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.
DALLAS – MARCH 16, 2017 – Production Resource Group LLC, the world’s leading provider of entertainment and event technology solutions, announced today that it has been issued a United States utility patent for the award-winning GroundControl™ Followspot System. The patent (number 9,593,830) is the culmination of a multiple-year development effort by the PRG Research and Development team based in Dallas. This patent is the first issued of the four patents filed by PRG related to the GroundControl system.
“We are very happy and proud to have our first claims granted on the GroundControl Followspot. PRG’s innovation is driven by our clients’ needs and this is just another example of our extensive technical capabilities,” said Chris Conti, product manager for PRG and one of the inventors. “This product is revolutionizing a category that has seen very little innovation in the past 30 years. We have been overwhelmed with the success and demand for the product.”
PRG’s GroundControl Followspot System allows a followspot operator to remotely operate a high output automated luminaire as a followspot from up to 2,000 feet away. Designers now have total creative freedom to put followspots in previously unusable places or avoid complex rigging. With the GroundControl Followspot System, the operator is on the ground so the physical footprint of the luminaire is significantly smaller than a conventional followspot. Because of this small footprint and low weight, followspots can now be placed in a wide variety of positions. The GroundControl Followspot System consists of specially customized PRG luminaires which include a built-in camera and can be flown or mounted in locations around a venue which would not normally accommodate a followspot. In addition to the safety benefits, the GroundControl Followspot System reduces trucking space, saves operator time, allows for a single operator to control multiple follow spots and also minimizes “seat kills” – the need to remove seats to create traditional followspot positions – a revenue bonus for clients.
The GroundControl Followspot System, introduced to the market in 2016, has been well received by the industry – awarded Live Design’s Products of the Year for Best New Followspot in 2015-2016 and AV Awards Production Product of the Year in 2016 – and it has been quickly integrated into live music, TV and corporate productions. The technology has been used on tours by artists including Bon Jovi, Bruce Springsteen, Drake, Elton John, Metallica and Red Hot Chili Peppers and has been integrated into TV productions such as “The Voice”, “MTV Awards” and “iHeart Music Awards”. It has also been used in the Tom Ford Fashion Show and in events and exhibits by corporations such as Adobe, Microsoft and SAP.
The GroundControl Followspot System consists of three parts: a GC Spot Luminaire, a GC Truss Box, and a GC Followspot Controller. It is currently compatible with PRG’s Best Boy HP, Bad Boy HP and the new GroundControl™ LongThrow luminaire.
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!”
In Vectorworks' new case study, take a look back at how our experience at the 2015 Rock in Rio in Las Vegas led to our collaboration at the 2016 Rock in Rio show in Lisbon. Hear how Vickie utilized Vectorworks’ Vision Previz Studio to prep for the Las Vegas and Lisbon Rock In Rio events.
PRG XL Video, the UK operation of Production Resource Group (PRG), has been awarded Favorite 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.
Go behind the scenes with PRG client PTC and our partners to see the challenges involved in bringing a massive and aspect-ratio-challenging 10 feet x 100 feet screen to life for our client's big vision.
When PTC, a global technology provider in software and the Internet of Things (IoT) space set out to plan for their annual global sales meeting, the primary goal was to take their meeting and attendee experience to the “next next next level,” according to Lisa Casello, Sales Enablement Director for PTC. To get the job done, PTC turned to PRG for partnership in delivering 360 production services, which included audio, video, lighting, scenic, labor, as well as custom content creation through PRG’s Media Services division.
With a massive 10’ x 100’ screen as the main visual attraction and conduit to deliver the PTC message, PRG was faced with engineering content and a custom production solution that would meet the unique aspect ratio of the screen.
“Most video in television is 16:9; this is 10:1. So it was being projected onto a screen that was ten feet high by a hundred feet wide.” said Chris Albert, Senior Content Producer, PRG Media Services division. “Everything had to be done in 4K so that when it blew up to this one hundred foot wide by ten foot high screen, it looked crisp and clean.”
PRG and its partners worked alongside PTC through every stage of the production process by taking creative direction provided by PTC and set it to motion on a pixel accurate canvas, creating an immersive and intimate visual experience for the programs attendees.
Commenting on the 360 partnership with PRG, client Doug Hodge, Content Development & Production Manager for PTC, said, “To take our company vision to the next level, you have to find a company that has the ability to do all of it. Not just the production side, but also to be creative and help me collaborate on a new vision to tell the PTC story.”
How will PTC and PRG out-do a heightened attendee experience at next year’s sales kickoff event? “…you guys have your work cut out for you,” said Lisa Casello.
In December of this past year, Andrea Bocelli was on tour hitting eight cities–Las Vegas, Anaheim, Austin, Dallas, Houston, New York City, Boston and Newark–within 24 days. The PRG Team, familiar with both the artist’s needs and the venues, provided audio, lighting and rigging solutions for the coast-to-coast tour. While the schedule was challenging enough, producing pristine concert hall level sound and an unforgettable concert performance and experience within large arenas like the MGM Grand and The Garden provided another layer of complexity–especially with only a few short hours available to load-in, install and be rehearsal-ready.
Alan Henig, PRG’s audio crew chief who has supported the Bocelli tours since 2011, fully understands each venue comes with a new set of challenges. “When the world’s most popular touring opera star happens to be blind, the pressure to have pristine audio is even greater,” Alan stated. “In addition to meeting Bocelli’s sound requirements, we were also challenged to address the audio and lighting needs of a 70-piece orchestra, guest violinist, pop singer, and dancer. The only way we pull this type of magic off is through the exceptional expertise of the PRG Team.”
Due to the unique size of the venues and large audiences, providing a concert hall level of sound took an exceptional amount of experience and audio engineering. “To achieve pristine sound enjoyed by the individual concert attendee equally, we hang an enormous amount of PA and run it at low levels. This approach provides a sound field effect–leaving no seat uncovered,” said Henig. The PRG Team only had a few hours to create this sound experience, sound check it and turn it over for rehearsals. Trucks unloaded at 7 a.m. with the floor and local crew on hand at 8 a.m. to move into the venue. Working quickly and efficiently, the team installed a small, stadium-sized PA system, including 160 to 172 boxes, while also setting up an orchestral show with 85 inputs from the stage. In order for PRG to hand over the system to Bocelli’s Italian sound team by 1:00 p.m., full installation had to be completed within a four-to five-hour window. The experienced PRG crew making this possible included: Tomasz Gagewski, Armando Montalvo, Paolo Mangones, Andre Roy, Justin Willmon and Artur Janota.
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.
Hamburg, Germany, and Dubai, UAE: Production Resource Group LLC (PRG) was honoured to work with Balich Worldwide Shows (BWS) to supply a huge multi-surface video projection for the United Arab Emirates National Day celebration in Abu Dhabi.
The event, held at the request of the Crown Prince’s Court, celebrated 45 years since the unification of the United Arab Emirates, and took place in the presence of a selected crowd of dignitaries.
Tom van Hemelryck, VP Global Sports and Special Events was contacted by Balich Worldwide Shows to provide both the technical expertise and technology for this special commemorative show.
Tom brought together video and technology specialists, Yves Winand, from PRG in Belgium and his counterpart Bill Ainley from the group’s UAE operation to work with the design specification from Balich Worldwide Shows. Starting with the mapping of the surfaces, d3 was identified as the media server for this project. It was used to design, and previsualise the projection, and whilst on site used for line-up and playback of the content created by Charles Darby and the team at Clonwerk.
Yves Winand explains: “We needed a strong partner for this challenging project, and we worked closely with d3 to improve some processes on site in order to save time in the line-up. We had to share preparation nights with lighting programming and rehearsals, and waiting for the arrival of large moving elements, so time for the set-up was limited.”
The projection covered over 6500 m2 of floor, which was a particular challenge due to the flat angle and positioning of the projection towers. Either side of the stage, two wing screens of 600m2 were also covered with projection. Four sand dunes, each measuring 35 metres by 8 metres, which tracked across the stage, and a rising sun of 16 metres by 8 metres, which rose from behind the dunes were also projection mapped and covered perfectly as they moved into place during the show.
Panasonic PT-DZ21KE projectors were used for the floor and wing projections, and a combination of Barco HDF-W30 and HDF-W26 projectors covered the dunes and rising sun. In total 126 projectors were used across the event to create the spectacular effect.
Bill Ainley commented: “Whilst this event presented many challenges, we are proud of our team’s ability to seamlessly draw upon design, technical and logistical expertise from three PRG operations across three countries to ensure our approach at the design phase would achieve our client’s expectation on site. This, along with the team of expert technicians who worked very hard in a challenging environment, ensured we could deliver the project to an exceptionally high standard.”
Tom van Hemelryck concludes: “We are delighted to continue our working relationship with Balich Worldwide Shows, and honoured that they chose PRG as a partner in delivering this prestigious, high-profile show. Everyone involved in this show worked in great collaboration to deliver a show which looked truly spectacular.”
Photo Credits: Luca Parisse for Balich Worldwide Shows
Show Credits: Creative & Executive Production Balich Worldwide Shows
The award-winning company DynaMix Media is one of the leading audiovisual technical production agencies in India.
With ever increasing demands for events in India, the PRG Alliance is pleased to announce a new partner in the region.
The new addition to the membership of the PRG Alliance is passionate about great results and meticulous in execution. DynaMix Media is a company recognized in India for their remarkable contribution to events and entertainment, having introduced the 270 degrees projection format to corporate presentations, and the first 300’ wide projection to the local market. The company has a growing number of immersive projection and projection mapping jobs under their belt.
DynaMix Media was founded in 2005 and is led by Mr. Suresh Madan. The company brings to PRG Alliance its vast understanding of video playback and networking systems, and its one-stop rental shop and services across India – offering complete services in video, audio, lighting, trussing, project management and content design.
“Our position in the Indian market is not only that of a company capable of delivering complex audiovisual projects, but also one which is attentive to international standards in processes and safety. It is a constant effort for us to implement these aspects in projects in India, but slowly the clients are accepting this is the right path. We know that PRG Alliance has the same principles and tapping into this great resource and knowledge pool will be very beneficial for our company”, declares Suresh Madan, Founder & CTO of DynaMix Media.
This attitude has been recognized by the industry and DynaMix Media was awarded as the “Best Video Rental Company” by Palm Sound & Light Awards 2014.
“We believe DynaMix Media is the best partner for PRG Alliance,” said Tom van Hemelryck, PRG Alliance Director. “When our clients go to India they need a reliable supplier, and DynaMix Media’s credentials and reputation is impeccable.”
For more information about DynaMix Media and PRG Alliance visit the website.
Projection Mapping Case: Fortis Memorial Research Institute Launch, New Delhi
Throughout LDI, the PRG team rallied to provide hands-on demos at the packed booth, letting attendees experience the power of the growing family of GroundControl™ products, the refreshing user interface of the new Mbox v4 software, and a firsthand look at the new ReNEW-LD line dimmable LED Retrofit Assembly. Checkout our favorite photos from the show below.
The new GroundControl™Longthrow, which was previewed at the show (available February), lured crowd after crowd for it's slim footprint and full feature set.
Over at the Mbox stations, visitors had a chance to play with multiple outputs from the new Mbox v4 software.
And in the Retail, Hospitality + Architecture corner, RH+A was showing the new ReNew-LD line dimmable LED Retrofit Assembly.
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 Center 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 specialize 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.
PRG, the global partner of choice for the world’s leading entertainment and event producers, designers, and creative talents, announced today the debut of GroundControl Longthrow™ (GCLT), a revolutionary new product addition to PRG’s GroundControl™ Followspot System. In addition, PRG has announced Mbox v4 software for media server professionals as well as enhancements to the RH+A ReNEW-LD–a line dimmable LED Retrofit Assembly. PRG’s new product lineup will be showcased in Booth #2236 with daily demos and hands-on access to products provided during LDI 2016 held this week in Las Vegas, October 21-23, 2016.
“Our goal is to be the market leader across all product categories offering our customer a single-source solution for the most innovative, functional, high-performance, intelligent products and services,” stated Jere Harris, Chairman & CEO of PRG.
Chris Conti, Product Manager for GCLT, added, “At this year’s LDI event we’re very excited about introducing our new GCLT, a precision engineered automated luminaire, built from the ground up to have a small footprint, big feature set, high output, and fully optimized for long throw followspot applications. The GCLT is not just an incremental improvement of a traditional followspot. It’s going to revolutionize a category that has seen very little innovation over the past 30 years.”
GroundControl™ allows designers huge flexibility in where to locate their followspots and the operators can be safely located on the ground within the venue. In addition to the safety benefits, the GroundControl™ Followspot System also does away with or minimizes “seat kills,” the need to remove seats to create traditional followspot positions – a revenue bonus for venues.
PRG’s new GroundControl Longthrow™ (GCLT) Luminaire is a precision engineered automated luminaire, built from the ground up to have a small footprint, big feature set, high output, and fully optimized for long throw followspot applications. The GCLT feature set includes an ultra-narrow, 2º to 6º zoom, variable frost, a dichroic cross fading CMY color mixing system, variable dichroic color correction, framing shutters, and an iris; as well as full pan and tilt control. All of these features are remotely controlled by a GroundControl Followspot Controller from up to 2000’ away, keeping the operator safe while giving designers more creative tools and options for placement. The GCLT changes the fundamental way in which big long throw followspots are employed by changing the dynamics of safety, rigging, accessibility, and even trucking costs as well.
Experience the all new Mbox v4 software— With live in-booth demos in LED Video, projection, and multiple output systems. Recently used on the Drake ‘Summer Sixteen’ tour, Mbox v4 is a must-see for any media server user looking for a simple, robust solution that provides professional results.
Improved UI: Mbox’s revised user interface provides new controls for patching, output setup, mix setup, and preferences. And the UI now supports independent windows for each output plus the setup window.
Increased Playback Layers: In a dramatic upgrade from previous versions, Mbox v4 increases the number of playback layers in each version of the software along with the maximum content size and output size to allow for 4K playback and output, enhances the pixel mapping, and allows for up to 32 independently mastered outputs (Mbox Designer).
Updated Playback Engine: One of the most significant upgrades to the Mbox software is the heavily revised playback engine. The switch away from QuickTime technology to AVFoundation has unlocked new potential within the software, enabling more layers for simultaneous playback, playback smoothness, both 4K playback and output, and more outputs. With these updates, the software can more efficiently and effectively manage additional pixel mapping capabilities like group mastering and merging, plus the new configurable sources for pixel mapping.
Also on the LDI Show Floor from PRG:
The new RH+A ReNEW-LD— LD Line Dimmable LED Retrofit Assembly + the Bullet 2.0 focusable and compact LED luminaries for a range of architectural and entertainment applications.The line, which includes a daylight and tungsten white light version and a powerful UV blacklight spot, has been installed in a wide variety of themed entertainment, retail, and architectural lighting projects.
The all-new PRG ProShop— Professional Used Gear Website. Come by booth #2236 for a quick tour of the new site with expanded category offerings.
The City of Toronto Mayor, John Tory along with Toronto Industry players including; Cinespace, Pinewood, William F. Whites, Sim Group, Technicolor, SpinVFX, Drake Hotel, Canada Film Capital, DGC, Deluxe, Revival, The Ritz Carlton, and TriBro created a relaxing meeting place for companies to meet with filmmakers that included drinks, appetizers, couches to lounge and listening to some music that was organized by PRG, while charging their cell phone. The location was strategically across the street from the Park Hyatt, where central registration took place.
Events that took place included Famous Scones and Greenhouse fresh-pressed juice from The Drake Hotel, VR demonstrations, International Co-productions, Meet the Locals, and Working in Toronto.
PRG provided LED screens, Lighting Packaging, Stage and Truss.
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.
As Drake's Summer Sixteen Tour nears it's finale, we look back at our best shots from the shows. The PRG crew supported production designer Guy Pavelo's vision with lighting and video. Some of the gear highlights include the GroundControl Followspot System, PRG Mbox v4s, six dozen PRG Icon Beams, 22 PRG Best Boy Washes, 22 Best Boy HPs, 32 Bad Boy Spots, and an 83 ft wide curved video wall made up of PRG-provided Galaxia WinVision 9 tiles.
This summer, PRG Argentina proudly supported the III Edition of the Premios Platino, the most important movie award show for spanish speaking countries. This inaugural event was held at the brand new Punta del Este Convention and Exhibit Center in Uruguay
Punta del Este is known as the “St. Tropez of South America”, due to its beautiful beaches, upscale resorts and nightclubs. This new venue features 25 acres of land, can host 4,000 attendees, has a 72,000 sq ft exhibition hall and 646,000 sq ft of outdoor spaces.
The Award Show is organized by the Entidad de Gestion de Derechos de los Productores Audiovisuales (EGEDA) in collaboration with the Federacion Iberoamericana de Productos Cinematograficos y Audiovisuales (FIPCA). Eight hundred movies from 23 countries participated in this edition of the Premios Platino. The gala was televised through CNN Español, TNT and TVE showcasing in 50 countries, reaching approximately 50 million homes.
Some of the most important acts were: Paulina Rubio, Natalia Oreiro, Diego Torres, Jesse & Joy, and several others.
PRG provided support for this prestigious event with lighting (indoor and outdoor), rigging and full technical services. Eight technicians were onsite for 14 days to assemble and support this event including: 223 moving lights, 154 Conventionals, 90 LED Lighting fixtures, 6 Spotlights and 515 meters of truss
Top 5 reasons you should upgrade to the NEW Mbox v4 Software.
1. Mbox’s revised user interface provides new controls for patching, output setup, mix setup, and preferences. And the UI now supports independent windows for each output plus the setup window.
2. Mbox v4 increases the number of playback layers in each version of the software, increases the maximum content size and output size to allow for 4K playback and output, enhances the pixel mapping (more pixels and new sources), allows for up to 32 independently mastered outputs (Mbox Designer).
3. Synchronization between outputs and servers has been greatly improved, allowing for perfect playback sync across multiple outputs of multiple servers.
4. As with previous versions of Mbox, v4 continues to support the ability to perform single-layer crossfades on every layer.
5. The texture effects in Mbox v4 have been enhanced to allow for better control with up to five modifiers per effect.
Check out some of the new features:
NEW Patch tab has the ability to see what universe/address each component of the server is patched to, as well as the current value for each parameter.
NEW Outputs tab shows the ability to add outputs, arrange those outputs on the Global Surface, assign outputs to displays, and finally assign output masters to the outputs.
The Mixes tab can be arranged on the Global Surface similarly to outputs. Mixes are used to help position, crop, scale, and rotate content.
Within the Preferences tab, all of the server’s preferences can now be edited in the Mbox application itself (and in Mbox Remote). Those preferences can be compared between servers and easily copied from one to another.
Seen below are three independent outputs in window mode. Six layers are currently playing, one spread across the Global Surface and the other five assigned to Mixes.
The same three outputs and highlights have the ability to have independent control over color, brightness, contrast, keystone, and shuttering for each output.
NEW capability of the Mbox Remote application to monitor Mixes.
Revised Pixel Mapping interface in Mbox Remote. As in previous versions of Mbox, pixel mapping Contexts can use the Global Surface as their source.
The pixel mapping in Mbox Remote shows that Contexts can also use Layers as a source - instead of the Global Surface.
The pixel mapping in Mbox Remote shows that Contexts can also use Mixes as a source.
Mbox v4 is available for download here!
License keys can be purchased from your local PRG office.
Updated Mbox hardware, running the Mbox Designer v4 software, is available for rental.
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.
PRG is announcing the appointment of Joseph T. Cirillo as its Chief Financial Officer. As CFO, Cirillo will oversee all of the company's financial affairs and work closely withJere Harris and the other members of PRG's Senior Leadership Team directing the company's strategic growth and assisting in the Company's capital market transactions.
Prior to joining PRG, Cirillo was Vice President, Controller and Chief Accounting Officer at Blyth, Inc., a multi-national consumer products company, where he was instrumental in the company’s growth and managed a variety of mergers and acquisitions, divestitures, joint ventures and IPOs. Previously he held the role of Vice President, Reporting & Planning at Blyth, Inc.
“Joe comes with a strong finance and M&A background,” comments Jeremiah J. Harris, Chairman and CEO of PRG. “His experience with a multi-product, multi-national company will be an excellent fit for PRG. Joe will bring good experience and a fresh perspective to the team. We ran an exhaustive search process to find the right person to fill this important role and I am confident we have found that person.”
Cirillo also sees the connection between his career background and his work now at PRG. “I have extensive experience working with multi-national companies both at the corporate and operational levels, and I look forward to working with PRG to help address the exciting challenges of this rapidly expanding global business.”
He sees his role as CFO for PRG to include strengthening and growing PRG’s business. “Today’s CFO has quite logically evolved into much more than a number crunching, analytical assignment. It’s about rolling up your sleeves and carefully listening, partnering and collaborating with all disciplines within the organization to yield real value-added benefits -- better plans, better decisions and increased profits. And that's exactly what Jere and PRG want and something I intend to deliver”.
A graduate of Fordham University, Joe is a Certified Public Accountant and resides in New York where he has lived and worked throughout his career. He will be based out of PRG’s New Windsor, NY office. When not at work, he can be found running, mountain biking and spending time with his family.