As the leading global production services solution provider PRG is continually working on some of the most creatively challenging projects; developing the next generation of technology and redefining the industry as well as our company. Keep track of it all in our news updates and case studies. We will also be posting articles and videos featuring some of our industry's compelling creative thinkers; designers and luminaries.

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Lighting Up the Night at Vanity Fair's Oscar Party

Immediately after the 92nd Academy Awards wrapped, A-list celebrity guests began to arrive at the Vanity Fair Oscar Party. As the night's winners, nominees and Hollywood elite walked the red carpet, enjoyed the festivities, and finally exited through the gardens to their drop off, PRG lights illuminated almost every step of their evening. This included more than 800 lighting fixtures, cabling and rigging.

PRG has proudly worked as Vanity Fair's production partner on the award season's most exclusive party for years, and we look forward to many more years of collaboration.

VF EDITOR-IN-CHIEF: Radhika Jones, Vanity Fair
PRODUCER: Sara Marks, Vanity Fair
EVENT DESIGNER: Basil Walter, BW Architects
PRODUCTION DIRECTOR: Pete Barford, Vanity Fair
LIGHTING DESIGNER: Adam Bassett,Woodroffe Bassett Design LLP
LIGHTING DESIGNER: Terry Cook,Woodroffe Bassett Design LLP
HEAD OF LIGHTING: John Coman,Woodroffe Bassett Design LLP
LIGHTING PROGRAMMER: Stu Dingly,Woodroffe Bassett Design LLP

Lighting, includes all cabling and power distribution
117x Moving Light Fixtures
PRG Best Boy Spots
PRG Best Bow Wash
Clay Paky Mythos
Aryton Diablo (actually subrented from Kinetic Lighting)
GLP Sharpy Beam
GLP Sharpy Wash
GLP Impression X4
GLP Impression X4s
293x LED Lighting Fixtures
Color Kinetics Philips ColorBlaze 72
Color Kinetics Philips ColorForce 48
Cineo TruColor HS
ETC Source 4 Lustr
Chauvet ColorDash Accent
GLP Impression X4 Atom
Martin Rush Par 2
468x Conventional Lighting Fixtures
Generic Par 20, 38, 56
ETC Source 4 Lekos and Pars

Rigging (Partnership with Icarus Rigging), includes all cabling and power distribution
52x Columbus McKinnon Prostar 1/4Ton Hoist

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Full Flood and PRG Light Up the 92nd Academy Awards

For the 92nd Academy Awards, PRG once again furnished a complete lighting system with more than 1,000 fixtures. To help actualize the strikingly elegant lighting design from Bob Dickinson and Noah Mitz of Full Flood Inc., much of the lighting system was controlled from a PRG V676 Console system by Programmer/ LD Andy O’Reilly, with the power and data system backbone provided by PRG Virtuoso Super Nodes and the PRG Series 400 system of racks, cable, and intelligent break out boxes.


Show gear included:

  • Vari-Lite VL2600 Profiles
  • PRG Best Boy Ground Control Remote Follow Spots
  • VL3500 Washes and Spots
  • Solaris Flare LED Washes
  • PRG Classic VL5 and VL6C+ fixtures
  • Chroma-Q Color Force II 48 & 72 units
  • GLP X4 LED Washes and Atoms
  • Martin Sceptron VDO 10 strips

Before the Oscars Awards Main show, we were also honored to provided support for designer Madigan Stehly—also with Full Flood Inc.—and his fantastic work on the Red Carpet Pre Show and Arrivals.




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Catch Our New Video Series: Tech Connect Episode One

Discover our technology and uncover our solutions with PRG’s new video series, Tech Connect. In episode one, PRG’s Chief Innovation Officer Chris Conti dives into our proprietary family of Mbox media servers. Explore the product line’s most popular features and learn how the innovators at PRG create technology that allow our customers to execute their creativity.

Follow the series at

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PRG Helps Sher Keep Joker Subway Scene – Real

“There’s nothing like feeling the sensations of a real subway ride,” says cinematographer Lawrence Sher ASC. It was the reason he wanted to make every moment as real as possible while shooting this year’s runaway hit Joker. With a range of film styles from the broadly comedic Hangover to the recent fantasy Godzilla: King of the Monsters, Sher has employed just about every cinematic technique available today. But – he’s still a bit ‘old school real,’ believing that giving the actors something tangible to work from enriches performance and allows the creatives something solid to work off of – not to mention enhances believability – and audience engagement.

Sher’s approach to a film – whether comedy, fantasy or a bit of both – is all about serving the story visually. “You dissect the scene emotionally. What is the intent of the scene? What is the intent of the characters? And, from there, you start to derive a plan to execute and to tell the story visually to help drive those emotions.”

With Joker, he needed to create a way where the audience would really connect with one man’s descent into chaos and madness, “but also give the actors the most freedom and keep the set moving as quickly as possible to maintain the momentum of the day. We needed to keep the energy of the setup and the actors close while everyone is in the right state of mind." For Sher and the production team, that meant shooting as practically as possible.

“Yes, there are times when blue screen or putting characters in an environment that isn’t there is the way to go,” he adds. “But director Todd Phillips and I realized the way to make Joker really come alive was to keep it live when we were shooting it. That’s where enhanced environments and the way that LED technology allows you to make these environments live and on set come in. You realize what effect it has on the actors and what effect it has, even on a cinematographer. Suddenly, you're not guessing where the background is. You aren't coordinating that background later, but you are able to photograph it in real-time and make lighting decisions as you photograph, that you can’t do when you’re shooting blue or green screen.”

A perfect example in Joker – the super important subway scene where Joker kills the Wall Street Three. “It’s a critical watershed moment for the character’s arc,” explains Sher. “Todd Phillips wanted the scene to feel like a ‘fever dream.’ And because the movie starts and ends always in a place of reality, we were like, ‘well lets at the very least, see if we could shoot this live.’ Could we go out on a subway train and drive up and down the tracks – shooting for real?” It was possible, but even if they arranged to close down the tracks at some weird time of day that wasn’t necessarily good for the scene, other limitations mounted.

The two explored various options. One possibility, blue screen, and put the background in later. “Then you lose any of the interactivity of the lighting,” he countered. “And for me, what's cool about riding subways in New York is the way the lighting interacts with the environment, and the fact that when you drive by a subway station or another train car passes by – or the lights flicker off inside the car – all that interactive lighting is playing inside. If you use blue screen, you have some lights just out of frame, but they're only hitting the bottom of the frame or the floor. They aren't interacting in a way the actual real environment does.”

The solution. Connect with PRG. “We wanted to talk about the technology they used on Murder on the Orient Express and other projects,” Sher explains. “We didn’t want to replicate the reality – we wanted to enhance it – to get to the ‘fever dream’ feeling.

“With enhanced environments, I could make decisions as to when another train car passes by. When we pass by a subway station. When we go into a dark tunnel. When a light or a section of fluorescent lights goes by, I needed full control of all of those environments.”

He used the technology and media server to provide five or six layers of content, of timelines of information. "So, one timeline would be a passing subway car — one—a passing bunch of fluorescent lights. One would be a white subway station. Another, a sodium beige vapor lit subway station," he explains. "Suddenly, now we could be inside the subway car, which for the actors and our director and operator was a living, breathing, moving vehicle.

“When you got on that subway car and started moving the screens, it felt like we were moving,” he adds enthusiastically. “There was even a little bit of motion sickness that happened. You literally felt like, can we just stop the screen? When we got to a stop, and the screens were moving, and the doors opened, you almost didn’t want to go outside because it felt like you would fall off. That was the effect for the audience – and for the actors,” he explains.

“While we were lighting, I could be at the media server, and I could watch the scene in real-time and turn the lights inside the train on, the way I wanted, as a subway station passed by,” he adds. “The fact that the airbags were moving a little bit and the world outside was going by, and when the lights flickered off, you can actually see a subway car or station passing by, as opposed to just blue screen, made it seem so real. I’ve talked to people who thought we went out on a subway and just drove a train up and down the tracks.

“Keeping those environments real and visually right in front of you, as opposed to something that would be imagined later—made a huge difference,” Sher concludes. “The technology was essential to making that scene successful, and I don't know any other way we could have done it. One of the best things about working with a company like PRG is that they love to solve problems just as much as we do. At the end of the day, yes, of course, it's a business, and we all need to make money to keep the lights on, but we are still really enthusiastic about making movies and making something that really helps tell the story. I'm excited to work with people that are excited to solve those problems too.”

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Fred Strickland Joins PRG Scenic Technologies

NEW YORK – Jan. 7, 2020 - PRG, the world’s leading provider of entertainment and event technology solutions, has hired Fred Strickland as Vice President of Scenic Technologies in the company’s Corporate Events unit. In this newly created role, Strickland will serve as commercial market lead for scenic - working closely with PRG shops in Las Vegas and New Windsor to optimize production and market offerings, provide direction to sales, and support the teams in project pricing and configurations.

“Fred is one of the most respected executives on the scenic solutions side of the live experience industry,” said Manus McHugh, Senior Vice President, Corporate Events and Staging at PRG. “PRG has a strong history of scenic innovation and creativity, evident from Broadway to concert stages. Under Fred’s leadership, our already extensive scenic offering in corporate events will gain even more value and traction.”

Strickland comes to PRG after nearly 30 years at Hargrove, one of the largest providers of experiential environments. Over the course of his career, Strickland has overseen fabrication and production, and for the last seven years, he was executive director procurement and product development.

“I made the decision to join PRG because of its leading position in the industry and my desire to work with advancements in cutting edge technology that only they can provide,” said Strickland. “I look forward to working with the team and company leadership to make PRG’s scenic capabilities number one in the world.”

Creating impactful experiences for corporate customers is not new to PRG, which provides a full suite of production services for exhibits, corporate events, conferences, trade shows and branded experiences. Recent scenic work includes projects for Porsche, MAC Cosmetics, Dell, Toyota, Samsung, Bleacher Report and Westfield.

“We see a trend for increasingly immersive and interactive experiences. PRG is providing that by integrating dynamic scenic with our robust offerings in audio, video and lighting,” said McHugh.

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Sooner Routhier on Designing for Alessia Cara

Designer, producer and director Sooner Routhier collaborated with rising sensation, singer-songwriter Alessia Cara, to develop a new performance experience for her 2019 Fall Tour with lighting, audio and video services supported by PRG.

Cara has been a major contender across streaming platforms since her single “Here” was released in 2015. Currently signed to Def Jam, she spent much of 2019 opening for Shawn Mendes on more than 70 of his concert dates. Cara’s knack for crafting catchy pop songs paired with Routhier’s award-winning lighting design has made for an unforgettable live concert experience.

We sat down with Routhier to chat about the design on the “Pains of Growing” tour.

PRG: Hi Sooner, thanks for chatting with us! What inspired the design for this tour?

Sooner Routhier: Alessia requested a dollhouse style set up for her stage in support of the “Pains of Growing” album and tour. The house is meant to symbolize Alessia’s growth from her suburban Toronto bedroom to her life as a global top 10 touring artist. The house morphs throughout the night, changing with the moods of the songs. Sometimes it disappears entirely and becomes a surface for home movies and animated content. Other times, the wallpaper changes, we see storms outside the windows, or it’s simply a static set up.

PRG: What was the overarching goal from a design perspective?

SR: We wanted to make sure that Alessia had the proper performance palette to move and interact with the space. She can sit or lie on the bed in the bedroom, interact with the band members as they play in the living room on credenzas and dressers, and turn table lamps on and off.

PRG: What is your process for identifying the needs of a project like this?

SR: Once we established the overall goal of creating a house on stage, we needed to turn it into an electrified event. It needed to also function as a typical concert; allowing the lighting and video to make the music look like it sounds.

PRG: How did you work with the PRG team to bring this vision to life?

SR: PRG worked diligently to ensure that our projection and server needs were met to perfection. We had very little time in rehearsals to set up and program the show. They also made sure that everything was prepped and functional before we entered the rehearsal space and provided us with an extremely knowledgeable server programmer to ensure that we were getting the most out of the Mbox. It was necessary to have as many tricks up our sleeves as possible with the Mbox as we needed creative masking and effects to achieve the shifts in the house. Anthony Headley was indispensable in this regard.

PRG: What was the biggest challenge in pulling off this tour?

SR: Time was our main challenge with this project. We had only a couple days to get the show programmed, the content budget was low, and our production was reliant on projection. We had to make the best out of clever server programming to make the show look as bespoke as possible. It took a lot of time to dial everything in.

PRG: Well, the team did an amazing job working within those confines. I am glad we could contribute to making the shows a success!

Written by Erin Bates
Photos by: Brian Freedman

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Getting Lit on Lizzo’s ‘Cuz I Love You Too’ Tour

With eight Grammy nods, Lizzo is the most nominated artist for the 2020 awards, and with great recognition comes an extremely busy schedule. PRG was proud to support the artist and her creative team with lighting services for the ‘Cuz I Love You Too’ tour.


Going to a Lizzo show is above all, empowering. The frontwoman delivers her lyrics and interludes like a sexy, hilarious self-help session. With skills that include belting out ballads, rapping, twerking and playing the flute, Lizzo has mastered many modes of expression. Behind the scenes, her creative team and crew work on the best ways to highlight the artist’s diverse skill set.



During the opening number of the tour, Lizzo entered the stage in a metallic pulpit robe. The lighting and set elements transported the audience to a cabaret church environment, and Lizzo’s lyrics lifted the audience up with a message of body positivity. Self-love became a religious experience.


“Everything we worked for during the day comes together in the intro of the show,” says Lighting Director Danielle Edwards. “The way the music builds and the anticipation make it worthwhile right off the bat.” Edwards joined the tight-knit Lizzo team in May of this year, and has enjoyed working alongside the artist, and her largely female-led production team, as she’s risen to superstar status.


Compared to other tours I've been involved in there is certainly a higher number of women involved on Lizzo spanning across all departments,” notes programmer Megan Dougherty. This includes both Dougherty and Edwards, Creative Director Quinn Wilson, Tour Manager Carlina Gugliotta, Tour Manager Assistant Molly Gordon, Monitor Engineer Loreen Bohannon, and Wardrobe Assistant Ruby Anton. 


Fitting that Lizzo, who embodies femme empowerment, would have a team of talented women working behind the scenes also. And according to the creative team, Lizzo herself was closely involved in the overall design of the show.



Quinn works with her on a daily basis. It was extremely helpful to the team to have immediate feedback about what was working and what needed revision,” explains Lighting Designer Drew Gnagey.


One of the most challenging aspects of the tour for Gnagey was working with the rapidly growing artist because she was so busy. But with the help of collaborators Eric Marchwinski and Kirk Miller at Earlybird Visual, the team was able to turn around drafting and rendering revisions to keep the process rolling.


“It’s an honor to be working with such a rising star who cares so deeply for her audience and fans. I have had the distinct privilege of being able to watch her grow in such a short time frame,” he says. Gnagey also credits Dougherty for creating a smooth rehearsal environment with her precise programming. “She had the unique ability to see the design and the creative vision and turn that into extremely meaningful programming for the show. Megan worked hand-in-hand with Danielle to craft a show that reciprocates the love that Lizzo has for her fans,” says Gnagey.



PRG Vice President of Concert Touring Curry Grant was also a huge asset to the process. During the design phase of the project, Gnagey says that Grant was always available to discuss the mechanics of getting the project off the ground. “It was extremely refreshing to be able to work out the details at a quick pace and in an orderly manner,” says Gnagey. “PRG delivered an outstanding lighting package for the ‘Cuz I Love You Too’ Tour that was built to be flexible on a daily basis.”


A great production manager supports the creative through their guidance of gear, labor and logistics to deliver a successful show, and this tour found that in Rob Bright. “Rob was a pleasure to work with,” says Grant. “His experience allowed us to smoothly navigate the inevitable challenges that come with a new artist going out on the road.”


Written by: Erin Bates
Photos by: Adam Kargenian

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PRG Opens in Albuquerque

World Class Motion Picture Cameras, Enhanced Environments and more

Albuquerque, New Mexico—November 5, 2019 – New Mexico continues to flourish as a premiere production hub, and PRG, the global leader in entertainment and event production solutions, brings the world’s largest inventory of cameras, lenses, accessories and LED technology to town, along with the expertise to back it up. The new camera prep facility is centrally situated in Albuquerque, between I-25 Studios and Albuquerque Studios, with convenient access to Santa Fe Studios and Downtown.

In addition to camera-prep, the facility provides an extensive array of specialty production technology including LED Enhanced Environments, NCam realtime tracking for previz onset, 35Live! production packs, and the Emmy-winning GroundControlTM Followspot lighting system.

“We feel the timing is right to support the New Mexico production community with our industry-leading expertise in film, scripted and unscripted television, sports, music, special events and live broadcast production,” said Andrea Berry, Senior Vice President of TV, Film & Broadcast. “We envision this as a destination not only for camera-related services, but for thought leadership, technology previews and educational events.”

Now open, the new 5,400 square foot facility is located at 5821 Midway Park NE, Suite F. It offers 6 fully equipped camera prep bays and a generous flex space. Located on the ground floor, the facility has two loading docks and plenty of parking.

PRG offers the world’s most extensive inventory of professional digital cinema, large format, and television broadcast cameras, lenses, and support gear, backed by skilled engineers experienced in coordinating cine and broadcast style production packages, LED walls for Enhanced Environments, and solving production challenges of every type.

For more information visit: or contact or

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We Talk Lighting, Lizzo and Gender Equality With Designer Megan Dougherty

Megan Dougherty is a talented lighting designer and programmer on the rise. Some of her recent work includes Anderson .Paak, Christine and the Queens, METZ, Twin Shadow, The Drums, Puscifer, Jennifer Hudson, Summer Walker and Lizzo’s current tour.

Megan always knew she wanted to tour and moved from Michigan to Chicago as soon as she graduated high school to figure out exactly where she fit into the music industry. She interned and worked in various capacities including live sound and a booking agency, but nothing felt right until she started doing lights at a 500-capacity venue called Lincoln Hall. Once she got behind the lighting desk, she’d found exactly where she wanted to be.

We sat down with Megan for a chat about her career trajectory, advice for women coming up in the music industry and her creative process.

Lizzo’s “Cuz I Love You Too” Tour Lighting Design: Drew Gnagey, Programmer: Megan Dougherty, Creative Direction: Quinn Wilson

PRG: Hi Megan! So glad I had the chance to catch up with you at the Lizzo show and see your work. That was a blast.

Megan Dougherty: Thanks! It was nice to meet in person.

PRG: Can we kick this off by you telling us a bit about your career trajectory?

MD: While I was interning at Lincoln Hall, I would run lights for the openers on an Avolites Pearl 2000 (the one that looks like a Fisher Price toy with the big spinning wheel in the center). Eventually the venue formally hired me to be the house LD which was my first gig being paid to do lights. After that, things started happening really quickly. Bands I did lights for at Lincoln Hall would in turn hire me to tour with them and I worked my way up from there. I met Sarah Landau at Lincoln Hall while she was on tour as the lighting designer for M83 maybe about six to eight years ago. She was kind enough to trust me to tour with a few of her designs when I was just starting out.

PRG: Taking the time to try different things instead of diving right into a committed career path is something that isn’t encouraged enough in young people. Other than Sarah, have you had any mentors on your way?

MD: Phil Trusky, one of the other house LDs at Lincoln Hall at the time, was a big help. He taught me to actually enjoy climbing, even on the venue's very wobbly scaffolding. More importantly, he was the first to show me that good timing makes a huge difference.

Rob Sinclair has also taught me so much over the years. I really admire his extreme attention to detail and unyielding dedication to visual arts and design. Any advice he is kind enough to share with me I hold in very high regard.

Lighting Design by Megan Dougherty for Christine and the Queens showcases in Los Angeles, NYC and Jimmy Fallon.

PRG: Is there a certain type of artist you prefer to work with in terms of genre, vision, or creative?

MD: Creatively, I prefer working with artists who err on the side of subtly and simplicity, whose music begs for lighting looks that rely heavily on the negative space rather than the light itself. Music with strong dynamics, mood, drama and tension.

PRG: What do you draw inspiration from with your designs?

MD: Obviously, the first thing is the actual music and artist I’m designing for. After that, I pay attention to the lyrics. Understanding the story the artist is telling drives the entire direction of the show and how I approach each song individually.

PRG: Can you tell me a bit about how the creative process played out on the current Lizzo tour?

MD: My involvement with Lizzo started right before production rehearsals began. Drew Gnagey, their lighting designer, put the design together with the support of Earlybird, who then asked me to program the show.

Drew sent me his plots and the deck from Lizzo’s creative director Quinn Wilson. In the deck, Quinn specified a few lighting looks and a loose guide for color usage in the set. Quinn is a treat to work with because she knows what she wants but also left a lot of the creative interpretation to me.

Since we are both very color-centric, that encompassed the majority of our conversations when going over the show looks. We both agreed the show warranted a predominantly warm color palette throughout the set.

The overall aesthetic was gospel / church, which I thought created an interesting juxtaposition at times, considering Lizzo’s strong message of sex positivity. My interpretation was that the church aesthetic represented finding faith and strength within yourself, so I created the necessary bold looks that Lizzo’s music and stage presence demands.

Lizzo’s “Cuz I Love You Too” Tour

PRG: Any advice for young women coming up in the world of technical production?

MD: Ooof... that's hard. I used to kind of gloss over the gender bias issue in the few interviews I’ve done just for the sake of staying positive, but it needs to be addressed and acknowledged. Society's attitude towards women in general has a long way to go, and that is definitely reflected in the sometimes-archaic minded music industry. Personally, I found strength by educating myself on gender biases in the workplace. I recently read "The Feminist Fight Club: A Survival Manual for a Sexist Workplace" it sites so many eye-opening statistics. Studies show that when a woman makes a mistake it’s remembered longer than if a male had made the same mistake. The bottom line and unfortunate truth is that we are still held to a higher standard and we do have to work much harder to prove ourselves.

I've learned not to waste my time on the bad eggs out there. I choose to focus my energy working with teams where all women are treated with respect.

PRG: You seem to have found that in your career. I’ve heard that there are many women working on Lizzo’s current tour.

MD: Compared to other tours I've been involved in there is certainly a higher number of women spanning across all departments. Creative director Quinn Wilson, tour manager Carlina Gugliotta, TM assistant Molly Gordon, lighting director Danielle Edwards, monitor engineer Loreen Bohannon and wardrobe assistant Ruby Anton are all very intelligent and accomplished individuals. I can definitely understand why they're involved with such a talented artist who is doing so well in her career.

PRG: Moving on to the nuts and bolts, what details are often overlooked from a gear perspective?

MD: Selecting the right gear for the design is obviously very important. If chosen incorrectly it can be a huge hindrance to the overall vision. The physical elements of the fixture itself are also a necessary detail to address, like having all the same fixture types color calibrated so you don’t have to go through the hassle of updating the color preset of each fixture individually. They’re easy and boring details to miss by the vendor and techs, but when done right, it’s a big help.

Production Design by Megan Dougherty for Anderson .Paak & the Free Nationals

PRG: You’ve worked with PRG and VER on many of your shows including Anderson .Paak, Christine and the Queens, METZ, Twin Shadow, The Drums, Puscifer, Lizzo and Jennifer Hudson. What has kept that relationship strong?

MD: Joe Cassanova is really great and attentive even to the smaller, last minute gear requests so that is a big help. He has a great attitude and a reassuring quality about him. It's nice to know that even the smaller shows I do are still being well looked after.

Joe Beenan has also been very supportive over the years and has a very down to earth quality that I enjoy.

PRG: Great to hear that our people and attention to detail keep you coming back. Thanks for taking the time, Megan. Before we wrap this up, can you tell us what’s next for you?

MD: I am continuing to grow beyond just lighting design, working on more overall show designs, continuing to work with artists I love and respect and hopefully inspire the younger female generation to get involved in production and kick some ass.

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Newburgh Free Library hosts Operation Warm for Head Start Families

NEW YORK – Oct. 18, 2019

The Newburgh Free Library will be hosting “A Warm Welcome to the Library” on Saturday, Nov. 2, 2019, from 10 a.m. to 11 a.m. at 124 Grand Street, Newburgh, NY. In partnership with PRG (Production Resource Group) in association with the International Alliance of Theatrical Stage Employees, Local 311, and Operation Warm, this program will distribute new winter coats and books to children enrolled at Newburgh Head Start of Eastern Orange County.

Operation Warm, a national nonprofit, partnered with the Library last year and reached out to continue to support the distribution of coats to youth in the community again this year. The Library approached Head Start to become this year’s recipient agency in hopes of reaching new families who may not be familiar with the resources and programs available for free at their local public library. “This is a wonderful opportunity to provide a new coat and free books to youth in our community along with welcoming families to visit the Library,” said Lisa Kochik, Head of Youth Services.

Volunteers from PRG and IATSE Local 311 will be on hand at the event to assist with distributing the coats that were funded by their members and Operation Warm.

To donate or discover more about bringing coats to children in need in your community, visit

Lisa Kochik
Tel: (845)563-3616
124 Grand St., Newburgh, NY 12550

For information, please call 845-563-3616

The Newburgh Free Library is open from 9 a.m. – 9 p.m., Mon. - Thurs.; 9 a.m. – 5 p.m., Friday and Saturday; and 1 p.m. – 5 p.m. on Sunday. The Town Branch is open from 10 a.m. – 6 p.m., Mon., Thurs., Fri., and Sat.; 12 p.m. – 8 p.m., Tuesday and Wednesday; closed Sundays.

For information about Library programs, visit or call 845-563-3600.

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PRG and MBS Equipment Company to Form Strategic Alliance

MBSE to acquire PRG Paskal Lighting’s equipment and PRG to become MBSE’s preferred supplier of production services and technology

NEW YORK - Oct. 7, 2019 - Production Resource Group, LLC (PRG), the leading global provider of entertainment and event technology solutions, and MBS Equipment Company (MBSE), the world’s largest studio-based equipment company, announced today that they will form a strategic alliance that provides MBSE premium access to PRG’s vast technology-driven product lines to service MBSE’s global studio platform.

Under the agreement, PRG will become MBSE’s preferred supplier of a wide range of products and services in support of MBSE’s studio-equipment business. MBSE will have access to the entirety of PRG’s inventory, including automated luminaires, dimming, LED, audio, video, projectors, rigging, motors, proprietary technology, such as PRG SpaceFrame™ and GroundControl™ Followspot System, and customized solutions such as visual effects and Enhanced Environments.

Further, MBSE will purchase all of the assets of PRG’s Paskal Lighting division, which includes a vast inventory of lighting and grip equipment and expendables.

The deal is expected to close within the next few weeks.

Jere Harris, Chairman & CEO of PRG said, “This partnership with MBSE advances our position as the leading supplier of technologically advanced services and solutions in media, entertainment and live events. We look forward to working with the MBSE team as a preferred resource to its customers.”

“PRG’s strong market presence and experience in moving and theatrical lighting provides a perfect fit for our stage-based equipment rental operations,” added Richard Nelson, President and CEO of The MBS Group. Nelson added, “This is a great opportunity for us to maximize our relationship with PRG to better service our clients.”


About MBS Equipment Co.
MBS Equipment Company maintains one of the industry’s most extensive inventories of LED and other lighting and grip equipment for film and TV production. MBSE is the world’s largest studio-based production services provider, servicing over 35 studios and nearly 270 sound stages worldwide. As part of The MBS Group, MBS Equipment Company, along with MBS3 and Pinewood MBS Lighting, provide all the resources and equipment necessary for studio development, studio management, studio operations, and lighting and grip rental services.

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Metallica & the San Francisco Symphony Reunite for S&M2 Beneath Bespoke LED Rings

Twenty years later, Metallica and the San Francisco Symphony were reunited for their legendary S&M concert, this time as the opening night programming for the Chase Center in San Francisco. Show Director Dan Braun designed the set, which included four flown LED rings that hovered above the symphony and the band in an in-the-round stage setup.

PRG provided LED, rigging, motors, sound and the camera system for this historical event. This included an LED system with a total pixel count of 16,418,688, a POV camera slider system, and 254 Meyer Sound speaker enclosures.

“Absolutely beautiful, cutting-edge design and vision by Dan Braun,” says PRG Senior Vice President John Wiseman. “When we saw the drawings, we realized we were looking at something we hadn’t seen before, which is really saying something considering the volume of shows our team has been lucky enough to be involved in over our careers.”

While the pairing of the band and the symphony had been done before, from a production standpoint this show was entirely different from the first S&M concert, which was held at the 3,500 capacity Berkeley Community Theater.

“This classically San Francisco band was a natural choice for the new venue,” explained Braun. “We used those parameters for the design.”

Metallica and Braun’s over-arching goal for the design was to facilitate the energy exchange between the band and audience as directly as possible.

“The only way you can take the last row of the audience and move it halfway closer to the stage is to move the stage to the middle of the arena,” explains Braun. “I haven’t ever forgotten what it’s like to be a young person going to a concert, so I find the in-the-round design very attractive.”

Metallica and PRG have a long history working together, and when the drawings for this one-off came in, Director of PRG Projects Jeroen Hallaert realized it would be quite complicated. The four flown LED rings required that 60, 45, 30 and 16-foot circular truss be respectively stacked and clad with ROE CB5 tiles on both the inside and outside. Braun was committed to a very clean look, which meant that the LED would have to be custom designed with fabricated hanging hardware.

“When I drew the thing, I of course I thought it might be really special,” explains Braun. “In pre-vis, we had a dream team from PRG along with lighting director Rob Koenig and programmer Joe Cabrera. When I walked into the room where we had the rings set up for the first time with the stage and the video surfaces activated with test patterns, I beamed. That’s a breathtaking moment when you see it and realize it is going to work, and this time it was magical.”

The entire LED system was a full tile to tile redundancy in addition to processor redundancy. The bespoke hardware was designed for a very fast load in, as only 20 hours were available for everything including stage, sound, video and lighting.

“The rings took us two days to assemble and hang during rehearsal, but our team came up with solutions to cut that time in half for the show load in,” explains PRG Project Manager Valdis Dauksts. These solutions included smart gear packs and keeping the entire crew consistent throughout rehearsals and the show.

In the end, it was all worth it as the show was a major success and received glowing reviews from publications and audiences on social media.

“What we heard and saw in the arena was exactly what we intended to do,” said Braun. “Lug managed to take 99% of the cabling from the ceiling. It created a magnificent environment. When you look at the photos, the cable drops were not photoshopped out, they were really not visible.”

Because Production Manager John “Lug” Zajonc has worked with Braun for years now, he says it was easy to understand his vision.

“I have always believed in the fit and finish as the fans deserve the best show we can provide, so immediately I thought that all the cables needed to be routed to the ceiling,” explains Zajonc. “We were able to work with the building to find additional power in the catwalks so we could achieve the clean look and were fortunate that they were able to accommodate all of our equipment.”

It might seem like a whole lot of work for a one-off show, but it is undoubtedly one that people will remember for years to come.

“Of course building this for a one-off was a steep hill to climb but with partners like Kish Rigging, the leadership of Lug and Dan, and our PRG team of Val Dauksts, Gene McAuliffe, Eric Geiger and Wolfgang Schram onboard, we had the expertise and all the tools to be successful,” says Wiseman.

Using PRG and VER for multiple disciplines had some notable benefits for production.

“Jeff Priepot did a great job getting our audio package sorted and John Wiseman came in on the video side to really help us out,” says Zajonc. “The motors being consistent throughout the entire project made it easier so we could plug in from anywhere to get things going.”

“Having a relationship with someone who can support you and do problem-solving is vital because doing a huge one-off like this is even harder than preparing for a tour in a lot of ways,” says Braun. “It takes an amazing group of people to look at a drawing and make it real and efficient. A partner like PRG who will embrace your values and pursue a common goal of a magnificent show is an amazing experience to be part of.”

Written by: Erin Bates
Photos by: Ralph Larmann

Show Director: Dan Braun
Production Manager: John “Lug” Zajonc
Lighting Designer: Rob Koenig
Video Director: Gene McAuliffe
Sound Design: Bob McCarthy

PRG Account Executive Video: John Wiseman
PRG Account Executive Audio: Jeff Priepot
Project Manager: Valdis Dauksts

LED Crew
LED Mounting System: Jeroen Hallaert
LED Engineer: Wolfgang Schram
Crew Chief: Eric Geiger
Lead LED: Evan Cervantes
LED Tech: Casey Bowen
LED Tech: Christopher Shaffer
LED Tech: Humberto Murillo
LED Tech: Kenny Patterson
LED Tech: Noel Galan
LED Tech: Neil Welch Jr.
LED / Camera Op: Benjamin Welch
LED / Camera Op: Corey Lang
LED / Camera Op: Jason Fisher

Camera Crew
EIC: Scott Widder
Engineer: Matt Vassaloo
Engineer: Graham Howill
Media Server: Cameron Pigou
Camera Lead: John Moore
Camera Op: Andrew Long
Camera Op: John Heathcott
Camera Op: Omar Regalado
Camera Op: Matthew Ortiz

Audio Crew
Sound Engineer: Chris Nichols
Crew Chief: Kevin Valind
PA: Connor Murray
PA: Bobby Brickman
PA: Shawn Mahler
PA: Kas Solomon
PA: Dana Danial
PA: Rick Soukup


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Chris Corrini Joins PRG as Chief Financial Officer

NEW YORK – Sept 23, 2019 -- Production Resource Group LLC (PRG), the world's leading provider of entertainment and event technology solutions, announced today it has hired Chris Corrini as Chief Financial Officer, who will head a newly reorganized financial leadership team. Corrini will lead the combined PRG/VER financial efforts including raising capital, directing investor relations, managing financial performance, developing long-term strategy and providing financial planning and analysis.

"A little more than a year ago, we combined PRG and VER and became a billion-dollar global business. With that, the demands placed on our financial department have increased enormously in both complexity and sheer volume," said Jere Harris, Chairman and CEO of PRG. "I believe Chris' credentials at leading global companies and his tested business acumen will strengthen PRG and help position us for future growth."

Corrini brings deep experience with multi-national companies that have extensive networks of locations, which is a major asset to PRG. His corporate resume includes a 10-year tenure as Chief Financial Officer at Brink's as well as the publicly traded Brink's Group, which included Brink's and Brink's Home Security. Following that, he was CFO at Edison Learning, where he was vital to a successful turnaround. Other experience includes senior financial roles at ITT Corporation, Akzo Nobel, Chiquita Brands and Ernst & Young. Corrini graduated from the University of Notre Dame, magna cum laude, and received an MBA from The Wharton School of the University of Pennsylvania. He is a Certified Public Accountant.

Corrini added, "PRG is outstanding at what it does and is uniquely positioned for growth as the technology leader in the rapidly expanding entertainment and experiential markets. I look forward to working with PRG's first-rate team and the investment community to realize the many opportunities ahead."

Within PRG's new financial leadership team, Joe Cirillo is taking on a central role of Senior Vice President, Finance, reporting to Corrini. Since Cirillo joined PRG in August 2016, he has worked with PRG's leadership team on the company's financial operations, as well as the VER acquisition, which was completed in August 2018.

Additionally, Dan Mollicone will round out the team as Vice President of Financial Planning and Analysis with global responsibility. Mollicone will play an essential role in providing information that will guide decision-making and strategy for both corporate leadership and market groups. Mollicone has been with PRG for 10 years, most recently as Director of Finance, EMEA. A search is underway to fill his current role.

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PRG Taps GameStop’s Former Head of Partnerships for Esports Business

LOS ANGELES – Sept 9, 2019 - Production Resource Group LLC (PRG), the world’s leading provider of entertainment and event technology solutions, has hired esports thought leader and former Head of GameStop Partnerships, John Davidson, as Director of Business Development, Esports. At PRG, Davidson will develop strategic partnerships and production opportunities that leverage PRG’s expertise for this quickly growing segment.
“We are excited to have John join PRG and guide the company’s efforts within esports,” said Jens Zimmerman, Global Sales Officer of PRG. “The esports phenomena has fully arrived on the global stage and, with our technical expertise, we are ready to help ensure the success of one-off events or world tours.”
Davidson was previously head of partnerships at GameStop where he initiated collaborations with global esports powerhouses Team Envy, OpTic Gaming and managed naming rights for Complexity Gaming’s world-class headquarters - The GameStop Performance Center. Davidson has presented at TEDx and is an active speaker on youth marketing and gaming. He sits on the advisory board for Dallas Influencers in Sports and Entertainment (DISE) and serves as Board President for the Esports Trade Association.

“I’m excited to join PRG, a clear industry leader with professional expertise, and most importantly, respect for the space, understanding of our passion and a desire to benefit the community. The company’s capabilities and proprietary technology will give brands and fans unforgettable activations and experiences at esports events around the globe,” said Davidson.

PRG’s experience in esports includes some of the world’s largest events, including ESL One New York, League of Legends Worlds Final Tour and most recently, the Fortnite World Cup. PRG provides the most comprehensive and advanced suite of production services available for major events, and, with a network of over 70 offices on five continents, can execute anywhere in the world.

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PRG Support for Bon Jovi's "This House Is Not for Sale" Tour

PRG has worked with Bon Jovi for almost 20 years. The band and the technical production solutions company are a great match, as they share a commitment to cutting edge technology. “Jon Bon Jovi always wants to push the envelope for what is the best,” says Tour Director Paul Korzilius.

Bon Jovi is currently out on their This House is Not For Sale Tour, where they’ve implemented a fully 4K camera and LED system, along with a PRG Ingest system to streamline storage of the large files of footage they capture every night of the tour.

“The 4K system definitely stands out, from the file sizes to the pictures that are up on the screen, everything about it is big. That’s the way we like it here at Bon Jovi - big,” says video director and brother of JBJ, Anthony Bongiovi. To achieve that look, ROE CB8 LED tiles are housed in PRG SpaceFrames™.

Watch the video to hear more from the incredible crew and see footage from their Dublin stop on the tour.

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PRG to Open New Facility in Chicago, Adjacent to CineSpace Studios

CHICAGO, ILLINOIS—September 6, 2019 – Production is booming in Chicago, and PRG, the global leader in entertainment and event production solutions, is about to expand with a new camera prep facility conveniently situated in the Douglas Park area, adjacent to the CineSpace Chicago Film Studios lot, where PRG supplies several of network television’s highest rated episodic series.

PRG acquired VER in August 2018, including its VER Camera division, known for industry-leading expertise and inventory in digital cinema and broadcast cameras, lenses and accessories. The combined service offering of the two brands is the most comprehensive and technologically advanced in the film, television and broadcast markets today.

Located on the west side of downtown Chicago, the new location is poised to become the major Midwest production hub. “It’s a great match for PRG’s experienced support of film, scripted and unscripted television, sports, music, special events and live broadcast production, says Andrea Berry, SVP and General Manager of Broadcast & Television at PRG. “Building this new facility in such a prime area shows our whole-hearted commitment to the growth of the Chicago cine/broadcast media market.”

Slated to open in the Fall of 2019, the new 10,000 plus square foot facility, located at 1414 South Western Avenue, will offer 6 fully equipped camera prep bays and production offices. The contemporary wood and brick interior will feature an industrial warehouse-chic design.

PRG clients will have access to the world’s largest inventory of professional digital cinema, large format, and television broadcast cameras, lenses, and support gear. Most importantly PRG’s skilled technicians know the ins and outs of coordinating cine and broadcast style production packages, LED walls for Enhanced Environments, and 35Live! production packs to solve common and unique shooting challenges.

A convenient ground floor loading dock will provide drive-up pickup. Or visitors can use the ample on-premises parking.

“It is great to be so close to a major studio lot”, says Carl Cook, VP, Television & Film at PRG. “Beyond that we hope that our easy accessibility will help us serve the diverse requirements of the Chicago production landscape.”

The new Chicago facility opens this fall at: 1414 Western Avenue, Suite 3E, Chicago IL, To see what PRG and VER Camera bring to Chicago, contact Caroline Doubek at

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Looking Back at Coachella as Summer Comes to An End

Music festivals are happening year-round, worldwide. There are now more than 800 every year in the United States alone. While fall and winter months see a steady sprinkle of fests, April through August are still the prime months for Americans to experience a different, large-scale event every weekend. 

As peak festival season winds down, we took a look back at the iconic, annual kickoff event for the west coast – Coachella. PRG provided lighting and video for Coachella’s massive main stage, lighting for the nonstop party in the Yuma tent, and various disciplines for 15 different artists for both weekends of the famed music festival in Indio, CA this April.


The impressive Coachella main stage video walls were made of 590 LED tiles and could be seen in beautiful clarity from all the way across the Empire Polo Fields. PRG’s proprietary SpaceFrame was used to save truck space and reduce the need for additional wind bracing. 

With desert winds reaching 30 mph during the festival, the SpaceFrame advantages were definitely felt. Carbon fiber fabrication and built-in wind bracing reduced the overall weight of the walls, increasing safety. The compact, lightweight design of the frame offers an estimated 30 percent reduction of installation and dismantle time.  

Inside the PRG video truck that sat behind the Coachella stage, multiple stations for pre-vis were set up for programming. This area also housed the powerful D3 media servers and served as a haven from the harsh desert conditions and a temporary home base for the video crew. 

“The 3D interface helped us to preprogram the screens for Coachella content, while D3 made it possible for artists to preprogram their shows, come with it on a hard drive and use PRG systems to playback without needing to make large changes or reprogram,” explains Anthony Vasquez, who handled PRG Screens Control & Media Servers for Coachella. “Our systems allowed for artists to be located at FOH, on-stage, or use the house system for seamless playback across all screens.” 

PRG has a long-standing relationship providing Coachella main stage lighting by way of Vice President of Global Accounts Bobby Allen.  

This year, PRG’s proprietary Best Boy HP Spot Luminaire fixture provided everything from spots to washes for headlining sets, alongside Clay Paky Mythos IIs, B-Eye K-20s, Solaris Flare Strobes, and Chauvet Strike 4 LED lamps. A total of 254 fixtures served as the baseline setup for the main stage, all provided by PRG. 


For the first time, PRG provided the lighting for Coachella’s techno escape from the desert heat, the Yuma tent. The Yuma tent was added to the festival in 2013 and has gained popularity and production value ever since. This year, lighting designer Steve Lieberman significantly upped the counts of Robe Pointe’s and Spiiders, adding about twice as many rows of beamy lights into the symmetrical grid of the tent’s ceiling, which lends itself well to chase patterns, AB patterns and room shifts. Another addition to 2019’s Yuma tent were 25 Sceptron squares that lined the ceiling, creating a grid of light that was triggered on a MA Lighting grandMA2 console. Forty Elation Protron 3Ks created washes of color, while also offering strobes, macros and pixel functions for added variety. 

The center divider of the triangular tent featured a line of four 3’ mirror balls with the iconic Yuma symbol, the disco shark, serving as the room’s centerpiece. LA locals and international clubbers may recognize the disco ball shark from Hollywood’s Sound Nightclub - and that’s because Sound’s owner, Kobi Danan, is also behind the curation of the Yuma tent.  


PRG provided projection, rigging, and video services for Ariana Grande’s closing set on the Coachella stage. As the video provider for her current Sweetener World Tour, PRG helped replicate LeRoy Bennett’s touring design for the festival, which featured a 28’ diameter inflatable sphere and six 30K projectors at front of house. The superstar’s set was at its most stunning during ‘NASA’, in which the stage seemed to zoom into hyperspace with galactic content and the sphere transformed into a giant moon, mimicking the full moon that hung above in the sky on Weekend 2. This account is handled by PRG Account Executives Nick Jackson and John Wiseman. 


The brooding French producer’s team came to PRG with their concept for his tour and festival appearance. This resulted in a 40-foot-high scenic build of an automated monolith structure. Coated in the darkest substance known to man, Vantablack, on the concave side to create the illusion of infinite depth and blackness, it essentially simulated a black hole on stage. 

The structure opened to reveal an automated LED wall, which in turn revealed a blinder light wall hiding a solid column of hybrid strobes. In a unique multi-depot collaboration PRG provided scenic, rigging, automation, lights and LED for the Outdoor Stage set by way of Jeroen Hallaert, Director of PRG Projects North America. 


Seventeen-year-old sensation Billie Eilish had one of the most anticipated sets of the weekend. PRG and VER provided lighting, video and rigging services for her Outdoor Stage set by way of Account Executive Anthony “Looch” Ciampa. With conceptual and vocal maturity far beyond her years, Eilish flitted in between her dreams and nightmares. A bedframe hung in midair at one point, which she performed from. Fitting, as her album was recorded mostly from her guitarist, producer, and brother, Finneas’s tiny bedroom studio. 


Puerto Rican rapper and reggaetón star Bad Bunny brought upbeat energy to the Coachella stage for his daytime Sunday set. PRG provided additional LED, lighting and rigging through project manager Josh Huffman. 


PRG also provided: 
Blood Orange – audio 
Childish Gambino – rigging 
DJ Snake – lighting and rigging 
Khalid - lighting 
Lizzo – lighting 
Maggie Rogers – lighting 
Project Yellow – lighting 
RÜFÜS DU SOL – video 
Sofi Tukker - lighting and video 
Tame Impala – rigging 
Weezer – lighting and rigging 


Bobby Allen – Vice President Global Accounts  
Brooke Hershey – PRG Production Coordinator
Bryan Barry – PRG Logistics Manager 
Kevin Maloof – PRG Runner 

Ken Flagg – PRG Mainstage Head Rigger 
Paul Armellino – PRG Mainstage Second Rigger 
Brendan Yeager – Headliner Rigger  
James Costa – Headliner Rigger  


Stephen "Dak" Harris – PRG Mainstage Lighting Crew Chief 
Chad Smith – Lighting FOH Tech 
Todd A Turner – Lighting Tech 
Randy Thomas Foote – Lighting Tech 
Madison E Gray – Lighting Tech 
Marjorie Arner – Lighting Tech 
Kurt R. Thormodsen – Lighting Tech 
Chris "Axl" Wiegel – PRG Mainstage Dimmer 
Giovanny Carvajal – Mainstage FOH Tech 
Jason Winfree – Ground Control Tech 
Michael "Zach" Matthews – Lighting Tech 


Jeff Gainer – PRG Video Project Manager 
Eric Geiger – Chief LED Engineer 
Anthony Vasquez – PRG Main Stage Screens Control Media Server Manager 
Charles F. Dabezies – PRG D3 Operator 
Abril Gamez – E2 Operator / Programmer 
Sean Filstrup – E2 Operator / Programmer 
Duane Wright – E2 Operator / Programmer  
Tim Nauss – FOH Video Engineer 
Evan Cervantes – LED Crew Chief 
Maarten Deschacht – LED Engineer 
Sam Foumberg – Video Engineer 
Mauricio Villalobos Schlotterhausen – LED Tech 
Justin Welch – LED Tech 
Kenny Patterson – LED Tech 
Joseph Arreola – LED Tech 
Arturo Alonso – LED Tech  
Casey Bowen – LED Tech 
Neil Welch – LED Tech 


Daniel Moore – Yuma Crew Chief 
Emin Hagopian – Yuma Dimmer Tech 
Daniel Vargas – Yuma Lighting Tech 
Stephen Jim Mecsery – Yuma Blaze Tech

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PRG Corporate Events Makes Strategic Hires to Support Association Business

NEW YORK – AUGUST 26, 2019 - Production Resource Group LLC (PRG), the world’s leading provider of entertainment and event technology solutions, announces it has hired Danton (Danny) Hardman and Murray Ryan as Directors of Business Development within its Corporate Events group. PRG’s Corporate Events provides production solutions and services for the full spectrum of live experiences for industry associations and corporations. Hardman, based in Washington D.C., and Ryan, based in the Chicago metropolitan area, will both focus on the association market.

“Associations represent one of our most important customer segments, and we continue to invest in resources and top talent to support them. That includes adding well-respected professionals such as Danny and Murray to our team,” said Manus McHugh, Senior VP of Corporate Events, Staging and Hotels.

Hardman has extensive experience in business development and sales. For the last four years, he was at Freeman, servicing large national clients including National Beer Wholesalers, National Rifle Association, National Retail Federation and American Bankers Association. Prior to that, he was at Hargrove in business development for tradeshows, exhibits and events, working on global political events, auto shows and association events. Hardman is active in the PCMA D.C. Chapter.
Ryan brings 30 years’ experience in hospitality sales and marketing to the role. Before joining PRG, he was Director of National Accounts - Midwest for Hilton. Prior to that, he was Director of Sales – U.S. Association team for Tourism Toronto, based in D.C. Previously, he held various sales and marketing roles with Hyatt Hotels and Starwood Hotels. Ryan is actively involved with PCMA and is the Immediate Past President of PCMA’s Greater Midwest Chapter.

PRG occupies a unique position in the events space, bringing the same technology and solutions it creates to engage audiences in concert touring and theatre to corporate, association and tradeshow customers. It can provide a full suite of services or specialized support in production disciplines such as audio, video projection and mapping, lighting design, LED, computer networking and scenic solutions.

PRG’s association clients include American Library Association (ALA), American College Health Association (ACHA), American Institute of Aeronautics and Astronautics (AIAA), Healthcare Financial Management Association (HFMA), International Association of Amusement Parks and Attractions (IAAPA) and Society of Nuclear Medicine and Molecular Imaging (SNMMI).

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PRG Adds New Absen Aries Series to Rental Inventory

PRG the first rental provider of AX 1.5 LED product in North America

NEW YORK – AUG. 19, 2019 – Production Resource Group LLC (PRG), the world’s leading provider of entertainment and event technology solutions, has added 100 square meters of the recently launched Absen Aries Series - AX 1.5 - to its global rental inventory. Absen AX 1.5 is a narrow pixel pitch (NPP) display designed to meet the growing demand for sub-2mm fine pitch LED in rental staging.

“We are delighted to be the first to offer our rental clients around the world the Absen 1.5 LED,” said Scott Hansen, PRG’s Chief Asset Officer. “We’ve seen an increase in the demand from our corporate clients for a reliable, high-resolution LED screen and with its superior definition and color purity, the Absen will be a valuable addition to our LED product offering.”

The AX 1.5 supports HDR10 (high-dynamic-range) standard allowing for a much broader range of colors. It also features the latest in Integrated Matrix Device (IMD) and Common Cathode (CC) technologies. IMD offers four-in-one-pixel installation and a panel that is 2.5 times stronger and more robust than conventional LEDs. CC improves brightness and contrast with better heat dissipation, consuming 20% less power. The panels are provided with corner edge protection, increasing reliability and reducing maintenance on-site. And the 16:9 aspect ratio (384 x 216 pixels per panel) that means that clients can use 4K and 8K resolutions at a standard size without customizing their video source. The Aries AX 1.5 is ideal for high-end corporate events, auto shows, e-gaming competitions and the broadcast industry with its reduced pixel pitch, high resolution and good off-axis viewing angle.

“We are thrilled that PRG will be amongst the first companies in the world to be able to offer customers the new Aries 1.5mm. With PRG’s breadth of clients from broadcast to corporate meetings, it will be exciting to see all the possibilities that PRG has in store for the AX 1.5,” said Larry Lipsie, Senior Sales Manager of Rental and Staging for Absen North America.

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Backstreet Boys BTS Video Series

Join us for an inside look at the Backstreet Boys DNA World Tour in this exclusive 6-part series. PRG goes behind the scenes with the producers, designers, choreographers and the boys themselves as they have their first look at the stage design and dance their way through rehearsals. Producers walk us through design concepts, share what it took to visually represent 25 years of Backstreet Boys songs, and explain how PRG has become a part of this tour’s DNA.

Interviews include Lighting Designer Graham Anderson, Production Designer Dan Mercer, Brian Littrell of the Backstreet Boys, and PRG’s own Randy Hutson and Michael Drew.


View the full series here.

Production Designer / Production Manager: Dan Mercer 
Lighting Designer: Graham Anderson 
Creative Directors: Rich+Tone Talauega
Videographer: Edward Platero, Platero Visual

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