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06/12/2018

PURE10 makes its debut during U2’s ‘eXPERIENCE + iNNOCENCE tour’

10 times lighter than a regular screen and with an unprecedented 70% transparency, the PURE10 is the eye catcher on U2’s stage.

Other tech innovations are the PRG SPACEFRAME™ and Domino for the round video floor.

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.

Carbon fiber 

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.

Green

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.

Read more
prg invests in movecat motion hoists
05/12/2018

PRG invests in Movecat Motion Hoists

PRG invests in Movecat motion hoists — VMK S 500 and VMK S 1250 — innovative and notable for their unusual flexible handling, whilst satisfying the highest safety level on the market.

MOVECAT

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.

Read more
04/10/2018

PURE10 makes its debut during U2’s ‘eXPERIENCE + iNNOCENCE tour’

10 times lighter than a regular screen and with an unprecedented 70% transparency, the PURE10 is the eye catcher on U2’s stage.

Other tech innovations are the PRG SPACEFRAME™ and Domino for the round video floor.

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.

Carbon fiber 

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.

Green

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.

Read more
22/08/2018

PRG and VER emerge as one integrated company in Europe & The Middle East

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.
 


Read more
05/07/2018

PRG Announces New Concert Touring Innovations

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.

Read more
PRG-CH-UES-2017_800x200
17/05/2017

USED EQUIPMENT SALE EVENT ZURICH (CH)

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 prgmegasale@prg.com

Event Details:

Location
• 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)



Conditions
• 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 prgmegasale@prg.com and someone will reply to your email within two business days.

Read more
PRG at ESC 2017 Kiev
04/05/2017

PRG Uses Innovative Products on Eurovision 2017 in Kiev

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

Tour of the Eurovision arena

Read more
Drake live at The O2, London, February 2017. Show and lighting design by Steve Kidd and Guy Pavelo. Photo: PRG XL Video/Alison Barclay
10/03/2017

Lighting and Video for Drake’s Boy Meets World Tour by Guy Pavelo and Steve Kidd with Support from PRG Worldwide

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!”

More information on Guy and Steve's work: www.gp-sk.com

Photo credits: PRG XL Video/Alison Barclay

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07/03/2017

PRG Switzerland celebrates its birthday

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!

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PRG XL Video Favourite Video Rental Company TPi Awards 2017
28/02/2017

PRG XL Video Voted Favourite Video Rental Company in the 2017 TPi Awards

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.

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UAE 45th National Day. Photo: Luca Parisse for Balich Worldwide Shows - www.balichws.com
12/12/2016 Photo: Luca Parisse for Balich Worldwide Shows - www.balichws.com

Production Resource Group Supports Balich Worldwide Shows with Technology for United Arab Emirates National Day

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.”

Credits
Photo Credits: Luca Parisse for Balich Worldwide Shows

Show Credits: Creative & Executive Production Balich Worldwide Shows

For further information on Balich Worldwide Shows go to www.balichws.com.

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17/11/2016

PRG Alliance announces new member in India

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

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Simon Kayser - General Manager, PRG Sourcing and Product Centre
03/11/2016

PRG Announces New General Manager for Its China Sourcing and Project Centre

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.

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PRG_Schweiz_Aktionskleber_en_10_2016_220x150
19/10/2016 Special autumn and holiday season offer

Free Transport within Switzerland

Take advantage of our free transport offer now!
Delivery and pick-up over the whole of Switzerland!

You just need to place order your at least 3 working days before delivery. Transportation will be performed during office hours Mo. - Fr. between 8am - 5.30pm.

• Lighting
• Sound
• LED Systems
• Video
• LED-Trucks & Trailers
• Rigging & Automation Technology

For more information, please contact Max Wagner or +41 43 233 40 19

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AV Awards 2016 trophy and plaque.
03/10/2016

PRG GroundControl™ Followspot System Wins at AV Awards 2016

On Friday 30th September 2016, the AV Awards took place at a glamorous event at London’s Grosvenor House Hotel. The awards, which celebrate the best product, projects, and people in the AV industry, was attended by a team from PRG XL Video, led by Executive VP & COO, EMEA, Gary Boyd.

Following the announcement of the shortlist for Production Product of the Year, sponsored by DB Systems, PRG’s GroundControl™ Followspot System was announced as the winner in the category which included products from Barco, Elation Professional, Sennheiser, X-Rite Photo and Video, and NewTek Inc.

The revolutionary product is already making waves across the production industry, particularly in the concert touring, theatre and television markets, and the judges commended the way the product is having a huge effect on the way lighting designers and producers design their shows and events.

The GroundControl™ Followspot System consists of a specially customized PRG Bad Boy spotlight which includes an in-built camera, and can be flown from rigging or mounted in locations around a venue which would not normally accomodate a followspot; a truss box which provides the link between the fixture and the controller; and the ground-based controller unit which can be operated from up to 610 metres away from the fixture.

GroundControl™ allows designers huge flexibility in where to locate their followspots and the operators can be safely located on the ground within the venue, without the need to climb rigging. In addition to the safety benefits, the GroundControl™ Followspot System also negates the need to remove seats to create traditional followspot positions – a revenue bonus for venues.

Gary Boyd comments: “I was delighted to accept the award for Production Product of the Year for GroundControl. The product is making huge waves across our industry, and we’re very proud to have developed this in-house. Our R&D team in Dallas have done an excellent job in creating a followspot system which is rapidly growing in popularity and demand!”

For a full list of the AV Awards Winners follow this link.

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02/09/2016

Dragon Quest Live Spectacle Tour

2016 marked the 30th anniversary of Dragon Quest, one of Japan’s most popular role-playing computer game series, and for the first time, Dragon Quest was created into an original spectacle live show titled “Dragon Quest Live Spectacle Tour”.  The show toured with great success in 5 cities from July 22 through August 31.

PRG Japan provided technical direction and production services for lighting, video, scenery, rigging, stage automation, flying effect and LED wrist bands. 

London-based STUFISH designed the set and PRG Scenic Technologies in New Windsor made the DMX-control hoist system for the roll-down screens.  PRG V476® control console was used to control the 52  roll-down screens to rise and lower individually and in groups, changing formations at each scene, and mapped video images projected on the screens created the digital scenery as the story on adventurous journey rolled on the stage.

Key parts of the expansive stage layout were the main center stage and island stages connected with a network of bridges.  The four bridges linking to the center stage were designed to fly and PRG SpeedStar™ Variable Speed Chain Hoists were used to fly the bridges.  PRG V-Command™ automation console controlled the movement.

 

 

For lighting, PRG provided around 300 moving and conventional fixtures including PRG Best Boy 4000 Spots, VL3000, Clay Paky Alpha Beam 700 and Impression X4.

 

PRG was proud to take part in this production that raised the bar in the Japanese live entertainment. 

 

Photos © ARMOR PROJECT/BIRD STUDIO/SQUARE ENIX All Rights Reserved.

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PRG-Montreux-Jazz-Festival_800x200px
15/07/2016

audioborn and PRG Lab create VR experience for the archives of the Montreux Jazz Festival

The Swiss lakeside town of Montreux will once again host its famous Jazz festival. Over the past 50 years, the festival has seen some of the greatest acts in music history, including Nina Simone, Ray Charles, Miles Davis, Prince and David Bowie, among others.

For this year’s festival, audioborn has developed a project allowing the festival to be captured through 360° / 3D video and sound recording technology for the first time. This content can later be rendered and used in virtual reality applications, permitting users to experience the selected acts in real-life quality.

Commissioned by the Metamedia Center of the University École polytechnique fédérale de Lausanne (EPFL) together with the Montreux Jazz Festival, project lead and official technology partner audioborn is partnering with PRG Lab for the video expertise. audioborn is responsible for capturing and reproducing all concerts in 3D audio with its software real-time processor called Auratorium. The software system is designed for 3D audio and virtual reality applications. It uses a ray-tracing approach to calculate physically correct and 100% natural sound.

PRG Lab, a division of PRG XL Video, based in Germany, develops customized interactive and leading software solutions for the event and exhibition market. PRG Lab will be supporting the project with a 360° / 3D Nokia OZO camera system to capture a 360° spherical video of chosen acts at the festival.
The cooperation between audioborn and PRG Lab will be one of the first commercial uses of the OZO system in a production of this size. In addition to the standard multitrack recordings, audioborn will capture the sound in the form of a 3D recording, using the Sennheiser VR microphone prototype, and be able to reproduce highly realistic 3D audio for the recordings.

Slideshow

“The methods we use to capture sound – which is the most important part of Montreux’s Jazz Festival – will be pioneering for 3D audio sound recording as well as reproduction. Using our 3D software audio processor Auratorium, we will be able to achieve the highest possible degree of immersion for the jazz archive.” says Dr. Dirk Schröder, CEO of audioborn.
“We will have to determine how each instrument and sound will react depending on the position of the camera in the room. When sound and video are combined for VR playback, the virtual user should feel as if he or she is actually at the festival in person. Our goal is a total immersive playback experience in sound and vision. We are proud to work closely together with PRG Lab as our professional partner for 3D video capturing.”

“This project is outstanding in its dimensions. We are going to record a huge amount of data during the 16 festival days with the OZO system. This will be the most demanding challenge we have to face during the project.” commented Michael Ochs of PRG Lab. “This is very exciting, state-of-the-art technology being used at the Montreux Jazz Festival. It is the first project of its kind and we can’t draw from previous experiences. ”

One of the challenges of this project is the large amount of data collected through 3D recording. A concert of three hours would create approximately 2 TB of compressed data. Uncompressed it multiplies later in postproduction by factor 12.

PRG Lab is continuously expanding its 3D capabilities and will be using OZO production computers as well as the audioborn Auratorium software to create immersive experiences. The audio mixes can be rendered for multichannel 3D audio systems or binaural headphone reproduction.

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PRG & Vectorworks support Rock in Rio with lighting
18/05/2016 Festivals

PRG and Vectorworks come together to provide lighting at Rock in Rio

Production Resource Group LLC (PRG) – leading supplier of entertainment and event technology solutions is working with global entertainment design software developer Vectorworks, Inc. to ensure a seamless Rock in Rio festival in Lisbon, Portugal. The Rock in Rio festival collaboration between PRG and Vectorworks will demonstrate the realization of workflows using ESP Vision software to previsualize each lighting designer's concept. As in previous years, PRG will be supplying lighting technology and all related rigging for the festival. The event technology specialist is now in its 13th year of working with Rock in Rio.

“We started working with Rock in Rio back in 2004; during this time, we were able to supply lighting and video technology at festivals in Rio de Janeiro, Madrid, Las Vegas and Lisbon,” said Christoph Hahnl, Senior Account Manager at PRG. “This year’s festival marks the 30th anniversary of Rock in Rio, and we are excited to be on board.”

Now owned by Vectorworks, Inc., Vision puts the power to previsualize and cue your show at your fingertips. The software enables entertainment designers to rehearse the look of a show before they arrive at the venue. Adaptations and changes can easily be made in advance, allowing for more efficient working.

"With the increasing need to simulate a lighting design before it's ever executed on a live stage, our collaboration with PRG at Rock in Rio Lisbon provides the perfect venue in which to demonstrate our commitment to empowering today's entertainment designers," said Stewart Rom, chief marketing officer for Vectorworks. "We look forward to showing the world how our two companies can contribute to the ultimate show experience in Lisbon this year and enable today's visionaries in lighting design to advance the way they work."

As part of their ongoing collaboration, PRG is working with Vectorworks' R&D department to create leading solutions and is among the first to use the companies latest software technologies. Vectorworks® Spotlight users are able to work with a catalog of PRG-owned gear in the software, making the design development and documentation process even faster for lighting, production and scenic designers. The close working proximity to designers allows PRG an active exchange of ideas to identify the latest requirements and be involved in leading the development of future technology. Spotlight is the industry-leading software for entertainment design that allows designers to work in 2D and 3D with integrated worksheet functionality and rendering capabilities.

“The collaboration with Vectorworks is well underway, and we have already identified ways to improve internal and external working processes,” said Götz Bauer, Special Operations Director at PRG. “By incorporating PRG’s gear into the Spotlight software library, users are able to work increasingly efficiently and improve working processes. Our close relationship with designers from around the world enables us to really make a difference by using their feedback, and our experience to create solutions from which the whole industry can gain.”

The festival will take place over two consecutive weekends starting on May 19, 2016. The lineup features acts like Queen + Adam Lambert, Maroon 5, Korn, Ariana Grande, Hollywood Vampires and Avicii. The lighting design for the festivals in Las Vegas, Rio de Janeiro and Lisbon was created by lighting designer Terry Cook for Woodroffe Bassett Design.

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PRG Projects
25/04/2016

Production Resource Group Announces New Brand For Its Creative LED Solutions Team

Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announced today a new brand for their creative LED special projects team, formerly a subsidiary of XL Video.

Now known as PRG Projects, the team, led by Frederic Opsomer and Kristof Soreyn, is renowned for creating and providing innovative custom video solutions. The teams are based at PRG’s location in Ostend, Belgium and in China. The new PRG Projects team will also incorporate, and work more closely with, the former XL Video research and development team based in Shenzhen, China. The combined expertise of the team has already been responsible for realizing some of the most technology-forward designs and custom installations in concert touring, large-scale spectacles, television, and sporting events, including ceremonies in Athens, London, and Sochi over the last several years.

In addition to working with the team in Ostend, PRG Projects in Shenzhen will continue to focus on sourcing LED products in China for PRG and for PRG Alliance partners.

“PRG Projects’ goals are now positioned to fit PRG’s overall vision to create bespoke creative LED products for all of the different market segments in which we are active,” explains Opsomer. “The designers and project managers that we have on our team, in both Ostend and Shenzhen, have decades of experience in creating and producing the world’s most innovative solutions.”

“PRG Projects leads the entertainment technology industry in advancing the creative application of LED technology and are an incredible asset for PRG and our clients,” says Stephan Paridaen, President & Chief Operating Officer, Production Resource Group. “The team, which consists of a range of creative and innovative experts in the field of custom video solutions, has a strong focus on innovation, product development, and system packaging. The team also works closely with strategic manufacturing partners to help develop and refine technology and options that meets the needs of producers and creatives in all of our markets.”

For further information, please go to: https://projects.prg.com

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15/04/2016

PRG Alliance Marks 2nd Year with Summit at Prolight + Sound Frankfurt 2016

Production Resource Group, L.L.C., (PRG) recently marked the two year anniversary of its global partner network program with the second PRG Alliance Summit. Under the theme ‘Gearing Up For Success’, the Summit took place during the Prolight + Sound 2016 trade fair at the Festhalle Messe Frankfurt.

Since its inception, the PRG Alliance has grown in both size and reputation, and now offers technology, services and support to event producers in a total of twenty five countries.

The PRG Alliance Summit is already a key date on the calendar for members, allowing them to meet face to face, share knowledge and best practices, and increase their collaboration. The location of the Summit at Prolight + Sound also enables them to meet at an event where the newest and most exiting technology is on display.

This year’s Summit included a presentation of the PRG Alliance’s future plans from Alliance Director, Tom Van Hemelryck, and Account Manager, Luciana Rosa, which include expansion into new regions, opportunities for training, and the aim to include a wider variety of service companies.

After the introduction, members of the Alliance shared their experiences and knowledge acquired during the past year, including a custom-shaped large-scale LED floor and wall for concert touring; special lighting for fashion shows; and the logistical issues facing shows located in unusual or remote locations. 

Following this the PRG Projects team shared examples of their work with custom LED projects for major opening ceremonies including wireless hex panels and pixel tablets seen by millions around the world.

“Watching the presentations, we see the potential applications for these technologies in Italy – we are always eager to bring new services to our clients and we see the potential for customized LED solutions in our market,” commented Alessandro Rossani, CTO of STS Communications in Italy.

Members also enjoyed a presentation from Chris Reed of Restless Communications on the best ways for technical production companies to use social media to promote their brands; and this was followed by sessions from Minesh Pore, General Manager of Pico Europe on working with corporate clients and managing expectations, and Lee Charteris, VP Operations, Flash Entertainment on the challenges of producing concerts and events in emerging markets.

The Summit concluded with a dinner in the Festhalle which further enabled the members to network with each other.

“We see how the PRG Alliance is well established and continues growing through making personal connections between the members and with the market,” said Tom Van Hemelryck, Director of PRG Alliance. “We carefully select the members and I am happy to have such an unprecedented group of companies with high-quality technical production services working together on several events in the last year – success always comes from collaboration.”

 

Members at the 2nd PRG Alliance Summit

For more information visit the website www.prgalliance.com

 

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