboration within the PRG Group for PRG Central Europe to effectively make use of the strong operational processes and teams of the group.
In his new role, Van Hemelryck will report directly to Stephan Paridaen, President and Chief Operating Officer of the PRG Group.
“I’m delighted to have Tom in this crucial leading position,” explains Paridaen. “He has proven his skills to identify growth opportunities and is able to apply the right commercial strategy in order to achieve those goals. These qualities are certainly beneficial to further support the team in Central Europe”.
“It’s a great honor to support the teams with whom I have been working for the past 13 years in terms of their future development and the optimization of the Central European organization.” says Van Hemelryck. “I highly value the cooperation within the group and I am convinced that we can continuously improve and strengthen the services and efficiency we have offered to our clients for more than 20 years.”
“About 20 years ago, I did my first freelance job for EML Productions and ended up working for ETF and PROCON in an international role. Today, working with Central Europe’s highly talented and motivated team feels like coming home. The circle is now complete.”
Tom will lead and work together with PRG’s Central European Management Team, Jan Van Malder - General Manager Entertainment Belgium, Alex Van Vlierberghe - Financial Director, Walter D’Haese - Production Director Entertainment Belgium, Bob Walpot - Head of Assets, Thierry Kra - General Manager PRG France, Laurent Boillot - Production Director and Account Manager PRG France and Xavier Thys - General Manager PRG Spain.
DALLAS – MARCH 16, 2017 – Production Resource Group LLC, the world’s leading provider of entertainment and event technology solutions, announced today that it has been issued a United States utility patent for the award-winning GroundControl™ Followspot System. The patent (number 9,593,830) is the culmination of a multiple-year development effort by the PRG Research and Development team based in Dallas. This patent is the first issued of the four patents filed by PRG related to the GroundControl system.
“We are very happy and proud to have our first claims granted on the GroundControl Followspot. PRG’s innovation is driven by our clients’ needs and this is just another example of our extensive technical capabilities,” said Chris Conti, product manager for PRG and one of the inventors. “This product is revolutionizing a category that has seen very little innovation in the past 30 years. We have been overwhelmed with the success and demand for the product.”
PRG’s GroundControl Followspot System allows a followspot operator to remotely operate a high output automated luminaire as a followspot from up to 2,000 feet away. Designers now have total creative freedom to put followspots in previously unusable places or avoid complex rigging. With the GroundControl Followspot System, the operator is on the ground so the physical footprint of the luminaire is significantly smaller than a conventional followspot. Because of this small footprint and low weight, followspots can now be placed in a wide variety of positions. The GroundControl Followspot System consists of specially customized PRG luminaires which include a built-in camera and can be flown or mounted in locations around a venue which would not normally accommodate a followspot. In addition to the safety benefits, the GroundControl Followspot System reduces trucking space, saves operator time, allows for a single operator to control multiple follow spots and also minimizes “seat kills” – the need to remove seats to create traditional followspot positions – a revenue bonus for clients.
The GroundControl Followspot System, introduced to the market in 2016, has been well received by the industry – awarded Live Design’s Products of the Year for Best New Followspot in 2015-2016 and AV Awards Production Product of the Year in 2016 – and it has been quickly integrated into live music, TV and corporate productions. The technology has been used on tours by artists including Bon Jovi, Bruce Springsteen, Drake, Elton John, Metallica and Red Hot Chili Peppers and has been integrated into TV productions such as “The Voice”, “MTV Awards” and “iHeart Music Awards”. It has also been used in the Tom Ford Fashion Show and in events and exhibits by corporations such as Adobe, Microsoft and SAP.
The GroundControl Followspot System consists of three parts: a GC Spot Luminaire, a GC Truss Box, and a GC Followspot Controller. It is currently compatible with PRG’s Best Boy HP, Bad Boy HP and the new GroundControl™ LongThrow luminaire.
Currently one of the world’s biggest music artists, Drake is selling-out arenas around the globe. Following a hugely successful tour of North America, the show was brought to Europe.
Tour Director and Designer, Steve Kidd, and Lighting Director and Designer, Guy Pavelo, have both worked with Drake for more than five years, providing the designs for multiple tours, and use PRG to supply lighting and video technology for the tour worldwide, working with Curry Grant in North America, and Yvonne Donnelly Smith and Stefaan Michels for Europe.
The design incorporates multiple elements of lighting and video technology including a kinetic LED lighting system; a curved video wall; an array of lighting fixtures from high brightness beams to remote followspots; and video projection.
Guy Pavelo explains their approach to the design for the tour: “This was our fourth master rendition of the design. It was a conglomeration of different elements Drake liked. We spent five months on the design from the first plan. We would show Drake different elements and he would pick and choose what he liked most.
“One of his team found a stop-motion video of an art installation in Japan which was similar to our ball and winch set-up, and had little baseball-sized things which moved in one pattern over the course of about six hours, but since it was stop motion it looked like it took 20 seconds. They wanted us to recreate that.
“In order to accomplish this, we determined that we needed to make a gridwork for the spheres and not spread them out across the whole venue otherwise it wouldn’t make sense to anyone except in the last row.
The design started with a curved video wall built from 9mm LED. Guy explains: “We started with the curved wall, and then we created the set with the lifts and all of that stuff that Drake liked, and added the overhead structure which encompassed some of the house rig. With the kinetic addition, that’s what finally tied all the last pieces together and created the system over the deck.”
Steve Kidd continues: “That’s kind of our relationship with Drake. We come to him with our ideas, what we believe would be great concepts, he then takes those ideas and bends them a little, as all great artists do, and then we create a reality, knowing what our vendors are capable of, but we also have to be realistic about how we can actually tour it.”
Steve and Guy’s main consideration is making a design which can be easily toured around the world, packed into trucks and into venues quickly and easily. Guy explains: “A good part of that is how we worked with SGPS to build some of the elements, from the curved framework for the LED wall to the fact that every piece of truss up there which isn’t a cable bridge is custom made. We moved from 24 to 32 to 48-inch double-bay truss with a shorter leg set and cast assembly so that almost every lighting fixture on the show stays in the truss.
“The truss stacks three high in Europe in the trucks and four high in the States. It’s a time saver, personnel saver, and truck space saver. Yes, it’s big and consumes a little more floor space, but there are 700-800 winches up there that never need to be touched again.
“If we went with anything thinner to save on truck space, we would have a cart with pipes and poles, and we’d have to hang everything each day, which encompasses the potential for more failure, so this saves that.”
Steve agrees: “When building a new production, we’re always up against time. Time and space are the two things which we consider – particularly how much time we have to build the show and what it’s going to take space-wise to actually put it inside the venue.”
When planning shows, smaller venues or those with weight restrictions have to be taken into consideration. Guy Pavelo elaborates: “We’re up to the limit of the venue capacity in terms of what we can actually rig, but the guys aren’t killing themselves to load it in. We’re fortunate that a little extra money was able to be spent on custom truss so we could save the guys a little.”
A notable part of the show is the kinetic moving spheres which wow the audience at multiple points during Drake’s set. Guy explains how the system was developed: “The kinetic spheres are a collaborative project. Glow Motion Technologies gave us all the pieces - it’s actually two different components; the sphere, the physical plastic ball, and the LED chip inside all developed by Glow Motion Technologies. The winch itself is from Stage Kinetik, the hard-powered winch, data, and control, but Glow Motion handled acquiring all the necessary stuff to put it together.”
Steve Kidd continues: “The winch from Stage Kinetik does all the work. Initially when Guy and I first started talking about this design it wasn’t a sphere, but by luck we got these spheres from a mutual friend of ours. They were used on an auto show in Germany, and were sitting in storage. The spheres are what they are, but without the winch it simply doesn’t work.”
Guy explains: “Without the winch, it’s similar to an art installation where the lights just go on and off, but after a few seconds, you’re done looking at it. With this people watch it, and then there’s another number and it looks different, and people don’t stop watching it.”
A major addition to the show design for the European leg was the projection globe. Drake was keen to give everyone in Europe a different show to the one which had been seen in North America.
The addition of a B-stage and the globe with projection meant some adjustments to the kinetic system. There had been a fly rail as Drake flew for one song, but with that removed, the winch system could be tightened up.
Guy explains the inspiration for the new projection globe: “That was from an art installation that happened in Toronto this past season. It was called Death of the Sun and it was a 45ft round sphere on top of a pedestal which was projection mapped. It was a 12-15 minute progression which had the different stages of the sun – from the birth of the star, through the nebula, until it finally burns out.
“The guys who created that had dealt with Drake in the past, so we were fortunate that with one phone call we were able to secure the ideas and the original and get the ball rolling. Two days later we had an object to start playing with here in Europe.
“We have eight Panasonic 30k laser projectors which are what’s driving the globe itself – four double-stacks in quadrant, and the guys are using d3 and Blacktrax to map and track the ball as its inflated during the show, so we can realign and hit it completely.”
The addition of the globe meant a quick change to the set up in Europe, for which PRG needed to add projectors and media servers to the setup. Guy explains the fast response to their request: “We called up Yvonne Donnelly Smith (Director of Music, PRG XL Video) and said, ‘we have a situation where we’re going to need a substantial amount of adjustment to the design’. They opened the shop back up at the weekend, and got personnel back in for loading the truck on a Sunday, which I know doesn’t usually happen, and we had the equipment on the Monday. It was a rush, but every single fixture worked and every one of them was clean, and they were sitting there Monday morning waiting for us to show up. It was fantastic. It was no problem, they said ‘just give us the list and we’ll figure out how to deliver it’.”
Another addition for Europe was the use of Barco projectors and their moving mirror system. Guy explains how they’re used: “They are a concept which High End came up with originally in lieu of lasers. They’re not laser projectors, but you can put content into them which makes them look like a regular laser. You can broadcast out over the audience with no regulations, or health and safety restrictions, and it gives a different look and colour. You don’t get the super-vivid green laser beam but, past that, you get its own type of effect which works really well towards the end of the show.”
The lighting for the tour was designed to complement the kinetic sphere system with many fixtures chosen for their compact size, energy consumption, and high brightness and impact.
Guy Pavelo explains the choice of the lighting fixtures: “We have a range of fixtures – PRG’s Best Boy Spot HP and Best Boy Washes, a small boat load of the Icon Beam; plus Clay Paky Sharpy and Stormy; SGM P5 and Q7 LED fixtures; a quantity of the new High End Solaspot 1500 and LED Solawash 37, with Martin Atomics and GLP XBar 20 fixtures.
“The spots and washes are used for overhead coverage – the trick being the size of the units. We had a very specific size range as we didn’t want to take the fixtures out of the truss every day, and if they were any bigger, they wouldn’t fit in order to stack it and fit in the truck. The overheads needed to fire through the winch and spheres to cover the deck.
“We went with the Icon Beam because the beam that comes out of it is a step forward. Drake wanted a different look and the beam is bigger than a Sharpy. Having the beam with some width, but coming out of a small compact head really worked out.
“For Europe we added the P5 and Q7 to give different mood coverage and house coverage elements as well. For followspots, the team chose the use of PRG’s GroundControl remote followspot system which situates the fixture on the truss, but with the control unit on the ground. They have two operators out at front of house and four backstage because the show is built in two halves – a forward U which includes the B-stage and then the main stage package.
Guy found several benefits in using GroundControl for this tour: “We have the GroundControl Bad Boy Followspot – six of those. We always usually have truss spots up top but with pyros and having people up there kicking their feet around, that’s a problem when mixed with the kinetic, so the GroundControl is a saving grace in that regard.
“When we made the shift to Europe and having the B stage all we had to do was take two of the lights down, move them over 10 feet, plug them back in and we were done. It didn’t turn into a six hour process to move two truss spots with trees and flight lifelines.
“We’re already rigging close to max capacity in most of the venues. The fact that we would have to have six more guys up there with an extra 5000-6000lb overhead for safety was saved.”
Steve and Guy have worked with PRG globally for a number of years to supply tours they design. For them service and support is the key. Steve elaborates: “We find that PRG has been an excellent provider of every aspect of all our designs. What I love about them is that the support is there, not only from the sales side so that Guy can achieve his dream of what he’s trying to deliver to the artist, but also where I have to come in on a budget number. We can say ‘what do you have that nobody else has used yet or that has just come out and looks amazing’, and we also get the crew support which comes along with such a great product.
Steve continues: “PRG has been great for us both domestically in North America, and worldwide. PRG has been a great supporter of Drake, and now with them purchasing video companies, that has escalated our relationship because we can now get lighting and video all in one. One of the hardest things in touring is getting different vendors to blend together. They have a cohesive team which all works together.
“It was important for us to work with people who wanted to be partners, and I know with both Curry Grant and Yvonne Donnelly Smith that the partnership worldwide means a lot to them, but it means a huge amount to us because we can count on them.
“Our client is one of the biggest in music right now – selling more albums and selling-out more venues than any other artist currently, so his expectation is high, and as the designers, our expectation of our vendors is also high.”
PRG XL Video’s Yvonne Donnelly Smith comments: “We have worked with Steve and Guy for a while now and their designs always push the boundaries of creativity. We’re proud to be able to support them on a global basis, working with our colleagues in North America, across Europe and beyond. The current tour looks amazing and audiences are giving it a fantastic reaction wherever it goes!”
PRG XL Video, the UK operation of Production Resource Group (PRG), has been awarded Favourite Video Rental Company at the TPi Awards in London.
This is the thirteenth time the company has been awarded the prize, which is nominated and voted for by production industry peers and clients.
At the ceremony held at Battersea Evolution in South London, the award, which was sponsored and presented by media server manufacturer d3, was collected by PRG XL Account Director, Steve Greetham.
Steve comments: “It was great to win this award for our video work, which covers concert touring and festivals, theatre, television and corporate events. We had a busy year with a variety of different applications including massive screens at Creamfields and Isle of Wight festivals, through to a custom curved screen for Big The Musical, and video projection for a Royal Charity Gala, and it’s great to see video being used in such diverse ways.”
“We’d like to say a huge thank you to everyone who voted for us. It’s a really an honour to be recognised by our industry colleagues!”
PRG XL Video was also shortlisted in the Favourite Rigging Company and Favourite Lighting Rental Company categories.
PRG XL Video was also a sponsor at this year’s awards. The Live Production of the Year category at the awards was won by Coldplay’s A Head Full of Dreams World Tour.
It has been a year now since Karen, Kristel and Josje passed the torch to Marthe, Hanne and Klaasje to continue the successful girls-band named K3. The change didn’t affect the popularity of the group. K3 remains the most popular band for little girls and boys in Belgium and the Netherlands. This year’s tour includes more than 60 shows in 11 different venues in the two countries. The show premiered at Flanders Expo in Ghent and we can definitely state: K3 is brimming with confidence, the girls are more than ready to continue on their first tour. Studio 100 asked PRG Belgium to support the show with rigging, lighting, video and sound, just like we did for the previous K3 tours.
The set is built around a video screen of 16 by 7 meters that serves as a backdrop, completed with a proscenium arch made of LED panels to add extra depth to the stage. The backdrop and proscenium both have a 6mm pixel pitch and are supplied by Pixelscreen.
The eye-catcher on stage, the girls not taken into consideration of course, were the stairs, entirely designed by PRG. Christophe Reusen, PRG’s technical drawer, designed 10 steps together with our productional team of which 8 horizontal and 2 tilted steps. The horizontal steps are made of 1.100 Barco Olite tiles with a 9mm pixel pitch. With some adjustments in content due to the difference in pixel pitch, the video content of the stairs completely blends into the content of the backdrop and proscenium. The spectators see one big image with depth which is created by the different video elements. The stairs were entirely produced in our own studio at the warehouse in Tildonk. The video content was designed by Painting With Light and mapped by Pandora Coolly mediaservers.
PRG also provides motion technology for the rigging part of the show. The central video screen can be split into two parts. During the show, the K3 girls travel from one planet to another in a UFO. We designed the vertical and horizontal movements of the UFO based on Wahlberg track runners. This technology, that we also applied during the Marco Mengoni tour in Italy, makes the UFO fly trough the galaxy, created by the LED screens.
Further, the rigging structure is built around a solid Interal P100 base grid. In most of the venues, the grid can be rigged onto the ceiling. For two venues, we have to build the structure from the ground up with a ground support.
Painting With Light was also in charge of the lighting design, according to which PRG compiled a set of moving lights with Martin Mac Viper Performance, Clay Paky B-Eye K20, GLP Impression X4 and PRG moving lights from the Icon series. The set is completed with the new Chauvet Strike 1 spotlights and 3 Robert Juliat Victor follow spots. All this we control with Grand MA consoles.
In terms of sound, we are counting on our Adamson speakers to deliver the best result according to the design by FinesSound.
PRG is very grateful for the trust Studio 100 places in our expertise and successful partnership. Our PRG crew is excited to continue the tour. Every year, the atmosphere on tour with K3 is unique and it seems like this tour will also be one to remember!
PRG Team: Chris Pellens, Lukas Van Broeck, Leen Frijters, Michiel Bosman, Ruben Simons, Quinten Deleersnyder, Tom Thomas, Timmy Devriese, Tom Wouters, Stefaan Vanbesien, Dieter Meeus, Koen Van Gorp, Bart De Cleene, Anne Sofie De Pickere, Lars Bautmans, Lennert Vandendries, Frank De Schutter, Dries Van Den Bruel, Stef De Raet, Jonas Castelijns, Joachim Dewulf, Simon Brants, Paul Taggert, Walter D’haese , Christophe Reusen, Bart Poels, Peter Roosendans
The year of 2017 started big for PRG with the representation of the prestigious ballet ‘The IX Symphony’ of Maurice Béjart at Forest National, from the 6th till the 8th of January. More than 200 artists: ballet dancers, singers and musicians interpreted the masterpiece of Beethoven, choreographed by Maurice Béjart, Today, 50 years later, Gil Roman, the successor to former Artistic Director of the Béjart Ballet Lausanne, Maurice Béjart, brings new life to this masterpiece.
PRG supported the show with sound and lighting technology. The clients, the Béjart Ballet Lausanne and Music Hall, wanted to recreate the lighting design of 1964. The PRG team installed mostly conventional lighting on a 600m long structure above the central stage. In terms of sound, 72 Adamson S10 speakers were installed, as well as multiple little sources in delay, out-fill, front-fill and returns.
PRG Account & Production Manager Laurent De La Haye & Mathieu Antoine
Choreography: Maurice Béjart interpreted by Gil Roman and Piotr Nardelli
Music: Ludwig Van Beethoven, Citypercussion – Thierry Hochstätter and jB Meier (prologue)
Scenery, lighting & costumes : Joëlle Roustand, Roger Bernard, Dominique Roman & Henri Davila
Koen and Kris Wauters from Clouseau ended 2016 and started 2017 with two concert weekends at the Antwerp Sportpaleis. Their newest concept “Clouseau Danst” is a dynamic and immersive show that invites the public to danse all night long. PRG supplied video, lighting and sound technology following the design of Painting With Light’s team, directed by Luc Peumans.
The impressive setlist of old hits combined with new ones, was emphasized by an innovative video content. PRG was responsible for 500 square meters of 10 mm pixel pitch LED screens. 5 separate LED screens that could move individually from each other thanks to a special rail system, formed the big central screen of 30m by 10m. Just above the stage, 5 triangle pods were installed with each 5 trusses that were covered with LED panels. These panels were specially made and PRG designed the frames to fix the panels seamlessly. PRG subcontracted Pixelscreen for all video aspects of the show.
PRG installed a total of 375 Moving Heads, including our very own PRG Icon Beams, Clay Paky Mythos, V3500 Washes and SGM Q-LEDs. All of the PRG equipment was rigged upon 700 meters of trussing and 100 hoists. In order to create an immersive experience during the show, 20.000 RGB luminous bracelets were handed out to the crowd, which were lit up at the same moment during the show and controlled by a DMX controller for synchronisation.
Clouseau Danst is organized by PSE. Production Managers Walter D’Haese (PRG) and Alain Van Isacker managed the show. The sound was controlled by Sound Designers Patrick Demoustier, Mark Luyckx and On Site Manager Marc Iven. Filip Van Broekhoven was responsible as On Site Manager Light. Once again, our crew showed a lot of craftsmanship!
While innovation is the hallmark of PRG's award-winning GroundControl™ Followspot System, GroundControl also offers multiple cost saving benefits to event budgets. In this animation, go on a visual tour of GroundControl in a show setting and see side-by-side comparisons of how GroundControl measures up to a traditional followspot setup. Designers will be interested to hear how savings accumulate thanks to GroundControl's reduction in space, weight, fuel needs, and overall load-in times. In addition, GroundControl also uses the same power distribution as automated lighting fixtures, doesn't require any special cable, reduces seat kills (increasing ticket revenue), and reduces rigging costs.
For questions and rental or sales inquiries, don't hesitate to contact us.
PRG Belgium has recently received a large batch of ProLyft Pro controllers, which will instantly be deployed on productions.
After a thorough selection procedure, Prolyte was selected to supply PRG Belgium with its’ high-end control systems. Investing in 30 12-way control units is the first step in further professionalizing and renewing their rigging department.
PRG’s Segment Advisor Rigging, Stef De Raet and Michiel van der Zijde, Product Manager ProLyft, met during the STEPP contact days, with the leading leitmotiv of “Lifting above the public”. Both entirely dedicated to making rigging as safe as possible, discussing about rigging, regulations, and how the market will develop towards the future, they shared their common vision on how safer products can contribute to improve work floor safety, an obvious concern for all involved in rigging. “Whenever you’re ready – come to us” was Stef’s reply back then.
“When we were ready” Michiel van der Zijde remembers, “We were convinced we had the right product for them, so Bruno Lerminiaux (Distributor Manager for Prolyte) invited Stef De Reat to come to Leek for one day of brainstorming. Asking the question of how PRG would like to be positioned in 10 years, verses of 2 years, opened their eyes to the philosophy behind our controllers. They are built for the future. Implementing the possibility for load measuring, overload protection and encoders in our controllers really convinced them of the assets the ProLyft controllers will be to their productions”.
At the end of June, Bruno Lerminiaux, invited by Stef De Raet, was enjoying himself immensely – helping to build the Rock Werchter festival to refresh his road-skills, They continued their discussion on rigging and rigging controls. Considering that PRG was looking to replace their old rigging controls and ProLyft just launching its new series of Pro controllers, both found themselves seeing eye-to-eye.
After a demo day in PRG Belgium’s offices, both parties were convinced it was a match. “The philosophy behind the Pro controllers reflects our view on safe rigging,” states Stef De Raet. “We were totally impressed by functionality, the entire safety of the controllers, the control functions and the fact that all these functions are made visible. That’s a great advantage when you work in conditions without much daylight. The sealed front-panel with integrated buttons and its’ very user-friendly interface makes it an easy and intuitive system to work with. Furthermore, we have benefited from the excellent support from the complete ProLyft team – I know of no other party that can deliver this level of support.”
“We now have invested in thirty 12-way units, for PRG this is a first step in further professionalizing and renewing our rigging department”, Stef continues.
Michiel van der Zijde adds: “The rigging department is the last discipline within the entertainment market to digitalize the standard equipment. User friendliness with plug and play solutions is of major importance to create the acceptance of new technology in our industry.
Like Stef told me: “Do not touch the first one-and-a-half hour of the load in”. “Any loss of time in that specific timeframe will delay the whole production and will reduce the acceptance of the equipment.”
The ProLyft Pro controllers are fully compliant with the latest standards, regulations and quality demands. They are built as a growing system, so you can easily convert them to adapt load monitoring systems or encoders. The whole system follows the thinking process from a riggers point of view, which is quite unique.
Bruno Lerminiaux continues: ”We see a tendency for professional users to be more and more aware about safety and ease of use. You just want to be sure that when you choose to run your rig up, all hoists will do exactly what you ask of them. It’s clear that for PRG these considerations are of major importance and this played an important part in their final decision. They are fully focussed on the future and on the deployment of safe systems. Whichever way you look at it, PRG is one of the major players in our industry and does set an example. This may create broader awareness on safety, something we can only be grateful for”.
Hamburg, Germany, and Dubai, UAE: Production Resource Group LLC (PRG) was honoured to work with Balich Worldwide Shows (BWS) to supply a huge multi-surface video projection for the United Arab Emirates National Day celebration in Abu Dhabi.
The event, held at the request of the Crown Prince’s Court, celebrated 45 years since the unification of the United Arab Emirates, and took place in the presence of a selected crowd of dignitaries.
Tom van Hemelryck, VP Global Sports and Special Events was contacted by Balich Worldwide Shows to provide both the technical expertise and technology for this special commemorative show.
Tom brought together video and technology specialists, Yves Winand, from PRG in Belgium and his counterpart Bill Ainley from the group’s UAE operation to work with the design specification from Balich Worldwide Shows. Starting with the mapping of the surfaces, d3 was identified as the media server for this project. It was used to design, and previsualise the projection, and whilst on site used for line-up and playback of the content created by Charles Darby and the team at Clonwerk.
Yves Winand explains: “We needed a strong partner for this challenging project, and we worked closely with d3 to improve some processes on site in order to save time in the line-up. We had to share preparation nights with lighting programming and rehearsals, and waiting for the arrival of large moving elements, so time for the set-up was limited.”
The projection covered over 6500 m2 of floor, which was a particular challenge due to the flat angle and positioning of the projection towers. Either side of the stage, two wing screens of 600m2 were also covered with projection. Four sand dunes, each measuring 35 metres by 8 metres, which tracked across the stage, and a rising sun of 16 metres by 8 metres, which rose from behind the dunes were also projection mapped and covered perfectly as they moved into place during the show.
Panasonic PT-DZ21KE projectors were used for the floor and wing projections, and a combination of Barco HDF-W30 and HDF-W26 projectors covered the dunes and rising sun. In total 126 projectors were used across the event to create the spectacular effect.
Bill Ainley commented: “Whilst this event presented many challenges, we are proud of our team’s ability to seamlessly draw upon design, technical and logistical expertise from three PRG operations across three countries to ensure our approach at the design phase would achieve our client’s expectation on site. This, along with the team of expert technicians who worked very hard in a challenging environment, ensured we could deliver the project to an exceptionally high standard.”
Tom van Hemelryck concludes: “We are delighted to continue our working relationship with Balich Worldwide Shows, and honoured that they chose PRG as a partner in delivering this prestigious, high-profile show. Everyone involved in this show worked in great collaboration to deliver a show which looked truly spectacular.”
Photo Credits: Luca Parisse for Balich Worldwide Shows
Show Credits: Creative & Executive Production Balich Worldwide Shows
Continuing a long working relationship with Production Executive, Andy Derbyshire, Event Manager, Maggie Mouzakitis, Event Production Manager, Lisa Shenton, and Show Lighting Designer, Tom Kenny, PRG XL Video has supplied lighting for the 2016 MTV EMA.
This year’s event was held on November 6th, at the Rotterdam Ahoy, Netherlands, and was hosted by US artist Bebe Rexha.
The event opened with glamorous red carpet arrivals from the star presenters and performers, hosted by Laura Whitmore and Sway Calloway, and PRG XL also supplied lighting, rigging, and video technology for the red carpet event.
PRG XL’s Account Managers, Kelly Cornfield and Mat Ilott were initially contacted by Line Producer, Sophie Huda, and Red Carpet Event Manager, Sean McNally, to supply an outdoor video wall, high impact lighting, and supporting rigging for the red carpet area.
Working with Set Designer, Adam Neville, and Lighting Designer, Stuart Pring, PRG XL’s Head of Rigging Services, Q Willis specified the supporting structures for the video and lighting. Rigging crew chief, Chris ‘Karrit’ Harris delivered the show on-site.
Creating a glittering arrivals area for the stars, Adam and Stuart’s designs incorporated a video wall formed from Barco C5 outdoor LED. Content for the video wall was supplied via one of PRG XL’s own Mbox media servers, and included live feeds from the OB truck, social media feeds, and playback content.
Stuart Pring’s lighting design used a combination of fixtures, with Encapsulite LED stick lights built into the set, and PRG Icon Beams lighting the way for the VIPs as they made their way into the venue. PRG’s Sam Healey was Crew Chief for the red carpet lighting team.
Inside the iconic Rotterdam Ahoy, production designer Julio Himede created a vast set filling an entire side of the venue, curving around to create an immersive arena for the audience in the venue, and stunning visuals for the TV broadcast.
Acclaimed lighting designer Tom Kenny worked closely with Julio to create his lighting design for the show. Tom Kenny has designed the lighting for MTV VMA and EMA events for more than a decade, as part of highly creative and much-talked about show designs.
Tom explains his initial approach to his design: “Working with Julio, and with PRG’s Lighting Crew Chief, Rich Gorrod, we looked at the set design. This year, the huge wide set featured a massive wall of video, built from multiple elements. We wanted to cover the whole set and create a layered effect with plenty of back light and presence. With that in mind, and with one eye on the budget, we used a lot of strong beams, spread across the set, big wash lights at the back, lots of Icon Beams, PRG Bad Boys and Robe Robin 100s. We added Solaris Flares for extra strobe effects – they’re a real workhorse.”
Tom continues: “As part of the design, I look at the line-up of artists performing and try to tailor the fixtures to what I think they’ll need. In some cases artists will have specific requests, but often we’ll already have their needs covered in the main rig.”
Some artists do have special requests, based on their individual performance. Tom explains: “Martin Garrix wanted a particular fixture for his set, so we brought in a load of GLP X4 Bars to satisfy that need. For One Republic, who included rain in their performance, we needed to find some waterproof LED lamps for the pool, and Rich Gorrod sourced custom-built fixtures for that purpose.”
“For Green Day’s ‘Global Icon’ performance we needed to give them a really huge look, so we added a bunch of Par Cans.”
“Another fixture I was keen to use was the ACL 360 Matrix from Elation, which includes 25 4-in-1 RGBW LEDs. We arranged a demo of the unit, were suitably impressed, and that was used scenically to create colour and depth.”
With an array of star performers, followspots were also a key consideration, and Tom Kenny was keen to use PRG’s GroundControlTM Followspot System, which includes a remote followspot, flown from the lighting rig and the operator is located with control unit at ground level elsewhere within the venue. Tom has used the system on multiple shows: “I first used GroundControl on Desert Trip festival and was really impressed by it. It’s a very flexible system and allows you to place followspots in locations that wouldn’t usually work. I love it!”
Lighting console operators on the night were Alex Passmore and Jonathan Rouse, who Tom Kenny described as “two of the best programmers/operators I’ve worked with. Alex took care of the majority of the pre-programming, and on the night looked after the cueing on the main set, and Jonathan focussed on the keylighting for the bands, live elements, and audience lighting.”
PRG XL’s Lighting Crew Chief Richard Gorrod led a team of twelve lighting technicians and operators for the show. Tom Kenny comments: “The MTV EMA is a big beast of a show. There’s never enough time, but Rich and his brilliant PRG crew have high standards and work really hard to make it all happen. Rich is a total workhorse – he does the job of three people, and he has such a positive attitude. You couldn’t have a better person on an event of this type.”
Richard Gorrod summed up: “We’re happy to continue our long relationship with Maggie, Andy, Lisa, Tom, Julio and the whole MTV EMA team. The show always looks amazing and really pushes the boundaries for a live event show. It’s a huge production, and there are lots of suppliers all working side by side, harmoniously to make it happen. We’re proud to be a part of bringing it all together!”
The 2016 European event, entitled Europe On Stage, took place at BOZAR - centre for fine arts in Brussels, Belgium. Performers for this show included Yanis Marshall; vlogger, Louise Pentland; and Rockin’ 1000.
Creative agency Set Live was engaged to produce the event. Set Live’s team of Guy Tremlett, Creative Director and Harry Osborne, Creative, contacted PRG XL Video’s Guy Vellacott to supply video and lighting technology for the one-off show.
Guy Tremlett explains the thinking behind the design: “We wanted to recreate a traditional theatre in a contemporary way, so our idea was to replace the flats, proscenium and rear drape with LED. This allowed us to present a wide range of performers and presenters in a very modern, yet still theatrical style.”
To realise Set Live’s design for the video-focussed show a proscenium arch formed from high resolution 3.9mm LED was created. With the show being filmed for future YouTube viewing, it was key that the LED was bright, with rich colours, and high enough resolution to make the content easy to read, both on screen and in the auditorium.
Upstage of the proscenium, two LED side screens, and an LED backscreen, all formed from 6mm LED were used to display a combination of playback content, and live IMAG footage.
Guy Tremlett continues: “We tested the LED arch and screens in PRG XL’s warehouse, to check the distances, depths, sight lines, and, of course, the content, and PRG XL’s team, including Project Manager, Nathan Avery, attended site visits to advise on the rigging set-up required for the lighting and video elements.”
Mapping of all the video surfaces was handled using Pandora’s Box media servers. PRG XL’s Director Media/Creative, Patrick Verhey worked with Guy and the Set Live team to program the servers with the content, with the final preparation taking place in the edit suite at PRG XL’s Hemel location.
To complement the existing lighting at BOZAR, PRG’s team in Brussels, led by Account & Production Manager, Ahmed Al Manatawy, worked with lighting designer Paul Cook to supply additional fixtures in the main auditorium, VIP lounges, and post-show party event.
Paul Cook explains, “We needed additional lighting across various areas of the venue, integrating with their existing lighting system, and providing key lights for the main presentation.
“With a full LED proscenium arch, the key light needed to be controllable in terms of both brightness and colour temperature. For this we chose GLP X4 fixtures, which offer the flexibility we needed. I’d also included light beam effects into my design, and for this we used six high brightness Icon Beams from PRG.”
For the party areas PRG supplied a variety of fixtures including uplighters, which created the perfect subtle party mood.
Cook continues: “It was great to work with Didier Streel and Ahmed from PRG in Belgium. Their local knowledge and crew smoothed the processes, and worked well with the venue and in-house crew.”
PRG XL Video’s Guy Vellacott sums up: “We’re very happy to continue our relationship with the team from Set Live. Their creative designs for Google and YouTube events are always innovative, and we enjoy working with the team to bring them to life.”
The award-winning company DynaMix Media is one of the leading audiovisual technical production agencies in India.
With ever increasing demands for events in India, the PRG Alliance is pleased to announce a new partner in the region.
The new addition to the membership of the PRG Alliance is passionate about great results and meticulous in execution. DynaMix Media is a company recognized in India for their remarkable contribution to events and entertainment, having introduced the 270 degrees projection format to corporate presentations, and the first 300’ wide projection to the local market. The company has a growing number of immersive projection and projection mapping jobs under their belt.
DynaMix Media was founded in 2005 and is led by Mr. Suresh Madan. The company brings to PRG Alliance its vast understanding of video playback and networking systems, and its one-stop rental shop and services across India – offering complete services in video, audio, lighting, trussing, project management and content design.
“Our position in the Indian market is not only that of a company capable of delivering complex audiovisual projects, but also one which is attentive to international standards in processes and safety. It is a constant effort for us to implement these aspects in projects in India, but slowly the clients are accepting this is the right path. We know that PRG Alliance has the same principles and tapping into this great resource and knowledge pool will be very beneficial for our company”, declares Suresh Madan, Founder & CTO of DynaMix Media.
This attitude has been recognized by the industry and DynaMix Media was awarded as the “Best Video Rental Company” by Palm Sound & Light Awards 2014.
“We believe DynaMix Media is the best partner for PRG Alliance,” said Tom van Hemelryck, PRG Alliance Director. “When our clients go to India they need a reliable supplier, and DynaMix Media’s credentials and reputation is impeccable.”
For more information about DynaMix Media and PRG Alliance visit the website www.prgalliance.com.
Projection Mapping Case: Fortis Memorial Research Institute Launch, New Delhi
It’s that time of year again, Night of the Proms gathers young and old for a night of classical music, shaken up by modern pop artists. The concept of the classical orchestra Il Novecento, playing together with pop artists has been popular for many years, and it still does its magic. However, successful concepts also need some innovation to remain interesting. Under the supervision of Head of Production Alain Van Isacker and Light Design Company Arf & Yes, PRG was asked to develop a custom-made solution in terms of lighting, sound and video.
The biggest eye-catcher in the show are the moving V-shaped trusses above the stage. The custom-made trolley beam system we developed last year for the Night of the Proms, is used here as well, though in a slightly different way. We added a Kynesis hoist in the middle of the rail system in order to move the truss in a V-shaped way. Overall, 6 of these custom-made V-shapes are hanging above the stage. Each V-shape contains 10 Robe Pointes, combined with 56 MiTRIX panels.
On both sides of every V-shape, we added two custom-made triangular hanging brackets, each containing 6 Clay Paky Sharpy Wash 330 fixtures. We also developed custom-made O-frames to be suspended on each side of the stage. The O-frames are made of 86 MiTRIX panels, combined with 10 Ledwashes that shine through the semi transparent MiTRIX LED panels.
As a backspot, we use our very own PRG GroundControl™ Followspot System. The floorlighting is composed by 66 GLP Impression X4S units that are supported by another 10 Robe Pointes underneath the main screen behind the stage. An Arkaos Media server is used for processing the video images.
As for sound design, Patrick Demoustier was in charge of the configuration. For the first time, the whole PA set was built upon the Energia line from Adamson. The Main PA consists of E15 speakers, with E219 subs, E12 outfits and S10 frontfills. All this is managed by digital PLM amplifiers. All amplifiers are managed by a dual redundant Dante Network.
In collaboration with PRG, PSE invested in a digital wireless system for the choir, so they can move freely on the stage. For the whole show, we use 40 digital monitors and 25 in-ear monitors, together with a wireless intercom system. Our wireless specialists put in a lot of effort to keep all these signals standing!
Like last year, PRG provides a complete DiGiCo console kit. A SD7 as main desk and a SD10 (for the pre-mix of the bugler, woodwinds and percussion) are used as FOH consoles. On stage, a SD5 desk monitors the orchestra and the choir. De monitor signals of the artists and the band are processed by a SD7 mixer. The strings are mixed in the backstage on a DiGiCo SD8, the choir on a DiGiCo SD8-24. All DiGiCo equipment operates in an Optocore redundant network.
“Because the orchestra needs to change during the show and we don’t always have time to soundcheck, we make presets per instrument and musician so our technicians can apply specific presets according to the orchestra’s composition. A show like Night of the Proms is quite different from any other concert in terms of mixing, because we have to deal with so many in- and outputs. Each input is first processed in a submix, per group of instrument. Then, the submix is sent to the mixing tables. The Opto network processes around 500 channels at this time. This gives you an idea of the complexity we are handling.’, explains Patrick Demoustier.
Night of the Proms started her tour in the Antwerps Sportpaleis on Saturday, November 5th. Last week, two shows followed in Antwerp on Thursday and Friday, followed by a last show in Belgium on Saturday in the Ethias Arena Hasselt. All credits go to the amazing crew under the supervision of Sound Designer Patrick Demoustier and Production Managers Jo Vaes (lighting) and Stef De Raet (rigging). In less than 12 hours, the whole set-up is moved from Antwerp to Hasselt. After 4 shows in Belgium, Night of the Proms travels to the Netherlands, Luxemburg and Germany.
Production Resource Group LLC (PRG) – the world’s largest supplier of technology and services for events and entertainment has announced the appointment of Simon Kayser as General Manager for its Sourcing & Projects Centre based in Shenzhen, China. Simon will report to Gary Boyd, Executive Vice President and COO, EMEA.
A Chinese-speaker, Simon already has extensive knowledge of the Chinese market from his role as Technical Director at PRG in China, where he has been the project manager for key inbound corporate and large automotive sector projects. His first PRG project in China was the Beijing New Year Lighting Show in 2000/1. In 2007 he returned to Shanghai for the World Summer Games, and in 2008 for the Beijing Games. In 2009 Simon moved to Shanghai for the World EXPO 2010 in Shanghai, and he has been based there since.
Putting his technical knowledge to use, Simon will now take charge of the Shenzhen operation, which is instrumental in sourcing video and lighting technology in China. Simon will work closely with Frederic Opsomer and the team at PRG Projects, who specialise in the development of custom LED for special events, touring projects and installations.
Simon’s appointment will enable PRG to expand its offshore sourcing projects, reinforcing its commitment to innovation and new technology.
“After spending the past eight years in Shanghai, I am looking forward to the new role and challenges. I leave behind a excellent team in Shanghai and look forward to the new team in Shenzhen. Developing, sourcing and especially customizing lighting and video gear for our customers and projects, is where I see great potential for PRG and our team in Shenzhen to deliver enhanced services to our customers”
“We are very pleased Simon has agreed to take on this new role in Shenzhen,” said Gary Boyd. “His technical expertise, coupled with his hands-on commercial experience of delivering projects in China, make him ideally placed to take on this new role, and further expand our ability to source and develop new products directly at the heart of China’s technology capital.”
Simon holds a Master of Engineering degree from University of Applied Science Hamburg (Dipl. Ing. (fh)), and he will relocate from his current role in Shanghai, settling in Shenzhen with his family.
This year, CAP48 has broken the record again, collecting 5,55 million euros! The campaign, organised by the RTBF, supports projects improving living conditions of people with disabilities in Wallonia and Brussels.
Laurent de la Haye, PRG Account Manger, and the whole PRG team did their utmost best to realize the designs of Light Designer Jean-Jacques Marotte and respond to the client’s demands.
RTBF asked our PRG Account Manager Laurent de la Haye to work with Light Designer Jean-Jacques Marotte and director Bernard Souvenier to realize a big show broadcasted live on TV.
The lighting setup was built out of 60 PRG Icon Beams, together wit some Vari*Lite 3500 Wash, VL 3500Q Spots, Chauvet LED Blinder Strike 4 and other moving heads from ExpoLite, Ayrton and Clay Paky.
PRG used different video components and installed 144sqm of LED PRG30, combined with 60sqm of Barco MiTrix, 100sqm of MC-12H ROE and 82sqm of MC-7H ROE. 2 M-Box media servers were controlled by a Grand MA.
Credits to Mathieu Antoine (On Site Manager), Nicholas di Fonzo (our video expert) and the whole team who put up a great show, once again!
Last Thursday, the 6th of October, PRG organised a Freelance Event. Exceptionally, the roles were reversed: the freelancers were the guests of the evening and the event was arranged for them. PRG wanted to use this opportunity to thank our freelancers for the hard work during the busy summer season, filled with festivals, concert tours, car shows and fashion shows.
Before the doors opened for our freelancers, PRG held the first Quarterly Staff Meeting. CEO Duncan Verstraeten and COO Thomas Van Lokeren presented their strategy for the upcoming year. The offices of PRG France, Netherlands and Spain followed the meeting thanks to live streaming. After the Staff Meeting, we welcomed the freelancers for the Freelance Event at around 5pm.
About 300 freelancers were invited to meet the PRG employees. Every hour, Erik Knook, our new Warehouse Manager, guided a tour through the warehouse. When freelancers come to PRG to prep a job, it’s important for them to know who to contact and be informed about the way the warehouse operates, in order for them to work efficiently.
As a memory aid, freelancers were given a warehouse booklet to take home, in which they can find all contact information of the Heads of Departments, Asset Managers and the Operation Managers.
It goes without saying that drinks and food were part of this Freelance Event! PRG hired a Foodtruck to serve some delicious hamburgers and sandwiches.
We would like to thank everyone who came to the Freelance Event. This definitely was a successful evening and it will not be the last one!
On Friday 30th September 2016, the AV Awards took place at a glamorous event at London’s Grosvenor House Hotel. The awards, which celebrate the best product, projects, and people in the AV industry, was attended by a team from PRG XL Video, led by Executive VP & COO, EMEA, Gary Boyd.
Following the announcement of the shortlist for Production Product of the Year, sponsored by DB Systems, PRG’s GroundControl™ Followspot System was announced as the winner in the category which included products from Barco, Elation Professional, Sennheiser, X-Rite Photo and Video, and NewTek Inc.
The revolutionary product is already making waves across the production industry, particularly in the concert touring, theatre and television markets, and the judges commended the way the product is having a huge effect on the way lighting designers and producers design their shows and events.
The GroundControl™ Followspot System consists of a specially customized PRG Bad Boy spotlight which includes an in-built camera, and can be flown from rigging or mounted in locations around a venue which would not normally accomodate a followspot; a truss box which provides the link between the fixture and the controller; and the ground-based controller unit which can be operated from up to 610 metres away from the fixture.
GroundControl™ allows designers huge flexibility in where to locate their followspots and the operators can be safely located on the ground within the venue, without the need to climb rigging. In addition to the safety benefits, the GroundControl™ Followspot System also negates the need to remove seats to create traditional followspot positions – a revenue bonus for venues.
Gary Boyd comments: “I was delighted to accept the award for Production Product of the Year for GroundControl. The product is making huge waves across our industry, and we’re very proud to have developed this in-house. Our R&D team in Dallas have done an excellent job in creating a followspot system which is rapidly growing in popularity and demand!”
For a full list of the AV Awards Winners follow this link.
Van Cleef & Arpels presents its new High Jewelry collection in an interpretation of Noah’s Ark by Robert Wilson. Wilson is an American set designer famed for his radiant, subtle and thrilling conceptions, with the scenography. PRG France worked together with PRG Projects to realise a custom made video solution in order to bring Wilson’s idea to live.
In his vision of the Ark, Robert Wilson imagined a sensory mise-en-scène plunged in the engulfing darkness. The constant screening of a video is reminiscent of the sea; the soft and enfolding piece of music evokes mystery; the skies darken as lightning streaks herald a storm, the Ark departs, and the ensuing respite hums like a promise of peace…
Robert Wilson creates a dreamlike travel through a positive and timeless interpretation of the of Noah’s Ark, evoking first of all a preserved paradise.
PRG created several custom made technical solution in order to display high resolution video content of over 11.000 pixels wide and more that 1200 pixels high. The content was intended to lower in brightness without losing the quality of the image.
In order to respond to the high expectations of the client, PRG invested in ROE Black Onyx 2 panels, with an amazing 2.84 pixel pitch, which is the most performing high-end product on the market. In total this represents more than 450 modules, adding up to more than 1800 tiles. 41 of these ROE LED displays were customised in order to integrate secured jewel boxes of 25 x 25 cm. The modules were laser cut to a tenth of mm precision. The challenge here was to make perfectly fitted box so they wouldn’t interfere with the electronics that control the individual modules of the display.
On the bottom of the construction, the standard base frames, which normally are of 8 to 12 cm height, were replaced by a custom made frame to result in a maximum height of 5cm and an insert of 3 cm to create a subtle border. We had to make sure that the lowered base frame could still carry the 5-ton screen weight, spread over a surface of 33 linear meters. Last but not least, PRG created a doorway of 1,5 x 2m within the LED, for visitors to enter the experience.
We are very proud to have realised this big project with a total video surface of 112,5 sqm of LED. The result of 14.000.000 pixels is astonishing!
All credits go to Robert Wilson (Conception & Design), Arvo Pärt (Original Music), Christophe Martin (Architect of realisation), Video Emme (Graphic presentation), Selected By (Sound Design), William Rault (Technical Direction), Philippe Lauras (Director Photo), Jean-Philippe Aldebert (Sound Engineer), Cyril Grace (Production Van Cleef & Arpels) and PRG France’s team - Thierry Kra, Laurent Boillot, Pierre-Guillaume Tomasso, Yves Winand and Viktor Martin from PRG Projects.
Once a year the fanatic video-gamers come together at the world's largest event for computer and video games, the Gamescom in Cologne. Over a 345 000 visitors were pleased at the newest hardware, hundreds of premieres and blockbuster titles, from consoles and PCs through to online mobile games.
PRG Belgium supplied three LED screens, as well as lighting, trussing, hoists and control systems, for the Wargaming booth.
The first highlight was the large LED ROE 7mm screen, which was of 16m x 4.2m and mounted on the upper floor of the building. It was divided into two overlapping parts, for which PRG developed a custom-made frame support and a particular image management was employed, constituted of 1 D3 Media server 4x4 Pro (VCF Quad DVI card included) 5 and 1 Barco E2 Event master (4K Video System).
The second LED screen was a Utile 3,9mm wall and measured 7m x 4m. This LED wall was mounted on Kinesys hoists to have it moving up and down within the stage area.
The third video screen was a ROE 7mm wall of 7m x 4m and located just outside the Show area.
In addition to the fact that the screen within the stage area featuring images from the PlayStations, tablets and PCs, the three LED walls could either display separate video content or be synched on the same.
PRG also installed 8 Panasonic HD cameras that captured images on the booth and broadcasted on the LED screens.
The video and sound were also broadcasted onto the B-to-B stand that was approximately 500m away.
In terms of lighting, trussing, hoists and control, PRG also put together an impressive show using 60 ICON Beams, 60 X4 L Impression, 36 P5 and 14 Robin 1200.
For the overall sound we had two Adamson S10 stacks + 2 Subs LS 219 EML E + 6 MICS.
This year, once again, we are looking back at the great success of the Gamescom and hope to be back next year for the next impressive show!
2016 marked the 30th anniversary of Dragon Quest, one of Japan’s most popular role-playing computer game series, and for the first time, Dragon Quest was created into an original spectacle live show titled “Dragon Quest Live Spectacle Tour”. The show toured with great success in 5 cities from July 22 through August 31.
PRG Japan provided technical direction and production services for lighting, video, scenery, rigging, stage automation, flying effect and LED wrist bands.
London-based STUFISH designed the set and PRG Scenic Technologies in New Windsor made the DMX-control hoist system for the roll-down screens. PRG V476® control console was used to control the 52 roll-down screens to rise and lower individually and in groups, changing formations at each scene, and mapped video images projected on the screens created the digital scenery as the story on adventurous journey rolled on the stage.
PRG have always supported young talent. We no longer need to introduce bands like Oscar and The Wolf, Goose or even Warhola, who are taking their place between the stars, one concert at a time. Since a couple of months, we’ve also been on tour with BAZART, a young indie-popband from Flanders that we’re supporting with our professional equipment and crew.
For their lighting concept, they chose to work with the PRG Icon Beam. The choice is explained by Lighting Designer Maarten De Man: “For BAZART, we were looking for a performant machine that we could use in a club as well as on a festival. That’s why we went for the Icon Beam. It’s a really powerful light that also works well within the total concept of the show. For certain songs, we use a frost to create a wonderful wash effect. The moving speed of the beam and the shutter speed also reinforced our choice for the Icon Beam. To be honest, it’s a machine that can do a lot more than just cast a simple Beam.”
Maarten has worked with PRG for several years now, whether touring with Oscar and The Wolf or BAZART. On the subject of his cooperation with PRG, he says: “We can always count on profes-sional support and experienced teams to bring our show to a good conclusion. We don’t need to worry about the technology and we can just concentrate on our job. Even when we are touring with the group, there is always someone who can help us when necessary.”
After a busy festival season and some impressive performances on Werchter and recently also Pukkelpop, it has become a common fact that BAZART is the revelation of the year. We are anx-iously looking forward to the month of September when we take off for an indoor tour with them.
On the 6th of May, Lost Frequencies started his summer tour in the Ancienne Belgique. The sold out kick-off concert was praised by various journalists and reviewers for both the music and set design. Supported by a strong visual concept, Lost Frequencies’ performance set the AB on fire, something the doesn’t happen often with DJ sets. The reason? Felix De Laet is one of the few Belgian artists to be popular in Flanders, Brussels and the Walloon region at the same time. Tickets were sold out in record time. The AB was clearly the ideal point of departure before heading off to a series of festivals in Belgium and abroad.
Whether in a concert hall of a festival (such as recent performances at Rock Werchter, Lokerse Feesten, Brussels Summer Festival, …), the young man toured with the easily recognisable design of the Backwall and DJ booth. LED strips, beams, stroboscopes, blinders and video screens were assembled with one goal: to support the music in all of its facets. To be able to use the same Backwall concept on the existing stage of every festival, the production had to adapt and modify the matrix in function of each venue. Criteria like weight, dimensions and construction time were essential in deciding what to include in the audiovisual set.
Lighting designer Mario Hofman was looking for compact yet performant equipment that was easy to mount. He explains: “I chose the PRG Icon Beam because its powerful output could easily outshine the LED and Video. Additionally, the Icon Beam was an important part of the dynamism of the concept.”
As far as video was concerned, Mario chose to work with the PLED206E 6mm LED panels, which are especially lightweight. “For a tourset, construction time is an increasingly important parameter. Frequently, the weight is also a limiting factor since our set is always something extra, in addition to the set that’s already present. Because of that, we chose a lightweight panel that was quick to mount. For the view of the matrix, it was also important to choose a square panel that supported the total concept.”
And the concept worked like a charm! The day after the performance in the AB, De Morgen wrote: “A powerful light show that could guarantee temporary blindness or provoke an epileptic attack and a backdrop that further stretches the meaning of the phrase ‘cutting edge technology’!”
In the autumn, Lost Frequencies releases his first album and continues to tour festivals, clubs and concerts in Belgium and abroad, joined by the PRG teams.
PRG Account Manager: Rik Henneco
Production manager: Jan Herinckx
Lighting designer/operator: Mario Hofman
Lighting operator: Leon Driesen / Kasper Iseger
Video operator/content: Prismax/Joris Corthout
The Swiss lakeside town of Montreux will once again host its famous Jazz festival. Over the past 50 years, the festival has seen some of the greatest acts in music history, including Nina Simone, Ray Charles, Miles Davis, Prince and David Bowie, among others.
For this year’s festival, audioborn has developed a project allowing the festival to be captured through 360° / 3D video and sound recording technology for the first time. This content can later be rendered and used in virtual reality applications, permitting users to experience the selected acts in real-life quality.
Commissioned by the Metamedia Center of the University École polytechnique fédérale de Lausanne (EPFL) together with the Montreux Jazz Festival, project lead and official technology partner audioborn is partnering with PRG Lab for the video expertise. audioborn is responsible for capturing and reproducing all concerts in 3D audio with its software real-time processor called Auratorium. The software system is designed for 3D audio and virtual reality applications. It uses a ray-tracing approach to calculate physically correct and 100% natural sound.
PRG Lab, a division of PRG XL Video, based in Germany, develops customized interactive and leading software solutions for the event and exhibition market. PRG Lab will be supporting the project with a 360° / 3D Nokia OZO camera system to capture a 360° spherical video of chosen acts at the festival.
The cooperation between audioborn and PRG Lab will be one of the first commercial uses of the OZO system in a production of this size. In addition to the standard multitrack recordings, audioborn will capture the sound in the form of a 3D recording, using the Sennheiser VR microphone prototype, and be able to reproduce highly realistic 3D audio for the recordings.
“The methods we use to capture sound – which is the most important part of Montreux’s Jazz Festival – will be pioneering for 3D audio sound recording as well as reproduction. Using our 3D software audio processor Auratorium, we will be able to achieve the highest possible degree of immersion for the jazz archive.” says Dr. Dirk Schröder, CEO of audioborn.
“We will have to determine how each instrument and sound will react depending on the position of the camera in the room. When sound and video are combined for VR playback, the virtual user should feel as if he or she is actually at the festival in person. Our goal is a total immersive playback experience in sound and vision. We are proud to work closely together with PRG Lab as our professional partner for 3D video capturing.”
“This project is outstanding in its dimensions. We are going to record a huge amount of data during the 16 festival days with the OZO system. This will be the most demanding challenge we have to face during the project.” commented Michael Ochs of PRG Lab. “This is very exciting, state-of-the-art technology being used at the Montreux Jazz Festival. It is the first project of its kind and we can’t draw from previous experiences. ”
One of the challenges of this project is the large amount of data collected through 3D recording. A concert of three hours would create approximately 2 TB of compressed data. Uncompressed it multiplies later in postproduction by factor 12.
PRG Lab is continuously expanding its 3D capabilities and will be using OZO production computers as well as the audioborn Auratorium software to create immersive experiences. The audio mixes can be rendered for multichannel 3D audio systems or binaural headphone reproduction.
Sometimes, you don’t need the big tools to create the best result… These Days came up with a genius idea to promote the new Mazda MX-5. Watch the video and see how the better the car drifts, the more precise you hear the record that has to be recognized. For Mojuice, our client who put it all together, PRG created the DJ booth for DJ Licious and provided 40 Mistrips and 4 x 48” LCD displays for the video control system. To create the right atmosphere, we used some wireless uplighters and a smoke machine. Our crew showed their multifunctional skills to realise this project! Special thanks to Tim Bonte, Ronald Smit and Inge Huysmans. Can you recognize the track?
How far will the Red Devils kick their way through this EC in France? PRG Belgium is a true supporter and will lend its’ expertise to set the Red Devils in the spotlight.
PRG’s lighting and rigging will be animating the professional comments on the matches from the VRT in the garden below the transmission tower for the public broadcasting.
In addition to the VRT’s own equipment, PRG is providing lighting, power- and DMX distribution as well as all necessary accessories to keep the material weather safe during the four weeks of operation ahead. Since this setup will be in place for a while, all outside projectors also have the necessary weather protection.
In addition to VRT’s ARRI LC7 LED Fresnels, PRG provides a set of VariLite VL3500Q, GLP Impression X4bars 20, Robe 600 and Robe 800 for the dome. Since the dome didn’t have rigging points necessary for the suspension of the equipment, our technical team installed 30 bespoke suspension points for the framework to be integrated into the dome.
Outside, two lighting towers have been installed of 7m height, with VariLite VL 3500Q spots, VL 3500 wash and Clay Paky Sharpy Wash. IFor the different side-activities, PRG is providing its’ SGM P2, P5 and Q7 LED-floods to be built-in. The entire exterior set will provide an extra atmosphere with the installation of 300 meters of garlands with dimmable LED lights.
The VRT tower and its’ building will also be part of the scenery and will be illuminated by VL3500Q spots and VL3500 wash. Furthermore on the roof of ‘Block B‘ (4 high in the clouds) a striplight with 18 x Robe Pointe have been placed.
PRG Production Manager Chris Pellens and Account Manager Peter Roosendans thank the crew and the VRT for the great collaboration on this project. Thank you also to lightdesigner Filip Bolleire and Karel Perneel from the VRT, as well as stage designers Eveline Pieters and VRT Operator Chris Leemans.
The festival season begins with the Graspop Metal Meeting, a well-established event taking place on Flanders’ green fields. At the end of the festival season, all dirty laundry will be taken care off during Laundry Day in Antwerp. Below, check out the overview of all the festivals PRG Belgium will be in charge of this summer.
A huge crowd of people all dressed in the colours of the team they are supporting, cheering and partying when the ball hits the net? No, this is not only the scene in a football stadium but the atmosphere in the Lotto Arena in Antwerp during the matches of the Red Devils for the European Championships 2016. The Arena will be transformed into a real ‘Dance With The Devils’ party.
Just as for the World Cup in 2014, Studio Brussels is organizing a series of parties on the 13th, 18th and the 22nd of June for the thousands of supporters that will be eagerly cheering the team, De Bruyne, Hazard and Mertens. Before and after the matches, the supporters will enjoy live music from the best bands and DJ’s.
PRG is in charge of the showlight, sound and video technology. The matches will be projected on to a front projection screen of 16x9 meters by 3 x 21 ANSI Lumen beamers. The sound-kit consists in 24 Adamson Y-18 speakers. Last but not least, we also have a lot of moving lights in action: 38 x VL 500D Washes and 16 x VL 2500 Spots.
The crew which is handling this beautiful project: Rik Henneco (Account Manager), Alain Van Isacker (Production, Chris Pellens (Crew Chief Light), Marc Iven andn Leen Frijters (Crew Chiefs Sound) and Bram Verboom (Crew Chief Video).
Here is a glimpse at the program:
Monday 13th of June at 21h: Belgium – Italy
19:00 Discobaar A Moeder
20:00 Admiral Freebee
20:15 Tourist LeMC
20:30 Black Box Revelation
23:00 Gunther D
23:30 Lil’ Kleine
23:45 Mickael (GOOSE) dj-set
Saturday 18th of June at 15h: Belgium – Ireland
13:45 Equal Idiots
14:15 Compact Disk Dummies
17:00 Rudimental dj-set
17:30 Cassius dj-set
18:30 Goe Vur In Den Otto
Wednesday 22nd of June at 21h: Sweden – Belgium
20:15 The Van Jets
20:30 Woodie Smalls
23:00 Sigma dj-set
Hosts: Linde Merckpoel & Bram Willems
The new members in Poland, Hungary and Romania will support growing PRG Alliance demand for technical production services in the region.
The market is changing and major producers are bringing more projects to Eastern Europe. The region is hosting major international events in segments such as sports, music festivals and corporate events.
In order to keep up with this demand, PRG Alliance welcomes two new members to its international network: ARAM Multimedia in Poland; and Visual Europe, covering Hungary and Romania.
ARAM is one of the largest companies in Poland specializing in full production solutions with an emphasis on event design; creative video technology applications; and project management for large scale events, offering a wide range of services from concept to delivery.
Visual Europe is a new group in Hungary created by the merger of the companies DCN Rental and AV Control. The company today is owned by Garangold Venture Capital Fund, a private equity fund that is now investing in new technology, and soon in the acquisition of another company in the country. They will open a new office in Romania to follow its vision to be the largest technical event production company in the region.
The two companies explain the benefits in being members of PRG Alliance: “Now that we have invested in the creation of Visual Europe as one company, we need to have a strong partner in Europe to learn from them and to generate new business opportunities for both parties. We believe that our clients will be the ones to gain from the application of the technical knowledge we will get from the relationship with the other members”, says Szabolcs Botond, CEO of Visual Europe Group.
“ARAM has a similar strategy as PRG as we can support larger, more complex productions. We see a lot of synergy also with the other members of PRG Alliance and we believe this partnership will bring many benefits for both Polish and international markets”, comments Rafal Mrzyglocki, Managing Director of ARAM Multimedia.
“We are pleased to welcome these new partners in Eastern Europe,” said Tom van Hemelryck, PRG Alliance Director. “Our clients and Alliance partners are seeing a growing demand for events across the region, and the addition of these new rental suppliers to the PRG Alliance ensures we can expand our high quality of service into even more countries.”
The partnership has already started with the companies collaborating with the PRG Alliance members for support in productions in their regions and abroad across this busy summer season.
The Next Web is more than just a blog about innovative technologies. On Thursday 26th and Friday 27th of May startups, marketing and technology experts got together during The Next Web Conference Europe in the Gasometer in Amsterdam.
Jurlights, expert in show tech design, was responsible for the audio-visual concept and the design and trusted PRG’s expertise to realise an exceptional video production. Jurlights worked with
former XL Video, which was acquired by PRG one year ago, on numerous occasions.
The event took place in the Westergasfabriek, in the impressive Gashouder, where Jurlights equipped the ceiling of the venue with as many as 900 PRG Mistrips. The LED Mistrips were part of the opening show and also added show-effects between each one of the speeches that were given. The speakers were supported by a central Unilumen 3.9mm screen measuring 9m x 9m and two large 7m x 9m ROE MC-18 side screens. A D3 Pro 4x4 media server ensured that all requirements in respect to the content were made possible. The combination of live generated content and blacktrax gave the public a taste of the future technologies.
The Westertent was the hall where conversations were animated by an specially built back wall in Pixled F-30. PRG also supplied control equipment and projection here.
Account Manager Inge Huysmans would like to thank the team for its’ excellent work on yet another successful collaboration with Jurlights! Special thanks to Peter Cleeren (Video Production Manager), Tim Bonte (standby video technician) and the other video technicians Nicholas Di Fonzo, Martin Quireynen, Genes Peters and Jesse De Keyser.