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On August 24th, around around 35,000 spectators were able to get a taste of opera air at nine locations in Schleswig-Holstein – Giuseppe Verdi's masterpiece AIDA was broadcasted live on large, mobile LED screens at the premiere of the Kiel Summer Opera. Under the motto "Culture for everyone – free of charge and outdoors", the event was a complete success again this year! A varied special programme including an open-air cinema and live music was held in many different locations in addition to the AIDA production.
In order to make this open-air broadcast possible in Kiel and the other cities in Schlewswig-Holstein simultaneously, nine mobile LED screens were set up by PRG. Seven of them of a size of 15m² and two of 27m². The containers with the LED screens were partially separated from the truck and placed on the ground – the advantage: the walls can be placed almost anywhere and can also be adjusted in height and rotated. This means the best view of the playing surfaces for the audience and, of course, perfect image quality due to the high-resolution screens.
PRG has an extensive fleet of LED trucks with screens in different sizes between 15 and 80 square meters. Whether a sports event, concert, city festival or even an open-air opera premiere, the systems can be implemented for a wide variety of events. The LED trucks and trailers are self-sufficient and are therefore fast to set up, flexible and save a lot of space. Due to the short set-up and dismantling times, they also represent a cost-effective alternative to permanently installed equipment. PRG also offers modular systems that can be assembled as required. Our PRG experts are happy to advise customers and show them the most diverse variants for their planned event, no matter how demanding or unusual the customer's wishes may be. Jan Sören Eckert, Fleet Manager Mobile LED Screens, remembers an extraordinary order with a smile: "We once had to set up an LED screen on a floating pontoon, for which a crane was needed. That worked, too. We just need to know in advance, then we can order a crane."
We would like to thank Opus for the pleasant cooperation!
An inspiring event designed to bring together all our regions from around the world in one location, to share and develop our unique global offering.
PRG Unite has been devised with the specific intention of gathering all of our international teams together, to discuss our global offering for the future. PRG globally is the leading technical solution provider for the event industry and is constantly looking at how to best assist our clients across the world, helping them grow and develop exciting activations. The PRG Unite event enables us to discuss future challenges and strategies while combining our resources and expertise as one team.
The event will enable each of our regions (United Kingdom, Belgium, Germany, France, Spain, Netherlands, Japan, China, UAE and United States) to showcase their very best corporate projects, detailing to our clients the processes from strategic planning to event delivery, allowing our clients the unique opportunity to share our knowledge and best practice which enable us to hold such a world-renowned standing within the industry.
This insider view is sure to be a unique and inspiring insight into the future of how PRG will work with its clients on a global scale. Speaking about the upcoming PRG Unite event Richard Williams - PRG UK Chief Executive Officer commented:
“We felt this would be a fantastic opportunity for our UK customers to meet and talk directly to all our global PRG colleagues in one place. Allowing them to understand how PRG can help support and work together to provide global solutions.”
End of press release.
About Production Resource Group:
Production Resource Group UK Ltd.
(PRG) is the world’s leading supplier of entertainment and event technology to a wide range
of markets, including corporate and automotive events, concerts, special events, theatre,
television and film, trade shows and installations, such as theme parks, museums, retail stores
and performing arts centres. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging and scenery and automation systems, for these markets from more than 40 offices in North America, South America, Europe, the Middle East, Asia and Australia.
Post Malone, who has captured the zeitgeist through his unique genre-blending musical style and introspective songwriting, is on a global tour. PRG is supporting the superstar worldwide by providing 360 concert touring services, including sound, video, lighting and rigging.
One PRG team
The initial contact and contract in the USA was taken care of by VER, which recently joined the PRG family. Their expertise with big productions in the USA has been indispensable for this tour. Thanks to its unique global presence and network, PRG is able to provide worldwide 360° touring services and apply the same high standards in all countries, across continents.
The crew comes from both the US and Europe and can count on local support and gear in any of the countries on the tour’s agenda.
Production Manager for Post Malone, Dennis Danneels, put it this way: “The PRG team, between Los Angeles, Vegas, Germany and the UK, were basically just taking the project and handing it off like an assembly line all the way down. We were taking advantage of all these different time zones to be able to complete this project in time. People were working right until the last minute of load-in.”
Global reach, local support
For the European part of the tour, our UK and German teams joined forces, working closely together, with UK providing video and light and Germany being responsible for the sound. Thanks to their ample experience in cross-national productions and great communication, this resulted in a seamless and smooth collaboration in which the client benefits from both the scale of PRG Group and the local presence and understanding of the market in each country the tour passes.
Stephan Paridaen, President and COO of PRG says: ‘from day one, this project has been about a collaboration to define the best, most fully integrated technical production solution that realizes the artist’s creative vision. We take that even further and service the tour globally on the ground with local, highly experienced crew and state of the art gear. It’s a service and a 360-degree solution.’
Video Crew Chief ‘Topher’ (Christopher Davidson) was delighted about the seamless support in the various countries. “One advantage of having a worldwide support system, like you have with PRG, is that I am confident that I can go anywhere on the globe and have the same caliber of people, gear, and the same support virtually 24/7 that is required in this industry.”
A new standard in large-scale concert touring
This cutting-edge approach to servicing large-scale concert tours on a global level is made possible by PRG’s unique ability to combine high standards of gear with specialists who work seamlessly together.
“There is incredible skill level with the PRG crew. The gear has been consistent day in and day out. We’ve had very, very few failures, and this is all the stuff that we ran for almost 24 hours a day for three weeks,” Danneels adds. “I’m really pleased with it from a financial stand point, it made a lot of sense, and it saved a lot of money.”
PRG wants to thank our client PostyCo and PM Dennis Danneels. We would like to extend our appreciation for our own Burton Tenenbein, responsible for the overall AE and lighting kit, Brent Dannen, who took care of the tour’s sound, and Mike Drew, supporting the tour’s video package. Also, a big thank you to the whole
This year it is in Tel Aviv that the Eurovision Song Contest 2019 will choose its’ winner. And – as in many previous years– PRG will be part of it again, delivering customized show solutions for rigging and video that will ensure an efficient roll-out of the show and offer the audience an unforgettable show.
"Florian Wieder, the set designer, created some unique elements for this year’s show", explains Ingo Rehnert (Head of Sales & Account Management Sport & Special Events PRG). On one hand there are the triangles in the ceiling of the main stage. On the other hand, we have the LED strips in the ceiling of the Green Room. The customized triangle structures, which were developed by our special construction department, integrate the VER Blades.
According to John van Look, Head Rigger Production PRG Germany, the weight distribution and static calculation, in function of the suspension capacities of the venue, was the biggest challenge, considering the amount of automation technology that needed to be integrated in the ceiling.
The main elements at the back of the stage are the rotating LED panels, which are composed of ROE CB5 and mounted on turntables with customized metal frames in which the LED panels are integrated.
Another great element for the show is the LED floor on the main stage, which consists of Black Marble 4 modules, which were integrated in the Domino developed by PRG for fast and time saving assembly.
Ola Melzig, Head of Production ESC 2019, resumes: "Our job is to highlight 41 songs and for them to be unique. There are not that many companies in the world that can deliver that amount of high-end products – and that is delivered by PRG!"
We would like to thank:
KAN – KAN Israeli Public Broadcasting Corporation
Meytal Cohen (TV Producer)
Shay Bonder (Head of Video & Technologies)
Avishay Giladie (Technical Director Show)
Tarmo Krimm (Senior Technical Director)
Johannes Schau – (Head Rigger EBU)
M&M Production Management AB
Ola Melzig (Head of Production)
Tobias Aberg (Head of Production)
Florian Wieder – Wieder Design (Set Designer)
We would also like to thank all the parties and people involved whom we had the opportunity to work with on this great production and our PRG Alliance partner Sincopa.
PRG Tech Facts
450m2 ROE CB5
100m2 ROE Black Marble 4 with PRG Projects Domino LED Frames (LED Floor)
16 x Panasonic PT DZ-21 Projectors
2.200 VER Blades - 90cm
4 x Disguise d3 VX4 Media Server
4 x GrandMa2
triangle aluminum frames (250x250x250cm) for VER Blades in the main stage ceiling
triangle Pod for VER Blades for main stage kinetic section ceiling
3.800 m truss
650 hoists BGV D8 / D8+
300 m horizontal live line system
340 tons of material in total
Production period: 21st March – 03rd June (almost 11 weeks)
Crew: 35 Riggers + 18 Technicians
Number of Trailers: 32 x 40" Containers
EMEA – April 30, 2019 - Production Resource Group LLC (PRG), the world’s leading provider of entertainment and event technology and solutions, announced today that it will integrate its global research and development efforts into a new operating group, PRG Innovation. PRG Innovation will encompass efforts in Belgium, China and the United States which include facilities in Dallas, New Windsor, New York and Los Angeles. By connecting its people, assets and innovation initiatives – including PRG Projects, PRG Research and Development, and VER product development initiatives – the company will maximize its technological impact on the industry.
PRG Innovation will be led by Chris Conti in his new role as the company’s Chief Innovation Officer. Conti has experience in concert tours, tradeshows, corporate events, TV shows and special events like the Olympics and Super Bowl Half-time shows. As Product Manager for PRG proprietary luminaires, he led the development of the highly successful Bad Boy® Spot and Best Boy® Spot fixtures, as well as PRG’s Emmy-award winning GroundControl™ Followspot System. Conti is listed as an inventor on 15 U.S. patents.
Additionally, Clay Powers will become Chief Operating Officer of Innovation, overseeing all financial and logistical aspects of both proprietary product development and custom show solutions. Gary Boyd, Chief Operating Officer of EMEA, will have ongoing responsibilities related to product-development operations in Europe and China. Frederic Opsomer will continue to lead the Belgian team in developing groundbreaking new technology in LED and video, and Simon Kayser will continue to lead operations in Shenzhen, China, which are instrumental in sourcing video and lighting technology. Anne Johnston, Vice President of Marketing and Product Strategy, will collaborate with PRG Innovation on all aspects of marketing, from product ideation to roll-out.
“PRG Innovation brings all of our talent focused on product development into a single, global team, allowing us to anticipate market trends, move with agility and align product development with our larger strategic objectives,” said Jere Harris, Chairman and CEO of PRG. “I believe that our investment and performance in market-driven innovation is one of the most powerful points of difference separating our brands from the competition. Now, that advantage will become even more significant.”
In every market PRG serves from music and theatre to television, film, broadcast and corporate events, it has defined itself as the innovator in technology, responding to a client request or an industry need. With more than 170 issued patents as well as 70 trademarks, the company’s legacy of proprietary technology has opened new creative possibilities, improved safety, created cost efficiencies and reduced environmental impact. Examples of PRG’s industry-changing technology include:
Ground Control™ Followspot System: A high output followspot that can be safely operated remotely from the ground from distances up to 2,000 feet. Gives designers creative freedom to put followspots in places that were either previously unusable or involved complex rigging.
PRG SpaceFrame®: A touring frame design that seamlessly integrates LED panels for operational efficiencies and creative possibility. The carbon fiber frame is lightweight, collapsible and fully wind braced, allowing for a free-form approach to stage designs.
Pure10: A revolutionary lightweight and highly transparent touring LED screen. Printed circuit boards (PCB) are sliced in strips and turned 90 degrees with the LED mounted on the side, resulting in 75 percent transparency and allowing artists to interact with video content in real time.
Mbox®: A family of media server products that are affordable and easy to use. Mbox software offers powerful and flexible control of video content by working seamlessly with media playback, composition, effects, and transitions. The user interface provides fast and intuitive setup for outputs and content positioning.
Front Row Cam: A robotic, periscope solution that provides a low camera shot of the sports playing field. At just 6 inches wide x 16 inches deep x 32 inches high, this custom designed system, developed with ESPN, is equipped with a telephoto lens for use in baseball or a wide version for use in tennis and other sports.
PRG Stage Command® System: An automated, cue-based motion control system that gives operators the ability to execute the most complex motion control cues with accuracy, repeatability and unparalleled attention to safety. Provides seamless transitions of scenery in full view of the audience.
Bullet: A family of focusable, compact LED luminaires available in White Light, Daylight and UV versions. Offering high output with precise beam control, the adjustable focus mechanism requires no lens change, no tools, and is lockable for permanent installations.
At the end of March 2019, there was a new arrival in PRG's Hamburg warehouse: state-of-the-art, high-performance and high-quality audio technology! The equipment was first used at this year's LEA Awards and went on to be used at Prolight+Sound 2019 in Frankfurt's Festhalle — and the difference could be heard! Not only did the Highlight Show impress audiences with a magnificent light show and spectacular special effects, thanks to the new technology, the sound quality was also excellent.
In the USA, PRG has been a pioneer in world concert touring for several years already, equipping large concert tours with its high-quality audio technology. It is not only the quantity and variety of the technology that is impressive, above all it is the performance! PRG in Nashville has developed a special process which is used to put the equipment through its paces before and after each use.
After every tour, the equipment is subjected to quality control checks, tested, serviced and cleaned. In the specially developed "Boom Room" the loudspeakers undergo various frequency and sound tests. These are used to ascertain that every loudspeaker corresponds to the specifications of the original manufacturer. In addition, the functionality of all cables is systematically tested by trained staff. With the help of unique, web-based software the quality control processes are standardized for each piece of equipment, so that all PRG locations across the world can have access to this data, ensuring uniformity among quality control testing. Packing is also an important issue: PRG guarantees packing and storage that is "tour-ready", since, above all for tours with changing locations, it is important that the technology is competently and protectively packed to ensure that the audio equipment can be loaded and unloaded quickly, without becoming damaged in the process.
Through all the standardized processes and checks, PRG ensures that the technology it uses functions without any problems, the sound is delivered in the best quality and an efficient workflow is made possible.
And the best part: as of now PRG can also offer the same service to its customers in Europe, the same quality standards and the same high-performance, modern audio products, which are suitable for every production size. Alongside Meyer Sound LEO and Meyer Sound LYON loudspeakers, PRG now has the LFC 1100 in its inventory. In addition, the console inventory has been expanded to include the digital SD10 and SD12 models. More equipment will follow. In addition to these new products, customers will also benefit of specialist knowledge and support.
With this know-how, the large pool of technology, knowledgeable personnel, and the specially developed processes, every concert, every tour and every event can be supported. The goal is to develop a first class touring and audio event division in Europe. With this extra division, PRG can now offer full 360-degree audio service in Europe too.
PRG brings fresh impetus to their moving lights range and invests in Clay Paky Scenius Unico and Scenius Profile fixtures.
Clay Paky, part of the OSRAM group, is a world level reference brand in the sector of professional lighting systems. Over the course of its history the Company has been awarded a total of 45 prestige international prizes, recognitions of the innovation and quality of its products and manufacturing processes. Clay Paky's headquarters are located in central-northern Italy, in one of the nerve centers of the European industrial system.
This fixture is renowned for its multifunctionality and quality of light. It can be used as a powerful spotlight as well as a beautifully performing wash light, and therefore is a top choice for lighting designers and clients in a wide range of professional sectors of the event industry. It is a highly appealing fixture for its light quality, which has a very high CRI and 6500 K output color temperature, generating a powerful beam of concentrated light with a minimum beam angle of only 5°.
The Scenius Profile is the top of the range beam shaper. Its optical reflector was especially designed to make the beam uniform avoiding herewith the typical hotspot and its focus tracking system will concentrate the light efficiency that you wish to project, including the focus that can be set to fully automatic.
With 6 rotating gobos and 8 fixed, this CMY fixture is perfect for any set, be it theatrical, tv studios or large events.
These products are now available for our clients in our PRG equipment pool.
To round up this acquisition, Clay Paky and PRG have reached a collaboration agreement testifying the evidence of the mutual respect that binds both companies, after so many years of constant relationship articulated in different forms and having supplied PRG & VER with their fixtures and know-how.
Through this agreement, PRG will benefit of direct access to Clay Paky & ADB products, dedicated technical support and technical trainings to PRG staff to optimize lighting fixture usage, maintenance and priority spare part delivery.
Pio Nahum CEO of Clay Paky states: ‘“Our Global Account Agreement, in addition to being an opportunity to strengthen the reciprocal position on the market, where both Companies already operate globally and with success, represents a unique occasion to improve our skills and offer our customers innovative solutions with higher added value”
Gary Boyd, Executive Vice President & COO EMEA of PRG adds: ‘Clay Paky has developed professional lighting fixtures since 1976. The lighting designers were increasingly wishing for the Scenius Unico and the Scenius Profile fixtures and we are convinced that this will perfectly serve our customers’ needs and add an extra dimension into the PRG fleet!”
Production Resource Group, L.L.C. (PRG), the world’s leading supplier of entertainment and event technology headquartered in New York, is acquiring the Middle East division of Delta Sound, Delta Sound L.L.C. UAE, a specialist provider of live audio and event communications technology based in Dubai and operating across the Middle East. Peter McCann, CEO for PRG in the Middle East and Andy Jackson, the Managing Director of Delta Sound, jointly announced the acquisition today.
Delta Sound LLC, founded in 2006, is the leading specialist audio and communication company in the Gulf Region and will join forces with PRG’s operation in Dubai, forming a welcomed union between the two companies who have collaborated successfully for many years across a broad range of corporate, government and large-scale special events. Like PRG, Delta Sound provides technical design and technology support to both local and international production houses who benefit from the high standard of service and delivery offered.
For PRG’s worldwide clients, this acquisition means that they will have access to additional expertise and technology when working with PRG in the Middle East and beyond. They can continue to be confident in the quality of product, experience, and professionalism whilst enjoying the addition of world-class event communications through the provision of fully scalable wired and wireless solutions.
“By acquiring Delta Sound LLC, we have bolstered our existing offering for our many customers who produce events and shows internationally”, said PRG’s McCann. “I’m also delighted that this acquisition integrates comprehensive event communications into our product offering thus ensuring that we can present a truly turnkey solution to our customers and partners. With events such as Expo 2020 on the horizon these are certainly exciting opportunities for a company that can operate at scale and this acquisition demonstrates both a significant level of commitment to the region and a continued appetite for growth.”
“As Delta Sound LLC, we have worked on some of the region’s largest and highest profile productions,” commented Andy Jackson. “We have established a loyal client base that has become more appreciative of the standard of audio production and event communications being delivered today by Delta. Having worked closely with PRG for several years across many of these events, our partnership has naturally evolved into a trading relationship and today we solidify this to the benefit of both our clients and teams.” It will be business as usual and Delta Sound will retain its existing operational format and be officially titled ‘PRG deltasound” during the transition process.
Stephan Paridaen, PRG’s Global President and Chief Operating Officer, concluded, “PRG and Delta Sound are extremely well positioned to provide a multi-disciplined, integrated solution. Making the UAE Delta Sound team part of the global PRG family will be extremely valuable to our clients and this has been our top priority from the start.”
Paul Keating, MD of Delta Sound UK commented, “Myself, Mark & Andy go back 40 years together and Andy has been involved with Delta since our humble beginnings back in 1988. He has done an amazing job in building and managing the business over the past 12 years. We have always had a very good working relationship with PRG both here in the UK and in the Middle East and this is a great fit for Delta UAE becoming part of the extended PRG family. We very much look forward to continuing this relationship together in the future.”
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.
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.
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.
Save the Date — June 26th – July 1st — for the PRG ProShop Sale Event in Zurich
PRG ProShop is holding a Used Equipment Sale Event of professionally maintained used equipment in their warehouse in Zurich.
A wide variety of quality equipment will be up for sale across all production disciplines—lighting, audio, video, truss and rigging.
We have lighting and audio consoles; automated and conventional lights; speakers and microphones; video cameras; networking equipment and computers; trussing; etc.
Everything will be tested prior to the sale and is being sold under an “as is” condition/no returns policy.
If you have any questions or wish to receive the equipment list, please e-mail us at firstname.lastname@example.org
• Production Resource AG Warehouse - Industriestrasse 23 CH-8196 Wil / Zurich
Dates & Times
• Monday, June 26th – 1pm to 8pm
• Tuesday, June 27th – 1pm to 8pm
• Wednesday, June 28th - 1pm to 8pm
• Thursday, June 29th - 1pm to 8pm
• Friday, June 30th - 1pm to 8pm
• Saturday, July 1st - 10am to 4pm (Family Day with drinks, food and kids play ground)
• Only direct cash payments or payments per EC direct/credit cards will be accepted
• All prices will be tax excluded (for export). Local sales tax is 8% for Swiss customers.
• No Return warranties, everything will be sold on an "as is" basis.
• Equipment can be tested at the sale event.
• Storage can be made available at no extra cost for a reasonable time.
• Purchased material can be taken away directly.
• Please email all questions to email@example.com and someone will reply to your email within two business days.
PRG are excited to be an official service supplier for the 62nd Eurovision Song Contest, being held in Kiev’s International Exhibition Centre from May 9th-13th, as Ukraine hosts Eurovision for the second time. PRG are working in partnership with Litecom to support Lighting Designer Jerry Appelt and Stage Designer Florian Wieder by supplying lighting, video and rigging technology for the show.
Kiev is Jerry’s third time working on Eurovision, having also designed the shows for Dusseldorf in 2011 and Baku in 2012, as well as numerous other high-profile productions, such as the Commonwealth Games ceremonies for Delhi in 2010. Jerry said: “I’m very happy to work with PRG on this project, because aside from the enormous quantity of lighting fixtures and complex parameters, it’s essential to work with a company who has the resources to deal with all kinds of unexpected eventualities, who can deliver on the biggest occasions, in the most challenging environments. There are few companies who can provide this level of service, anywhere in the world. I know that whichever challenge I set PRG, they will deliver.”
Production management guru, Ola Melzig, has taken the reigns as Head of Production for the Kiev show, his 13th Eurovision. Ola said: “I’m returning to Kiev for my 4th Eurovision event in the city since 2005, and I am blissfully happy to be back. It’s a city I love, with great people, a lot of parks and green areas, a huge river running through the city centre and tons of yummy restaurants!”
Ola gave an overview of the technology behind the show: “Eurovision is always a production of monumental proportions, we started the load in on March 27th, since then, we’ve emptied 200 trucks into the halls. It took four and a half weeks to do all the rigging, hang the lights and audio and then build the stage. After that, we went into rehearsals, which will get more and more intense as we approach the broadcast shows. This venue’s fantastic, there are few spaces around the world which can accommodate 212 tons in the roof, and only be at 70% capacity. Full credit to our Head Rigger, John Van Look, and his team of riggers from PRG for overseeing a complex rigging design, and a smooth load in and fit-up.”
John spoke briefly about the practicalities of the rigging design for the show: “The Eurovision rig uses 735 rigging points, spread over the stage, green room and audience areas. This is a complex design and a very heavy rig, one of the heaviest I’ve ever worked on. We have more than 20 points over four tons, including one centre point which is 12 tons—because the roof cannot support such a heavy single point, we split it into two separate six ton points. Because we were dealing with incredibly high loads we were unable to use conventions steels, and bought in products normally used for shipping and heavy duty cranes. To maximise the load bearing capacity of our trusses, we used Prolyte D75T in places, this is capable of carrying exceptionally heavy loads and normally used for towers, rather than as a straight truss; also being only 75cm high, meant we didn’t lose as much trim height as we could have done using bigger truss. The roof is quite low here, so we need as much height as possible. The mother grid is made up of X4K 100, again due to it’s high load carrying capacity. This grid is monitored by over 100 Load Cells, so we can keep an eye on how the weight is being distributed; something which is very important, considering we have a lot of movement in the rig, utilising 112 Cyber Hoists to make that happen. The rigging load in took two weeks, with a team of 52 riggers working day and night shifts.”
Jerry leads a comprehensive team in the front of house area, which spans the full width of the back of the arena, including individual operators for the main show lighting, audience lighting, key lights, spot calls and video content. The lighting and video control network is one of the largest ever uses of GrandMA consoles, with five active full size GrandMA2, three GrandMA Light, and a selection of additional faders and playback wings. The whole network has reached the maximum number of active participants in a single session, 31, and are controlling 89,000 channels of DMX over 9865 programmed fixtures. This is driven through 20 GrandMA Network Processing Units (NPUs) and 28 nodes. There is, of course, substantial back-up, should anything not perform as it should. The total number of lighting fixtures is an incredible 1816. Amongst others, these include: 68 PRG Best Boy HP2, 56 PRG Best Boy Wash Blade, 55 PRG Bad Boy Wash, 130 Icon Edge, and the new JDC1 LED strobe from GLP.
Haze is provided by 6 MDG ATMe DMX hazers, positioned around the stage.
Followspotting for the Eurovision Song Contest 2017 is done exclusively with PRG GroundControl. The production in Kiev uses 14 PRG Bad Boy GroundControl Followspot systems and four of the new long throw version. Jerry commented: “GroundControl is a revolutionary product. It means we have all our operators on the floor, in two areas—with overall control taken by my spot caller on the GrandMA2. For this project it is perfect, because it saves time, space and weight.”
Ola Melzig added: “I first saw the GroundControl at LDI back in 2015, and I thought it was both really cool and incredibly practical. To have 18 of them on this show is amazing—and I’m very proud of it being the biggest deployment of GroundControls ever on a single show.”
In addition to the lighting technology supplied by PRG, we are also providing a comprehensive package of LED screens and projectors. The back screen is made up of ROE MC-12 and MC-18, with sections of MC-7 used at various other points around the rig. There are 56 high output projectors in use, which are used to map onto the stage surround, directly down onto the surface of the stage, onto two high transparency projection screens at the front of the stage, as well as various ‘standard’ screens in and around the arena.
On May 13th, the world will tune in and watch the Eurovision final, with an expected audience of over 200 million cheering on acts from the 26 countries who make it through to the final. After the winner has been announced and the party starts, the team of over 400, including around 100 technicians from PRG, will commence the load out. What took over a month to build will be pulled out of the venue in seven days, and planning for Eurovision 2018 will commence.
First impressions from Eurovision 2017
An insight into rigging at Eurovision Song Contest 2017
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!”
On the 27th of February, exactly 10 years ago, Martin Fischer founded the PROCON Engineering AG in Zurich, which became the PRG Production Resource Group AG in 2009 following the fusion with PRG. Initially a small production office with 5 employees, our warehouse was opened in Wil in October 2007. Meanwhile, our team has grown to 24 people and the storage now has a double floor with 4000m2.
We would like to thank our customers for their trust and look forward to our further great cooperation!
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.
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
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
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.