It is the most visited ice show in the world - Holiday on Ice! This year, the production celebrates its 75th anniversary. "Atlantis" is one of two shows currently touring Germany and France, exciting its audiences with spectacular costumes, great choreography and impressive scenography.
Once again this year, PRG will return to Holiday on Ice’s frozen world and support the show in terms of event technology. In addition to rigging and audio technology, PRG also provides lighting and video technology.
Adam Bassett of Woodroffe Bassett Design is the lighting designer of the show. Among other things, he and his team have worked on the lighting for the Rolling Stones, Lady Gaga and the Olympic Games. Adam Bassett explains what aspects played a role in the implementation of the current tour:
"Whenever we develop projects, it's the interplay between the design and what we have available in terms of budget, equipment and technology to meet the specific design challenges. It was very helpful to work closely together with PRG from the start, trying to find technical solutions to the complexities, within our budget."
One of the technical highlights of this year’s tour are the ten automated Roll-up screens in the middle of the ice rink. For this, PRG uses six Panasonic PT-DZ21K projectors. The Roll-ups are controlled via DMX by the GrandMA2 console. The GrandMa2 console also controls the WO media server to track the different positions during the show. A completely redundant WO system is used as an output.
As a backdrop of the ice rink, we installed a large video projection. Two Barco HD projectors W f 26K project in different depths so that with the help of the WO system, the data is mapped and a 3D effect is created.
The projections also emphasize the costumes of the figure skaters and thus create the magical atmosphere of the lost city of Atlantis.
Kjell Peersman, Technical Manager of Holiday on Ice, is delighted with the successful video-technical implementation of the show content:
"We had to find a tailor-made solution to deliver video content on the automated roll-ups. PRG developed a great solution for this, making all boards and media servers communicate with each other. The result is just great! "
In addition to video technology, the lighting has been carefully adapted to the scenario of the show. A total of 40 Icon Edges were used. This moving head is a fast beam, spot and wash luminaire; it contains a wide range of gobos and offers a lot of lighting effects, which benefits the tour.
Bob Walpot, Director of Operations and Asset Strategy PRG, is satisfied with the technical solutions the team has created for the show:
"The combination of these video and lighting elements in synergy with the sumptuous costumes creates a wonderful and immersive show."
Holiday on Ice's Anniversary Tour is also a great success! In total, over 90 shows are performed. Till the end of February, the ice skaters will still enchant the audiences before Atlantis sinks back into the sea.
The 9th edition of the Longines Masters of Paris, European leg of the Indoor Grand Slam of Showjumping took place from Nov 30th to Dec 3rd.
This renowned competition is one of the most prestigious equestrian events worldwide, which attracts more than 50 000 spectators and is broadcasted in more than 120 countries.
PRG Belgium provided all lighting, video and sound for this 5* Event and premiered with 130 of its’ new sports lighting fixtures the Ephesus Arena Pro 300 in Europe.
Bruno Sepulchre, Production Director EEM, explains: “PRG accompanies us on the Longines Masters since numerous years. Their team is aware of our needs in terms of technology, services and flexibility but also has the broad and fundamental knowledge of the venues. Affinities create themselves and the way of work is reinforced with every production we do together.
I have been wanting to find an LED sports lighting fixture, which offers a irreproachable even lighting and that can be relit instantly in case of a small power failure or technical problem without any cooling time in Europe for years — it was my absolute dream — and it is absolutely fabulous that PRG made it possible for us! For me it is a fantastic achievement!”
The Ephesus Pro 300 LED sports lighting fixture provides a high quality flood lighting which meets the lighting standards of every arena sport.
The field of play is lit uniformly without any glare, unwanted shadows or hot spots. It’s an up to 50% energy saving spot lighting solution with colour tuning technology, which offers the possibility to flood the field in any colour from 3500K to 6500K and can be implemented in the show lighting to enhance the spectators experience. It is fully HDTV compliant and is rated IP66!
Frank Lombaers, Show Producer, adds: “The Longines Masters is much more than a sport event. It’s about lifestyle, it’s about luxury, it’s about presenting brands and all of this makes the Longines Masters what it is and what it has become since it first started as the Audi Masters in Brussels in 2004. At every production, and believe me, I have a long history of productions with PRG, their teams bring us absolute added value to the events we produce. A load of know-how, a lot of professionalism and a structure with which it is very good and trustworthy to work with worldwide!”
In addition to the lighting technology supplied by PRG, of which the lighting kit was composed of 130 Ephesus Arena Pro 300 and 32 Icon Edges for the competition area and 164 SGMs for the VIP zone and the seating zone of the spectators, PRG also provided three ROE MC7 LED screens and a comprehensive kit of 100 KIVA Acoustics.
Stephan Paridaen, President & COO of PRG Group, stipulates: “PRG is very proud to be associated with the Longines Masters Series globally because a lot of the production synergy and values that EEM and Longines are bringing to this sport, which I happen to be passionate about, are very tied to our PRG values — attention to detail, attention to quality, going global and making sure that the entire production and the services are of top-notch quality! We can supply products, we can provide technology but PRG stands for Productions Resource Group and that is really the value we bring to our customer.”
PRG would like to thank Christophe Ameeuw, CEO of EEM, creator, owner and organizer of the Longines Masters, Matthieu Gheysen, Bruno Sepulchre and Frank Lombaers for the trust they place in our 360° services and thank our own team for their great dedication and their great team-spirit which was complimented by the client.
In February 2018, the Longines Masters Series will open its’ doors in Hong Kong before heading to New York in April 2018.
The French indie Rockers Group Phoenix started its’ world Tour, Ti Amo, in North America in May this year, before rocking the festival season here in Europe, then hitting the Asian continent and returning for their shows in London and Paris this month of September.
Once the whole of the creative design in place, Live Nation France, renowned organizer of prestigious concerts worldwide, approached PRG France with a very ambitious and challenging set design needing to dazzle spectators on a festival stage as well as an Arena stage, without changing the design.
The guideline resumed itself in ‘modularity and time saving touring concepts’ for this Phoenix World Tour, for which PRG France pulled in the PRG Projects team, who specializes in the integration and development of unique staging and visualisation items.
In very close collaboration with the client, PRG France and PRG Projects met this thrilling challenge by engineering, customizing and producing 126 Rolling LED Floor Risers with integrated magnets to enable an assembly in less than 30 minutes of an LED floor of up to 93sqm during the changeover time of a festival.
The custom video risers were equipped with two ROE LED Black Marble 7 tiles each and had to be interlockable like Lego blocks.
Second, but no less of a challenge was the request for an inclined floating mirror on stage, just above the band, which needed to be built simultaneously. PRG Projects designed two sets of 100sqm of mirrors, weighing 2,8 tons, which were suspended in a very strong aluminium frame from a separate grid with bumpers above the stage, to withstand any eventual windy passages.
Matthias Leullier, Deputy Managing Director Live Nation France, comments: “I was very happy to work with PRG on a global production level for this project, because they came up with lots of solutions and managed to realize every aspect of this set design! Without PRG’s expertise and knowledge the whole thing would not have been possible!”
Thierry Kra, General Manager PRG France adds: “I would like to thank Matthias Leullier, for the utmost confidence he placed in us for this challenging project! It was an absolute pleasure to realize this standout design and stage setup with him!
Furthermore, I would like to thank the whole of the PRG Projects team as well as my own here in Paris for their dedication and team spirit! It was simply phenomenal!”
Last weekend PRG Netherlands was proud to be a part of the first edition of the 3 Days of Cycling in the Sportpaleis Alkmaar.
Cycling fans from northern Holland supported the cyclists. A unique 3 days, where the first ‘Stayeren’ was introduced and the ladies drove behind the Derny. An exciting race up until the last round. The duo Stroetinga/Havik won the copplingrace. An extremely powerful Kirsten Wild took her title with the Beet-It Ladies. Former European champion Atzeni won with pacesetter René Kos the municipality of Alkmaar Stayer Cup.
Vincent Thijssen, Director of Alkmaar Sport and organisor of this event, commented immediately afterwards: “I can rightly say that I have been a very proud director of these three days of race. All of this has exceeded my expectations. We have placed Alkmaar on the map as Sports city. In my opinion, we can say that after this first edition, we can start with the preparations of the second edition. "
PRG was responsible for a flawless technical production in terms of rigging, conventional lighting and show lighting, which included amongst others some PRG ICON BEAMs, Mac Viper Performances, Led Flood P5 Washes, controlled by a GrandMA2. For the soundkit PRG opted for the quality of the Adamson S-10 and Digico SD11 sounddesk.
We would like to congratulate the organization on the successful first edition and thank them for their trust and truly good cooperation. We are already looking forward to the second edition of the 3days of cycling Alkmaar in 2018. Special thanks to Marty Brugmans of Tintaan Productions
A big thanks as well to our technical producers and crew for their great performance.
PRG Netherlands concluded the festival season 2017 with a prestigious performance at Live in Meppel. The Meppel city festival started on Friday evening with a ‘Prinsengracht concert’. Accompanied by the ‘Noordpool Orchestra’, O'G3NE, Gare Du Nord and Jett Rebel gave their utter best.
Saturday morning, the smallest fans could admire and sing with the swirling performances of ‘Fireman Sam’ and ‘De Dikdakkers’ during the KIDS festival.
The icing on the cake took place on saturday night with the performances of Memphis Maniacs, Sven Hammond and De Dijk at the Live in Meppel In Concert.
The organisation of the festival stipulates: "What a great weekend we have had! Both the Prinsengracht Concert, the KIDS Festival and Live in Meppel In Concert have earned purely positive responses and smiling faces. The fifth edition of our city festival has been a great successl thanks to PRG’s technical support. A very big THANK YOU! "
PRG delivered lighting, sound and rigging and would like to thank the organization and our technical production crew for their trust and marvellous cooperation. We are looking forward to the next edition.
PRG would like to congratulate the organisation of the Dutch Pavilion at Expo 2017 for receiving the honourable award of the Exhibitors Magazine in the category "Best Use of Technology".
Judges had this to say about the technology that PRG integrated for Netherlands Pavilion:
The 3D holographic movie in the Netherlands pavilion was just the cherry on top of a Mondrian-inspired cake. Together, they conveyed the intelligence of the Dutch and their ability to adapt to a hostile environment of floods and climate change.
The multi-layer holographic 3D experienced was a visual feast while strongly supporting the expo theme. I loved the integration of the iconic Dutch elements from the entry, and their use in the presentation.
Excellent use of holographic 3D technology, used in several layers to achieve a unique and memorable show.
The flow in most 3-D experiences is the need to wear glasses or goggles, which detracts from the experience and makes the entire thing feel overwrought. This, however, was effortless, seamless, and arresting.
Rob Harks, PRG Netherlands: "We are very proud that we have been able to put the Netherlands in such a good daylight. This award is the cherry on the cake. AV technology is often underestimated and it's up to us to show what's possible within a substantial budget. "
PRG Netherlands provided, in consignment of General Contractor Hypsos, the Dutch pavilion with general lighting, show lighting, audio and video hardware throughout the entire pavilion. The highlight is the 'Main' show in which an innovative 3D holographic projection, combined with a light, sound and video show, provides ultimate experience.
Mark van der Werff, PRG Project Manager, said: "The 3D holographic projection was a great success and we are proud of the customer's positive feedback. It was the customer's wish that the system can operate fully autonomously without the intervention of an operator or technician, which can be selected from different shows at any time. The entire system is constantly monitored in Utrecht through a broadband internet connection. "
"In PRG, we have found a very professional partner who has always worked flexibly and solution-oriented throughout the project," says Heide Agne, Director Strategy at Hypsos.
PRG thanks Hypsos and the Dutch government for their trust and good cooperation, and are already looking forward to the "big" World Expo of 2020 in Dubai, where PRG will play a home match.
Read more about this production in our previous news article.
The summer season is in full swing and the first big festivals have already closed its doors. PRG not only delivers audiovisual equipment to festivals this summer. We also support some Belgian artists during their summer tours, like Oscar and the Wolf! The band is well known for its impressive live gigs with a lot of bells and whistles on stage. Logically, expectations for this years’ technical concept were high.
At the start of the show, the singer of the band Max Colombie appears on an elevated platform, covered with LED elements. Minutes later, the set piece gets more depth when we discover the band is playing underneath, inside a box, behind a see-trough LED wall. Ludovic Beun (Creative Director), Cate Carter (Light Designer) and Jan De Keyser (Production Manager) designed this remarkable construction. PRG Production Manager & Crew Chief Jo Vaes is responsible for a smooth course on site.
The LED construction is entirely custom made and developed by PRG. It’s based on a structure of custom made frames with a total of 288 integrated MiTRIX panels. These LED features are chosen for their see-through aspect which makes the band members partly or completely visible at particular moments in the show. The LED screens are controlled by DX700 processors. These processors had to be integrated at the top of the structure, for the boxes to be completely hidden for the public. Inside of the LED box, we installed 3 cameras to make close-ups of the band members. These close-ups are projected on the front screen of the box. Simon Harris controls the LED panels with a Green Hippo Karst media server, delivered by Bryte Design. The video content was created by Milc and Cookies. PRG video technicians Bram Verboom and Jan Reyntjens complete the video team.
On the top of the LED box, PRG installed 10 Stormy Strobes and 10 Sharpy Washes. Some Impression X4 Bar 20 LED Strips are installed above and underneath the ceiling of the box as backlight for the singer and his band. Inside the box, we use 6 X4S Led Washes to highlight the musicians, combined with 3 SGM Q7 on the floor behind the band members to create extra backlight.
The set up is completed by side lighting on the stage. On both sides, we use 2 ETC LED S2 Lustr profile spots. The fixtures are installed on poles, covered with an Impression X4 Bar 20 LED Strip. The pole itself is fixed onto a baseplate on wheels to assure a smooth change over. The profile spots are combined with one rolling riser on each side of the stage that carry 6 Sharpy Washes. The whole lighting set up is controlled by a Grand MA2 full size with NPU. Anne-Sophie De Pickere and Ruben Simons are the PRG lighting technicians for this project.
The LED box is 9,2 meters large and is constructed in 3 parts for the load-in and load-out to go as fast as possible. The change over times on festivals are usually very tight. The three parts are brought on stage separately and then connected to each other. This allows PRG to build the whole set in less than one hour.
One of the challenges our team encountered during construction was to reassure the stability of this custom made set piece, for the singer to walk on top of the LED box. We added extra steel cables at the sides of the box to strengthen the structure. The result fits perfectly into the visually appealing show with confetti cannons, pyro machines and smokescreens. Accordingly, the first reactions regarding the new set up of the tour are extremely enthusiastic!
This successful outcome was only possible thanks to the great collaboration between Bryte Design, Tour Manager Stijn Smet, Production Manager Jan De Keyser, Creative Director Ludovic Beun, Pyro & Special Effects partner Dewico and the entire PRG crew!
The LED box was used for the first time at the Holland festival Down The Rabbit Hole. One week later, Oscar and the Wolf played in the Barn at Rock Werchter. Next up are the two weekends of Tomorrowland and finally, they will end the summer at the Lokerse Feesten.
Last weekend, 40.000 people came to the Zeeuwse coastline to attend Concert at Sea. During 2 days, the sold out festival hosted both national and international artists.
Once again, PRG Netherlands was responsible for all audiovisual technologies and services. Under the supervision of technical producer Marty Brugmans, PRG provided lighting, audio, rigging and crew for all stages. PRG Production Manager Peter Daane handled a smooth load-in, show and load-out.
In terms of audio technology, PRG used the equipment of our partner Adamson, controlled by DigiCo sound consoles. For the first time, we applied our new PRG Icon Edge on the Zeeland stage, combined with PRG Icon Beams, Vari*Lite VL5 Wash, VL3500, Atomic Strobes and LED Flood P-5 Wash. For the Umoja stage, we used Atomic Strobes, Robe Robin Pointes and Robin 300 LED Wash. The side screens of the stage were composed of ROE MC-7 LED panels. Other then stage lighting, we also provided lighting for the whole festival site.
We would like to thank the Concert at Sea organization and technical production for the pleasant and loyal collaboration. Last but not least, all credits go to our crew members for their commitment in realizing this successful production!
The World Expo opened its doors in Astana, Kazachstan, on June 10th. This years’ Expo represents the ‘Energy of the future’ and is still open for visits until September 10th.
PRG Netherlands, commissioned by general contractor Hypsos, supports the Holland Pavilion with audiovisual technology, which titles “Low Land, High Energy” and presents its’ typical Dutch mindset that motivates the country to continuously search for innovative and sustainable solutions. Topics like climate change, reduction of CO2 emissions, energy efficiency and power generation are being discussed.
Hypsos is in charge of the concept, design and construction. Hypsos Netherlands worked with PRG in order to create the right look, aligned with the innovative theme of the Holland Pavilion.
PRG supports the set up with general lighting, show lighting, audio and video hardware for the whole pavilion and the main show which features an innovative eye-catching 3D holographic projection to create an immersive experience.
In order to ensure a flawless show in Astana, Hypsos and PRG first tested the set up in Utrecht, which, allowed the sponsor, the Dutch Ministry of Foreign Affairs and the National Office for Dutch entrepreneurs, to see how the show is developed and check the content on a large screen.
Mark van der Werff, PRG Project Manager, explains: “The 3D holographic projection was a great success and we are proud of the client’s positive feedback. Our client had requested for the system to operate completely independently, without any intervention of operators or technicians, and to offer a variety of options in terms of content.This project has been successfully realized thanks to the expertise of Hypsos, who also perfectly mastered the logistics from Holland to Astana.”
Heide Agne, Director Strategy at Hypsos, quotes: “PRG is a very professional partner who, during the whole project, has proven its’ know-how and creativity in a very flexible and problem solving method of work.”
PRG chose to work with Panasonic laser projectors because of their flexibility and little needs in maintenance. The combination of Watchout and Watchnet, both from the manufacturer Dataton, together with an Lighting GrandMA2 control the entire show. The whole system is being monitored constantly in Utrecht thanks to a broadband internet connection.
Eric Beekmans, Project Manager at Hypsos, concludes: “Working with local companies is always a challenge in countries like Kazachstan and of course, there is the language problem. The PRG crew handled this perfectly and was responsible for a flawless execution, despite some little setbacks. The 1:1 test set up of the holographic projection realized by PRG was crucial for the success of the show.”
PRG is happy that Hypsos relies on our expertise, resulting in this successful partnership. Thanks to the flexible and professional mindset of Hypsos, this project has been executed very smoothly.
Innovative Touring Frame and 4K Broadcast Camera System Elevate Operational Performance, Stage Design and Fan Experience
Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announced today that a new product innovation along with the application of an industry-first technology solution – SPACEFRAMETM and a 4K Broadcast Camera System – have been integrated into the design, production and operations for the U2 The Joshua Tree Tour 2017. Both solutions demonstrate PRG’s dedication to innovating products that anticipate the needs of tour managers, designers and artists seeking to push boundaries and deliver a more immersive concert experience onsite or virtually.
“SPACEFRAME and the 4K Broadcast Camera System perfectly demonstrate how PRG excels at seeing an opportunity for innovation that will add operational, economic and creative value from a customer’s perspective, allowing artists to more freely tell their story,” said Steve Greenberg, PRG’s CEO of Global Music/TV/Film.
SPACEFRAME is a revolutionary touring frame design seamlessly integrating LED panels to provide industry-changing operational efficiencies and the opportunity for unlimited creative expression. The carbon fiber touring frame is ultra-lightweight, collapsible and fully wind braced creating an intensive built-in structural strength. This allows for a free-form approach to stage designs enabling artists and designers to think outside the conventional LED box. This latest patent-pending technology from PRG also dramatically reduces pre-tour engineering time, shipping footprint/weight, carbon emissions, load-in and load-out times, as well as labor required on tour and locally.
SPACEFRAME features and advantages:
Carbon fiber fabrication and built-in wind bracing reduces overall weight increasing safety and savings
10 times stronger when compared to conventional fabrication
15 percent overall weight reduction
35 percent weight reduction including wind bracing
Integrated wind bracing up to 72 kph
Profile reduction and integrated wind bracing results in up-to 50 percent savings in shipping cost in some cases and a massive reduction in the tour’s carbon footprint
Specifically for this U2 tour, truck loads are reduced from seven to three - or one less airplane - when compared to conventional LED frame load
Compact, lightweight design offers up-to 30 percent reduction of installation/dismantle time and a 25 percent reduction in overall labor cost
“The quality and resolution of LED products have vastly improved over the last decade, but the frames have basically stayed the same. At PRG Projects, we saw an opportunity to innovate the way in which LED walls were assembled and transported, to rethink the construction of the frame and how it might impact the operational side of the business as well as the design experience,” stated Frederic Opsomer, PRG Projects' Managing Director and innovation leader.
Leveraging in-house talent and partnerships already in place, PRG was able to produce the carbon frames from prototype to final product in just 17 weeks, enabling U2 to be the first to take advantage of the innovation. SPACEFRAME has allowed U2’s designer to create a 200 foot wide screen¬, custom painted in silver and gold to mimic the original artwork of their 1987 album.
4K Broadcast Camera System
The U2 tour also marks the introduction of PRG’s 4K (UHD) Broadcast Camera System as a first for concert touring. The PRG broadcast system, developed and integrated over three months, is a combination of products that can operate in 4K (UHD) and 3G SMPTE Standards. This design philosophy allows concurrent production to operate at the highest level of broadcast standards. The system delivers 60 frames per second (fps) with a UHD resolution of 3840 x 2160 pixels.
The concert touring system interconnects cameras and LED wall processors on fiber because of the enormous amounts of data and length of signal distances. The entire broadcast touring system can be set up within an hour and is designed to be operated by one video engineer, eliminating the need for four-to-five onsite engineering positions.
“PRG has been a part of every U2 tour since 1992 and the band always challenges us with pushing technology to its limits,” said Wolfgang Schram, PRG’s director of video engineering. “We have to be creative and that is the fun part.”
PRG are excited to be an official service supplier for the 62nd Eurovision Song Contest, being held in Kiev’s International Exhibition Centre from May 9th-13th, as Ukraine hosts Eurovision for the second time. PRG are working in partnership with Litecom to support Lighting Designer Jerry Appelt and Stage Designer Florian Wieder by supplying lighting, video and rigging technology for the show.
Kiev is Jerry’s third time working on Eurovision, having also designed the shows for Dusseldorf in 2011 and Baku in 2012, as well as numerous other high-profile productions, such as the Commonwealth Games ceremonies for Delhi in 2010. Jerry said: “I’m very happy to work with PRG on this project, because aside from the enormous quantity of lighting fixtures and complex parameters, it’s essential to work with a company who has the resources to deal with all kinds of unexpected eventualities, who can deliver on the biggest occasions, in the most challenging environments. There are few companies who can provide this level of service, anywhere in the world. I know that whichever challenge I set PRG, they will deliver.”
Production management guru, Ola Melzig, has taken the reigns as Head of Production for the Kiev show, his 13th Eurovision. Ola said: “I’m returning to Kiev for my 4th Eurovision event in the city since 2005, and I am blissfully happy to be back. It’s a city I love, with great people, a lot of parks and green areas, a huge river running through the city centre and tons of yummy restaurants!”
Ola gave an overview of the technology behind the show: “Eurovision is always a production of monumental proportions, we started the load in on March 27th, since then, we’ve emptied 200 trucks into the halls. It took four and a half weeks to do all the rigging, hang the lights and audio and then build the stage. After that, we went into rehearsals, which will get more and more intense as we approach the broadcast shows. This venue’s fantastic, there are few spaces around the world which can accommodate 212 tons in the roof, and only be at 70% capacity. Full credit to our Head Rigger, John Van Look, and his team of riggers from PRG for overseeing a complex rigging design, and a smooth load in and fit-up.”
John spoke briefly about the practicalities of the rigging design for the show: “The Eurovision rig uses 735 rigging points, spread over the stage, green room and audience areas. This is a complex design and a very heavy rig, one of the heaviest I’ve ever worked on. We have more than 20 points over four tons, including one centre point which is 12 tons—because the roof cannot support such a heavy single point, we split it into two separate six ton points. Because we were dealing with incredibly high loads we were unable to use conventions steels, and bought in products normally used for shipping and heavy duty cranes. To maximise the load bearing capacity of our trusses, we used Prolyte D75T in places, this is capable of carrying exceptionally heavy loads and normally used for towers, rather than as a straight truss; also being only 75cm high, meant we didn’t lose as much trim height as we could have done using bigger truss. The roof is quite low here, so we need as much height as possible. The mother grid is made up of X4K 100, again due to it’s high load carrying capacity. This grid is monitored by over 100 Load Cells, so we can keep an eye on how the weight is being distributed; something which is very important, considering we have a lot of movement in the rig, utilising 112 Cyber Hoists to make that happen. The rigging load in took two weeks, with a team of 52 riggers working day and night shifts.”
Jerry leads a comprehensive team in the front of house area, which spans the full width of the back of the arena, including individual operators for the main show lighting, audience lighting, key lights, spot calls and video content. The lighting and video control network is one of the largest ever uses of GrandMA consoles, with five active full size GrandMA2, three GrandMA Light, and a selection of additional faders and playback wings. The whole network has reached the maximum number of active participants in a single session, 31, and are controlling 89,000 channels of DMX over 9865 programmed fixtures. This is driven through 20 GrandMA Network Processing Units (NPUs) and 28 nodes. There is, of course, substantial back-up, should anything not perform as it should. The total number of lighting fixtures is an incredible 1816. Amongst others, these include: 68 PRG Best Boy HP2, 56 PRG Best Boy Wash Blade, 55 PRG Bad Boy Wash, 130 Icon Edge, and the new JDC1 LED strobe from GLP.
Haze is provided by 6 MDG ATMe DMX hazers, positioned around the stage.
Followspotting for the Eurovision Song Contest 2017 is done exclusively with PRG GroundControl. The production in Kiev uses 14 PRG Bad Boy GroundControl Followspot systems and four of the new long throw version. Jerry commented: “GroundControl is a revolutionary product. It means we have all our operators on the floor, in two areas—with overall control taken by my spot caller on the GrandMA2. For this project it is perfect, because it saves time, space and weight.”
Ola Melzig added: “I first saw the GroundControl at LDI back in 2015, and I thought it was both really cool and incredibly practical. To have 18 of them on this show is amazing—and I’m very proud of it being the biggest deployment of GroundControls ever on a single show.”
In addition to the lighting technology supplied by PRG, we are also providing a comprehensive package of LED screens and projectors. The back screen is made up of ROE MC-12 and MC-18, with sections of MC-7 used at various other points around the rig. There are 56 high output projectors in use, which are used to map onto the stage surround, directly down onto the surface of the stage, onto two high transparency projection screens at the front of the stage, as well as various ‘standard’ screens in and around the arena.
On May 13th, the world will tune in and watch the Eurovision final, with an expected audience of over 200 million cheering on acts from the 26 countries who make it through to the final. After the winner has been announced and the party starts, the team of over 400, including around 100 technicians from PRG, will commence the load out. What took over a month to build will be pulled out of the venue in seven days, and planning for Eurovision 2018 will commence.
First impressions from Eurovision 2017
An insight into rigging at Eurovision Song Contest 2017
Production Resource Group, L.L.C., (PRG) organized its annual summit for the members of its global partner network program – PRG Alliance – during the Prolight + Sound 2017 trade fair at Messe Frankfurt.
Currently in its third year, the PRG Alliance has 15 members in 28 countries delivering high quality technical production services worldwide.
The theme for this meeting was “Building on Success”, and celebrated numerous collaboration projects among the members, including some from Italy, Poland, and Portugal. During the summit they shared success case studies and discussed future initiatives to promote greater business and information exchange.
“The PRG Alliance is praised by our clients and the market in general. What started with a recognition of PRG partners three years ago, today is a substantial network of remarkable companies – and the largest resource pool of knowledge, qualified professionals and inventory in the world,” said Tom Van Hemelryck, Director of PRG Alliance and PRG’s CEO Central Europe.
“We invited the lighting and video designers from The Voice Portugal, Marco Silva and Ricardo Maia, who shared their experience of using PRG’s proprietary products, Bad Boy moving lights and MBox media server, for the TV show,” continues Van Hemelryck.
The summit provided the ideal occasion to welcome the newest addition to the group, Gil Teichman - the largest audiovisual provider in Israel. The company has been active for over two decades, leading the field of concept creation, designing and executing audiovisual systems, power and electrical work for the industry of entertainment and live events.
During the event, a variety of activities for PRG Alliance were presented and these included training in project management; PRG’s Global Sales Officer Jens Zimmerman hosted a session on global account initiatives; opportunities for participation in international exhibitions were discussion; and the latest PRG proprietary equipment purchase options were delivered. The event ended with a demo of the new PRG exclusive Icon EDGE lighting fixture, and a lively networking dinner which gave the members further opportunity for networking and to discuss collaboration.
The current PRG Alliance members are:
Brazil: Alliance BR
Greece: Sound and Visual
Hungary and Romania: Visual Europe Group
India: DynaMix Media
Israel: Gil Teichman
Italy: STS Communication & New Light Group
Morocco: Touareg Prod’
Portugal: FX RoadLights
Qatar: Esme Entertainment Services
Singapore and Malaysia: The Show Company
South Korea: Ally&Co and Total Korea
Worldwide: DB Schenker and Production Resource Group
Production Resource Group LLC (PRG), the world’s largest supplier of technology and services for events and entertainment has appointed Tom Van Hemelryck as CEO of PRG Central Europe, the umbrella name for PRG Belgium, the Netherlands, France and Spain.
Van Hemelryck brings more than 20 years of experience in the entertainment industry and has been part of PRG since 13 years, during which he engaged various international positions within the last ten years.
He will mainly focus on harmonizing and optimizing the internal collaboration within the PRG Group for PRG Central Europe to effectively make use of the strong operational processes and teams of the group.
In his new role, Van Hemelryck will report directly to Stephan Paridaen, President and Chief Operating Officer of the PRG Group.
“I’m delighted to have Tom in this crucial leading position,” explains Paridaen. “He has proven his skills to identify growth opportunities and is able to apply the right commercial strategy in order to achieve those goals. These qualities are certainly beneficial to further support the team in Central Europe”.
“It’s a great honor to support the teams with whom I have been working for the past 13 years in terms of their future development and the optimization of the Central European organization.” says Van Hemelryck. “I highly value the cooperation within the group and I am convinced that we can continuously improve and strengthen the services and efficiency we have offered to our clients for more than 20 years.”
“About 20 years ago, I did my first freelance job for EML Productions and ended up working for ETF and PROCON in an international role. Today, working with Central Europe’s highly talented and motivated team feels like coming home. The circle is now complete.”
Tom will lead and work together with PRG’s Central European Management Team, Jan Van Malder - General Manager Entertainment Belgium, Alex Van Vlierberghe - Financial Director, Walter D’Haese - Production Director Entertainment Belgium, Bob Walpot - Head of Assets, Thierry Kra - General Manager PRG France, Laurent Boillot - Production Director and Account Manager PRG France and Xavier Thys - General Manager PRG Spain.
Currently one of the world’s biggest music artists, Drake is selling-out arenas around the globe. Following a hugely successful tour of North America, the show was brought to Europe.
Tour Director and Designer, Steve Kidd, and Lighting Director and Designer, Guy Pavelo, have both worked with Drake for more than five years, providing the designs for multiple tours, and use PRG to supply lighting and video technology for the tour worldwide, working with Curry Grant in North America, and Yvonne Donnelly Smith and Stefaan Michels for Europe.
The design incorporates multiple elements of lighting and video technology including a kinetic LED lighting system; a curved video wall; an array of lighting fixtures from high brightness beams to remote followspots; and video projection.
Guy Pavelo explains their approach to the design for the tour: “This was our fourth master rendition of the design. It was a conglomeration of different elements Drake liked. We spent five months on the design from the first plan. We would show Drake different elements and he would pick and choose what he liked most.
“One of his team found a stop-motion video of an art installation in Japan which was similar to our ball and winch set-up, and had little baseball-sized things which moved in one pattern over the course of about six hours, but since it was stop motion it looked like it took 20 seconds. They wanted us to recreate that.
“In order to accomplish this, we determined that we needed to make a gridwork for the spheres and not spread them out across the whole venue otherwise it wouldn’t make sense to anyone except in the last row.
The design started with a curved video wall built from 9mm LED. Guy explains: “We started with the curved wall, and then we created the set with the lifts and all of that stuff that Drake liked, and added the overhead structure which encompassed some of the house rig. With the kinetic addition, that’s what finally tied all the last pieces together and created the system over the deck.”
Steve Kidd continues: “That’s kind of our relationship with Drake. We come to him with our ideas, what we believe would be great concepts, he then takes those ideas and bends them a little, as all great artists do, and then we create a reality, knowing what our vendors are capable of, but we also have to be realistic about how we can actually tour it.”
Steve and Guy’s main consideration is making a design which can be easily toured around the world, packed into trucks and into venues quickly and easily. Guy explains: “A good part of that is how we worked with SGPS to build some of the elements, from the curved framework for the LED wall to the fact that every piece of truss up there which isn’t a cable bridge is custom made. We moved from 24 to 32 to 48-inch double-bay truss with a shorter leg set and cast assembly so that almost every lighting fixture on the show stays in the truss.
“The truss stacks three high in Europe in the trucks and four high in the States. It’s a time saver, personnel saver, and truck space saver. Yes, it’s big and consumes a little more floor space, but there are 700-800 winches up there that never need to be touched again.
“If we went with anything thinner to save on truck space, we would have a cart with pipes and poles, and we’d have to hang everything each day, which encompasses the potential for more failure, so this saves that.”
Steve agrees: “When building a new production, we’re always up against time. Time and space are the two things which we consider – particularly how much time we have to build the show and what it’s going to take space-wise to actually put it inside the venue.”
When planning shows, smaller venues or those with weight restrictions have to be taken into consideration. Guy Pavelo elaborates: “We’re up to the limit of the venue capacity in terms of what we can actually rig, but the guys aren’t killing themselves to load it in. We’re fortunate that a little extra money was able to be spent on custom truss so we could save the guys a little.”
A notable part of the show is the kinetic moving spheres which wow the audience at multiple points during Drake’s set. Guy explains how the system was developed: “The kinetic spheres are a collaborative project. Glow Motion Technologies gave us all the pieces - it’s actually two different components; the sphere, the physical plastic ball, and the LED chip inside all developed by Glow Motion Technologies. The winch itself is from Stage Kinetik, the hard-powered winch, data, and control, but Glow Motion handled acquiring all the necessary stuff to put it together.”
Steve Kidd continues: “The winch from Stage Kinetik does all the work. Initially when Guy and I first started talking about this design it wasn’t a sphere, but by luck we got these spheres from a mutual friend of ours. They were used on an auto show in Germany, and were sitting in storage. The spheres are what they are, but without the winch it simply doesn’t work.”
Guy explains: “Without the winch, it’s similar to an art installation where the lights just go on and off, but after a few seconds, you’re done looking at it. With this people watch it, and then there’s another number and it looks different, and people don’t stop watching it.”
A major addition to the show design for the European leg was the projection globe. Drake was keen to give everyone in Europe a different show to the one which had been seen in North America.
The addition of a B-stage and the globe with projection meant some adjustments to the kinetic system. There had been a fly rail as Drake flew for one song, but with that removed, the winch system could be tightened up.
Guy explains the inspiration for the new projection globe: “That was from an art installation that happened in Toronto this past season. It was called Death of the Sun and it was a 45ft round sphere on top of a pedestal which was projection mapped. It was a 12-15 minute progression which had the different stages of the sun – from the birth of the star, through the nebula, until it finally burns out.
“The guys who created that had dealt with Drake in the past, so we were fortunate that with one phone call we were able to secure the ideas and the original and get the ball rolling. Two days later we had an object to start playing with here in Europe.
“We have eight Panasonic 30k laser projectors which are what’s driving the globe itself – four double-stacks in quadrant, and the guys are using d3 and Blacktrax to map and track the ball as its inflated during the show, so we can realign and hit it completely.”
The addition of the globe meant a quick change to the set up in Europe, for which PRG needed to add projectors and media servers to the setup. Guy explains the fast response to their request: “We called up Yvonne Donnelly Smith (Director of Music, PRG XL Video) and said, ‘we have a situation where we’re going to need a substantial amount of adjustment to the design’. They opened the shop back up at the weekend, and got personnel back in for loading the truck on a Sunday, which I know doesn’t usually happen, and we had the equipment on the Monday. It was a rush, but every single fixture worked and every one of them was clean, and they were sitting there Monday morning waiting for us to show up. It was fantastic. It was no problem, they said ‘just give us the list and we’ll figure out how to deliver it’.”
Another addition for Europe was the use of Barco projectors and their moving mirror system. Guy explains how they’re used: “They are a concept which High End came up with originally in lieu of lasers. They’re not laser projectors, but you can put content into them which makes them look like a regular laser. You can broadcast out over the audience with no regulations, or health and safety restrictions, and it gives a different look and colour. You don’t get the super-vivid green laser beam but, past that, you get its own type of effect which works really well towards the end of the show.”
The lighting for the tour was designed to complement the kinetic sphere system with many fixtures chosen for their compact size, energy consumption, and high brightness and impact.
Guy Pavelo explains the choice of the lighting fixtures: “We have a range of fixtures – PRG’s Best Boy Spot HP and Best Boy Washes, a small boat load of the Icon Beam; plus Clay Paky Sharpy and Stormy; SGM P5 and Q7 LED fixtures; a quantity of the new High End Solaspot 1500 and LED Solawash 37, with Martin Atomics and GLP XBar 20 fixtures.
“The spots and washes are used for overhead coverage – the trick being the size of the units. We had a very specific size range as we didn’t want to take the fixtures out of the truss every day, and if they were any bigger, they wouldn’t fit in order to stack it and fit in the truck. The overheads needed to fire through the winch and spheres to cover the deck.
“We went with the Icon Beam because the beam that comes out of it is a step forward. Drake wanted a different look and the beam is bigger than a Sharpy. Having the beam with some width, but coming out of a small compact head really worked out.
“For Europe we added the P5 and Q7 to give different mood coverage and house coverage elements as well. For followspots, the team chose the use of PRG’s GroundControl remote followspot system which situates the fixture on the truss, but with the control unit on the ground. They have two operators out at front of house and four backstage because the show is built in two halves – a forward U which includes the B-stage and then the main stage package.
Guy found several benefits in using GroundControl for this tour: “We have the GroundControl Bad Boy Followspot – six of those. We always usually have truss spots up top but with pyros and having people up there kicking their feet around, that’s a problem when mixed with the kinetic, so the GroundControl is a saving grace in that regard.
“When we made the shift to Europe and having the B stage all we had to do was take two of the lights down, move them over 10 feet, plug them back in and we were done. It didn’t turn into a six hour process to move two truss spots with trees and flight lifelines.
“We’re already rigging close to max capacity in most of the venues. The fact that we would have to have six more guys up there with an extra 5000-6000lb overhead for safety was saved.”
Steve and Guy have worked with PRG globally for a number of years to supply tours they design. For them service and support is the key. Steve elaborates: “We find that PRG has been an excellent provider of every aspect of all our designs. What I love about them is that the support is there, not only from the sales side so that Guy can achieve his dream of what he’s trying to deliver to the artist, but also where I have to come in on a budget number. We can say ‘what do you have that nobody else has used yet or that has just come out and looks amazing’, and we also get the crew support which comes along with such a great product.
Steve continues: “PRG has been great for us both domestically in North America, and worldwide. PRG has been a great supporter of Drake, and now with them purchasing video companies, that has escalated our relationship because we can now get lighting and video all in one. One of the hardest things in touring is getting different vendors to blend together. They have a cohesive team which all works together.
“It was important for us to work with people who wanted to be partners, and I know with both Curry Grant and Yvonne Donnelly Smith that the partnership worldwide means a lot to them, but it means a huge amount to us because we can count on them.
“Our client is one of the biggest in music right now – selling more albums and selling-out more venues than any other artist currently, so his expectation is high, and as the designers, our expectation of our vendors is also high.”
PRG XL Video’s Yvonne Donnelly Smith comments: “We have worked with Steve and Guy for a while now and their designs always push the boundaries of creativity. We’re proud to be able to support them on a global basis, working with our colleagues in North America, across Europe and beyond. The current tour looks amazing and audiences are giving it a fantastic reaction wherever it goes!”
PRG XL Video, the UK operation of Production Resource Group (PRG), has been awarded Favourite Video Rental Company at the TPi Awards in London.
This is the thirteenth time the company has been awarded the prize, which is nominated and voted for by production industry peers and clients.
At the ceremony held at Battersea Evolution in South London, the award, which was sponsored and presented by media server manufacturer d3, was collected by PRG XL Account Director, Steve Greetham.
Steve comments: “It was great to win this award for our video work, which covers concert touring and festivals, theatre, television and corporate events. We had a busy year with a variety of different applications including massive screens at Creamfields and Isle of Wight festivals, through to a custom curved screen for Big The Musical, and video projection for a Royal Charity Gala, and it’s great to see video being used in such diverse ways.”
“We’d like to say a huge thank you to everyone who voted for us. It’s a really an honour to be recognised by our industry colleagues!”
PRG XL Video was also shortlisted in the Favourite Rigging Company and Favourite Lighting Rental Company categories.
PRG XL Video was also a sponsor at this year’s awards. The Live Production of the Year category at the awards was won by Coldplay’s A Head Full of Dreams World Tour.
It has been a year now since Karen, Kristel and Josje passed the torch to Marthe, Hanne and Klaasje to continue the successful girls-band named K3. The change didn’t affect the popularity of the group. K3 remains the most popular band for little girls and boys in Belgium and the Netherlands. This year’s tour includes more than 60 shows in 11 different venues in the two countries. The show premiered at Flanders Expo in Ghent and we can definitely state: K3 is brimming with confidence, the girls are more than ready to continue on their first tour. Studio 100 asked PRG Belgium to support the show with rigging, lighting, video and sound, just like we did for the previous K3 tours.
The set is built around a video screen of 16 by 7 meters that serves as a backdrop, completed with a proscenium arch made of LED panels to add extra depth to the stage. The backdrop and proscenium both have a 6mm pixel pitch and are supplied by Pixelscreen.
The eye-catcher on stage, the girls not taken into consideration of course, were the stairs, entirely designed by PRG. Christophe Reusen, PRG’s technical drawer, designed 10 steps together with our productional team of which 8 horizontal and 2 tilted steps. The horizontal steps are made of 1.100 Barco Olite tiles with a 9mm pixel pitch. With some adjustments in content due to the difference in pixel pitch, the video content of the stairs completely blends into the content of the backdrop and proscenium. The spectators see one big image with depth which is created by the different video elements. The stairs were entirely produced in our own studio at the warehouse in Tildonk. The video content was designed by Painting With Light and mapped by Pandora Coolly mediaservers.
PRG also provides motion technology for the rigging part of the show. The central video screen can be split into two parts. During the show, the K3 girls travel from one planet to another in a UFO. We designed the vertical and horizontal movements of the UFO based on Wahlberg track runners. This technology, that we also applied during the Marco Mengoni tour in Italy, makes the UFO fly trough the galaxy, created by the LED screens.
Further, the rigging structure is built around a solid Interal P100 base grid. In most of the venues, the grid can be rigged onto the ceiling. For two venues, we have to build the structure from the ground up with a ground support.
Painting With Light was also in charge of the lighting design, according to which PRG compiled a set of moving lights with Martin Mac Viper Performance, Clay Paky B-Eye K20, GLP Impression X4 and PRG moving lights from the Icon series. The set is completed with the new Chauvet Strike 1 spotlights and 3 Robert Juliat Victor follow spots. All this we control with Grand MA consoles.
In terms of sound, we are counting on our Adamson speakers to deliver the best result according to the design by FinesSound.
PRG is very grateful for the trust Studio 100 places in our expertise and successful partnership. Our PRG crew is excited to continue the tour. Every year, the atmosphere on tour with K3 is unique and it seems like this tour will also be one to remember!
PRG Team: Chris Pellens, Lukas Van Broeck, Leen Frijters, Michiel Bosman, Ruben Simons, Quinten Deleersnyder, Tom Thomas, Timmy Devriese, Tom Wouters, Stefaan Vanbesien, Dieter Meeus, Koen Van Gorp, Bart De Cleene, Anne Sofie De Pickere, Lars Bautmans, Lennert Vandendries, Frank De Schutter, Dries Van Den Bruel, Stef De Raet, Jonas Castelijns, Joachim Dewulf, Simon Brants, Paul Taggert, Walter D’haese , Christophe Reusen, Bart Poels, Peter Roosendans
Jacobs Douwe Egberts (JDE) organized its Supplier Awards Ceremony at the end of November in the Westergasfabriek, Amsterdam. The multinational coffee-roasting company invited a select group of their nominated suppliers for a festive evening in their honour and 9 awards in different categories were handed out. Event Producer Andras Factoor asked PRG to deliver technical support for the event.
The venue was optically split and reduced by mood lighting and tulle fabrics. PRG also installed some PRG Icon Beams, combined with Martin Mac Vipers and VL500D fixtures, controlled by a GrandMA2. The sound installation consisted of Adamson S10 speakers with EMS Subs and a Midas Pro1 mixer. The nominees and winners for the different award categories were displayed on a projection screen by a Panasonic PTDZ21K projector that was connected to a Playback Player Pro and a Sony V800 mixer.
Andras Fictoor, Independent Strategic Creative, explains: “We had the opportunity to create a beautiful production and were able to realize this in collaboration with the teams of PRG and Red Productions. Involvement and pro-active thinking in the preparation and execution is what I, as a producer, am looking for in a partner. On to the next one!”
We are delighted to look back on a successful collaboration with JDE and Andras Fictoor and look forward to the next event. PRG Production Manager & Light Designer William van Rumpt worked with Marcel Koeter (System-Engineer lights), Rodney van Zwol (Audio Design & FOH Mixer), Bas Nuijten (Audio Technician) and Denies de Croix (Video Operator).
While innovation is the hallmark of PRG's award-winning GroundControl™ Followspot System, GroundControl also offers multiple cost saving benefits to event budgets. In this animation, go on a visual tour of GroundControl in a show setting and see side-by-side comparisons of how GroundControl measures up to a traditional followspot setup. Designers will be interested to hear how savings accumulate thanks to GroundControl's reduction in space, weight, fuel needs, and overall load-in times. In addition, GroundControl also uses the same power distribution as automated lighting fixtures, doesn't require any special cable, reduces seat kills (increasing ticket revenue), and reduces rigging costs.
For questions and rental or sales inquiries, don't hesitate to contact us.
Hamburg, Germany, and Dubai, UAE: Production Resource Group LLC (PRG) was honoured to work with Balich Worldwide Shows (BWS) to supply a huge multi-surface video projection for the United Arab Emirates National Day celebration in Abu Dhabi.
The event, held at the request of the Crown Prince’s Court, celebrated 45 years since the unification of the United Arab Emirates, and took place in the presence of a selected crowd of dignitaries.
Tom van Hemelryck, VP Global Sports and Special Events was contacted by Balich Worldwide Shows to provide both the technical expertise and technology for this special commemorative show.
Tom brought together video and technology specialists, Yves Winand, from PRG in Belgium and his counterpart Bill Ainley from the group’s UAE operation to work with the design specification from Balich Worldwide Shows. Starting with the mapping of the surfaces, d3 was identified as the media server for this project. It was used to design, and previsualise the projection, and whilst on site used for line-up and playback of the content created by Charles Darby and the team at Clonwerk.
Yves Winand explains: “We needed a strong partner for this challenging project, and we worked closely with d3 to improve some processes on site in order to save time in the line-up. We had to share preparation nights with lighting programming and rehearsals, and waiting for the arrival of large moving elements, so time for the set-up was limited.”
The projection covered over 6500 m2 of floor, which was a particular challenge due to the flat angle and positioning of the projection towers. Either side of the stage, two wing screens of 600m2 were also covered with projection. Four sand dunes, each measuring 35 metres by 8 metres, which tracked across the stage, and a rising sun of 16 metres by 8 metres, which rose from behind the dunes were also projection mapped and covered perfectly as they moved into place during the show.
Panasonic PT-DZ21KE projectors were used for the floor and wing projections, and a combination of Barco HDF-W30 and HDF-W26 projectors covered the dunes and rising sun. In total 126 projectors were used across the event to create the spectacular effect.
Bill Ainley commented: “Whilst this event presented many challenges, we are proud of our team’s ability to seamlessly draw upon design, technical and logistical expertise from three PRG operations across three countries to ensure our approach at the design phase would achieve our client’s expectation on site. This, along with the team of expert technicians who worked very hard in a challenging environment, ensured we could deliver the project to an exceptionally high standard.”
Tom van Hemelryck concludes: “We are delighted to continue our working relationship with Balich Worldwide Shows, and honoured that they chose PRG as a partner in delivering this prestigious, high-profile show. Everyone involved in this show worked in great collaboration to deliver a show which looked truly spectacular.”
Photo Credits: Luca Parisse for Balich Worldwide Shows
Show Credits: Creative & Executive Production Balich Worldwide Shows
Continuing a long working relationship with Production Executive, Andy Derbyshire, Event Manager, Maggie Mouzakitis, Event Production Manager, Lisa Shenton, and Show Lighting Designer, Tom Kenny, PRG XL Video has supplied lighting for the 2016 MTV EMA.
This year’s event was held on November 6th, at the Rotterdam Ahoy, Netherlands, and was hosted by US artist Bebe Rexha.
The event opened with glamorous red carpet arrivals from the star presenters and performers, hosted by Laura Whitmore and Sway Calloway, and PRG XL also supplied lighting, rigging, and video technology for the red carpet event.
PRG XL’s Account Managers, Kelly Cornfield and Mat Ilott were initially contacted by Line Producer, Sophie Huda, and Red Carpet Event Manager, Sean McNally, to supply an outdoor video wall, high impact lighting, and supporting rigging for the red carpet area.
Working with Set Designer, Adam Neville, and Lighting Designer, Stuart Pring, PRG XL’s Head of Rigging Services, Q Willis specified the supporting structures for the video and lighting. Rigging crew chief, Chris ‘Karrit’ Harris delivered the show on-site.
Creating a glittering arrivals area for the stars, Adam and Stuart’s designs incorporated a video wall formed from Barco C5 outdoor LED. Content for the video wall was supplied via one of PRG XL’s own Mbox media servers, and included live feeds from the OB truck, social media feeds, and playback content.
Stuart Pring’s lighting design used a combination of fixtures, with Encapsulite LED stick lights built into the set, and PRG Icon Beams lighting the way for the VIPs as they made their way into the venue. PRG’s Sam Healey was Crew Chief for the red carpet lighting team.
Inside the iconic Rotterdam Ahoy, production designer Julio Himede created a vast set filling an entire side of the venue, curving around to create an immersive arena for the audience in the venue, and stunning visuals for the TV broadcast.
Acclaimed lighting designer Tom Kenny worked closely with Julio to create his lighting design for the show. Tom Kenny has designed the lighting for MTV VMA and EMA events for more than a decade, as part of highly creative and much-talked about show designs.
Tom explains his initial approach to his design: “Working with Julio, and with PRG’s Lighting Crew Chief, Rich Gorrod, we looked at the set design. This year, the huge wide set featured a massive wall of video, built from multiple elements. We wanted to cover the whole set and create a layered effect with plenty of back light and presence. With that in mind, and with one eye on the budget, we used a lot of strong beams, spread across the set, big wash lights at the back, lots of Icon Beams, PRG Bad Boys and Robe Robin 100s. We added Solaris Flares for extra strobe effects – they’re a real workhorse.”
Tom continues: “As part of the design, I look at the line-up of artists performing and try to tailor the fixtures to what I think they’ll need. In some cases artists will have specific requests, but often we’ll already have their needs covered in the main rig.”
Some artists do have special requests, based on their individual performance. Tom explains: “Martin Garrix wanted a particular fixture for his set, so we brought in a load of GLP X4 Bars to satisfy that need. For One Republic, who included rain in their performance, we needed to find some waterproof LED lamps for the pool, and Rich Gorrod sourced custom-built fixtures for that purpose.”
“For Green Day’s ‘Global Icon’ performance we needed to give them a really huge look, so we added a bunch of Par Cans.”
“Another fixture I was keen to use was the ACL 360 Matrix from Elation, which includes 25 4-in-1 RGBW LEDs. We arranged a demo of the unit, were suitably impressed, and that was used scenically to create colour and depth.”
With an array of star performers, followspots were also a key consideration, and Tom Kenny was keen to use PRG’s GroundControlTM Followspot System, which includes a remote followspot, flown from the lighting rig and the operator is located with control unit at ground level elsewhere within the venue. Tom has used the system on multiple shows: “I first used GroundControl on Desert Trip festival and was really impressed by it. It’s a very flexible system and allows you to place followspots in locations that wouldn’t usually work. I love it!”
Lighting console operators on the night were Alex Passmore and Jonathan Rouse, who Tom Kenny described as “two of the best programmers/operators I’ve worked with. Alex took care of the majority of the pre-programming, and on the night looked after the cueing on the main set, and Jonathan focussed on the keylighting for the bands, live elements, and audience lighting.”
PRG XL’s Lighting Crew Chief Richard Gorrod led a team of twelve lighting technicians and operators for the show. Tom Kenny comments: “The MTV EMA is a big beast of a show. There’s never enough time, but Rich and his brilliant PRG crew have high standards and work really hard to make it all happen. Rich is a total workhorse – he does the job of three people, and he has such a positive attitude. You couldn’t have a better person on an event of this type.”
Richard Gorrod summed up: “We’re happy to continue our long relationship with Maggie, Andy, Lisa, Tom, Julio and the whole MTV EMA team. The show always looks amazing and really pushes the boundaries for a live event show. It’s a huge production, and there are lots of suppliers all working side by side, harmoniously to make it happen. We’re proud to be a part of bringing it all together!”
The award-winning company DynaMix Media is one of the leading audiovisual technical production agencies in India.
With ever increasing demands for events in India, the PRG Alliance is pleased to announce a new partner in the region.
The new addition to the membership of the PRG Alliance is passionate about great results and meticulous in execution. DynaMix Media is a company recognized in India for their remarkable contribution to events and entertainment, having introduced the 270 degrees projection format to corporate presentations, and the first 300’ wide projection to the local market. The company has a growing number of immersive projection and projection mapping jobs under their belt.
DynaMix Media was founded in 2005 and is led by Mr. Suresh Madan. The company brings to PRG Alliance its vast understanding of video playback and networking systems, and its one-stop rental shop and services across India – offering complete services in video, audio, lighting, trussing, project management and content design.
“Our position in the Indian market is not only that of a company capable of delivering complex audiovisual projects, but also one which is attentive to international standards in processes and safety. It is a constant effort for us to implement these aspects in projects in India, but slowly the clients are accepting this is the right path. We know that PRG Alliance has the same principles and tapping into this great resource and knowledge pool will be very beneficial for our company”, declares Suresh Madan, Founder & CTO of DynaMix Media.
This attitude has been recognized by the industry and DynaMix Media was awarded as the “Best Video Rental Company” by Palm Sound & Light Awards 2014.
“We believe DynaMix Media is the best partner for PRG Alliance,” said Tom van Hemelryck, PRG Alliance Director. “When our clients go to India they need a reliable supplier, and DynaMix Media’s credentials and reputation is impeccable.”
For more information about DynaMix Media and PRG Alliance visit the website www.prgalliance.com.
Projection Mapping Case: Fortis Memorial Research Institute Launch, New Delhi
Production Resource Group LLC (PRG) – the world’s largest supplier of technology and services for events and entertainment has announced the appointment of Simon Kayser as General Manager for its Sourcing & Projects Centre based in Shenzhen, China. Simon will report to Gary Boyd, Executive Vice President and COO, EMEA.
A Chinese-speaker, Simon already has extensive knowledge of the Chinese market from his role as Technical Director at PRG in China, where he has been the project manager for key inbound corporate and large automotive sector projects. His first PRG project in China was the Beijing New Year Lighting Show in 2000/1. In 2007 he returned to Shanghai for the World Summer Games, and in 2008 for the Beijing Games. In 2009 Simon moved to Shanghai for the World EXPO 2010 in Shanghai, and he has been based there since.
Putting his technical knowledge to use, Simon will now take charge of the Shenzhen operation, which is instrumental in sourcing video and lighting technology in China. Simon will work closely with Frederic Opsomer and the team at PRG Projects, who specialise in the development of custom LED for special events, touring projects and installations.
Simon’s appointment will enable PRG to expand its offshore sourcing projects, reinforcing its commitment to innovation and new technology.
“After spending the past eight years in Shanghai, I am looking forward to the new role and challenges. I leave behind a excellent team in Shanghai and look forward to the new team in Shenzhen. Developing, sourcing and especially customizing lighting and video gear for our customers and projects, is where I see great potential for PRG and our team in Shenzhen to deliver enhanced services to our customers”
“We are very pleased Simon has agreed to take on this new role in Shenzhen,” said Gary Boyd. “His technical expertise, coupled with his hands-on commercial experience of delivering projects in China, make him ideally placed to take on this new role, and further expand our ability to source and develop new products directly at the heart of China’s technology capital.”
Simon holds a Master of Engineering degree from University of Applied Science Hamburg (Dipl. Ing. (fh)), and he will relocate from his current role in Shanghai, settling in Shenzhen with his family.
On Friday 30th September 2016, the AV Awards took place at a glamorous event at London’s Grosvenor House Hotel. The awards, which celebrate the best product, projects, and people in the AV industry, was attended by a team from PRG XL Video, led by Executive VP & COO, EMEA, Gary Boyd.
Following the announcement of the shortlist for Production Product of the Year, sponsored by DB Systems, PRG’s GroundControl™ Followspot System was announced as the winner in the category which included products from Barco, Elation Professional, Sennheiser, X-Rite Photo and Video, and NewTek Inc.
The revolutionary product is already making waves across the production industry, particularly in the concert touring, theatre and television markets, and the judges commended the way the product is having a huge effect on the way lighting designers and producers design their shows and events.
The GroundControl™ Followspot System consists of a specially customized PRG Bad Boy spotlight which includes an in-built camera, and can be flown from rigging or mounted in locations around a venue which would not normally accomodate a followspot; a truss box which provides the link between the fixture and the controller; and the ground-based controller unit which can be operated from up to 610 metres away from the fixture.
GroundControl™ allows designers huge flexibility in where to locate their followspots and the operators can be safely located on the ground within the venue, without the need to climb rigging. In addition to the safety benefits, the GroundControl™ Followspot System also negates the need to remove seats to create traditional followspot positions – a revenue bonus for venues.
Gary Boyd comments: “I was delighted to accept the award for Production Product of the Year for GroundControl. The product is making huge waves across our industry, and we’re very proud to have developed this in-house. Our R&D team in Dallas have done an excellent job in creating a followspot system which is rapidly growing in popularity and demand!”
For a full list of the AV Awards Winners follow this link.
Production Resource Group, L.L.C., (PRG) is the world’s leading supplier of entertainment and event technology to a wide range of markets, including corporate and automotive events, concerts, sports, and special events.
The sports events market has experienced significant growth in the past years. Running, swimming, racing, cycling and golf events increasingly attract more participants and spectators. Therefore it is only natural that the customer’s demands grow in terms of prominent screens, able to display dynamic content, and strengthen the ties to the public.
PRG was asked to provide video screens for the KLM Open, a prestigious golf tournament, held in the Dutch Spijk. For the first time PRG used a new product, the PRG LED AIRWALL. This LED display 26m2 (640x352 pixels) is built on an inflatable platform of about 100m2 floating on a water surface. A 9mm pixel pitch provides the necessary quality to display live images of the event and to be seen from a considerable distance. Furthermore, this prominent display can also broadcast logos, scores, images, and team and player statistics.
Thanks to the PRG LED AIRWALL, PRG can now display video content in places which were impossible previously. The unique image of a floating screen on a lake, pool or other water surface gives a stunning impression to the public.
For more information on the PRG LED AIRWALL, please contact us.
2016 marked the 30th anniversary of Dragon Quest, one of Japan’s most popular role-playing computer game series, and for the first time, Dragon Quest was created into an original spectacle live show titled “Dragon Quest Live Spectacle Tour”. The show toured with great success in 5 cities from July 22 through August 31.
PRG Japan provided technical direction and production services for lighting, video, scenery, rigging, stage automation, flying effect and LED wrist bands.
London-based STUFISH designed the set and PRG Scenic Technologies in New Windsor made the DMX-control hoist system for the roll-down screens. PRG V476® control console was used to control the 52 roll-down screens to rise and lower individually and in groups, changing formations at each scene, and mapped video images projected on the screens created the digital scenery as the story on adventurous journey rolled on the stage.
Key parts of the expansive stage layout were the main center stage and island stages connected with a network of bridges. The four bridges linking to the center stage were designed to fly and PRG SpeedStar™ Variable Speed Chain Hoists were used to fly the bridges. PRG V-Command™ automation console controlled the movement.
For lighting, PRG provided around 300 moving and conventional fixtures including PRG Best Boy 4000 Spots, VL3000, Clay Paky Alpha Beam 700 and Impression X4.
PRG was proud to take part in this production that raised the bar in the Japanese live entertainment.
PRG Netherlands started this summer with a challenging production. During the first weekend of July thousands of visitors enjoyed good music at Concert at Sea in Zeeland, on the Brouwersdam. Amongst others Faithless, Bløf and Skunk Anansie gave the best of themselves on the Zeeland stage. PRG Netherlands was in charge of the lighting, sound and video equipment for the three stages.
The artists on stage Zealand were treated to an excellent light show. Our lighting crew ensured a production that included the following impressive equipment list: 12 x PRG Bad Boys 12 x Vari * Lite 3500 Washes, 36 Robe MMX, 64 Robe Pointe, 24 Robe 800 Ledwash, 16 x ClayPacky Stormy cc, 16 x SGMs p5, 12 Spectral LEDPARs M800, 1x Biglite, 20 x 12-Lite Blinders, 24 x 2-Lite Blinders and 12x 1-Lite Blinders. On and off the stage, we installed a total of 5 Pixled F30 screens of 4m x 6m on a trolly PRG-Beam system, of an approximate length of 48m. Two MC-7 and two side screens Delay screens completed the picture. All of the screens were controlled by a GMA2.
The Umoja stage had a slightly smaller production, with 17 x Clay Paky's Mythos, 11 x Robe 800 and 4 x Martin Atomic Colors and lighting features. Adamson speakers operated on the three stages as well as subwoofers, plus a PRG S318 Fly & stacks on the Main Stage and some PRG EMF on the Beach stage.
All credits go to our crew on-site, who have managed a great performance. This production was the perfect kick-off for the summer season. Special thanks to Peter Daane, Production Manager, Sebastiaan ten Broeck & Bert Ploegh (system), Serge Patist and William van Rumpt (Operators), Peter Daane & Patrick Framer (Design) and Huijskes Fotografie (for the pictures).
The Swiss lakeside town of Montreux will once again host its famous Jazz festival. Over the past 50 years, the festival has seen some of the greatest acts in music history, including Nina Simone, Ray Charles, Miles Davis, Prince and David Bowie, among others.
For this year’s festival, audioborn has developed a project allowing the festival to be captured through 360° / 3D video and sound recording technology for the first time. This content can later be rendered and used in virtual reality applications, permitting users to experience the selected acts in real-life quality.
Commissioned by the Metamedia Center of the University École polytechnique fédérale de Lausanne (EPFL) together with the Montreux Jazz Festival, project lead and official technology partner audioborn is partnering with PRG Lab for the video expertise. audioborn is responsible for capturing and reproducing all concerts in 3D audio with its software real-time processor called Auratorium. The software system is designed for 3D audio and virtual reality applications. It uses a ray-tracing approach to calculate physically correct and 100% natural sound.
PRG Lab, a division of PRG XL Video, based in Germany, develops customized interactive and leading software solutions for the event and exhibition market. PRG Lab will be supporting the project with a 360° / 3D Nokia OZO camera system to capture a 360° spherical video of chosen acts at the festival.
The cooperation between audioborn and PRG Lab will be one of the first commercial uses of the OZO system in a production of this size. In addition to the standard multitrack recordings, audioborn will capture the sound in the form of a 3D recording, using the Sennheiser VR microphone prototype, and be able to reproduce highly realistic 3D audio for the recordings.
“The methods we use to capture sound – which is the most important part of Montreux’s Jazz Festival – will be pioneering for 3D audio sound recording as well as reproduction. Using our 3D software audio processor Auratorium, we will be able to achieve the highest possible degree of immersion for the jazz archive.” says Dr. Dirk Schröder, CEO of audioborn.
“We will have to determine how each instrument and sound will react depending on the position of the camera in the room. When sound and video are combined for VR playback, the virtual user should feel as if he or she is actually at the festival in person. Our goal is a total immersive playback experience in sound and vision. We are proud to work closely together with PRG Lab as our professional partner for 3D video capturing.”
“This project is outstanding in its dimensions. We are going to record a huge amount of data during the 16 festival days with the OZO system. This will be the most demanding challenge we have to face during the project.” commented Michael Ochs of PRG Lab. “This is very exciting, state-of-the-art technology being used at the Montreux Jazz Festival. It is the first project of its kind and we can’t draw from previous experiences. ”
One of the challenges of this project is the large amount of data collected through 3D recording. A concert of three hours would create approximately 2 TB of compressed data. Uncompressed it multiplies later in postproduction by factor 12.
PRG Lab is continuously expanding its 3D capabilities and will be using OZO production computers as well as the audioborn Auratorium software to create immersive experiences. The audio mixes can be rendered for multichannel 3D audio systems or binaural headphone reproduction.
PRG Netherlands held an Open House event this past Tuesday 10th and Wednesday 11th of May. Customers, Freelancers, Light Designers and other contacts from our industry came to visit our offices in Utrecht. This event was also the opportunity to launch the name PRG Netherlands, since the former EML Productions is now fully integrated within the Production Resource Group.
The guests were guided through the company via a red carpet and arrived into a virtual warehouse.
“The virtual warehouse shows the capacities and availability that PRG has in terms of audiovisual material. PRG Netherlands has chosen to operate with the warehouses located in Germany and in Belgium, in order to meet the requirements and wishes of our Dutch clients more efficiently. Integrating our resources into the European equipment pool, will grant us unlimited access and we therefore will be able to focus on providing the best service to our customers.” stipulates Duncan Verstraeten, General Manager, PRG Netherlands.
PRG NL also features its’ state-of-the-art proprietary products. One of the latest innovations is the GroundControl™ Followspot System, which could be tested during the Open House event. A PRG high output PRG Bad Boy® Spot connected with a camera and operated in a remote location. This allows Designers to have total creative freedom to put followspots in places that were either previously unusable or involved complex rigging. The system consists of 3 parts: a Remote Spot Luminaire, a GC Truss Box and a GC Followspot Controller.
The PRG Netherlands team had also built a Lighting Studio featuring the PRG Bad Boy, PRG Best Boy HP, the PRG Best Boy Wash and the Icon Beam for hands-on-testing, controlled by a GrandMa2. The guests were also introduced to the new WYSIWYG studio, which is at disposal for our clients.
Alongside the new PRG Netherlands, our guests had the opportunity to meet the new Account Manager, Rob Harks. Before joining PRG, Rob was active in sales in the domain of the exhibition and event industry. He has worked for the rental company Expo Gamma, the trade fair center MECC in Maastricht and the stand builder Total Concept.
Last but not least, the guests enjoyed a fresh Belgian beer and delicious Belgian fries. The Open House was a great success and we would like to thank everyone who came to visit us!
Production Resource Group LLC (PRG) – leading supplier of entertainment and event technology solutions is working with global entertainment design software developer Vectorworks, Inc. to ensure a seamless Rock in Rio festival in Lisbon, Portugal. The Rock in Rio festival collaboration between PRG and Vectorworks will demonstrate the realization of workflows using ESP Vision software to previsualize each lighting designer's concept. As in previous years, PRG will be supplying lighting technology and all related rigging for the festival. The event technology specialist is now in its 13th year of working with Rock in Rio.
“We started working with Rock in Rio back in 2004; during this time, we were able to supply lighting and video technology at festivals in Rio de Janeiro, Madrid, Las Vegas and Lisbon,” said Christoph Hahnl, Senior Account Manager at PRG. “This year’s festival marks the 30th anniversary of Rock in Rio, and we are excited to be on board.”
Now owned by Vectorworks, Inc., Vision puts the power to previsualize and cue your show at your fingertips. The software enables entertainment designers to rehearse the look of a show before they arrive at the venue. Adaptations and changes can easily be made in advance, allowing for more efficient working.
"With the increasing need to simulate a lighting design before it's ever executed on a live stage, our collaboration with PRG at Rock in Rio Lisbon provides the perfect venue in which to demonstrate our commitment to empowering today's entertainment designers," said Stewart Rom, chief marketing officer for Vectorworks. "We look forward to showing the world how our two companies can contribute to the ultimate show experience in Lisbon this year and enable today's visionaries in lighting design to advance the way they work."
As part of their ongoing collaboration, PRG is working with Vectorworks' R&D department to create leading solutions and is among the first to use the companies latest software technologies. Vectorworks® Spotlight users are able to work with a catalog of PRG-owned gear in the software, making the design development and documentation process even faster for lighting, production and scenic designers. The close working proximity to designers allows PRG an active exchange of ideas to identify the latest requirements and be involved in leading the development of future technology. Spotlight is the industry-leading software for entertainment design that allows designers to work in 2D and 3D with integrated worksheet functionality and rendering capabilities.
“The collaboration with Vectorworks is well underway, and we have already identified ways to improve internal and external working processes,” said Götz Bauer, Special Operations Director at PRG. “By incorporating PRG’s gear into the Spotlight software library, users are able to work increasingly efficiently and improve working processes. Our close relationship with designers from around the world enables us to really make a difference by using their feedback, and our experience to create solutions from which the whole industry can gain.”
The festival will take place over two consecutive weekends starting on May 19, 2016. The lineup features acts like Queen + Adam Lambert, Maroon 5, Korn, Ariana Grande, Hollywood Vampires and Avicii. The lighting design for the festivals in Las Vegas, Rio de Janeiro and Lisbon was created by lighting designer Terry Cook for Woodroffe Bassett Design.
Production Resource Group LLC, (PRG), the world’s leading provider of entertainment and event technology solutions, announced today a new brand for their creative LED special projects team, formerly a subsidiary of XL Video.
Now known as PRG Projects, the team, led by Frederic Opsomer and Kristof Soreyn, is renowned for creating and providing innovative custom video solutions. The teams are based at PRG’s location in Ostend, Belgium and in China. The new PRG Projects team will also incorporate, and work more closely with, the former XL Video research and development team based in Shenzhen, China. The combined expertise of the team has already been responsible for realizing some of the most technology-forward designs and custom installations in concert touring, large-scale spectacles, television, and sporting events, including ceremonies in Athens, London, and Sochi over the last several years.
In addition to working with the team in Ostend, PRG Projects in Shenzhen will continue to focus on sourcing LED products in China for PRG and for PRG Alliance partners.
“PRG Projects’ goals are now positioned to fit PRG’s overall vision to create bespoke creative LED products for all of the different market segments in which we are active,” explains Opsomer. “The designers and project managers that we have on our team, in both Ostend and Shenzhen, have decades of experience in creating and producing the world’s most innovative solutions.”
“PRG Projects leads the entertainment technology industry in advancing the creative application of LED technology and are an incredible asset for PRG and our clients,” says Stephan Paridaen, President & Chief Operating Officer, Production Resource Group. “The team, which consists of a range of creative and innovative experts in the field of custom video solutions, has a strong focus on innovation, product development, and system packaging. The team also works closely with strategic manufacturing partners to help develop and refine technology and options that meets the needs of producers and creatives in all of our markets.”