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Islamic Solidarity Games 2017 in Baku. Photo by Natalia Tsoukala

PRG Supplies Lighting for Opening and Closing Ceremonies of the 2017 Islamic Solidarity Games

The Islamic Solidarity Games is an event which involves elite athletes from countries who are part of the Organisation of the Islamic Conference. Despite the names, non-Muslim citizens in the member countries are also allowed to compete. The first was held in Mecca, Saudi Arabia in 2005, with the most recent event taking place in Baku, Azerbaijan in May 2017.

PRG was selected as an official supplier for the opening and closing ceremonies, providing lighting for both large-scale events. The lighting design was created by Adam Bassett of Woodroffe Bassett Design, with associate designer, Terry Cook, who worked with PRG Account Director, Yvonne Donnelly Smith, and Head of Event Services, Richard Gorrod to specify the lighting requirements of the huge visual production.

The design in the Baku National Stadium made use of all levels of the stadium for lighting, as well as the stage built in the centre of the athletics track.

PRG used a combination of its own PRG Bad Boy, VariLite VL35kw, and SGM P5 15 fixtures around the roof trusses, of which there were 30 in total. At balcony-rail level high brightness Icon Edge and VL35k wash fixtures were added into the mix, creating maximum impact with beams reaching up into the sky and across the stadium.

Framing the colourful projections on the main shaped rear screen, brand new ultra-bright Icon Edge units were mounted on the edge of the screen on custom T bars. Icon Edge and Icon Beam units were also used to surround the stage floor. Philips iW Blast, and Color Blast TRX fixtures were used in the VIP Box as a quality front light, and coloured backlighting respectively. SGM P5s were used to backlight the audience on Levels 1 and 2.

Eight of PRG’s newest version of its revolutionary GroundControl™ Followspot System – the Long Throw - were used to as high level followspots mounted on separate trusses around the roof catwalk. These units are as bright as a 4k Gladiator followspot, and can be rigged on a truss, so improving safety and reducing weight by negating the need for operators in baskets. A combination of standard GroundControl Best Boy units, and M2 traditional followspots were used in the closer positions.

Two side light positions were populated with PRG Best Boy and Bad Boy units, and either side of the stage two architectural columns were lit up using a mixture of Floor Cans, 650kw Fresnels, and Birdies.

In total more than 1,100 lighting fixtures were used for both ceremonies. PRG Crew Chiefs Mark England and Luke Jackson led a team of highly expert technicians. Alex Passmore and Ben Hornshaw programmed the lighting on GrandMA consoles, and a WYSIWYG suite was used for pre-programming at PRG’s Longbridge location, and on-site during the build phase, and for pre-programming of the Closing Ceremony.

The control and networking was all managed using a S400 data distribution system with S400 fibre switches and a combination of Supernodes and Node+ units.

Richard Gorrod commented: “Our PRG Best Boys are still one of the best fixtures for a harsh stadium environment. The new Icon Edge performed brilliantly – it’s very reliable and a true work horse! The new GroundControl Long Throw followspots also performed well – they’re super bright and give you the advantage of hanging them in positions where you would not be able to site a conventional 4k followspot. The S400 system again performed brilliantly, as the glue for the whole system. Our crew were true stars – installing and maintaining the equipment on site under many different pressures.”

Adam Bassett commented: “Once again we were blessed with a great level of support, technical expertise and most importantly a brilliant crew. The PRG team in Baku, and behind the scenes back in the UK, were great and made a technically challenging production go very smoothly. The system lived up to every expectation and the ability to use the new GroundControl Long Throws massively changed how we were able to light the shows. By having the ability to place followspots in locations otherwise inaccessible with conventional spots, it enabled us to achieve the optimum angles and as a result protect the video projected surfaces which were so crucial.”

All photos: Natalia Tsoukala

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PRG Launches New Technology Solutions as Concert Firsts on U2 The Joshua Tree Tour 2017

Innovative Touring Frame and 4K Broadcast Camera System Elevate Operational Performance, Stage Design and Fan Experience

Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announced today that a new product innovation along with the application of an industry-first technology solution – SPACEFRAMETM and a 4K Broadcast Camera System – have been integrated into the design, production and operations for the U2 The Joshua Tree Tour 2017. Both solutions demonstrate PRG’s dedication to innovating products that anticipate the needs of tour managers, designers and artists seeking to push boundaries and deliver a more immersive concert experience onsite or virtually.

“SPACEFRAME and the 4K Broadcast Camera System perfectly demonstrate how PRG excels at seeing an opportunity for innovation that will add operational, economic and creative value from a customer’s perspective, allowing artists to more freely tell their story,” said Steve Greenberg, PRG’s CEO of Global Music/TV/Film.

SPACEFRAME is a revolutionary touring frame design seamlessly integrating LED panels to provide industry-changing operational efficiencies and the opportunity for unlimited creative expression. The carbon fiber touring frame is ultra-lightweight, collapsible and fully wind braced creating an intensive built-in structural strength. This allows for a free-form approach to stage designs enabling artists and designers to think outside the conventional LED box. This latest patent-pending technology from PRG also dramatically reduces pre-tour engineering time, shipping footprint/weight, carbon emissions, load-in and load-out times, as well as labor required on tour and locally.

SPACEFRAME features and advantages:

  • Carbon fiber fabrication and built-in wind bracing reduces overall weight increasing safety and savings
    • 10 times stronger when compared to conventional fabrication
    • 15 percent overall weight reduction
    • 35 percent weight reduction including wind bracing
    • Integrated wind bracing up to 72 kph
  • Profile reduction and integrated wind bracing results in up-to 50 percent savings in shipping cost in some cases and a massive reduction in the tour’s carbon footprint
  • Specifically for this U2 tour, truck loads are reduced from seven to three - or one less airplane - when compared to conventional LED frame load
    • Compact, lightweight design offers up-to 30 percent reduction of installation/dismantle time and a 25 percent reduction in overall labor cost

“The quality and resolution of LED products have vastly improved over the last decade, but the frames have basically stayed the same. At PRG Projects, we saw an opportunity to innovate the way in which LED walls were assembled and transported, to rethink the construction of the frame and how it might impact the operational side of the business as well as the design experience,” stated Frederic Opsomer, PRG Projects' Managing Director and innovation leader.

Leveraging in-house talent and partnerships already in place, PRG was able to produce the carbon frames from prototype to final product in just 17 weeks, enabling U2 to be the first to take advantage of the innovation. SPACEFRAME has allowed U2’s designer to create a 200 foot wide screen¬, custom painted in silver and gold to mimic the original artwork of their 1987 album.

4K Broadcast Camera System
The U2 tour also marks the introduction of PRG’s 4K (UHD) Broadcast Camera System as a first for concert touring. The PRG broadcast system, developed and integrated over three months, is a combination of products that can operate in 4K (UHD) and 3G SMPTE Standards. This design philosophy allows concurrent production to operate at the highest level of broadcast standards. The system delivers 60 frames per second (fps) with a UHD resolution of 3840 x 2160 pixels. The concert touring system interconnects cameras and LED wall processors on fiber because of the enormous amounts of data and length of signal distances. The entire broadcast touring system can be set up within an hour and is designed to be operated by one video engineer, eliminating the need for four-to-five onsite engineering positions.

“PRG has been a part of every U2 tour since 1992 and the band always challenges us with pushing technology to its limits,” said Wolfgang Schram, PRG’s director of video engineering. “We have to be creative and that is the fun part.”

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3rd PRG Alliance Summit 2017 - Frankfurt - photo: Detlev Klockow

PRG Alliance Builds on Success at the 3rd Annual Summit at Prolight + Sound Frankfurt 2017

Production Resource Group, L.L.C., (PRG) organized its annual summit for the members of its global partner network program – PRG Alliance – during the Prolight + Sound 2017 trade fair at Messe Frankfurt.

Currently in its third year, the PRG Alliance has 15 members in 28 countries delivering high quality technical production services worldwide.

The theme for this meeting was “Building on Success”, and celebrated numerous collaboration projects among the members, including some from Italy, Poland, and Portugal. During the summit they shared success case studies and discussed future initiatives to promote greater business and information exchange.

“The PRG Alliance is praised by our clients and the market in general. What started with a recognition of PRG partners three years ago, today is a substantial network of remarkable companies – and the largest resource pool of knowledge, qualified professionals and inventory in the world,” said Tom Van Hemelryck, Director of PRG Alliance and PRG’s CEO Central Europe.

“We invited the lighting and video designers from The Voice Portugal, Marco Silva and Ricardo Maia, who shared their experience of using PRG’s proprietary products, Bad Boy moving lights and MBox media server, for the TV show,” continues Van Hemelryck.

During the event, a variety of activities for PRG Alliance were presented and these included training in project management; PRG’s Global Sales Officer Jens Zimmerman hosted a session on global account initiatives; opportunities for participation in international exhibitions were discussion; and the latest PRG proprietary equipment purchase options were delivered. The event ended with a demo of the new PRG exclusive Icon EDGE lighting fixture, and a lively networking dinner which gave the members further opportunity for networking and to discuss collaboration.

For more information on PRG Alliance visit


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PRG at the Prolight + Sound 2017 in Frankfurt 220x150px

PRG Presents New Products and Services at the Prolight + Sound

Live broadcast of the LEA gala via HD and 360-degree live streams over Internet

The Production Resource Group (PRG) will have a significant presence at this year's Prolight + Sound from 4 to 7 April in the Festhalle Frankfurt. The action gets underway in the evening before the show with the presentation of the PRG Live Entertainment Awards (LEA), for which PRG is responsible as overall technical service provider. The creative responsibility, as in previous years, will rest with Jerry Appelt and bright!. From the opening day of the show onwards, visitors to the Festhalle will be able to examine the stage used, including all the installations and effects, and attend regularly scheduled demo shows. This year, the music for the demo show was composed by the band FOXOS, which will also be performing it live in the Festhalle.

360-degree live broadcast over the Internet

One of the dominant themes of this year's event will be 360-degree streaming. Not only will the LEA gala be broadcast for the first time as a Full HD live stream over the Internet, using the right devices it will also be possible to follow it as a 360-degree event. At the location itself, a 360-degree/3D virtual reality signal will be available. The equipment required for the VR moving images—including a Nokia Ozo 3D/360° camera—will be provided by the VR and media technology specialists PRG Lab.

The 1,400 guests in the hall also have much to look forward to: in addition to the award winners in the 15 event categories, the performance of Udo Lindenberg will be among the major highlights of the 12th Live Entertainment Awards. The musical programme on the newly designed PRG stage will further include performances by Schiller, Max Giesinger and Helmut Zerlett, who will be accompanying the exclusive gala with his band.

New products at the Prolight + Sound

As well as various VR demonstrations, the full service provider will be presenting a number of its own products. These will include the updated PRG Mbox® Extreme media server, the Icon BEAM moving light and the revolutionary GroundControl™ Followspot System. One brand-new attraction will be the prototype of the GroundControl Longthrow (LT) followspot, which, too, can be controlled from the ground at a distance of over 600 metres. This year's PRG partners will also be presenting a number of new products. Among them will be the BlackTrax live tracking system from Cast, which makes the interaction of performers, stage kinetics equipment and media content possible. Stage Kinetik will be showing its magnificent "ballet of balls": Winch One. GLP will also be demonstrating the new JDC1 hybrid strobe, the new version of the GT-1 hybrid lamp, and the X4 atom Sixbar in live action.

PRG's partners at the Prolight + Sound 2017 are: Jerry Appelt Lichtdesign, bright!, GLP German Light Products, Stage Kinetik, RIEDEL Communications, Gerriets, ROE Visual, Sennheiser, CAST Group, MDG, allbuyone, Notch, PMS Crew Support, Elements Entertainment, laserfabrik, Apleona HSG Event Services, ComputerWorks, Lighting Tools, inline Kurierdienst, the City of Frankfurt am Main, Wirtschaftsförderung der Stadt Frankfurt (Frankfurt Economic Development), Musikmesse, Prolight & Sound.

For more Information please visit: Prolight+Sound

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

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:

Photo credits: PRG XL Video/Alison Barclay

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PRG XL Video Favourite Video Rental Company TPi Awards 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 -
12/12/2016 Photo: Luca Parisse for Balich Worldwide Shows -

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.”

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

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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

Projection Mapping Case: Fortis Memorial Research Institute Launch, New Delhi

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Simon Kayser - General Manager, PRG Sourcing and Product Centre

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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Logo LSi UK online
16/09/2016 PRG Lab

Virtual Montreux

(September Issue: LSi Online, page 44 & 45)

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

Switzerland - Over the past 50 years, the Montreux Jazz Festival has seen some of the greatest acts in music history, including Nina Simone, Ray Charles, Miles Davis, Prince and David Bowie - and many others. This year’s 50th anniversary festival was host to a brand new technical experiment developed by Cologne-based audioborn, a specialist in room acoustics simulation and 3D audio reproduction. audioborn has developed a project which is allowing the Montreux Jazz 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, using its software real-time processor called Auratorium. The software system, designed for 3D audio and virtual reality applications, uses a ray-tracing approach to calculate physically correct and 100% natural sound, the company says.

PRG Lab, a division of PRG XL Video, also based in Germany, develops customised interactive and leading software solutions for the event and exhibition market. PRG Lab is 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 is 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 will be able to reproduce highly realistic 3D audio for the recordings. “The methods we use to capture sound - which is the most important part of Montreux’s Jazz Festival - will be pioneering for 3D audio sound recording as well as reproduction. Using our 3D software audio processor Auratorium, we will be able to achieve the highest possible degree of immersion for the jazz archive,” says Dr. Dirk Schröder, CEO of audioborn. “We will have to determine how each instrument and sound will react depending on th 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 recorded a huge amount of data during the 16 days of the festival with the OZO system. This is 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.” As Ochs comments, dealing with the very large amount of data collected through 3D recording is a major challenge. For example, recording a three-hour-concert creates approximately 2TB of compressed data. Uncompressed it multiplies later in post-production 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.
Setting up the system is relatively straightforward, as the Nokia OZO is quite a low profile unit: including its mount, it measures 264 x 170 x 238mm and weighs just 4.2kg. The team simply has to find a safe and secure position from which to record the show, where it doesn’t disturb sight lines. The suitability of the systemalso depends to some extent on the type of act being recorded. Classical music is relatively easy, as long as no sightlines are blocked and the artists arehappy with the presence of the VR recording hardware. But with acts where there is a lot of movement around the stage or a lot of bass, or both, the recording can be disturbed by vibrations. But audioborn has many other applications in mind, including corporate events, nature filming, classical music productions in concert halls or churches, sport events, theatre shows and more. From the recordings made this summer, three titles will be produced for the Montreux Jazz Festival’s YouTube channel. “There will be definitely be a 2D 360˚ version with spatial audio, and we may also upload a 3D 360˚ video with spatial audio,” say audioborn.

(We thank LSi Online for the permission to share this article. Copyright September, 2016 by LSi Online - PLASA Media Ltd.. Please visit LSi Online for further information. You can read the whole LSi issue when registering for the LSi Digital Issue).

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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.


“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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Vickie Claiborne Rock in Rio Visualization

Vickie visualizes - Interview Vickie Claiborne (PRG)

PRG was once again technical supplier at the Rock in Rio festival, which took place over two consecutive weekends in Lisbon, Portugal. The 30th anniversary of the festival saw acts like Bruce Springsteen as well as Queen+Adam Lambert return to the iconic stage.

We have met up with our very own Vickie Claiborne, who came over from Las Vegas to head up the Previz Suite in Lisbon and took the chance to ask her a bunch of questions. She gave us some great insight into the working life at a festival, how the lighting shows actually come together as well as trends in the industry.

Q: How long have you been with PRG and what have you done prior to PRG?

Vickie: I started with PRG in Las Vegas in 2008. My background is in lighting design, which I studied in college; after graduation I was drawn to lighting programming. I started working in country music in Nashville and Branson, Missouri. Back in the early/mid 90s, I travelled and learned how to program through the use of Intellabeams and similar products. I went on and worked for the company that makes those fixtures, High End Systems, for 14 years as a lighting programmer. I was part of the team called Sales Support Services, which covered everything from training and design consultation to programming shows, demos etc. In 2006 I left HES and free-lanced for a couple of years. Then in 2008, I reached out to PRG and was offered a position as a Product Support Specialist, which I happily accepted, and moved to Las Vegas.

Q: What is your role at PRG?

Vickie: I cover everything from training and programming to consultation with clients for a wide range of events, such as trade shows, local events in Vegas or festivals. Everything that has to do with lighting or video/digital media falls into my area; I’m what they call a product specialist for these two categories. So my role within the company is one with many different hats but is what I would consider a customer support role.

Q: What is your role at Rock in Rio?

Vickie: One of the services PRG offers in certain locations is a lighting visualization suite so that designers can preprogram a show without a physical lighting rig. So my familiarity with the products WYSIWYG and ESP Vision enables me to support this service offered by the PRG Las Vegas office. Due to my experience using the ESP Vision software, my involvement as the main stage programmer last year at Rock in Rio USA, and my relationships with the teams at Vectorworks and PRG that looks after this festival, I was recommended to head up the pre-vis suite here at Rock in Rio Lisbon, Portugal. This year my main responsibilities are to look after lighting designers that are coming to the festival and assist them with getting their show ready for their performances. Having a pre-viz suite available means that they can come in, program the show and get it as close as possible to what they want it to be before they go out on stage. So anything I can do to facilitate that in any way possible is my role.

Q: Do many of the lighting designers work with Vectorworks’ ESP Vision software?

Vickie: Lighting designers work with a variety of pre-vis programs. Here in Europe, ESP Vision is very new and a less common visualizer. In Europe, WYSIWYG has a much stronger foot hold so this is an opportunity for Vectorworks to show their software to a brand new audience. Being here and working with PRG is a great chance to create relationships and present the software to designers in a whole new part of the world. The majority of people and designers work or own WYSIWYG and are used to it being at festivals. In order to make visiting LDs feel comfortable with ESP Vision here, we had to make sure all of their questions were answered and that these designers felt like they were in good hands. In addition to myself, Vectorworks sent over a support team as well to further insure that these designers don’t have to focus on anything else other than showing up with their show file, programming and running their show.

Q: Do most lighting designers work in a similar way?

Vickie: Yes and no. Everyone has a work flow, meaning everyone does the same steps; patching the lights into the console, setting up your basic looks and those sorts of things. How they achieve what they have on stage can be very different. Some designers will program everything cue by cue with little variations, while other designers will program six looks and they will play those six looks in combinations throughout the whole show and it looks great. So, the basic work flow is the same but the end results can be very different. It depends on how much time they have. With only a little time, shows tend to be less structured and more – what we would call – a busking, on the fly-type show. On the other hand, someone who is travelling on a 6-month tour is probably using a very heavily cued and structured show file.

Q: Do touring artists tend to use their tour show at the festival or is it different?

Vickie: They sometimes do. Most headliners and support bands are given the opportunity to bring in the floor package. So they typically bring their touring rig, which is familiar to them and already programmed. With the fixtures in the air, they will do a function called cloning or morphing. For instance, in their own show they might have fixtures that are made by Martin and on our festival rig the fixtures are made by Vari*Lite. When the designers get here, they will clone or morph their Martin fixtures into Vari*Lite fixtures and then make any necessary adjustments to the presets used in the show. It is a lot more work for a lighting designer to come to a festival because they have to clone and clean up their entire show; and if they could use their own lighting package, most would because the bulk of the work has already been done.

Q: What are the challenges for you to prepare for the different requirements of all incoming lighting designers?

Vickie: The main challenge is to make sure that they have all relevant information before they arrive here. For instance, I need to find out if they are going to use the house console or if they are using their own console ahead of time. In case they are bringing their own consoles, I need to know which one it is so we know what the connections need to be in order to connect that system to ours in the pre-vis suite and at FOH. So I try to gather as much information as possible from the lighting designers ahead of their arrival and share those will the lighting team. I also need to find out which other requirements they might have, things like media servers, timecode, etc.

I also communicate continually with the main stage programmer to gather the patch information; everyone tries to get it right the first time but there are always changes and I make sure those are sent to the designers as soon as I receive it. Some designers will preprogram their show off-site in their own pre-vis software. They might even – as it is the case with some of the artists here - be in rehearsals on the other side of town right now, programming their show with their own pre-vis software. So those designers will need the patch information in order to make those changes ahead of time. If the changes are made when they get here, it just eats up time. These are the two biggest challenges for me here. It is all about knowing when people arrive on site and scheduling them in so that there is a system available for when they get here. We have two systems in our Pre-vis Suite and that is working very well for us. Nobody has to worry about time slots. 

Vickie in the Previz Suite at Rock in Rio

Q: What trends have you recognised in the lighting industry? Where do you see it heading? 

Vickie: One of my observations of the lighting industry over the last 10 years is the trend towards LED fixtures, away from arc lamp type fixtures. As a result of that you see a lot more video integration into the lighting system than before LEDs became so popular. This pushes lighting consoles toward becoming more of a hybrid of lighting and media server control interface. I think our industry will continue on that path and lighting consoles will become even more sophisticated because of having to deal with incorporating lighting and video products together. The professional market for touring and large events constantly integrates video and lighting together in the system. While there are usually separate teams for lighting and video, it is not uncommon to see a grandMA2 lighting console running a media server like a D3 or Mbox right next to the main lighting console that is running of a rig full of Best Boys and Bad Boys. Both people are lighting console programmers but one is programming a video product and one programming a lighting product. You can definitely say that our industry is merging with the video industry. It is exciting because it opens up so many possibilities for creative projects. Lighting is not just lighting a surface or a person, it is visual entertainment. Look at electronic music; it is all about the visual experience. To create that you need more than just making a light on and off; it requires mapping video to surfaces that are integrated into the scene. I see that as the big trend in the lighting industry.

Q: What is your opinion on the GroundControl FollowSpot? What is the reaction in the industry towards it?

Vickie: The GroundControl system is hugely popular; it is in such demand that we cannot produce them fast enough. I think it is ground-breaking. In Las Vegas alone, we have many theatres and ballroom-type shows with very low - around 20 feet / 6 meters - ceilings so by the time you hang a truss or a follow spot in the air, you do not have much space left. In many of those situations you are not able to use a follow spot. So just in Las Vegas, the ability to take a fixture that is already hanging on a truss and then have someone on the ground control it, opens up a lot of possibilities. And the fixture can still be used as a lighting fixture because the Bad Boy can be controlled by the operator as well as the lighting console. The operator can use it for one song to follow the artist while during a different song, the fixture can be used in a cue. To me it is the next generation of follow spots; there is no reason why it cannot be used on cruise ships, conventions and so on. There are so many new opportunities to use it now. Not to forget about the safety factor: we do not have to send anyone up in the air, it keeps everyone safe. It is very clever and is definitely ground breaking.

PRG offers the lighting visualization suite service at various locations.

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15/06/2016 Festivals

Secret of Rock in Rio Lighting Design - Interview Terry Cook (WBD)

Terry Cook
Senior Lighting Designer at Woodroffe Bassett Design (WBD)

Festival lighting designer at Rock in Rio Lisbon 

Interview, Bela Vista Park, 17th May 2016
(More pictures and information can be found on our Rock in Rio page

Q: How did you start working with Rock in Rio and what is your role here?

Terry: WBD actually came to Rock in Rio Lisbon back in 2014 with the Rolling Stones. We thought the festival set up was incredible. It is very different to other festivals, not just the tidy and clean look and feel but the festival also prides itself on its straight edges, its environmental achievements and what it gives back to the community. During this time here at the festival, we started speaking to Roberto and Roberta Medina, the father and daughter pairing who run the Rock in Rio festivals in Lisbon, Las Vegas and Rio de Janeiro. Shortly after, we started working together and came up with the plan to make the whole festival ground with all its stages more coherent. We looked into areas that needed improvement and decided on three shows that we would support as a lighting design company. The first one was Rock in Rio Las Vegas. The last one is this Rock in Rio Lisbon. During this time, we focused on improving the VIP experience as well as the integration of all the smaller stages into the festival to give it one DNA.

One example being that every stage has a very similar holding look whenever the band is not on stage. If the festival is ever at a moment of pause, all stages have the same familiar look.

Here in Lisbon, WBD is the festival lighting designer company; we are responsible for delivering the lighting system, along with PRG, for the main stage as well as ten other areas on the festival grounds. The high amount of areas means a lot of work for PRG and for us. WBD is excited about the future with Rock in Rio and we have many creative and technically exciting elements in the pipeline.

Q: What is your main lighting design focus at Rock in Rio Lisbon?

Terry: WBD’S main lighting design focus is to make it as successful as possible for everyone involved. Meaning, my aim is to provide the best possible lighting set-up for all parties. For the festival operator I supply a multi-purpose rig that fits the budget and for the incoming lighting designers, I’d like to supply a lighting rig that has a thought behind it and caters for everyone. I determine the success of a rig after how often it has been used, i.e. how many bands do not chose to take it down and put their own lighting in. And to date, for the three festivals, we have not had a single band that took the trusses down. For me, this is success and that is what I focused on when I designed the lighting for Rock in Rio.

Q: Is there anything new at his year’s Rock in Rio festival?

Terry: We have a completely new design here in Lisbon: The Electronica stage. It is a big stage and for me, this is the main focus in terms of creative input. The VIP area is also new and exciting. The structure is huge, it holds over 2000 people, offers great views over the festival area and has some exclusive features. Corporate hospitality meets rock’n roll festival. It Is very funny to see the PRG crew, rock’n rollers by heart, to fit birdies and cut cables to length.

Q: What is your secret?

Terry: The secret behind it is that I have not tried to be too creative. I didn’t see it as my lighting rig but as OUR lighting rig. I’ve gone with how I would call it, a “standard festival set up”; I have straight trusses overhead and ladders and a versatile floor package. Instead of putting a diamond truss or any other advances style up that incoming artists have problems with when trying to adapt it for their show, I went for a very simple look.

Q: How is Rock in Rio celebrating the 30th anniversary?

Terry: Two things. Firstly, a much bigger festival in Rio and secondly, the return of some of the biggest artists that have performed over the past 30 years on this stage. For example, Queen, which was one of the first bands to play Rock in Rio and now we’ve got Queen + Adam Lambert back on stage here in Lisbon. And of course Bruce Springsteen.

Rock in Rio also planned a show in the Amazonian jungle to celebrate its anniversary. This coincides with Rock in Rio planting 1 million new trees in the Amazon.

Q: How are all the different lighting requirements from incoming designers coming together?

Terry: WBD sent out a provisional lighting concept that goes out with the initial contract negotiation with the artist management. So they know that we are doing the lighting design but also what the kit list what will be like. At that stage very basic. We then get together with our vendor, in this case with PRG, and are able to send out a revised kit list and also the festival drawing package. I then start the early communication with the lighting designers and answer the basic questions. We then introduce the lighting designers to our visualization team and see if they bring their own lights, desk etc.

My job as festival lighting designer is to make sure the lighting rig is ready for the incoming artists and to welcome them when they get here; offer my support and make sure they are happy and have a great time.

Q: How do you work with Vickie Claiborne from PRG?

Terry: Vickie and I get together at a very early stage in the process. For this event, we actually created a work flow that we all fed into. The sharing of requirements and tasks is vital with so many locations to light and the amount of people involved. Vickie works very professional and knows the industry very well. I am also lucky that Vickie ran the FOH of RIR Las Vegas so know the festival and me well, this makes things a little simpler and speeds up the process.

Q: Do you remember your first job with PRG?

Terry: My first notable job with PRG from a design side of things was at a film festival in Doha, Qatar, called Doha Tribeca Film Festival. We started in 2009. It ended up being a huge show, where we had 6000 lights, nearly 100 crew member and two Antonov airplanes. We emptied PRG Birmingham, they actually used it to paint the floors.

Q: Since you started your career as a follow spot operator in your local theater, have you had a chance to test or work with the PRG GroundControl FollowSpot yet?

Terry: Yes, I had the chance to play with the GroundControl FollowSpot. In fact, I happened to be over in the US when PRG was still in the R&D phase and I got invited to have a look. So I actually saw it in the early stages. I think it is a fantastic product for our industry. For one, it gives designers the flexibility to put follow spots in positions that they were not able to utilize before. There are limits to where we can place follow spots and the beauty of the GroundControl is that if we can put a motor point and a light on the truss, we can use a follow spot. We do not have to worry about how we get the truss in to get the operator up and down, or the safety plan to rescue them, it just makes things more simple and more versatile. The only thing we have to do is to maintain the light like all the others.

Secondly, the invention of it is very bold and shows where the industry is heading technology-wise. To have a camera that bolts in the front of a light and allows the lighting operator to see what they are doing from the safe position on the ground is great. We can change the colour of the light and follow like we used to. Even though all of this is not new, it is the invention of putting it all together and having the operator on the floor where they are safe and easy to talk to. As a lighting designer you are the one sending the operator up on the trusses, this is a much safer option. There is a lot in and around this invention that makes it so exciting for the future.

Q: How did you became a lighting designer?

Terry: I can’t say that is was my plan to become a lighting designer. I actually started out as a child actor. Unfortunately, I wasn’t very talented. Honestly, I was rubbish at it. It impacted my confidence so my agent – yes, I actually had one of those – suggested I should operate a follow spot for one of the Saturday shows. I went and I really enjoyed myself. Operating the follow spot became a regular thing for me in my local theatre. When I realized I could actually go to college and study lighting and technical theatre, I knew it was what I wanted to do.

In college I specialized in sound design and stage management. Lighting was nice but it wasn’t my goal for life at the time. However, after I finished college, money was tight and it happened that lighting jobs were much easier to come by. So I did general crewing and lighting crewing.
In 1999 I went to work at the Millennium Dome in London and that was when I first encountered Patrick Woodroffe and Adam Bassett. Adam was Patrick’s assistant at the time, who worked as a lighting designer. I was just a member of the maintenance crew and didn’t have much interaction with them.
One of my jobs was it to go around every single light in the lighting dome with a spirit level; it took me days to get around. At the time I was told that Adam Bassett had requested it. Back then I hadn’t met him in person. Still to this day – so 16 years later - Adam has no knowledge of this and is adamant he never requested it. Anyway, Adam and I met, we became friends and because of my stage and production management work, I worked alongside Adam as a project manager.

So my background is production and my desire and future is lighting design. I like to think that I understand the worth of a light in terms of budget, I understand what the client goes through in terms of scheduling and costs and I know what the crew goes through because I have been one of them, putting those lights up on the trusses, climbing those ladders. And I am learning from two of the bests lighting designers in the world, which is why I am incredibly lucky. I don’t know what the future will bring but I love it at the moment. We are a creative bunch of people who are trying to achieve the best possible

Q: What makes you passionate about being a lighting designer?

Terry: When a show comes together and everything worked the way you planned it, that is a great feeling. When everything comes together and the music is in sync with the lights, it can be very impressive. A big drum hit and all the lights change for example from blue to red, it’s these little scenes that form an overall experience. And when you’ve got the client or people from the audience next to you and they are enjoying the show, it is a great acknowledgement of your creativity..

Being a lighting designer is quiet a lonely job when you’re doing a show. You are there late at night, working under a lot of pressure and you’ve got an expectation to deliver. Most lighting designer work on their own, the difference for me is that I’ve got a group of five people around me. They are definitely a motivation for me.

As a lighting designer, you can have all the budget and all the lights in the world but it is about the team of people that you work in the background and enable you to deliver a great job. I am very lucky here in Rock in Rio that we have a great PRG crew with us. They are working in the sun, in the rain, carrying the cables from A to B, digging additional trenches for the cable and doing everything in a professional way. Without their effort I couldn’t do what I am doing, so I am very grateful for that.

Q: Can you still enjoy a show when you go to see one in your private life or do you look at the lights?

Terry: I would lie if I say I don’t look at the lighting but I have learned to enjoy the overall show. But as a lighting designer, I still appreciate the lights and of course I have learned from other people’s work. The lights are just one aspect of a show. The key is to bring the light, sound and the artist together. Here at Rock in Rio, we have a firework display before the headliners go on stage. The lighting should reflect the firework rather than being a big light show. The firework leads the lights. It is easy to put 300 moving lights on a rig and create a big show but that is not what this is all about. It is about drawing people in and create a symmetry between both.

(Thank you Event Elevator for this interview. Interview can be found in German on

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PRG ProShop To Hold a Used Equipment Sale in Utrecht

PRG ProShop will hold a used equipment sale from 15th to 17th June. The PRG ProShop ‘Garage Sale’ will open its doors to users, and customers at PRG in Utrecht (NL). The special sale will take place on all three days from 10:00 am to 06:00 pm. The sale is offering a huge selection of high-quality event technology from lighting, audio, video, rigging, LED, to broadcast technology and accessories.

The portfolio includes moving lights, lighting consoles, video consoles, daylight fixtures, speaker systems, microphones, video cameras, network technology, computers and trusses.

A detailed list of the equipment available for sale in can be accessed through the PRG XL Video website

All products are fully tested prior to being put up for sale, and are sold as seen without any warranty or option to exchange after the event.

Address: PRG Utrecht (NL), Ontariodreef 10, 3565 BD Utrecht/Niederlande. For enquiries please call +44 (0) 121-477-1239 or send an Email to

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