Year after year, Night of the Proms surprises by its unique combination of classical and contemporary music. The show is eye candy, strongly innovating in the visual aspect, that has become “as important, or even more important than the music”, says Jan Vereecke, producer of Night of the Proms
Belgian premiere for PURE10
This year, the absolute highlight of the show is the PURE10, in a set-up of 4 rows and moving up and down on a custom-created steel suspension system, it changes the scenery time after time and does great justice to the choir.
The unprecedented transparency level of the screen, allows for the optical effect where at one time the choir is hidden and then revealed. Also semi-transparent creations provide surprising effects of visuals and live artists on stage.
The PURE10 has its premiere in Belgium, following right on the global premiere during the U2-Tour. Product expert Maarten Deschacht trained the Belgian team during the first week of load-in, guaranteeing smooth construction, handling and operations.
The PURE10 is ten times lighter than a regular screen, PRG’s Project Manager Jo Vaes testifies on how its fragility made the crew reluctant at first, but its performances convinced everybody and gained well-deserved confidence: “
“The Icon EDGE is a really nice effect-spot, unbelievably bright” says Ignace D’Haese, lighting designer of the show. The predominant role for the PURE10 in the show, is perfectly supported by the Icon EDGEs to make a fully PRG provided light show.
The PRG Best Boys are controlled by 4 PRG GroundControl™ which are located backstage. The greatest advantage is safety, but they also contribute in weight restrictions, according to Jo Vaes, PRG’s Project Manager for Night of the Proms.
We look back on a great 34th edition of Night of the Proms, and want to thank the organization and Arf&Yes. We are especially delighted with the general praise for our PRG crew, as Jan Vereecke puts it: “the involvement has grown over the years, it is hard to image not having the PRG gear and especially their people, working at our show”.
With their remarkable features, VMK-S hoists represent the elite class on the world market and are recommended for all state-of-the-art applications in locations such as in TV studios, theatres and event venues demanding maximum performance and safety combined with the widest possible bandwidth of uses.
VMK-S hoists have the possibility to move both horizontally and vertically and can move live artists; they can be controlled at variable speeds for way- and time-synchronous runs. These high-speed hoists (from 10 m/min) in combination with a V-Motion Powerpack are capable of speeds ranging from 0 to 40 m / min. In addition, its control desks are optimized visually, which significantly facilitates programming.
Gary Boyd, Executive Vice President & COO PRG EMEA comments: “Working with Movecat over the last six months we have established a great partnership in variable speed and safety technology. We have been able to create new products at a PRG specific working with Movecat here in Stuttgart and these new products and developments will lead to a great partnership across both companies!”
Movecat fulfilled PRG’s needs going forward and proved that it was a future proof product and the safest most compliant product in all markets at this time.
They are currently the only kinetic solutions on the market to have received the Safety Integration Level (SIL3), meeting the highest safety standards.
Oliver Nachbauer, CFO Movecat stipulates “Both PRG and Movecat are looking for solutions for their clients and their requirements, working together on our products and their specifications to service these unique requirements clients have. I am very much looking forward to the partnership with PRG and the challenges we might get.”
By adding these products to the portfolio, PRG can offer an even wider range of fully integrated solutions, serving clients more creatively given the wide range of possibilities as well as the most recent and safest solutions on the market!
Motion signals can now be synchronized with video and lighting cues, which will positively reflect on the cooperation between the motion operator, the lighting operator and the video operator.
A first batch is available as from November 2018 and will further be supplemented during the month of March and June 2019. The Movecats will be featured for the first time during Jeff Wayne’s Musical Version of ‘The War of the Worlds’ in the UK, operated by our trained PRG crew.
The location, a pop-up theater, tailor-made by Studio 100, was foreseen by over a kilometer of rigging by PRG. We also provided all lighting for the show, as well as the ambient lighting in the amazingly styled foyer.
12 Best Boys and 120 brand new Icon Stages guarantee a sophisticated light spectacle. The specifications of the new Icon Stages fixture, including 8-56° zoom optics; full CMY color mixing alongside a fixed color wheel and variable CTO. The 8 fixed gobos and 7 rotating, full framing shutters, iris and prism functions, gave it a predominant role in the musical. Key moment demonstrating its capabilities is when a razor-sharp track, created by gobos of the Icon Stage, introduce a life-size train on stage.
Another special effect causing amazement is the flyby and crash of a warplane, for which PRG created a 90-meter long custom track integrated in the ceiling structure. Attached to this track, our in-house developed power train makes sure the plane has the right speed and altitude in every show.
The audience is fully part of the story thanks to the 8 LED screens of 32m2 placed on moving towers. The high pixel pitch guarantees an extremely realistic decor, adapted entirely for every scene. Moreover, the superb quality allows the public – all watching from very different angles - to enjoy the 3D-imagery to the fullest, almost forgetting they are in a theater.
Also, the recently Emmy-awarded Ground Control is introduced in this swirling show. Due to the ever-changing perspective and orientation of both the scene and the audience, the operators were highly trained and thanks to the innovative Ground Control, they can operate the spotlights in a safe and clear way. We combine our ground controls with 4K and infrared cameras, so the operators can follow the activities at all times on the dark stage and keep track of all movement in this 360degree operating mode.
Our team demonstrated our #SeeWhatWeCanDoTogether mentality once again!
We would like to thank our client Studio 100 for the great collaboration!
Every three years, La Louvière is the setting for one of world’s biggest outdoor theatre shows: ‘Décrocher la Lune’. For the 2018 edition, directed by Luc Petit Creation, the close collaboration of David Huyvaert, sound designer of the production, and Fabrizio Valsesia, PRG’s sound technical advisor, has made it possible to reduce the analog audio connections to the simplest form.
Thanks to our previous experiences, we created a complex DANTE network (Audinate) connecting all the audio elements of the very extensive area, providing sound for the Place Communale, the square of over 350 m2, where the show started and along the route to Place Maugrétout, via the Boulevard Mairaux. The sound kit consisted of 42 LS Adamson Line Arrays, 16 Adamson SUBs and 58 PRG/EMT Top cabinets.
Mélanie Dumoulin, Executive Producer of Décrocher la Lune says: “As we actually perform on a 800m2 stage - divided into one inside stage (La Louviere's Theater) and 2 mains squares linked by a boulevard - the technical support is one of the key element to the success of the event. What is more, the assembly of the whole cast can only be done in a two-day-time which means that we have to test the director's ideas and requests and sometimes be able to be reactive is something has to be changed because judged not efficient enough on the field.”
In addition to the sound, PRG also provided lighting. 6 follow spots ensured all eyes were on the splendid artists and magnificent eye catchers. 340 moving lights, Best Boy HP’s, Icon Edges, VL3000 and Sharpy Washes completed the magnificent show. We also provided 1200m of garlands that brightened La Louvières’ streets for its big night. To guarantee all 30.000 spectators on the two squares and alongside the boulevard could follow the magical performance in all its details, two 40K projection and 2 LED screens of 24m² in P8 were foreseen.
“We've been working with PRG team for several editions now. We totally rely on the company's ability to adapt to the special context of the event. The team working on the event was very committed to our project and could adapt quickly to our last-minute requests. Reliability, trust and good mood: what else could be asked?” concludes Dumoulin.
We are once again proud of our PRG team: Adrien Roy (OSM Sound), Fabrizio Valsesia (PRG Sound Technical advisor), Mathieu Antoine (Production and On Site Manager), Laurent De La Haye (PRG Account and Production Manager) and their crew.
Our special thanks goes to the organization of Décrocher la Lune for their trust and unique collaboration:
Mélanie Dumoulin: Executive Producer
Olivier Bierwertz: Technical Director
David Wirtgen: General Director
Luc Petit: Stage Director
Anne Roelandt: Artistic Coordinator MZO: Assistant Director David Huyvaert: Sound Designer
François Vandermeeren: Light Designer
PRG Projects was visiting some highly innovative companies in China only 1.5 years ago, when they met NEXNOVO – specializing in ultra-thin advertising solutions. Frederic Opsomer stipulated to have been especially impressed by the high level of focus of NEXNOVO”. Barton Lin, COO of NEXNOVO was immediately intrigued by the challenges: “Our product was initially designed for fixed installations, PRG Projects brought the professionalism and knowhow to use the advantages of the technology and adapt it for a concert-touring reality”.
From there, it all went very fast: the design phase started in November and was ready in January. The production started immediately in China, where the electronic components were built. Everything was shipped to Belgium mid March for the assembly and the mechanical part: a full carbon fibre structure.
Jake Berry, Production Director U2, states that without the PURE10, this setting for U2’s eXPERIENCE + iNNOCENCE Tour would not have been possible: “After the Joshua Tree Tour, we wanted to raise the bar even higher. We wanted a wider screen, in combination with a flying catwalk. At that moment, it simply seemed impossible. The weight limits of the tour’s stadiums would have been exceeded”.
The P10 was constructed especially to minimize weight, at an uttermost high resolution and transparency. Weighing only 10 kg/m2, the design dream became reality.
Frederic Opsomer adds “We think in solutions, for the PURE10, we pushed the technology to the limits of its abilities, doubled the regular width to limit the amount of pieces, and at the same time guaranteeing the highest possible transparency.”
It is fair to say that the PURE10, with its carbon fiber structure, reduced the suspension load of the screen by half in comparison to the technology that had been provided on the previous tour. This change of screen allowed to introduce more features on the catwalk, whilst even reducing the overall weight of the rigg.
Carbon Fiber had proven to be an excellent choice for the PRG SPACEFRAME™, and its strong, reliable and very light characteristics made it perfect for PURE10 as well.
In the future, the structural advantages of carbon fibre compared to aluminum or steel will further be explored. By investing and following up the continuous development, PRG will be able to create custom solutions in a much faster way.
The revolutionary low weight of PURE10, combined with the smart stacking in custom designed dollies, saves space. That leads to an optimization in transport and reduction of the green imprint.
“In every development we do, we try to solve a green issue. It is actually one of our top 3 questions, together with: ‘are we making a creative solution? ‘and ‘are we allowing designers to propose an innovation to their customers?” explains Opsomer.
Not only it has a positive impact on transport, but we’re also facing limited storage space in most venues.
Stuart Heaney, PRG Crew Chief, is particularly happy about the set-up of PURE10: “The time to set-up the screen, including the interdependencies with other teams involved is 8-9 hours. If we would be solely constructing the screen, everything would be built up even faster, in under 3 hours. Tearing down takes 2.5 hours, and that again is with all integrations being removed.”
Ric Lipson – partner at Stufish – has been in charge of design and architecture for multiple U2 shows. He reflects on the collaboration with PRG: “in this long-standing relationship with PRG, we love how they are always innovative. They come with weird and wonderful ideas and make them happen”.
The PRG SPACEFRAME™ allowed the enormous screens of last year’s tour Joshua Tree Tour to resist wind loads. For Beyoncé’s and Jay Z’s tour there was even a moving element added, allowing the screens to open and close, despite weather conditions. PRG SPACEFRAME™ is also used in this year’s design and PRG Projects is already looking at the future: With PRG SPACEFRAME™ we incorporated structural elements into the video screens. We are now experimenting to do the same with lighting, automation and other combinations. The PRG SPACEFRAME™ technology definitely has a lot of yet unveiled opportunities.
Live Design Magazine has named PRG Projects’ PURE10 as the best LED Screen for this year's 2018 Video and Projection Product awards!
It was chosen by a panel of prestigious video/projection designers and programmers, from amongst a field of our esteemed peers. PRG is so proud of the talented team that made this innovative technology a reality.
PRG announced today that VER has merged into Production Resource Group in Europe and the Middle East.
The entities will be commonly controlled by The Jordan Company, GSO Capital Partners and PRG Management. Jere Harris will serve as Chairman and CEO of PRG and VER, and Stephan Paridaen will be President and COO. Both companies will offer the ability to share equipment, knowledge and personnel wherever doing so will benefit its customers and meet evolving client needs, offer solutions, resources and expertise in ways neither company could achieve independently.
“For more than 20 years PRG has been diligent in offering its clients the best production service and equipment in the entertainment industry. Growth across disciplines, markets and geographies has always been a key part of our strategy,” said Jere Harris, PRG’s chairman and CEO. “Now, our ability to support all types of entertainment productions globally will take on new meaning, raising an already high bar to an unprecedented level.”
PRG and VER are both well established in concert touring in lighting, video, media servers, and staging innovations. Combining PRG and VER’s strength will now offer a complete suite of services for tours, festivals, and events. Further, PRG can enhance its long history in television production and expand its work in the film industry as VER brings world-class expertise in the video camera market, lighting, display and a robust suite of cameras. VER customers will benefit from PRG’s staging and automation expertise, vast lighting inventory and its position as the exclusive rental house for PRG’s patented proprietary lighting and video products.
“We believe that this approach will bring about innovation, an exciting level of service, and even more transformative collaboration with our partners. It feels historic, not only for PRG and VER, but for entertainment industry,” said Harris.
Globally, VER and PRG will have approximately 70 locations across six continents. Clients will have improved access to an extraordinary array of equipment from all major manufacturers as well as specialized and proprietary equipment.
Negramaro is touring through Italy again. His show “Amore Che Torni Tour Stadi 2018” will attract fans to 6 stadiums across the country. The tour, with over 155.000 tickets sold, is produced and organized by Live Nation Italy.
This show is exemplary of how video can intensify the storytelling. The stage represents a spaceship, with a central MC12 screen that shapes the globe, flanked by two satellites and MC18 side screens. 8 Barco UDX 4K32 projectors are used for projection on the scrims that form the satellites. Just like in outer space, elements and screens are moving.
Behind this show is an ingenious technical set-up: 5 risers were cladded with Utile R3 video. 2 of those risers are laser controlled stage wagons that moved all over the stage as well as the catwalk and piloted via a complete wireless video signal through a Teradek wireless video system.
PRG is grateful to contribute to the “Amore Che Torni” tour, supplying video. Special thanks go to Claudio Santucci for the unique set design, Alberto Muller, production manager for Live Nation Italy, Bernd Bisson, crew chief for PRG and their entire teams!
Updated PRG SPACEFRAME™ and new Ingest product on Beyonce and Jay-Z’s “On the Run II” Tour
LONDON and LOS ANGELES – July 9, 2018 - Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announces two product innovations – Infinity SPACEFRAME™ and Ingest – which are supporting Beyonce and Jay-Z's "On the Run II" Tour. The new Infinity SPACEFRAME™ which serves as a kinetic backdrop on stage and Ingest, a new technology that archives camera images created on tour, are industry firsts.
PRG SPACEFRAME™ PRG SPACEFRAME™ is an innovative carbon fiber touring frame created by PRG Projects, a division of PRG which specializes in developing and integrating proprietary solutions to the rigors of the production and entertainment industry. It was launched on 2017’s U2’s “Joshua Tree” Tour and “On the Run II” is the second concert tour to feature the product. For this tour, Stufish (the designers of both “Joshua” Tree and “On the Run II” tours) wanted to have a clean look, visually eliminating all support structures and rigging. To do that, PRG Projects came up with a solution called “Infinity SPACEFRAME™” where the rigging and support structure are integrated on the back of the SPACEFRAME™, invisible from audience view. Video content on the screen is now edge-to-edge without visual barriers as a classic screen would have. It gives it a monumental look and creates a new type of immersive viewing experience. The Infinity SPACEFRAME™ makes the most of the PRG SPACEFRAME™ concept by utilizing the structural capabilities of the video screen as part of the automated tracking support. It ultimately saves truckloads of additional support structure.
“Designing custom LED and video solutions for live events is a core part of what PRG Projects does. Beyond what we develop for PRG, we work directly with designers to create unique staging solutions that allow them and performers to be as creative as possible,” said Frederic Opsomer, managing director, PRG Projects. “We are constantly thinking of what is next, how do we improve on what we’ve already done. The new Infinity SPACEFRAME™ allows for moveable LED screens in an operational effective set up which aids the dynamic energy Beyonce, Jay-Z and other performers create during the show.”
The stage design for “On the Run II” Tour includes two LED screens with SPACEFRAME™. The secondary – or upstage – screen is a 16,8-meter-wide and 10,8-meter-high screen (55 feet x 35.4 feet) with ROE’s CB8 LED. The bottom section of the upstage screen is automated with three SPACEFRAME™ panels that open like garage doors, enabling the musicians’ rolling risers to enter and exit the main stage. The upstage screen stands behind a four-tiered opera box style performer platform. The main - or downstage - screen is divided into 12 automated sections. This allows for different dramatic scenes and settings and provides Beyonce and Jay-Z different entry and exit scenarios. The new Infinity SPACEFRAME™ screen, with GALAXIA’s WV9 air transparent LED, measures 52,8-meter-wide and 13,2-meter-high (173.2 feet x 43.3 feet) when closed and hangs on motorized carts that move left and right on a track. The carbon fiber fabrication and built-in wind bracing provides the stability that structural engineers demand in order to have a screen of this size move around on a track.
“There is currently no other framing system that can do this, it’s a perfect example of designers really pushing the product to the limits and having free reign for their ideas. A symbiosis rarely seen in our industry,” said Opsomer.
INGEST “On the Run II” Tour is also implementing PRG Ingest. Ingest is a new technology that allows the capture of concert footage in real time from up to 24 isolated camera feeds. Each camera feed - or channel – will be ingested in the server, processed, and via the network pushed to an external storage drive.
Traditionally, footage from a single camera is captured on a single recorder, then after a show, each file on the drive is copied over to a separate hard drive. This is an intensive process that can take many hours as the transfer can take up to one hour per camera.
“With the Ingest system, we can create a show record on an external drive of all channels in nearly real-time and still have a back-up copy on the server should anything go wrong,” said Wolfgang Schram, director of video engineering, PRG. “The servers also get time coded, so all recordings have real time and can be used in an edit right away.”
In order to handle the 6.2 TB of data that “On the Run II” Tour generates per night, PRG uses six media servers which make copies of what is recorded, transcode it to a pro res 422 file and push it over a 10GigE network on an external NAS drive.
Our company realizes a large number of large as well as small events and is permanently looking for skilled manpower and specialists.
By inscribing yourself and creating your personal profile on this platform, you will assist us in finding the right people for the right jobs. Our PRG Project Managers and Crewbookers will be able to assess the applicants and service providers better.
In the medium term, this will create a large service provider pool and the processing of cooperation should become significantly more efficient.
During the registration process, we will ask about your “skills” – meaning your qualifications or your expertise. You can grade yourself for each of the skills you would like to offer us. We are often looking for professionals with a range of skills; the more you’ve got to offer, the more we will work with you on a more frequent basis!
Your registration on the Crew Portal will become the future requirement for cooperation with PRG.
Created profiles are visible to the other PRG affiliates, which also creates the possibility for you to be contacted by our colleagues within the PRG Group.
Students battling at PRG for a summer job for the festivals
On Saturday 5th of May, infectious enthusiasm could be felt in our Tildonk office.
32 students came down to our warehouse with one common goal: working for Belgium’s biggest festivals this summer. PRG is looking for young talents to support our teams during the busy summer season; therefore, students between the age of 17 and 24 could apply via Jobtalent. Their team did a first screening, after which candidates were invited to the job battle in Tildonk.
And it would not be PRG if it were just another classic job interview. If we say battle, we mean it.
The students were divided into four groups. After meeting with our Crewing Manager, they were up for the practical part of the day, consisting of a series of individual challenges and a group test.
The students needed to show us their strength, speed and insight. First, they had to sort some XLR, Schuko, CEE and Socapex cables into their respective flight cases. Then 4 x 6-bars PAR64 waited for them to be hung into the dolly. For the last test, candidates had only five minutes to attach a lighting feature onto a clamp. Definitely not a breeze!
Teamwork makes the dream work! For the group test, candidates had to work together to distribute 20 flight cases to the right loading dock. Afterwards, 2x5 way Socapex loom cables of 40m length each needed to be stored into a flight case correctly. The students communicated clearly, demonstrated speed and order and got the job done in just under 5 minutes.
All candidates will now be contacted in person. For the 12 top scorers of the day, that means they will be informed about the starting date of their summer job at PRG’s. The others will have a new opportunity next year!
Interested to apply for a student job or any other job at PRG? Please contact firstname.lastname@example.org
PRG’s New Concert Touring Products on U2’s eXPERIENCE + iNNOCENCE Tour
Pure10 and Rolling Video Floor Risers elevate the touring industry
LOS ANGELES – May 14, 2018 – Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announces two product innovations - Pure10 and Rolling Video Floor Risers - which have been integrated into the design, production and operations for the U2 eXPERIENCE + iNNOCENCE Tour. Both solutions demonstrate PRG’s dedication to innovating products that respond to the needs of artists, tour designers and managers seeking to push boundaries and deliver a more immersive concert experience.
“PRG has supported every U2 tour since 1992, and they always challenge us to be innovative with available technology or to create something new,” said Jeroen Hallaert, director of PRG Projects North America.
U2 eXPERIENCE + iNNOCENCE Tour is a follow up to the 2015 Songs for Innocence Tour for which PRG provided the video cage on the moving catwalk between the video screens. However, for the 2018 tour, U2’s creative team required high-resolution, super transparent LED video screens and an independent automated kinetic catwalk between the video screens. The purpose of the transparent LED video screens is to allow band members to perform amidst the LED walls (as during the 2015 tour) without creating a visual divide in the arena. It also provided the ability to integrate Augmented Reality into the show.
Further, the design team wanted the catwalk to be accessible by a moving staircase, and therefore the catwalk should move independently from the video screens. This added automated catwalk required more motors and equipment, thus adding weight. This meant PRG Projects had to find a solution to make not only high-resolution, super transparent LED video screens but also make it super light-weight.
In response to U2’s challenge to create a transparent LED wall, PRG Projects revolutionized the way LED screens are built and created the patent-pending Pure10. Rather than mounting the printed circuit boards (PCB) holding the LED in standard clunky frames, PRG Projects sliced the PCB in strips and turned them 90 degrees with the LED mounted on the side. This resulted in 75 percent transparency.
The added specially curated Augmented Reality scene-setter - triggered by the LED screen – required a transparent, high-resolution screen. The way PRG Projects chose to build the screen allowed for a 10mm pixel pitch. A pitch far superior than what PRG Projects initially imagined.
“The creative team and the band were looking for a LED screen that allowed them to use AR in the way they envisioned. Pure10 works so well thanks to the magic combination of the pixel pitch, the high transparency and the brightness,” said Hallaert. “The band now calls the screens and catwalk the barricage.”
Additionally, rather than metal fabrication to house or frame the Pure10, PRG Projects used knowledge gained from developing the SPACEFRAME® and engineered a fast-building system in carbon fiber. This resulted in the weight savings that the tour’s production team was looking for. It also gave free reign to the designers and the band to further use the automated catwalk creatively.
As with the innovative transport design for the SPACEFRAME, PRG Projects has advanced the way concert touring is taken on the road with Pure10 by maximizing space and volume in trucks, airplanes and sea containers. The number of trucks needed is cut in half compared to the 2015 tour. Further, when the equipment is used during the show, empty transport dollies fold, stack and roll away in the tiniest spaces. This allows for other departments to move around the venue more freely and makes for ergonomic and superior logistics for load-ins and load-outs.
Rolling Video Floor Riser
The Rolling Video Floor Riser is a revolutionary system in how it’s built and disassembled. Initially revealed last year, PRG Projects updated and upgraded it for U2 to be used as the round stage. Each riser is fitted with 2 LED modules offering a high resolution 4mm pixel pitch during performances. Each riser has integrated magnets to enable a speedy assembly - an LED Floor of up to 1,076 square feet can be set up in less than 20 minutes.
“The Rolling Video Floor Risers were developed to meet the short set-up and change-over times of LED flooring which is perfect for the concert touring and festival segment,” said Mark O’Herlihy, vice president of PRG Global Entertainment.
Not only do the Rolling Video Floor Risers dramatically reduce the set-up time for an LED floor on stage, they also are transported in especially fitted dollies, which contain six risers each. The dollies are 1.6 m in height, allowing shipment via airfreight on the lower deck, which drastically reduces the shipping costs.
The Love the Tuenti's tour has kicked off in Madrid
The Spanish tour Love the Tuenti's kicked off last weekend with a first show in Madrid. Over 18.000 music lovers came down to the Wizink Center Arena to enjoy 5 hours of the best music from the 2000's, with the most famous artists and dj's from that decade live on stage.
Also for PRG Spain this tour is a premiere, with the introduction of the Icon series on the Spanish market, the Spanish team is in charge of the whole tour in terms of the technical design, equipment and logistics. Translated in numbers that means: 8 trucks of equipment, 60 technicians in 2 shifts and - besides rigging - everything from load in, setup, rehearsals to the actual show and load out within 24 hours.
The set-up consisted of 670 lighting fixtures, of which 60 Icon Beams 280W and 46 Icon Edges 470W. The lighting set was piloted by 2 GrandMA2s and 3 NPUs. The spectacular video show was made possible by 765 square meters of LED (ROE MC 12 & Pixel Screen PLED 206 E3) to create the 3 circles in motion and curved trusses facing the public.
The sound system that supported the variety in music throughout the night was composed of a complete Adamson kit, piloted by 4 Digico sound desks.
Congratulations to our PRG Spanish team for taking the lead in this incredible cross-country collaboration with PRG teams in Germany, Belgium and the UK.
The show is exemplary of what we can achieve with one strong European PRG team, absolutely unique in our industry.
We are looking forward to the next shows on September 15th in Bilbao and 29th in Valencia, and to collaborating again with ShareMusic.
Our special thanks go to Hugo Albornoz, CEO Sharemusic, for the coordination of the show, Edu Valverde as our set and lighting designer and Juan Manuel Lazaro, Lights/D3 programmer and operator.
Thank you also to all our teams in Spain, Germany, Belgium and the UK!
Account Manager: Luis Briz
Project Manager: Pako Palazón
On site Manager: Joan Román
Lights Crew chiefs: Vicente Ferreras y Emiliano Almeida.
Sound Crew Chiefs: Victor Retana y Oscas Navieras
Video Crew Chiefs: David Garcia y Juanjo Lopez Martin.
Marta Viscarret, Management
Sergio Puig, Sergio Bello, Alberto Aparicio, Juan José Ros: Design
María Álvarez: Booking
JM Sanz: Video
Teresa Álvarez: Logistics
Sebastián Serafini: CFO
Isabel Martín: Communication & Press Relations
A highlight for the music world this weekend: the presentation of the D6bels Music Awards 2018, broadcasted live by the Belgian tv channel the RTBF on Friday evening, the 26th of January.
Jean-Jacques Marotte was the designer for this live broadcast and PRG was in charge of lighting and video technology for this program.
Four curved LED screens of 14m length and 3m width were floating above the stage and consisted of 360 modules of PLED206E3 IP43.
The LED-backdrop of the stage measured 12m wide by 3m high and consisted of 120 ROE Blackface In & Outdoor modules.
The whole system was driven by 2 Arkaos Mediamaster Pro V5 and a GrandMA2.
The lighting kit included 14x PRG Best Boy HP, 50x PRG ICON Beam 280W, 60x PRG ICON EDGE 470W, 20x LED Flood P-5 Wash Light, 20x LED Flood/Blind/Strobe Q-7, 40x LED Striplite 1m, Impression X4 Bar 20, 62x LED Movinghead Magicpanel R Ayrton, 88x LED Movinghead Rogue R1-FXB, 2x Smoke machines SweFog XEON II Intellahazer. A Grand MA2 Full-size, 6 DMX-Interface MA NPU and 48x DMX-Splitters, 7-V, XLR-5 drove the lighting system.
PRG Account & Production Manager Laurent De La Haye worked with Project Manager Mathieu Antoine, Light Operator Rudy Fastré and Video Operator Jonathan Pirard.
We are once again proud of our team who has once again proven great professionalism and made this production a success for the second consecutive year!
It is the most visited ice show in the world - Holiday on Ice! This year, the production celebrates its 75th anniversary. "Atlantis" is one of two shows currently touring Germany and France, exciting its audiences with spectacular costumes, great choreography and impressive scenography.
Once again this year, PRG will return to Holiday on Ice’s frozen world and support the show in terms of event technology. In addition to rigging and audio technology, PRG also provides lighting and video technology.
Adam Bassett of Woodroffe Bassett Design is the lighting designer of the show. Among other things, he and his team have worked on the lighting for the Rolling Stones, Lady Gaga and the Olympic Games. Adam Bassett explains what aspects played a role in the implementation of the current tour:
"Whenever we develop projects, it's the interplay between the design and what we have available in terms of budget, equipment and technology to meet the specific design challenges. It was very helpful to work closely together with PRG from the start, trying to find technical solutions to the complexities, within our budget."
One of the technical highlights of this year’s tour are the ten automated Roll-up screens in the middle of the ice rink. For this, PRG uses six Panasonic PT-DZ21K projectors. The Roll-ups are controlled via DMX by the GrandMA2 console. The GrandMa2 console also controls the WO media server to track the different positions during the show. A completely redundant WO system is used as an output.
As a backdrop of the ice rink, we installed a large video projection. Two Barco HD projectors W f 26K project in different depths so that with the help of the WO system, the data is mapped and a 3D effect is created.
The projections also emphasize the costumes of the figure skaters and thus create the magical atmosphere of the lost city of Atlantis.
Kjell Peersman, Technical Manager of Holiday on Ice, is delighted with the successful video-technical implementation of the show content:
"We had to find a tailor-made solution to deliver video content on the automated roll-ups. PRG developed a great solution for this, making all boards and media servers communicate with each other. The result is just great! "
In addition to video technology, the lighting has been carefully adapted to the scenario of the show. A total of 40 Icon Edges were used. This moving head is a fast beam, spot and wash luminaire; it contains a wide range of gobos and offers a lot of lighting effects, which benefits the tour.
Bob Walpot, Director of Operations and Asset Strategy PRG, is satisfied with the technical solutions the team has created for the show:
"The combination of these video and lighting elements in synergy with the sumptuous costumes creates a wonderful and immersive show."
Holiday on Ice's Anniversary Tour is also a great success! In total, over 90 shows are performed. Till the end of February, the ice skaters will still enchant the audiences before Atlantis sinks back into the sea.
The 9th edition of the Longines Masters of Paris, European leg of the Indoor Grand Slam of Showjumping took place from Nov 30th to Dec 3rd.
This renowned competition is one of the most prestigious equestrian events worldwide, which attracts more than 50 000 spectators and is broadcasted in more than 120 countries.
PRG Belgium provided all lighting, video and sound for this 5* Event and premiered with 130 of its’ new sports lighting fixtures the Ephesus Arena Pro 300 in Europe.
Bruno Sepulchre, Production Director EEM, explains: “PRG accompanies us on the Longines Masters since numerous years. Their team is aware of our needs in terms of technology, services and flexibility but also has the broad and fundamental knowledge of the venues. Affinities create themselves and the way of work is reinforced with every production we do together.
I have been wanting to find an LED sports lighting fixture, which offers a irreproachable even lighting and that can be relit instantly in case of a small power failure or technical problem without any cooling time in Europe for years — it was my absolute dream — and it is absolutely fabulous that PRG made it possible for us! For me it is a fantastic achievement!”
The Ephesus Pro 300 LED sports lighting fixture provides a high quality flood lighting which meets the lighting standards of every arena sport.
The field of play is lit uniformly without any glare, unwanted shadows or hot spots. It’s an up to 50% energy saving spot lighting solution with colour tuning technology, which offers the possibility to flood the field in any colour from 3500K to 6500K and can be implemented in the show lighting to enhance the spectators experience. It is fully HDTV compliant and is rated IP66!
Frank Lombaers, Show Producer, adds: “The Longines Masters is much more than a sport event. It’s about lifestyle, it’s about luxury, it’s about presenting brands and all of this makes the Longines Masters what it is and what it has become since it first started as the Audi Masters in Brussels in 2004. At every production, and believe me, I have a long history of productions with PRG, their teams bring us absolute added value to the events we produce. A load of know-how, a lot of professionalism and a structure with which it is very good and trustworthy to work with worldwide!”
In addition to the lighting technology supplied by PRG, of which the lighting kit was composed of 130 Ephesus Arena Pro 300 and 32 Icon Edges for the competition area and 164 SGMs for the VIP zone and the seating zone of the spectators, PRG also provided three ROE MC7 LED screens and a comprehensive kit of 100 KIVA Acoustics.
Stephan Paridaen, President & COO of PRG Group, stipulates: “PRG is very proud to be associated with the Longines Masters Series globally because a lot of the production synergy and values that EEM and Longines are bringing to this sport, which I happen to be passionate about, are very tied to our PRG values — attention to detail, attention to quality, going global and making sure that the entire production and the services are of top-notch quality! We can supply products, we can provide technology but PRG stands for Productions Resource Group and that is really the value we bring to our customer.”
PRG would like to thank Christophe Ameeuw, CEO of EEM, creator, owner and organizer of the Longines Masters, Matthieu Gheysen, Bruno Sepulchre and Frank Lombaers for the trust they place in our 360° services and thank our own team for their great dedication and their great team-spirit which was complimented by the client.
In February 2018, the Longines Masters Series will open its’ doors in Hong Kong before heading to New York in April 2018.
Night of the Proms 2017 was yet again a magnificent success! The concept’s ability to bring the notorious Antwerp Symphony Orchestra and the Fine Fleur Choir together with the voices of current pop artists simply creates magic, attracting people together from all generations and age groups.
This year again, PRG Belgium was commissioned to provide video sound and lighting for the tour that kicked off in Rotterdam, before heading its way to Belgium, Germany and Luxemburg.
For the NOTP Tour 2017, PRG has remained with the successful equipment list that was used for the previous year, nevertheless there were two customized new eye-catchers:
One of them was the Piano Cube, a custom-made flying frame of 3m height by 2,5m width with PLED 205Q. Suspended above the audience by 8 cyber hoist on a horizontal track of 40m length and driven by a Whalberg System, the piano moved horizontally as well as vertically creating a stunning effect above the spectators’ heads.
Furthermore, PRG installed 12 Video Pods, which were also suspended from on 4 x 12m length Whalberg tracks and moved above the scene, creating special effects combining PLED 205SC with the new PRG Icon Edges lighting features and 1 SGM P5 each integrated underneath. On stage the PLED208E2 created a backdrop of 25m width and 8m height.
In accordance with Arf & Yes’s lighting design and in collaboration with Light Operator Olivier Demoustier, PRG supplied a lighting kit which was composed of 46 PRG Icon Edges, 96 Sharpy Washes, 18 Mac Viper Profiles, 3 Mac Viber Performances, 16 Robe Ledwash 1200’s, 66 GLP X4Ses, 8 SGM P5s and 4 SGM P2s. On top of that we had 3 RJ Cyrano Followspots and 2 PRG GroundControl Systems installed to highlight the artists.
Patrick Demoustier was in charge of the configuration of the sound design. The equipment list was very much the same as the one from last year and composed by 36 x Adamson E15, 24 x Adamson E12, 36 x Adamson S10, 18 x Adamson E219 and 32 x Lab Gruppen PLM20K44+, controlled by 2 x Digico SD7, 2 x Digico SD8, 1 x Digico SD5.
Nevertheless, there were some upgrades since the whole of the orchestra’s microphone system was upgraded to a digital one.
Patrick Demoustier stipulates “This year, we decided to upgrade the speaker system to a complete Adamson Energia system. On top of that, the system is network-controlled via a Dante network and Lake processing. All speakers are powered by PLM20k44 + amplifiers.
By using digital only transmitters we are more flexible in frequency planning through the different locations because of the different regulations in UHF. On top of that it provides better sound than the analogue systems.”
Moreover, PRG invested in a new wireless Green GO Intercom system to replace the Riedel Acrobat.
Tour Head Rigger Stef De Raet and Assistant Rigger Dean Kessler were in charge of the setup of the rigging system, which required 124 active hoists and 368m of trussing were needed to suspend a spectacular 45 tons. In total PRG had 180 meters of Whalberg Tracks suspended for the automation of the piano platform and the 12 Video Pods.
Jan Van Malder, General Manager Entertainment, adds, “We would like to thank PSE, the promotor of Night Of The Proms, as well as the producer Alain Van Isacker for trusting PRG’s know-how once again and making us part of this magnificent and successful production. Each year, we gladly go one step further and we aspire to work together again for the next tour!
I would also like to thank out PRG crew for their investment and dedication!”