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.
Production Resource Group LLC (PRG), the world’s largest supplier of technology and services for events and entertainment has appointed Tom Van Hemelryck as CEO of PRG Central Europe, the umbrella name for PRG Belgium, the Netherlands, France and Spain.
Van Hemelryck brings more than 20 years of experience in the entertainment industry and has been part of PRG since 13 years, during which he engaged various international positions within the last ten years.
He will mainly focus on harmonizing and optimizing the internal collaboration within the PRG Group for PRG Central Europe to effectively make use of the strong operational processes and teams of the group.
In his new role, Van Hemelryck will report directly to Stephan Paridaen, President and Chief Operating Officer of the PRG Group.
“I’m delighted to have Tom in this crucial leading position,” explains Paridaen. “He has proven his skills to identify growth opportunities and is able to apply the right commercial strategy in order to achieve those goals. These qualities are certainly beneficial to further support the team in Central Europe”.
“It’s a great honor to support the teams with whom I have been working for the past 13 years in terms of their future development and the optimization of the Central European organization.” says Van Hemelryck. “I highly value the cooperation within the group and I am convinced that we can continuously improve and strengthen the services and efficiency we have offered to our clients for more than 20 years.”
“About 20 years ago, I did my first freelance job for EML Productions and ended up working for ETF and PROCON in an international role. Today, working with Central Europe’s highly talented and motivated team feels like coming home. The circle is now complete.”
Tom will lead and work together with PRG’s Central European Management Team, Jan Van Malder - General Manager Entertainment Belgium, Alex Van Vlierberghe - Financial Director, Walter D’Haese - Production Director Entertainment Belgium, Bob Walpot - Head of Assets, Thierry Kra - General Manager PRG France, Laurent Boillot - Production Director and Account Manager PRG France and Xavier Thys - General Manager PRG Spain.
Currently one of the world’s biggest music artists, Drake is selling-out arenas around the globe. Following a hugely successful tour of North America, the show was brought to Europe.
Tour Director and Designer, Steve Kidd, and Lighting Director and Designer, Guy Pavelo, have both worked with Drake for more than five years, providing the designs for multiple tours, and use PRG to supply lighting and video technology for the tour worldwide, working with Curry Grant in North America, and Yvonne Donnelly Smith and Stefaan Michels for Europe.
The design incorporates multiple elements of lighting and video technology including a kinetic LED lighting system; a curved video wall; an array of lighting fixtures from high brightness beams to remote followspots; and video projection.
Guy Pavelo explains their approach to the design for the tour: “This was our fourth master rendition of the design. It was a conglomeration of different elements Drake liked. We spent five months on the design from the first plan. We would show Drake different elements and he would pick and choose what he liked most.
“One of his team found a stop-motion video of an art installation in Japan which was similar to our ball and winch set-up, and had little baseball-sized things which moved in one pattern over the course of about six hours, but since it was stop motion it looked like it took 20 seconds. They wanted us to recreate that.
“In order to accomplish this, we determined that we needed to make a gridwork for the spheres and not spread them out across the whole venue otherwise it wouldn’t make sense to anyone except in the last row.
The design started with a curved video wall built from 9mm LED. Guy explains: “We started with the curved wall, and then we created the set with the lifts and all of that stuff that Drake liked, and added the overhead structure which encompassed some of the house rig. With the kinetic addition, that’s what finally tied all the last pieces together and created the system over the deck.”
Steve Kidd continues: “That’s kind of our relationship with Drake. We come to him with our ideas, what we believe would be great concepts, he then takes those ideas and bends them a little, as all great artists do, and then we create a reality, knowing what our vendors are capable of, but we also have to be realistic about how we can actually tour it.”
Steve and Guy’s main consideration is making a design which can be easily toured around the world, packed into trucks and into venues quickly and easily. Guy explains: “A good part of that is how we worked with SGPS to build some of the elements, from the curved framework for the LED wall to the fact that every piece of truss up there which isn’t a cable bridge is custom made. We moved from 24 to 32 to 48-inch double-bay truss with a shorter leg set and cast assembly so that almost every lighting fixture on the show stays in the truss.
“The truss stacks three high in Europe in the trucks and four high in the States. It’s a time saver, personnel saver, and truck space saver. Yes, it’s big and consumes a little more floor space, but there are 700-800 winches up there that never need to be touched again.
“If we went with anything thinner to save on truck space, we would have a cart with pipes and poles, and we’d have to hang everything each day, which encompasses the potential for more failure, so this saves that.”
Steve agrees: “When building a new production, we’re always up against time. Time and space are the two things which we consider – particularly how much time we have to build the show and what it’s going to take space-wise to actually put it inside the venue.”
When planning shows, smaller venues or those with weight restrictions have to be taken into consideration. Guy Pavelo elaborates: “We’re up to the limit of the venue capacity in terms of what we can actually rig, but the guys aren’t killing themselves to load it in. We’re fortunate that a little extra money was able to be spent on custom truss so we could save the guys a little.”
A notable part of the show is the kinetic moving spheres which wow the audience at multiple points during Drake’s set. Guy explains how the system was developed: “The kinetic spheres are a collaborative project. Glow Motion Technologies gave us all the pieces - it’s actually two different components; the sphere, the physical plastic ball, and the LED chip inside all developed by Glow Motion Technologies. The winch itself is from Stage Kinetik, the hard-powered winch, data, and control, but Glow Motion handled acquiring all the necessary stuff to put it together.”
Steve Kidd continues: “The winch from Stage Kinetik does all the work. Initially when Guy and I first started talking about this design it wasn’t a sphere, but by luck we got these spheres from a mutual friend of ours. They were used on an auto show in Germany, and were sitting in storage. The spheres are what they are, but without the winch it simply doesn’t work.”
Guy explains: “Without the winch, it’s similar to an art installation where the lights just go on and off, but after a few seconds, you’re done looking at it. With this people watch it, and then there’s another number and it looks different, and people don’t stop watching it.”
A major addition to the show design for the European leg was the projection globe. Drake was keen to give everyone in Europe a different show to the one which had been seen in North America.
The addition of a B-stage and the globe with projection meant some adjustments to the kinetic system. There had been a fly rail as Drake flew for one song, but with that removed, the winch system could be tightened up.
Guy explains the inspiration for the new projection globe: “That was from an art installation that happened in Toronto this past season. It was called Death of the Sun and it was a 45ft round sphere on top of a pedestal which was projection mapped. It was a 12-15 minute progression which had the different stages of the sun – from the birth of the star, through the nebula, until it finally burns out.
“The guys who created that had dealt with Drake in the past, so we were fortunate that with one phone call we were able to secure the ideas and the original and get the ball rolling. Two days later we had an object to start playing with here in Europe.
“We have eight Panasonic 30k laser projectors which are what’s driving the globe itself – four double-stacks in quadrant, and the guys are using d3 and Blacktrax to map and track the ball as its inflated during the show, so we can realign and hit it completely.”
The addition of the globe meant a quick change to the set up in Europe, for which PRG needed to add projectors and media servers to the setup. Guy explains the fast response to their request: “We called up Yvonne Donnelly Smith (Director of Music, PRG XL Video) and said, ‘we have a situation where we’re going to need a substantial amount of adjustment to the design’. They opened the shop back up at the weekend, and got personnel back in for loading the truck on a Sunday, which I know doesn’t usually happen, and we had the equipment on the Monday. It was a rush, but every single fixture worked and every one of them was clean, and they were sitting there Monday morning waiting for us to show up. It was fantastic. It was no problem, they said ‘just give us the list and we’ll figure out how to deliver it’.”
Another addition for Europe was the use of Barco projectors and their moving mirror system. Guy explains how they’re used: “They are a concept which High End came up with originally in lieu of lasers. They’re not laser projectors, but you can put content into them which makes them look like a regular laser. You can broadcast out over the audience with no regulations, or health and safety restrictions, and it gives a different look and colour. You don’t get the super-vivid green laser beam but, past that, you get its own type of effect which works really well towards the end of the show.”
The lighting for the tour was designed to complement the kinetic sphere system with many fixtures chosen for their compact size, energy consumption, and high brightness and impact.
Guy Pavelo explains the choice of the lighting fixtures: “We have a range of fixtures – PRG’s Best Boy Spot HP and Best Boy Washes, a small boat load of the Icon Beam; plus Clay Paky Sharpy and Stormy; SGM P5 and Q7 LED fixtures; a quantity of the new High End Solaspot 1500 and LED Solawash 37, with Martin Atomics and GLP XBar 20 fixtures.
“The spots and washes are used for overhead coverage – the trick being the size of the units. We had a very specific size range as we didn’t want to take the fixtures out of the truss every day, and if they were any bigger, they wouldn’t fit in order to stack it and fit in the truck. The overheads needed to fire through the winch and spheres to cover the deck.
“We went with the Icon Beam because the beam that comes out of it is a step forward. Drake wanted a different look and the beam is bigger than a Sharpy. Having the beam with some width, but coming out of a small compact head really worked out.
“For Europe we added the P5 and Q7 to give different mood coverage and house coverage elements as well. For followspots, the team chose the use of PRG’s GroundControl remote followspot system which situates the fixture on the truss, but with the control unit on the ground. They have two operators out at front of house and four backstage because the show is built in two halves – a forward U which includes the B-stage and then the main stage package.
Guy found several benefits in using GroundControl for this tour: “We have the GroundControl Bad Boy Followspot – six of those. We always usually have truss spots up top but with pyros and having people up there kicking their feet around, that’s a problem when mixed with the kinetic, so the GroundControl is a saving grace in that regard.
“When we made the shift to Europe and having the B stage all we had to do was take two of the lights down, move them over 10 feet, plug them back in and we were done. It didn’t turn into a six hour process to move two truss spots with trees and flight lifelines.
“We’re already rigging close to max capacity in most of the venues. The fact that we would have to have six more guys up there with an extra 5000-6000lb overhead for safety was saved.”
Steve and Guy have worked with PRG globally for a number of years to supply tours they design. For them service and support is the key. Steve elaborates: “We find that PRG has been an excellent provider of every aspect of all our designs. What I love about them is that the support is there, not only from the sales side so that Guy can achieve his dream of what he’s trying to deliver to the artist, but also where I have to come in on a budget number. We can say ‘what do you have that nobody else has used yet or that has just come out and looks amazing’, and we also get the crew support which comes along with such a great product.
Steve continues: “PRG has been great for us both domestically in North America, and worldwide. PRG has been a great supporter of Drake, and now with them purchasing video companies, that has escalated our relationship because we can now get lighting and video all in one. One of the hardest things in touring is getting different vendors to blend together. They have a cohesive team which all works together.
“It was important for us to work with people who wanted to be partners, and I know with both Curry Grant and Yvonne Donnelly Smith that the partnership worldwide means a lot to them, but it means a huge amount to us because we can count on them.
“Our client is one of the biggest in music right now – selling more albums and selling-out more venues than any other artist currently, so his expectation is high, and as the designers, our expectation of our vendors is also high.”
PRG XL Video’s Yvonne Donnelly Smith comments: “We have worked with Steve and Guy for a while now and their designs always push the boundaries of creativity. We’re proud to be able to support them on a global basis, working with our colleagues in North America, across Europe and beyond. The current tour looks amazing and audiences are giving it a fantastic reaction wherever it goes!”
PRG XL Video, the UK operation of Production Resource Group (PRG), has been awarded Favourite Video Rental Company at the TPi Awards in London.
This is the thirteenth time the company has been awarded the prize, which is nominated and voted for by production industry peers and clients.
At the ceremony held at Battersea Evolution in South London, the award, which was sponsored and presented by media server manufacturer d3, was collected by PRG XL Account Director, Steve Greetham.
Steve comments: “It was great to win this award for our video work, which covers concert touring and festivals, theatre, television and corporate events. We had a busy year with a variety of different applications including massive screens at Creamfields and Isle of Wight festivals, through to a custom curved screen for Big The Musical, and video projection for a Royal Charity Gala, and it’s great to see video being used in such diverse ways.”
“We’d like to say a huge thank you to everyone who voted for us. It’s a really an honour to be recognised by our industry colleagues!”
PRG XL Video was also shortlisted in the Favourite Rigging Company and Favourite Lighting Rental Company categories.
PRG XL Video was also a sponsor at this year’s awards. The Live Production of the Year category at the awards was won by Coldplay’s A Head Full of Dreams World Tour.
For the fourth year in a row, PRG brought its expertise to its prestigious customer Van Cleef & Arpels during the 27th International Fine Watchmaking Exhibition, which opened its doors from the 16th till 20th of January 2017 in Geneva.
PRG highlighted the felted and friendly space where their newest and older models were exhibited, representing the excellence of the Fine Watchmaking of the brand through lighting and audiovisual services realized in its magnificent showroom. The ensemble giving the place an atmosphere where "Each watch tells a moment of grace, luck or happiness, inscribed in Poetic Time™."
The whole of the space, the Showcases, the Historical Gallery, the Trade Zones, as well as the magnificent Rotunda were illuminated by PRG using 800m of LED ribbons (RGB, RGB White, Warm / cold white), 200 mini LED spotlights 3W Lunéo (Hallier Process) and 40 Q7 LED projectors (SGM).
The traditional press room was highlighted from the ceiling by a video mapping activated with 2 video projectors HD 20K (Barco) and piloted by a Watchout V6 (Dataton) system.
PRG France is proud to have once again been part of this prestigious project by offering its professionalism and technical skills to its client Van Cleef & Arpels.
For the opening ceremony of Marseille’s European sports capital, Red Bull transformed the city center into a giant ice skating track.
PRG was technical supplier for the lighting, the power distribution and energy (Aggreko), sound system (in collaboration with Match Event) and video for this spectacular speed skating race that overlooked the old harbor.
PRG installed more than 180 moving lights for the architectural lighting around the skating track, 30 Best Boys, 25 Bad Boys, 30 Icon Beams and 20 K20.
For the lighting of the track, which was of a length of 340m and 8m large, PRG used 320 LED flood strobe SGM Q7 to illuminate the competitors.
Watch the video!
In terms of video, PRG installed more that 300m2 of LED screens, of which 1 LED trailer of 100m2, 2 of 50m2, 2 LED trucks of 30m2 and one modular Roe MC-7H screen, in order to share all the highlights of the competition with nearly 30 000 spectators.
We would like to thank the entire Red Bull team for the confidence they have placed in us by entrusting us with the technical services for this final of the Red Bull Crashed Ice Championship.
While innovation is the hallmark of PRG's award-winning GroundControl™ Followspot System, GroundControl also offers multiple cost saving benefits to event budgets. In this animation, go on a visual tour of GroundControl in a show setting and see side-by-side comparisons of how GroundControl measures up to a traditional followspot setup. Designers will be interested to hear how savings accumulate thanks to GroundControl's reduction in space, weight, fuel needs, and overall load-in times. In addition, GroundControl also uses the same power distribution as automated lighting fixtures, doesn't require any special cable, reduces seat kills (increasing ticket revenue), and reduces rigging costs.
For questions and rental or sales inquiries, don't hesitate to contact us.
Hamburg, Germany, and Dubai, UAE: Production Resource Group LLC (PRG) was honoured to work with Balich Worldwide Shows (BWS) to supply a huge multi-surface video projection for the United Arab Emirates National Day celebration in Abu Dhabi.
The event, held at the request of the Crown Prince’s Court, celebrated 45 years since the unification of the United Arab Emirates, and took place in the presence of a selected crowd of dignitaries.
Tom van Hemelryck, VP Global Sports and Special Events was contacted by Balich Worldwide Shows to provide both the technical expertise and technology for this special commemorative show.
Tom brought together video and technology specialists, Yves Winand, from PRG in Belgium and his counterpart Bill Ainley from the group’s UAE operation to work with the design specification from Balich Worldwide Shows. Starting with the mapping of the surfaces, d3 was identified as the media server for this project. It was used to design, and previsualise the projection, and whilst on site used for line-up and playback of the content created by Charles Darby and the team at Clonwerk.
Yves Winand explains: “We needed a strong partner for this challenging project, and we worked closely with d3 to improve some processes on site in order to save time in the line-up. We had to share preparation nights with lighting programming and rehearsals, and waiting for the arrival of large moving elements, so time for the set-up was limited.”
The projection covered over 6500 m2 of floor, which was a particular challenge due to the flat angle and positioning of the projection towers. Either side of the stage, two wing screens of 600m2 were also covered with projection. Four sand dunes, each measuring 35 metres by 8 metres, which tracked across the stage, and a rising sun of 16 metres by 8 metres, which rose from behind the dunes were also projection mapped and covered perfectly as they moved into place during the show.
Panasonic PT-DZ21KE projectors were used for the floor and wing projections, and a combination of Barco HDF-W30 and HDF-W26 projectors covered the dunes and rising sun. In total 126 projectors were used across the event to create the spectacular effect.
Bill Ainley commented: “Whilst this event presented many challenges, we are proud of our team’s ability to seamlessly draw upon design, technical and logistical expertise from three PRG operations across three countries to ensure our approach at the design phase would achieve our client’s expectation on site. This, along with the team of expert technicians who worked very hard in a challenging environment, ensured we could deliver the project to an exceptionally high standard.”
Tom van Hemelryck concludes: “We are delighted to continue our working relationship with Balich Worldwide Shows, and honoured that they chose PRG as a partner in delivering this prestigious, high-profile show. Everyone involved in this show worked in great collaboration to deliver a show which looked truly spectacular.”
Photo Credits: Luca Parisse for Balich Worldwide Shows
Show Credits: Creative & Executive Production Balich Worldwide Shows
Continuing a long working relationship with Production Executive, Andy Derbyshire, Event Manager, Maggie Mouzakitis, Event Production Manager, Lisa Shenton, and Show Lighting Designer, Tom Kenny, PRG XL Video has supplied lighting for the 2016 MTV EMA.
This year’s event was held on November 6th, at the Rotterdam Ahoy, Netherlands, and was hosted by US artist Bebe Rexha.
The event opened with glamorous red carpet arrivals from the star presenters and performers, hosted by Laura Whitmore and Sway Calloway, and PRG XL also supplied lighting, rigging, and video technology for the red carpet event.
PRG XL’s Account Managers, Kelly Cornfield and Mat Ilott were initially contacted by Line Producer, Sophie Huda, and Red Carpet Event Manager, Sean McNally, to supply an outdoor video wall, high impact lighting, and supporting rigging for the red carpet area.
Working with Set Designer, Adam Neville, and Lighting Designer, Stuart Pring, PRG XL’s Head of Rigging Services, Q Willis specified the supporting structures for the video and lighting. Rigging crew chief, Chris ‘Karrit’ Harris delivered the show on-site.
Creating a glittering arrivals area for the stars, Adam and Stuart’s designs incorporated a video wall formed from Barco C5 outdoor LED. Content for the video wall was supplied via one of PRG XL’s own Mbox media servers, and included live feeds from the OB truck, social media feeds, and playback content.
Stuart Pring’s lighting design used a combination of fixtures, with Encapsulite LED stick lights built into the set, and PRG Icon Beams lighting the way for the VIPs as they made their way into the venue. PRG’s Sam Healey was Crew Chief for the red carpet lighting team.
Inside the iconic Rotterdam Ahoy, production designer Julio Himede created a vast set filling an entire side of the venue, curving around to create an immersive arena for the audience in the venue, and stunning visuals for the TV broadcast.
Acclaimed lighting designer Tom Kenny worked closely with Julio to create his lighting design for the show. Tom Kenny has designed the lighting for MTV VMA and EMA events for more than a decade, as part of highly creative and much-talked about show designs.
Tom explains his initial approach to his design: “Working with Julio, and with PRG’s Lighting Crew Chief, Rich Gorrod, we looked at the set design. This year, the huge wide set featured a massive wall of video, built from multiple elements. We wanted to cover the whole set and create a layered effect with plenty of back light and presence. With that in mind, and with one eye on the budget, we used a lot of strong beams, spread across the set, big wash lights at the back, lots of Icon Beams, PRG Bad Boys and Robe Robin 100s. We added Solaris Flares for extra strobe effects – they’re a real workhorse.”
Tom continues: “As part of the design, I look at the line-up of artists performing and try to tailor the fixtures to what I think they’ll need. In some cases artists will have specific requests, but often we’ll already have their needs covered in the main rig.”
Some artists do have special requests, based on their individual performance. Tom explains: “Martin Garrix wanted a particular fixture for his set, so we brought in a load of GLP X4 Bars to satisfy that need. For One Republic, who included rain in their performance, we needed to find some waterproof LED lamps for the pool, and Rich Gorrod sourced custom-built fixtures for that purpose.”
“For Green Day’s ‘Global Icon’ performance we needed to give them a really huge look, so we added a bunch of Par Cans.”
“Another fixture I was keen to use was the ACL 360 Matrix from Elation, which includes 25 4-in-1 RGBW LEDs. We arranged a demo of the unit, were suitably impressed, and that was used scenically to create colour and depth.”
With an array of star performers, followspots were also a key consideration, and Tom Kenny was keen to use PRG’s GroundControlTM Followspot System, which includes a remote followspot, flown from the lighting rig and the operator is located with control unit at ground level elsewhere within the venue. Tom has used the system on multiple shows: “I first used GroundControl on Desert Trip festival and was really impressed by it. It’s a very flexible system and allows you to place followspots in locations that wouldn’t usually work. I love it!”
Lighting console operators on the night were Alex Passmore and Jonathan Rouse, who Tom Kenny described as “two of the best programmers/operators I’ve worked with. Alex took care of the majority of the pre-programming, and on the night looked after the cueing on the main set, and Jonathan focussed on the keylighting for the bands, live elements, and audience lighting.”
PRG XL’s Lighting Crew Chief Richard Gorrod led a team of twelve lighting technicians and operators for the show. Tom Kenny comments: “The MTV EMA is a big beast of a show. There’s never enough time, but Rich and his brilliant PRG crew have high standards and work really hard to make it all happen. Rich is a total workhorse – he does the job of three people, and he has such a positive attitude. You couldn’t have a better person on an event of this type.”
Richard Gorrod summed up: “We’re happy to continue our long relationship with Maggie, Andy, Lisa, Tom, Julio and the whole MTV EMA team. The show always looks amazing and really pushes the boundaries for a live event show. It’s a huge production, and there are lots of suppliers all working side by side, harmoniously to make it happen. We’re proud to be a part of bringing it all together!”
The award-winning company DynaMix Media is one of the leading audiovisual technical production agencies in India.
With ever increasing demands for events in India, the PRG Alliance is pleased to announce a new partner in the region.
The new addition to the membership of the PRG Alliance is passionate about great results and meticulous in execution. DynaMix Media is a company recognized in India for their remarkable contribution to events and entertainment, having introduced the 270 degrees projection format to corporate presentations, and the first 300’ wide projection to the local market. The company has a growing number of immersive projection and projection mapping jobs under their belt.
DynaMix Media was founded in 2005 and is led by Mr. Suresh Madan. The company brings to PRG Alliance its vast understanding of video playback and networking systems, and its one-stop rental shop and services across India – offering complete services in video, audio, lighting, trussing, project management and content design.
“Our position in the Indian market is not only that of a company capable of delivering complex audiovisual projects, but also one which is attentive to international standards in processes and safety. It is a constant effort for us to implement these aspects in projects in India, but slowly the clients are accepting this is the right path. We know that PRG Alliance has the same principles and tapping into this great resource and knowledge pool will be very beneficial for our company”, declares Suresh Madan, Founder & CTO of DynaMix Media.
This attitude has been recognized by the industry and DynaMix Media was awarded as the “Best Video Rental Company” by Palm Sound & Light Awards 2014.
“We believe DynaMix Media is the best partner for PRG Alliance,” said Tom van Hemelryck, PRG Alliance Director. “When our clients go to India they need a reliable supplier, and DynaMix Media’s credentials and reputation is impeccable.”
For more information about DynaMix Media and PRG Alliance visit the website www.prgalliance.com.
Projection Mapping Case: Fortis Memorial Research Institute Launch, New Delhi
Production Resource Group LLC (PRG) – the world’s largest supplier of technology and services for events and entertainment has announced the appointment of Simon Kayser as General Manager for its Sourcing & Projects Centre based in Shenzhen, China. Simon will report to Gary Boyd, Executive Vice President and COO, EMEA.
A Chinese-speaker, Simon already has extensive knowledge of the Chinese market from his role as Technical Director at PRG in China, where he has been the project manager for key inbound corporate and large automotive sector projects. His first PRG project in China was the Beijing New Year Lighting Show in 2000/1. In 2007 he returned to Shanghai for the World Summer Games, and in 2008 for the Beijing Games. In 2009 Simon moved to Shanghai for the World EXPO 2010 in Shanghai, and he has been based there since.
Putting his technical knowledge to use, Simon will now take charge of the Shenzhen operation, which is instrumental in sourcing video and lighting technology in China. Simon will work closely with Frederic Opsomer and the team at PRG Projects, who specialise in the development of custom LED for special events, touring projects and installations.
Simon’s appointment will enable PRG to expand its offshore sourcing projects, reinforcing its commitment to innovation and new technology.
“After spending the past eight years in Shanghai, I am looking forward to the new role and challenges. I leave behind a excellent team in Shanghai and look forward to the new team in Shenzhen. Developing, sourcing and especially customizing lighting and video gear for our customers and projects, is where I see great potential for PRG and our team in Shenzhen to deliver enhanced services to our customers”
“We are very pleased Simon has agreed to take on this new role in Shenzhen,” said Gary Boyd. “His technical expertise, coupled with his hands-on commercial experience of delivering projects in China, make him ideally placed to take on this new role, and further expand our ability to source and develop new products directly at the heart of China’s technology capital.”
Simon holds a Master of Engineering degree from University of Applied Science Hamburg (Dipl. Ing. (fh)), and he will relocate from his current role in Shanghai, settling in Shenzhen with his family.
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.
In September, PRG provided the technical services for the 71st Congress of Accountants and Tax Consultants, held in Brussels at the venue Hall 12. The congress was a 3-day event that we realized in collaboration with our colleagues from PRG Belgium. We provided the whole of the rigging structure, lighting and video, as well as all the equipment needed for Michael Gregorio’s show during the gala evening on Thursday.
The lighting set was built with Mac Viper Wash, Mac Viper Profile, Robe Robin 1200 Wash, Sharpy Wash, PRG Design Led Stands and PRG LED uplighters. Behind the stage, a large projection screen of 16m by 6m was set up. Two more screens screens were also installed on both sides of the stage. We used 4 Panasonic 21K video projectors and 3 Watchout systems, an Encore system and a capture system with 4 cameras.
Client : Moma Event
Director Général Moma: Michel Rivet
Production Director: Stéphane Adrien
Special thanks to Thierry Kra & Michel De Breucker (PRG Account Managers), Greg Douglas & Denis Andrien (Production Managers), Nathalie Mathy (Lighting Crew Chief), Charles Hoebanx (Dimmer Man), Jean Marc Pitance (Lighting Operator main room), Pianos Vafidis (Lighting Operator after party), Joao Prates (Video Crew Chief), Joris Beel (Video Techician), Arnaud Delamare (Encore Operator), Vincent Herbert (Watch-out Operator)
PRG, in collaboration with the Geneva tourism, proudly presented the new Geneva Lake Festival. This year's festival featured ten days of the very best of the city’s nightlife blended with outstanding cuisines from around the world plus rides, attractions, fireworks, and entertainment for everyone.
PRG Paris was the primary provider for this event, setting up a large-scale sound system around the harbor of the Léman Lake in Geneva, Switzerland. This project was a large undertaking, requiring a crew of twenty two over an almost month long time period for load in, show time and load out.
PRG supplied of a total of forty-one sound towers over 2 miles (3 km), which comprise of the following equipment:
• 30 x towers equipped with Panasonic WS-LA3 (total of 148) and L-Accoustic SB28 Sub (total of 25) and Meyer 600-HP Sub (total of 6)
• 7 x towers equipped with L-Accoustic Kara ( total of 72) and L-Accoustic SB28 Sub (total of 7)
• 4 x towers equipped with Meyer Mélodie (total of 12) and LS Sub Cabinet TTS28A ( total of 2)
• 6 x towers equipped with LS Adamson S10 (total of 36) and LS-Adamson Sub E-219 (total of 4)
PRG Paris was proud to help make the Geneva Lake Festival a great experience for all the people that came to this years' event and are ready to do it all over again next year!
Client : Fondation Genève Tourisme & Congrès
Production Director/ Producer: Emmanuel Mongon
Artiqtic Director & co-producer: Ric Birch
Technical Director:Eric Sauvain
Technical Director & scenic: Christian Lhôte
Thanks to Laurent Boillot (Account Manager PRG), Greg Douglas (Production Manager), Bertrand Taussac (Chief Sound Projects Manager), JB Di Tomasso (Chief On-site Manager), Raynald Zvunka (Chief Site Manager and electrical distribution), Romain Montagnon (Electrical Distribution), Matthieu Rhodes (Network Manager), Frantz Domoizon (Responsible sound left bank), Tonio Diebold (Responsible sound left bank)
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.
PRG France, as partner of Lagardère Sports, was selected to deliver all the audiovisual facilities of the Paris Fan Zone for the EURO 2016 football championship.
For the main zone on the grass strip, no fewer than 150 Line-Array Adamson speakers were installed on 12 towers as well as 200 moving lights including PRG BestBoys HP.
Around this central space, 2 concert stages, a media center, pavilions for partners and a VIP area were equipped with sound, lighting and LED and LCD screen were installed for the transmission of the soccer matches. The whole of the site was covered with HF cameras and a control room to share all of the highlights.
The electrical distribution represented a 6MW power recovered from the ERDF network per 3 high-voltage substations and distributed throughout the site.
We also installed a signal distribution network for the sound and the video-feed, which represented several kilometers of optical fiber.
For the opening concert, PRG has equipped the stage with 1000 robotic searchlights (Sharpy, Mythos, Magiqpanel Ayrton, Viper, Q7 ... SGM), 250m2 of video screens of which 3 were suspended horizontally with Kynesis servo-motors, 100 subs for Adamson in order to strengthen the deep tones ...
PRG also insured the technical installation for the Muse concert and the assured host the concert of Muse & the symphony concert on July 14th.
This event represented the equivalent of 3,000 days of work technicians over 3 months.