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Collaboration Between Grass Valley and PRG Continues on the Latest Tour-ready Video Systems from PRG Nocturne

Collaboration Between Grass Valley and PRG Continues on the Latest Tour-ready Video Systems from PRG Nocturne

New York and Montreal—March 3, 2015—Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, and Grass Valley, a Belden Brand, a leading producer of broadcast video equipment today announced that they have extended their long-term collaboration with the integration of Grass Valley’s newly introduced Karrera K-Frame S-series switcher and LDX Première advanced imaging cameras into PRG Nocturne’s latest live event video production systems.

“PRG Nocturne has utilized Grass Valley gear from its inception and has wholeheartedly embraced the Grass Valley product line,” says David Lemmink, General Manager and Director of Engineering of PRG Nocturne. “We designed our new integrated video platform for live-event production with substantial input from our clients. It was clear we needed to deliver a true tour-ready broadcast-quality solution. Grass Valley was there once again to provide several of the essential elements we required – including their new K-Frame-based Karrera S-series switchers and LDX Première cameras.”

“Clearly, PRG Nocturne is one of the leaders in live-event video productions and we are proud of their continuing our collaboration,” said Stephen Stubelt, Vice-President of North American Sales, Grass Valley. “Just as they take feedback from their end-users, we take the input from PRG Nocturne’s engineers and technicians to deliver products that help them better support the artists they work with on a daily basis. It really is a very direct working relationship that reflects our interest in addressing the needs of the end-users.”

With the recent acquisition of Chaos Visual Productions and its integration into the PRG Nocturne and the PRG Music Group, PRG is making this initial investment of video equipment to better support their clients. This investment will focus on providing the live event industry with the latest video technology that ensures that PRG clients will continue to be the best equipped in the industry.

Mickey Curbishley, CEO of PRG Concert Touring, states, “We’re making an initial investment of over $50 million in new, state-of-the-art video technology systems that will be based in our facilities in Los Angeles, Chicago, and London. PRG Nocturne clients in the concert touring, film, TV, corporate events, and permanent installation sectors will have access to the finest equipment available. We are especially proud to have such an excellent working relationship with Grass Valley. Because of this relationship, we are able to offer solutions that are uniquely designed to meet the needs of our clients and are unmatched by anyone, anywhere.”

PRG Nocturne has packaged these new systems into smartly packaged, ruggedized tour-ready video flypacks. “I have been refining our flypack designs for the past 30 years,” states Lemmink. “We understand the real world road needs of our clients and we, I believe, have put that expertise into our newest HD flypacks. We’re giving video directors and engineers the utmost in control in the smallest, most rugged, industry-leading touring package.”

PRG Nocturne clients are already recognizing the new PRG Nocturne system. Johnny Hayes, Video Director for Maroon 5, is taking one of the very first PRG Nocturne HD flypacks out on the road. “This system is great; PRG Nocturne really took their own road experience and coupled it with a lot of ideas and concepts that go to what the crews on the road need to properly do their jobs,” says Hayes. “It’s a well-thought through system that will save us time and labor as well as standardizes video control systems. I see these systems having a long-life on the road.”

Grass Valley’s Karrera K-Frame S-series Switcher and LDX Première cameras an integral part of PRG’s industry-leading live event video production system

The Karrera K-Frame S-series switcher features a new compact frame, new controller module with Image Store still/movie storage and dual multiviewers, and the new triple mix/effects (M/E) module. The S-series provides outstanding operational efficiency and performance due to scalability, processing power, and flexibility. It features all the processing capabilities to improve production values as any Grass Valley switcher based on the K-Frame video engine. In addition, the Karrera K-Frame S-series offers multiformat support, including 1080p and 4K/UHD, with no change in hardware or software.

The LDX Première can switch between 1080i and 720p, and offers a very powerful feature set including the Contour Equalizer, which allows for tweaking the crispness in the shadows, mid-tones, and highlights independently— offering the possibility to better adapt the contour enhancements to specific customer requirements.

Bryan Venhorst, Chief Engineer, PRG Nocturne adds, “Grass Valley gear performs great even under the most demanding environments and offers us a true broadcast solution for our clients. It’s always been our goal to provide our high-profile clients with the most dependable and reliable gear packaged with experienced crews and 24/7 support.”

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Sam Smith

XL Video Supply Grammy-Winning Sam Smith On US Tour

Working with Lighting and Set Designer, Will Potts, XL Video supplied a package of scenic LED, LED IMAG screens and accompanying camera system for multi-Grammy award winner Sam Smith’s US Arena tour.

The sold-out shows, in support of Smith’s ‘In The Lonely Hour’ album, visited venues across the US and Canada during January and February 2015 including The Forum in Los Angeles, and Madison Square Garden in New York.

Will Potts’ show design called for a subtle, classy video setup with Sam Smith’s band all situated on varying height risers at the rear of the stage. These risers were custom-built for the tour to house XL Video’s ROE MC-18T Hybrid LED, mounted into XL’s own touring frames.

Will was able to achieve the specific heights and widths he required for the stepped look of the design by XL Video disassembling the standard ROE tiles and repackaging them in a more flexible form factor.

The band risers, in pairs of 2 feet, 4, feet and 6 feet high, in a wide arc around Sam’s center position, were clad with a diffusing surface which resulted in subtle, pulsing color washes across the LED; the content for which was supplied via one of XL’s Catalyst media servers.

The two 14’ x 20’ portrait side IMAG screens, which were used for the larger venues on the tour, were built from XL’s popular Pixled F-12 LED.

XL Video also supplied a multi-channel camera system for the tour, with footage for the IMAG screens directed by Jon Shrimpton. To suit the classic style of the show, Shrimpton wanted to create something quite cinematic and used a combination of three Folsom Image Pro 2s to grade the contrast, gamma, color balance and to add a film flicker effect to the camera outputs. The three Image Pro 2s were each preset for black & white, sepia, and dynamic color.

The camera package consisted of two Sony HXC-100 cameras with 86x lenses at 45 degrees to center stage, situated in the audience, and giving more cinematic angles than traditional “pit” cameras, with a third at front of house. Additionally, three Sony robocams were situated on stage to pick up the band members. For the mix, Shrimpton used one of XL’s Blackmagic 2 M/E ATEM switchers.

The resulting mix was slower paced that many live shows, but as Shrimpton comments: “There are times when I only had one camera live for a whole song, but I wanted to make sure the mix wasn’t too complicated, so the folks at the back of the arena could really connect with Sam pouring his heart out.”

In addition to Shrimpton, XL’s crew for the tour consisted of Crew Chief Ted Cognata, plus Tim Bolland and Eric Escujuri who all doubled as LED technicians and camera operators. Charles Signiago was the Catalyst operator for the tour and the PPU was engineered by Michael Connell.

Gareth Jeanne, Touring Projects Director for XL Video in the US comments: “We were delighted to work with Will Potts and Production Manager, Cyril Thomas to realize the video design for Sam Smith’s first major US tour. Will’s very classic design allowed us to utilize our LED in a different way, and our team in China were really key in getting the risers constructed. Jon’s flawless direction, ensured the camera mix fitted perfectly with the whole style of the show design.”

See more photos of Sam Smith's US Tour (Slideshow)

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Formation of the PRG Music Group Announced

The Music Group Team will be supported with a $50M investment in new video equipment

New York, NY—February 19, 2015—Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, announced today that it is combining several business units to create the PRG Music Group. This new division will be under the leadership of Mickey Curbishley, CEO PRG Music, and will focus on providing integrated video and lighting solutions for tours, festivals, and concert events around the world.

“We are bringing together leading industry veterans, technology experts, and the operational know-how of PRG Concert Touring, PRG Nocturne, and Chaos Visual Productions into a single integrated organization,” says Curbishley. “The PRG Music Group is and will be the ‘go-to’ production resource for our clients. The goal is simple—we want to make it as easy as possible to do business with PRG.”

In addition to integrating the three teams, PRG is making an immediate investment in the latest video technology to ensure that PRG clients are the best equipped in the industry. “We are investing over $50 million in new gear”, continues Curbishley. “We are pairing new equipment with our newly combined team to better serve our clients. We have some of the top talent in the business and by combining these three teams into one group we are now stronger than the sum of our parts.”

Bob Brigham, President of PRG Nocturne states, “We are making a major investment in new, state-of-the-art video technology, including HD flypacks and cameras that integrate the latest technology from Grass Valley, Ross Video, and Fujinon; additional PRG Nocturne LED video modules and our proprietary LED processing. These systems will be based in our facilities in Los Angeles, Chicago, and London. PRG clients in the concert touring, film, TV, and corporate events will see a remarkable leap forward with these PRG Nocturne HD systems.”

John Wiseman, Senior Vice President of PRG Nocturne, agrees that the new HD systems extend PRG Nocturne’s industry leadership. “For years, PRG Nocturne has defined the state-of-the-art for video technology in our industry having supported acts like Paul McCartney, Bruno Mars, KISS, Linkin Park, Bon Jovi, Katy Perry, and many others. The new HD systems along with our new V-12 LED video modules, new line of V Series video processors, additional V-Thru transparent LED video panels, and the exceptional service delivered by our talented staff establish a new standard for the markets we serve.”

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In Memoriam - Joseph P. Harris

In Memoriam Joseph P Harris

It is with great sadness that we announce the passing of PRG Board Member and award-winning theatrical producer, Joseph P. Harris.

Production Resource Group (PRG) respectfully marks the passing of Joseph P. Harris, an award winning theatrical producer and general manager, who has been associated with over 200 Broadway productions. Mr. Harris died peacefully at home in Greenwich, CT on Wednesday. He was 87 years old.

During his 54 years on Broadway, Mr. Harris served as a producer, general manager and initially an assistant general manager of both plays and musicals.

Mr. Harris was born in Manhattan on July 2, 1927 and moved to Queens during his childhood. He graduated from Forest Hills High School and was drafted into the Army.

After returning home from serving as part of the occupation forces under General MacArthur in Japan, he started his theatrical career as the Assistant General Manager onFinian’s Rainbow, in 1948, working alongside his father, the general manager, Charles Harris.

During his career Mr. Harris crossed paths with many artists, including the legendary Bob Fosse, producing Fosse’s Chicago and the revival of Sweet Charity starring Debbie Allen. Sweet Charity brought him the first of his three Tony Awards, the 1986 Tony for Best Reproduction of a Musical.

“He is a loss to the industry and to anyone who knew him.” said Dick Wolff, former President of Jujamcyn Theatres. “Joe Harris was one of the nicest, smartest, fairest theatrical personalities I met in my time. We had many good times and laughs together.”

He was the company manager of the 1951 musical, A Tree Grows in Brooklyn, starring Shirley Booth, and his first general manager credit was for the 1952 revival of Golden Boy, starring Lee J. Cobb and Jack Klugman.

Throughout the 1950’s Mr. Harris was the General Manager for numerous shows including the musicals Can-Can and Silk Stockings, both with music and lyrics by Cole Porter; Li’l Abner, directed and choreographed by Michael Kidd, with music by Gene de Paul and lyrics by Johnny Mercer; and The Most Happy Fella with book, music and lyrics by Frank Loesser. Straight plays he general managed during this time included Two For the Seesaw with Henry Fonda and Anne Bancroft, and The Miracle Worker, again with Anne Bancroft and a young Patty Duke.

Mr. Harris was an early member of The Broadway Show League, playing softball weekly in Central Park for years against other Broadway show teams. His son Joseph recalls being at the games as a youngster, and being entertained by Lucille Ball, the star of Wildcat at the Alvin Theatre, while his father played third base for the Wildcat team on the field.

Wait Until Dark, in 1966, signaled the beginning of a prosperous two-decade collaboration with Ira Bernstein. Shows under their management tutelage include: Pippin, The Apple Tree, 1776, The Norman Conquests trilogy, The Act, and Sophisticated Ladies.

In 1968, Mr. Bernstein and Mr. Harris began producing shows, their first venture being Golden Rainbow starring Eydie Gorme and Steve Lawrence, which ran for 383 performances. Other successful producing credits for Mr. Harris & Mr. Bernstein included Bob Fosse’s Chicago, On the Twentieth Century and The 1940’s Radio Hour. On the Twentieth Century received a Tony nomination for Best Musical in 1978, and The 1940’s Radio Hour was nominated for the Drama Desk Award for Outstanding Musical in 1980. In 1980, they also produced The Roast, directed by Carl Reiner, written by Jerry Belson and Garry Marshall, and starring Peter Boyle and Rob Reiner.

He was involved with many celebrated hit shows during his tenure on Broadway. In his role as general manager, Mr. Harris helped launch the musicals Mame starring Angela Lansbury, directed by Gene Saks; the original Sweet Charity, directed by Bob Fosse and starring Gwen Verdon; Sophisticated Ladies with Gregory Hines and Judith Jamison; and My One and Only with Tommy Tune and Twiggy. Successful plays include Noises Off; Glengarry Glen Ross; Pygmalion with Peter O’Toole and Amanda Plummer; andThe Merchant of Venice with Dustin Hoffman. M. Butterfly, with John Lithgow and B. D. Wong ran for 777 performances and garnered the Pulitzer Prize for Drama as well as the Tony Award for Best Play.

In the later years of his career, Mr. Harris produced a number of Irish plays with his cherished friend, Noel Pearson. Foremost among them is Brian Friel’s Dancing at Lughnasa, which won Mr. Harris and Mr. Pearson the 1992 Tony Award for Best Play, and was nominated for a Drama Desk Award for Outstanding New Play. Other Friel plays Mr. Harris and Mr. Pearson produced on Broadway are Translations and Wonderful Tennessee.

Someone Who’ll Watch Over Me by Frank McGuinness, nominated for the Tony Award for Best Play in 1993, was another of the Irish playwrights produced by Mr. Harris and Mr. Pearson in the 1990’s. Their final production together, a revival of An Inspector Calls by J. B. Priestley, won Mr. Harris his third Tony Award, for Best Revival of a Play and the Drama Desk Award for Outstanding Play Revival in 1994.

One of Mr. Harris’s fondest roles was as a mentor to those coming up in the industry. Many current theatrical professionals received their start on his shows and remember him warmly. “Joe was very much a second father to me, said Frank Scardino, Executive Director of the Johnny Mercer Foundation and a theatrical producer/general manager. “In a significant way, he was instrumental in the direction and success of my career. We remained close for 40 years.”

In addition to having been a member and serving on the Board of Governors of the Broadway League, Mr. Harris was the first Chairman of the Board of the Directors of the Johnny Mercer Foundation. He also served on the Board of Directors for Production Resource Group and was a long-time member of the Shubert Alley Irregulars.

Mr. Harris was a student of song lyrics and knew hundreds of them by heart. Late night sing-a-longs in the lounge at the Pierre Hotel proved his prowess among challengers and he often gave the piano players a run for their money in trying to remember tunes that Mr. Harris easily had in his arsenal. Family members fondly remember his always singing snatches of songs and talking about the beauty of a Johnny Mercer lyric or the humor in one by Cole Porter.

When the NY Giants (baseball) moved west to San Francisco in 1958, Mr. Harris’s loyalty survived a 3-hour time difference to continue rooting for his team. With the advent of cable and sports TV, Mr. Harris could be found watching west coast Giants games late into the night. One of his final joys was seeing them win the World Series this past October.

Mr. Harris would say that his finest and longest lasting collaboration during his time in the theatre was with Geraldine Delaney, a Broadway dancer, who was introduced to him while she was performing out of town in the original Guys and Dolls as a Hot Box Girl. They were married in December 1953, during a holiday break of Wonderful Town, in which she was appearing, and spent the next 39 years together, raising a family in Pomona, NY. Geraldine passed away in 1992.

He is also preceded in death by his mother and father, Jenny and Charles Harris; his brother, Charles; and sister, Jane. He is survived by his children: Jeremiah, James & Katharine, Joseph & Katherine, and Jennifer Mary; and 6 grandchildren: Robert, John, Mary Kate, Joseph, Elizabeth and Delaney.

In lieu of flowers, contributions may be made to the Actors Fund of America, 729 Seventh Avenue, 10th floor, NY, NY 10019 or Special Olympics New York, Attn: Donations, 504 Balltown Road, Schenectady, NY 12304

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Chaos Team
1/6/2015 Press Release

PRG Announces Acquisition of Chaos Visual Productions

Production Resource Group LLC, (PRG) the world’s leading provider of entertainment and event technology solutions, announced the acquisition of Chaos Visual Productions. Headquartered in Burbank, CA, with an office in Bedfordshire, U.K., Chaos provides full service video production for live events. Both PRG and Chaos have built a solid reputation in the industry for combining innovative technology with an international team of highly experienced industry professionals.

“Chaos Visual Productions will be joining forces with PRG Nocturne,” says Mickey Curbishley, CEO, PRG Concert Touring. “It is very exciting to consider the creative and technical solutions that will result from this acquisition which brings together the world’s two most innovative touring video companies. It also creates a single team of the most respected; experienced; and talented minds working in video production today. PRG Nocturne and Chaos, under PRG’s one roof, will create a powerful production resource for our clients in the music industry.”

Through this acquisition, PRG increases their industry leading expert production talent pool with the addition of industry veterans John Wiseman, Nick Jackson, Marty Wickman, and Valdis Dauksts, who will work alongside Bob Brigham and Ron Proesel of PRG Nocturne under the leadership of Curbishley.

Chaos clients will benefit from PRG’s global, multi-disciplined, and integrated platform of lighting, scenic, audio, video, and technology solutions focused on the specific needs of the music industry. “This is a great move for our people and our clients,” comments John Wiseman, President and CEO of Chaos. “I anticipate we will work successfully and creatively together. The opportunity to work with PRG allows us to be part of the best team in the industry and deliver outstanding results for our clients on a global scale.”

Curbishley concludes, “The addition of Chaos Visual Productions into PRG will further strengthen our continued growth and reinforces our commitment to artists, designers, and production managers. We are very pleased to welcome the Chaos team to PRG.”

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Drake vs Lil Wayne

For the recent Drake vs. Lil’ Wayne Tour, PRG was back again supporting production designer Guy Pavelo’s vision. His lighting design included vertical towers of PRG BAT Truss with PRG Bad Boy Spot luminaires on either side of the stage and more BAT Trusses with PRG Best Boy Spot luminaires over the stage. Pavelo got massive beam looks out of the rig through his use of the Bad Boy and Best Boy BeamFX pattern wheels. Always ahead of the cutting edge, Pavelo employed six of the new Bad Boy Followspot Controllers for precise coverage of the artists. The controllers allowed him to cue his followspots as he would any automated light. His rig also included PRG Mbox media servers feeding imagery to the massive video walls.

See more photos in a slideshow - Photographs ©2014 Todd Kaplan

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Linkin Park

Linkin Park The Hunting Party Tour

Linkin Park continues to break new ground, with a string of No.1s and platinum awards, and audiences are clamoring to see the band in action on The Hunting Party tour. The band’s tour is again in the expert hands of long-time production manager Jim Digby. Digby in turn was delighted to extend his relationship with video services vendor PRG Nocturne for the tour, along with video director Skip Twitchell and the band’s DJ and visual designer Joe Hahn. The tour specified PRG Nocturne’s V-Thru, PRG’s proprietary display product which offers a wide range of design possibilities due to its incredible 66% transparency.

“We saw V-Thru on Nine Inch Nails’ tour and were immediately bowled over,” says Digby. “The great thing about transparency in this form is that video content and lighting interact so seamlessly, that it’s a whole new ball game for show design.”

PRG Nocturne originally manufactured the screen at the request of Nine Inch Nails’ production designer LeRoy Bennett who was looking for a way of achieving his vision and wasn’t finding it with the existing ‘low-res’ transparent screens. Working with Ron Proesel, technical designer for PRG Nocturne, they designed and delivered the solution with V-Thru, and Linkin Park is the latest benefactor of the technology.

“It was Joe Hahn who initially saw the potential,” says Skip Twitchell, who pilots a Panasonic AV-HS400A switcher during the show, alongside video engineer Jason ‘Spikey’ Harvey. “Joe had seen some clips of it and was fascinated by the transparency, so we put together this cube design where we have both a back and front surface that surrounds Joe and the drum riser, plus another area in the middle.

Twitchell explains, “Being far enough in front of the tour, we set up a V-Thru demo at PRG’s LA facility and invited Ghost Town Media, Linkin Park’s regular content creators, to see exactly what it can do. They liked what they saw and were able to visualise what they’d achieve with one screen in front of another. Consequently, they were motivated to produce some 3D-looking content that took the best advantage of the product.”

The standard sizing of each V-Thru panel is 4.5 feet tall with a fixed six foot width. Its pixel pitch is 28mm, however, due to PRG Nocturne’s custom lensing method, the end result appears much ‘tighter’ than 28mm, according to Twitchell, who is also a fan of the product’s tourability. He comments: “Aside from the fact that the frames holding the pixels are 66% air, the reason that they can be so transparent is that the header above the screen contains everything – power supply and onboard transformer – needed to run a full column, with the cabling trunked down vertical support rails.” The tour’s video crew chief and LED technician is Jordan Goodfellow.

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Whatever USA

Whatever, U.S.A.

When Anheuser-Busch’s marketing partner Mosaic asked PRG ‘Are You Up for Whatever?’ PRG answered with a resounding yes. For this unprecedented experiential marketing event the town of Crested Butte, CO was transformed into a completely immersive experience for 1,300 social media fans of Bud Light. Mosaic relied upon PRG to handle all the production and logistical solutions needed to realize their ambitious goals, including converting the local ice rink into an EDM event space with a complete lighting/audio and video rig plus a full venue surrounding 360˚ projection screen. Out on the main street, Elk Street, a full mainstage with rooftop patio at one end of the street was erected and at the other end of the street an entry arch, again with rooftop access was built. All totaled PRG worked on 15 separate locations setting up and supplying equipment, crew and coordination. For the entire scope of production elements—crew, lighting, video, audio, rigging, and camera packages as well as all of the logistics and coordination in multiple venues throughout the town PRG’s team brought solutions that realized this incredible concept and created an unforgettable one-of-a-kind experience.

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World-Class Technical Team from PRG to Deliver THE MARVEL EXPERIENCE

Los Angeles, CA – Hero Ventures, a Los Angeles-based entertainment company, announced today that technical elements for The Marvel Experience, an epic-scale, immersive adventure experience in which guests step into and interact with the world of Marvel’s Super Heroes and Super Villains, are being led by Production Resource Group (PRG).

“The Marvel Experience has evolved into an amazing, premier touring experience, complete with unique technical elements such as 3D 360˚ video projection, first-person ‘live’ interactive gaming and a dynamic 4D motion ride. It became apparent early on that we needed an elite team of seasoned professionals in entertainment production that could offer us real solutions to help execute our complex vision – that’s why we went to PRG,” said Hero Ventures’ Chief Production Officer, Jason Rosen.

The team assembled by Jim Lehner, PRG Senior Vice President, Special Projects, and Duke Durfee, PRG Creative Director and Design Manager, will be handling all the coordination and supervision of the design and construction for the project. While The Marvel Experience’s technical requirements pose a unique set of challenges, PRG’s global reputation has been built on its ability to bring innovative solutions to a wide range of projects including Broadway’s groundbreaking Spider-Man: Turn Off the Dark, Olympic Opening & Closing ceremonies, key elements of Universal Studios’ Harry Potter attraction, Super Bowl Halftime Shows and an exhaustive list of global concert tours.

“Traditional entertainment design is evolving,” explains Jeremiah J. Harris, Executive Producer of The Marvel Experience and the Chairman and Chief Executive of PRG. “Technology, guest interaction, and immersive storytelling need to be balanced seamlessly together to realize the next generation of experience-based entertainment. For Marvel Entertainment and Hero Ventures, that means taking the world of Marvel directly to fans, on a scale never before toured, and letting them enter that world fully. This is the future of entertainment; the guest doesn’t have to travel to an attraction in a fixed location, the attraction is brought to them. Of course, that takes a considerable amount of logistical planning, innovative problem solving, and meticulous coordination.”

That same proficiency is evident in the complex control network the PRG team has designed to integrate all of the technical aspects of the production. In this case, bringing everything together “under the Dome,”The Marvel Experience is a touring complex that covers over 140,000 square feet and features seven interlocked, air-inflated Domes, with the largest towering over six stories high. Developing these new custom made Domes was a unique engineering feat in its own right. As much like a concert tour, they had to be designed to travel from city to city, being built and deconstructed in a matter of hours. As guests enter the Domes they instantly become an integral part of the story. While on their quest, guests will experience hands-on interactive games and a variety of show systems from 3D, 360-degree stereo projection to atmospheric lighting and audio, animatronics, virtual and augmented reality, and projection mapping—all while being interconnected to the experience via RFID in the form of a technologically advanced “tracking” Super Power Band. The crowning jewel of the experience is the final battle featuring the largest touring, motion-based attraction in the world where guests are able to participate in the outcome of the mission.

“Tracking animation, the movement of the seats, the movement of the lights, the audio levels, and combining everything else into one cohesive experience is a challenge uniquely suited to PRG,” says Lehner. “We worked closely with the animation group and scenic fabricators to make sure that what you see and hear throughout blends with both the on-screen and physical elements that you are sitting in and walking through—and blurs the lines between fantasy and reality into what Hero Ventures is calling Hyper-Reality. Every cutting-edge, high-tech feature was designed and installed to make The Marvel Experience one that visitors will never forget.” “Creating a themed-entertainment attraction that will redefine the ‘state-of-the-art’ requires a team of talented set designers and technical engineers to envision, produce, and execute,” notes Durfee. “For example, Electrosonic provided groundbreaking audio and video design solutions that enabled the interactive exhibits, live gaming and virtual experiences to become a seamless immersive environment. It is this type of innovation that differentiates The Marvel Experience from the typical traditional touring shows.”

The culmination of the experience is an epic interactive finale in which Hero Ventures collaborated with MediaMation, the leading manufacturer of 4D/5D motion theaters, to develop a traveling, 4D motion ride. “Designing a 4D motion ride for a theater-quality ‘Dome’ experience presented exciting new challenges for our engineers and technicians,” according to Dan Jamele, VP and Chief Technical Officer of MediaMation Inc. “The unique requirements of this large scale, portable MMX®4D attraction included custom seat “tilt” angles, ensuring that the entire audience stayed fully immersed in the action regardless of where they are sitting. Executing 4D effects such as wind and water spray also required new and innovative solutions in this unique environment. Working alongside Hero Ventures and PRG on a project of this stature is really a unique opportunity that MediaMation is proud to be a part of.”

The Marvel Experience lands in Phoenix on December 19th and runs through January 3rd before moving on to Dallas, San Diego and San Francisco with more cities to be announced shortly. Tickets are available both at and at

Headquartered in Los Angeles, California, Hero Ventures, LLC develops and produces live entertainment experiences that delight and surprise consumers through innovative technology. The Company has brought together the best creative and business minds in animation, interactive technology and the live event space to create dynamic, unparalleled productions to share with audiences around the world in unique and unprecedented ways. Governing Board members include Oscar winning film producer and co-owner of the NFL’s New York Giants, Steve Tisch; Los Angeles Lakers legend and NBA 2-Time Hall of Famer, Earvin “Magic” Johnson WWE Senior Business Advisor, Basil V. DeVito, Jr.; Shamrock Holdings CEO, Stanley Gold; Guess Jeans Co-founder Maurice Marciano; Enlight Media’s David B. Miller; Parker Capital’s Junfeng Li as well as Hero Ventures’ founders Rick Licht and Doug Schaer and Partners/Executive Producers Michael Cohl of S2BN and Jere Harris of PRG. 

ABOUT MARVEL Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media over seventy years. Marvel utilizes its character franchises in entertainment, licensing and publishing. For more information visit © 2014 MARVEL

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Today’s Innovative Technology, Tomorrow’s Industry Standard

Attendees at the LDI 2014 show in Las Vegas found a range of new lighting products from Production Resource Group, L.L.C. (PRG) that were all developed to provide practical yet innovative solutions to the challenges of live event production. PRG understands that true innovation must enable producers, designers, and technicians to ‘work smarter’ – to accomplish more, with greater efficiency, at lower costs. Those visiting booth #2137 over the next three days will be among the first to see the true ‘work smarter’ solutions on offer from PRG.

Quickly becoming a hot topic on the exhibit floor after its unveiling is the PRG RH+A ReNEW LED Retrofit Assembly. This LED light engine is designed to work with the Electronic Theatre Control (ETC) Source Four® ellipsoidal’s lens tubes and shutter assembly. By merely swapping out the tungsten light source of the Source Four the ReNEW user immediately cuts their energy and HVAC costs yet increase their output. The ReNEW produces over 8,200 lumens of output, making it an LED option that truly exceeds the output of the 575W Source Four ellipsoidal with clean even field of light.

Taking under 60 seconds to change each unit out, it is also a time efficient solution to changing out whole rigs to efficient LED. The ReNEW LED Retrofit Assembly is available in 3,000K tungsten and 5,700K daylight color temperatures. The ReNEW exemplifies smart innovation that acknowledges the need for effectively balancing time and money when upgrading technology.

In keeping with their ‘work smarter’ approach to innovation, PRG’s Bad Boy Followspot Controller is a clever accessory that turns the output and highly desired features of the PRG Bad Boy Spot luminaire into a manually controllable followspot. The operator has control over the pan and tilt of the luminaire as well as local control over intensity, iris, zoom, and edge control. Of particular note by designers is that the lighting console controls all other internal functions of the luminaire like color or gobo. The console operator can also take over several of the functions assigned to the local followspot operator like intensity or zoom.

A high visibility LCD screen gives the followspot operator precise feedback on the levels for Intensity, Iris, Zoom, and Edge. There’s also a dial that allows the operator a level control for the LCD screen to minimize light pollution in sensitive applications. The already in-demand Bad Boy Followspot Controller has been used for many applications where an automated followspot brings more responsive and artistic control including fashion shows, television programs, and concert tours.

Making its North American debut at LDI the PRG Best Boy Wash luminaire; a feature-rich wash light that sets the new standard for its class. Joining the award-winning Best Boy® Spot and the Bad Boy® Spot luminaires, PRG again redefines what an automated light should be, with the introduction of the Best Boy Wash luminaire. This dynamic new wash light features a 1,500-watt arc source that generates an unmatched 60,000+ lumens of light output, far brighter than any other available wash light in its class. With a beam size iris, that works hand-in-hand with the 6:1 zoom, the Best Boy Wash offers unrivaled beam versatility in a single automated fixture and unlike other wash lights, the Best Boy Wash includes a super fast and ultra rich CMY color system and a rotating, indexable gobo wheel with four wash gobos to add effects to your wash beam. Optimized for television and film applications, there is a dedicated minus green filter and a unique color temperature wheel that allows designers to vary color temperatures down to 3,200K and up to a very cool 8,000K. The color temperature wheel, paired with the minus green filter on the fixed color wheel, is ideal for on-camera lighting.

In addition to these products, we are introducing the new PRG Used Equipment web site – PRG ProShop. PRG ProShop enables users to more easily browse the available inventory of used equipment from PRG, to find what they are looking for, and make inquiries to the UES team. In addition, it is built on a robust ecommerce engine that will allow us to continue to enhance the user experience over time. PRG ProShop will be promoted to LDI attendees this weekend and launched wide next week.

PRG work smarter solutions to today’s complex practical production needs are truly uncompromising on innovation and performance.

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XL Video Dazzles at Detroit's Dlectricity

XL Video was selected by Mindfield to provide projection mapping on two of Detroit’s most iconic buildings, the Detroit Institute of Art (DIA) and the Detroit Public Library (DPL), during the Dlectricity Event; Detroit’s festival of light-based art.

The goals for this event were challenging and the team was presented with various challenges.  The buildings are located in midtown Detroit across a four-lane street from one another and required wireless, synchronized projection mapping on both buildings that originated from a single video control space.  Setup time was limited in the all-outdoors environment where equipment and staff were exposed to the weather.

The projection surface area of the Detroit Public Library measured approximately 70' high x 120' wide and had seven arched and recessed balconies that created real challenges for alignment and dealing with shadows. The Detroit Institute of Art projection surface measured 60' high x 80' wide. In from of the DIA is Rodin's sculpture, 'The Thinker'. It sits directly in the projection path and could not be moved. It was accommodated by getting creative on projection positioning. Finally, being a sponsored festival, economical solutions were an absolute must.

XL Video US Media Manager German Perl explains, “Our client, Mindfield, provided 3D laser scans of the actual buildings and so we were able to create 3D projection simulations in the Cinema4D software.  This allowed us to simulate the light distribution, and to choose the best solutions for projection distances, lens focal lengths, and light output.  Based on these simulations, we could confidently choose the Barco HDX-W20 Flex units.”

The stack and lens corrections were made by using built-in warp engines on the Barco HDX-W20’s.  The playback and final mapping was made with Dataton Watchout software on the XL Video media servers.  The playback units were located across Woodward Street and were synchronized with a wireless network bridge.

The Watchout software provided synchronous audio playback and the corresponding time code for audio and lighting provided by TLS Productions. 

“As with all successful projects, close collaboration with the with the stakeholders was key.  Working closely with the professionals at Mindfield and TLS made the challenges of this project much easier to manage,” states XL Video Senior Account Executive Leslie Dillingham.

See more photos from Detroit's Dlectricity (Slideshow)

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10/21/2014 About PRG

PRG expands into the Emirates

October 21, 2014 — Production Resource Group, L.L.C. (PRG), the world’s leading supplier of entertainment and event technology headquartered in New York, is acquiring Dubai-based Gearhouse, L.L.C., the largest provider of turnkey event production services across the Gulf Region. PRG Chairman & CEO Jeremiah J. Harris and Peter McCann, the Managing Director of Gearhouse, L.L.C jointly announced the acquisition today.

Founded in 1994, Gearhouse, L.L.C. has long been established as the market leader with a client portfolio that includes international touring artists The Rolling Stones, Muse, Rihanna, Eric Clapton, and The Prodigy, along with leading global production companies, government agencies and a growing list of key regional venue partners.

For PRG’s worldwide clients this acquisition means that they will now have access to a complete range of technical expertise and production resource solutions when working in the United Arab Emirates and Gulf Region. PRG can now ensure that their clients can be confident in the quality of product, production expertise, and professionalism when working in this important and quickly expanding event location.

“By acquiring Gearhouse, we will be able to significantly increase our local support for our many customers that produce events and shows in Dubai and the Gulf Region”, said PRG’s Harris. “Now we can offer them the same high level of customer service and innovative, reliable technical solutions as our clients expect, wherever they are producing an event.”

With immediate effect, Gearhouse, L.L.C. will be rebranded PRG Gearhouse as its Dubai headquarters joins PRG’s network of over 40 locations in key cities across the US, UK, Germany, France, Belgium, Spain, The Netherlands, Switzerland, China, Australia, Argentina, and Japan.

Tom Van Hemelryck, PRG’s Vice President, Global Special Events, comments: “Gearhouse is a tremendous addition to PRG’s global team. With their talent, knowledge, expertise and existing client base, Gearhouse will allow PRG to unlock significant potential in this fast growing market. I’m personally delighted to be playing a significant role in this new venture and look forward to the obvious advantages of having people and equipment on the ground when servicing our existing global clients who have become increasingly attracted to delivering events in this region.”

“We have a market here that is rapidly maturing and I regard the creation of PRG Gearhouse as a significant milestone in that process,” comments Peter McCann, co-founder and Managing Director of Gearhouse, L.L.C. “Over the last 20 years, we have established a client base that has become more sophisticated in their expectations of the standard of delivery and of what production really means. As PRG Gearhouse we will be able to exceed their expectations as we will undoubtedly attract the best levels of talent to our region because PRG’s reputation is second to none.”

McCann’s long-term vision for Gearhouse was to be part of a like-minded global organization. “Aside from organizational synergies, we felt PRG shared our highest level of customer service and operational best practices in how we deliver production solutions to our clients and our role in driving internationally recognised health & safety standards in this region. PRG shares my belief that there is a significant opportunity to extend Gearhouse from a regional leader to part of a global organization that will allow us to further differentiate ourselves from regional competition and strengthen our ability to service our customers.”

Leading a workforce of more than 100 full-time employees, McCann’s management team – Bruce MacLean, General Manager; Lee Price, Director of Planning; Dave Emery, Director of Operations; and Harriet Stewart, Area Sales Manager – share the excitement of merging the skills of their existing staff and technical inventory with those of PRG’s global assets.

One of the key benefits of the acquisition will be the way PRG Gearhouse will be able to interact with its European and UK colleagues to strategically utilize resources throughout the entire year. “Our summer normally equates to three and a half months of quiet business, and because of temperatures of around 50°C (112°F), it is impossible to stage outdoor events,” says McCann. “Meanwhile, we have an expansive inventory of premium LED stock, moving lights, rigging, automation, backline, and audio systems including L-Acoustics’ K2 line arrays sitting idle. That will no longer be the case because we’re delivering at a level that absolutely matches what PRG offers in Europe during the festival season. As a consequence, our own people are now able add to their career development by playing a valuable part in those European festivals at a different level than any other company in this market can offer. Conversely, the Dubai office will now have greater access to human and technical resources in our busy season between October and April.”

Short- and long-term exchanges of staff between PRG Gearhouse and other territories within the PRG group are expected in the future, providing what Peter McCann regards as an “idyllic opportunity” to cross-train, pool market intelligence, and broaden cultural experience.

“As an employer, the ability to present to the current staff the prospect of them working for the largest production services provider in the world is one of the most exciting moments in my career,” comments McCann. “Moreover, this market likes to do business with proven players and our clients are now working with the biggest of them all along with the level of technology and quality of execution that they have seen on the Olympic Games and other seriously high profile global events,” McCann says. “Our government clients are just as excited because they know this is a great brand builder for the region, so there is an enormous amount of confidence out here right now.”

“I look forward to working closely with Gearhouse, who know this region so well,” on the many opportunities to support both existing and new clients, Harris concludes. “PRG and Gearhouse are extremely well aligned as both companies provide a multi-discipline, integrated product to our clients. I am impressed with what Peter and his team have built at Gearhouse. The joining of our two companies, I am confident will be to the benefit of our clients, which is our top priority.”

Subject to customary closing conditions, the closing of the acquisition is expected to be effective on October 31, 2014

The PRG Gearhouse building:

Gearhouse productions (examples):

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NBA All-Stars

NBA All Star Game 2014

A look at PRG’s work at the 2014 NBA All Star Game. Our team from the Orlando PRG office scored a ‘nothing but net’ success supplying the lights for the fun and games at at the Smoothie King Center in New Orleans, Louisiana.

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Victorian State Schools Spectacular

Victorian State School Spectacular

The Victorian State Schools Spectacular, one of the largest performing arts events in Australia, is a showcase for students from across various state schools. Back for the fourth year, Production Resource Group, L.L.C. (PRG) provided the Spectacular technical solutions, state-of-the-art equipment, and professional crew. PRG provided all of the lighting—including the PRG V676 and V476 lighting and media control consoles as well as complete control networking, 6 PRG Mbox media servers, LED video screens and projectors, flying automation, drapes, rigging and trussing, and all production logistics. The lighting package included 550 automated luminaires, 95 of which were the PRG Best Boy Spots and 14 PRG Bad Boy Spots, and nearly 150 LED luminaires. Of the 11 followspots used for this massive production, six of them were Bad Boys with the PRG followspot controls. The 2014 Spectacular was held at Hisense Arena, Melbourne Park on Saturday, 13th September and broadcast nationally on Sunday, 19th October.

The Spectacular is a professionally staged production with a creative and production team that includes Adam Lowe as Creative Producer; Neill Gladwin as Creative Director; LD Paul Jackson with Robert Cuddon as the Associate Lighting Designer / Lighting Programmer; Media Programmer Matthew Bush and TD Chris Newman.

Performed annually to an audience of over 10,000 people as well as a large broadcast audience, the Spectacular includes a cast of almost 3,000 Victorian government school students. In addition to the equipment, PRG provided a crew of 10 for the load-in and setup and an additional six crew for the running of the event. Some of the students worked behind the scenes with the PRG crew on the prep, planning, and operation of technical equipment. Students with the assistance of PRG technicians, operated cameras, followspots, and were introduced to the PRG consoles.

The goal of the production is to provide an opportunity to showcase the talent of Victoria’s government school students. It all culminates in a scripted show that celebrates a diversity of performance mediums, including choir, dance, vocal, drama, and orchestra. The students who worked alongside the PRG crews got the opportunity to work and learn from professionals as well as gaining knowledge of state-of-the-art equipment and how it’s used to support large productions.

Andrew Holmes, PRG’s Operations Manager oversaw the Victorian State Schools Spectacular production. He can be contacted for further information:

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Taste of Toronto

Taste of Toronto

For the inaugural Taste of Toronto Festival, PRG’s client IMG trusted us to provided the entire video, audio and lighting solutions. Included among the multiple venues supported by PRG where two cooking demonstration kitchens. PRG used an overhead video camera/playback solution to allow the guests to follow step by step the award-winning chefs as they prepared mouthwatering dishes. The Taste was held on the grounds of Toronto’s Fort York, requiring PRG to help coordinate the logistical details of loading in and operating on the sensitive historic site.

PRG Account Executive: Ben Renzella

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Lara Fabian

PRG supports Lara Fabian Tour

PRG EML Productions is delighted to accompany Belgian-Canadian singer Lara Fabian on an intimate tour that will take her through Germany, Czech Republic, Lithuania, Bulgaria, Romania, Moldova, Azerbaijan, Finland, Sweden, Estonia, Slovakia and the USA.

Pierre Sarazin, Lara Fabian’s Manager, has chosen work with PRG EML on this tour, stating:

“What defined my choice were the people I get to work with. The fixtures are mostly available everywhere on the market. There is always a lot of pressure in this business, a lot of things are to be done last minute and it’s important for me to work with people I share a certain loyalty and intellectual bond with. We must be able to keep the magic of the show, although there are hard patches from time to time, we always find solutions together. In the past months, I’ve installed a brand new team around Lara. My goal is to keep this team, grow together and give Lara a stable environment, both technically and humanly. I want everything to be perfect before each show so that Lara doesn’t have to care about anything [other] than the songs. Later, for Lara’s return to the bigger scenes, I know I will be able to count on PRG as a worldwide group. I can definitely use the PRG network and rely on the support of other subsidiaries in France, USA, Brazil and so on.“ 

Tour Manager : Pierre Sarazin
Production Manager : Tony Panico
Front of house : Patrick Duim Demoustier
Retour : Igor Dockx
Sound technician : Christophe Desodt
Lighting design : Jan Vuerstaek
Light operator : Joeri Diddens
Light technician : Jeroen Minten

See more pictures from PRG supporting Lara Fabian

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Hugo Boss


For the Fall fashion season Jason Wu, artistic director of HUGO BOSS Womenswear, commissioned video artist Marco Brambilla to create a second installment of the art film series thisisboss. Merging nature, fashion and an architectural sleekness of Hugo Boss’ spring/summer 2015 collection, the film debuted at New York Fashion Week in September 2014.

PRG worked with Brambilla and the film crew to find the ideal lighting solution. First working on lighting mock-ups in the PRG demo room, the crew then rigged the lighting package and truss into the trees of the forest in the Canadian Dundas Valley.

The final results of this creative concept was an otherworldly transformation.

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FOX Sports

FOX Sports Super Bowl Boulevard Broadcast Center

FOX Sports commissioned PRG to build a three-story broadcast center at the top of Super Bowl Boulevard for coverage of Super Bowl XLVIII – the largest non-permanent structure ever erected in Times Square. PRG was able to turn the building over two days early, having worked seven days around the clock in the chilly Crossroads of the World. The three-story structure was in fact certified by the Times Square Alliance as the largest non-permanent structure ever erected in Times Square. The 65’ tall, 40’ by 40’ building was a fully functional broadcast facility, completely climate-controlled, that served as the New York City broadcast base for FOX Sports and other FOX Networks’ Super Bowl coverage as well as hosting several FOX news programs throughout game-week. The week culminated on game day when a viewership of more than 150 million tuned in for the FOX Super Bowl Sunday broadcast live from Times Square.

For this monumental undertaking, FOX Sports trusted PRG, the world’s leading supplier of entertainment and event technology, to deliver the complete solution. PRG’s scope of work included all of the coordination of the onsite construction and project management; providing engineering services; onsite systems integration; scenic fabrication; as well as providing the lighting, video, and audio infrastructure and integration packages. PRG worked closely with FOX Sports’ Jerry Steinberg, Senior Vice President of Field Operations for FOX Sports Media Group and Rod Conti, Executive Director, Field Operations for FOX Sports Network. PRG also helped work through the myriad of permitting, city utilities, and transit department requirements when building on top of a major subway hub below ground.

A much talked about feature of Super Bowl Boulevard, this impressive facility was 8,100 square feet of usable space, boasting a high-definition broadcast studio with south and north facing 10’ by 20’ windows for iconic views of up and down the Boulevard. There was a mini-football field on the roof deck complete with stadium-style lighting and Astroturf. On the outside of the building were two 12’ x 22’ PRG Nocturne V-9 Lite LED video screens and the west wall was covered with a 30’ by 20’ PRG Nocturne V-9 Lite LED screen located right next to Cleatus, the FOX Sports animated robot that stands 16’ tall and weighs 1,500lbs.

Upon receiving the rendering of this incredible facility, PRG worked in partnership with designer Jeff Hall and his production design team from the renowned JHD Group to engineer the components needed to realize this project. PRG took into consideration all the variable challenges of constructing a structure of this magnitude in the busy city center, including working in NY’s frigid temperatures, anticipating snow and staying on schedule. PRG’s meticulous pre-planning and onsite supervision meant they were able to supply the solutions needed to complete this never done before large-scale project in Times Square.

PRG had 15 site supervisors and five project managers working to oversee the 60-man strong team that built the broadcast facility at Duffy Square—46th Street and Broadway—in Times Square. They worked around the clock in shifts beginning at 12:01am on Friday 1/17/14. Construction even continued during the snowstorm that dropped 12” of snow on the city. Balancing snow removal and continuing construction allowed the PRG team to remain on schedule. After 27 semi-truck deliveries and seven days the broadcast studio was turned over to FOX Sports, though PRG remained onsite throughout the broadcast cycle, and began load-out even as the Super Bowl Champions celebrated.

The entire structure was test-built in the PRG New Windsor, NY facility to ensure the smooth onsite construction with every step planned and all contingences accounted for ahead of time. In fact, PRG brought in several members of the production and set-up crews early on to work with their engineers and project managers. They were able to come up with the best methods to put together this structure in extreme conditions. Knowing that the crews onsite would have to work in heavy clothing and gloves that would reduce their ability to use small hand tools, they designed the structure to be easily inter-lockable without the need for many of the smaller tools typically used in construction.

To keep the project green, PRG chose to use heat pumps to provide the heating for the broadcast facility without the need for any combustion exhaust. By using four five-ton heat pumps with an electric back-up, the studio is comfortably heated for the hosts, guests, and broadcast crews to work in sub-zero temperatures during Super Bowl week. This level of precision coordination and meticulous planning is a hallmark of the service that PRG’s industry leading reputation is built upon globally.

The PRG team was led by Bobby Allen, PRG Account Executive, Concert Touring, and Jim Lehner, PRG Senior Vice President, Special Projects. The FOX Sports team was headed by Jerry Steinberg, Senior Vice President of Field Operations for FOX Sports Media Group and Rod Conti, Executive Director, Field Operations for FOX Sports Network. Jeff Hall, Founder & Principal Designer JHD Group was the production designer and Chuck Noble, Noble Design, was the lighting designer for the facility and for the broadcast studio.

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World Equestrian Games

The 2014 World Equestrian Games By The Numbers…

The World Equestrian Games are undoubtedly the biggest equestrian event in the world, taking place every four years and alternating with the Olympic Games. During 2 weeks, almost 1,000 athletes compete against each other in the 8 official disciplines (jumping, dressage, eventing, driving, reining, vaulting, endurance and para-dressage).

At the start of this year’s games, a magical show opened the World Equestrian Games in the city of Caen, Normandy (France). A parade of athletes from the 74 participating nations, an incredible musical and hi-tech video show with over 100 horses and 300 artists entertained the crowd at the Michel d’Ornano Stadium. The show has been produced by Paris-based agency Skertzo and technically supported by PRG France who supplied the rigging, lighting and video equipment.

Technical Stats Specifically, PRG installed 1 ring structure in truss of 400m long suspended from the roof of the stadium. Our lighting kit was composed of 150 moving lights including PRG Bad Boys and Best Boys, 150 traditional fixtures, Sunstrips, ACL & blinders. We also took care of the fiber (more than 2,5km) and the power cables (more than 1,5km).

The video show with the 3D mapping technology was the eye-catcher of the show. For the projection on the ground, we’ve used 16 Panasonic PTDS20 positioned each side of the arena, 6km of fiber, a 33×33 DVI matrix. For the mapping on the different elements, we’ve installed 4 Panasonic PTDZ 21K positioned at the four corners of the field. As media server, we used a Modulo Player.

Last but not least, this project was also supported by a dedicated crew that was 28 technicians strong with several specialties (rigging, lighting and video), led by Laurent Boillot, Technical Director. It took four days of loading plus four days of rehearsal (technical and artistic) to produce this eye-catching show. This left one night and one day to execute the load out. Finally the crew was split into a day and night shift to ensure continuous support to the production.

See more photos in a slideshow

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National Rural Electric Cooperative Association Annual Meeting

For the 2014 National Rural Electric Cooperative Association (NRECA) Annual Meeting, PRG worked closely with the association, who welcomed 8,000 attendees to the event. Taking place in Nashville, TN at the city’s brand new Music City Convention Center, PRG fully supported the General Session for 6,000 people with lighting, audio, video, scenic, and staging as well as the labor and creative support for the session. We provided content capture and live streaming services for all of the general session meetings as well as full translation services.

The stage in the general session was 60’ wide x 24’ deep x 4’ high and was outfitted with a 100’ wide projection screen as well as audio line arrays, and video image magnification screens for the large audience area.

For the last night, the PRG team transformed the general session space to handle a Martina McBride concert for all of the attendees. The creative team designed a full concert lighting and audio package to meet the artist’s technical rider and was incorporated into the general session system for a quick and easy transition between the two very different events in the one space.

In addition to the main general session space, PRG fully equipped and supported an overflow room for 500 attendees for the general session, 12 breakout rooms, five forum session rooms, two ballroom luncheons, and a large board of directors meeting.

The larger meeting consisted of three concurrent conventions over eight days – NRECA, National Rural Utilities Cooperative Finance Corporation, and Touchstone Energy. PRG provided full support for all aspects of the larger meeting—educational and technical session support, including presentation management services—multiple presenter support, digital signage, and mobile app.

See more photos in a slideshow

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