Irish pop-rockers, The Script, kicked off their 2020 tour at the M&S Bank Arena in Liverpool on 21st February!
When the tour was announced, Production Resource Group teamed up with Production Manager Tony Gittins and Lighting Designer Jamie Thompson to provide lighting and video for the tour.
Lighting Designer Jamie Thompson said: “We wanted to create something that symbolised the iconography from the album artwork ‘Sunsets and Full Moons’. The design was contemporary and everything on the stage was either curved or circular. We have a good working relationship with PRG and we pitched the design to see what they came back with and were over-the-moon to support.”
Lining the upstage edge were eight PRG BAT pre-rig lighting towers containing PRG’s very own ICON STAGE fixture behind a semi-transparent curved PURE10 screen, with ROE LED, which is supported by half a 40-meter Curve Truss Circle frame.
Not designed to curve, PRG enlisted the help of PRG Projects to help manufacture the PURE10 curve. They created a 10-degree spacer bracket which helped us to achieve the required look. Video imagery was fed to the LED screen via a media server giving a 24m by 10m wide canvas which showcased the extravaganza. This was complimented by the CB5 screen to showcase a variety of different looks throughout the performance.
The centre circle screen which consisted of an 8M Truss Circle with ROE CB5 LED panels, was suspended directly above the artists. The safety of all involved was paramount, because of this, PRG opted for the Movecat automation SIL-3 system, which allows both vertical and horizontal movement and incorporates the highest level of safety standards for moving items in such a sensitive location.
Sunsets and full moons
The other unique element to the show was the 4-meter moon which was suspended above the centre stage in the middle of the audience. The moon was also fully automated to enable sleek, horizontal movement throughout the show.
The energy never dies
PRG kept the show ‘lit’ with a mix of ICON EDGE’s, VL4000 Beamwash’s, GLP JDC1, Clay Paky B-EYE K25’s, GLP Impression Fr10 Bar’s and GLP KNV CUBE LED’s which were built into the ego risers stage left and right– to name just a few….! The show also features the award-winningPRG GroundControl™ Followspot System which utilised the PRG Best Boy® HP Spot.
The show opened with the huge track ‘Something Unreal’ and Jamie went all out setting the tone for the rest of the show – an amazing performance all round!
PRG would like to say a special thanks to Lighting Designer Jamie Thompson, Production Manager Tony Gittins and all the Mirrad design team.
Project director Bill Martin was awarded the ILMC Medal of Honour for longstanding service to the organisation. ILMC head Greg Parmley presented the award ahead of the ILMC Arthur Awards dinner. Bill Martin’s commitment to the ILMC and his role at PRG doesn’t go unrecognised!
“Bill is one in a million!” said Yvonne Donnelly Smith, Director of Music at PRG. “Bill’s knowledge of touring is second to none. He has brought with him all his years of onsite training and experience into his role as Project Director. His teaching and mentoring of his team at PRG really shines through in every project. Very well-deserved Bill!”
Bill, who heads up the lighting project management team at PRG, has a depth of knowledge which he’s gained from his 40+ years in the live entertainment industry. His support for the industry and its people transcends into everything he does and PRG are proud to see his commitment recognised with this award. He’s the technical backbone of this industry and his dedication is commendable.
Speaking about the award, Bill Martin said - “I’ve worked on the ILMC since ILMC15 back in 2003 and am thrilled and honoured to have been recognised with this award. It’s been an incredible journey and I’m looking forward to what the future will bring”
Great job Bill – we are proud to have you as part of team PRG!
PRG supplied the lighting and rigging for the Music for the Marsden concert at London’s O2 Arena. 12,000 tickets were sold for the event which brought together thousands of like-minded, music loving individuals with one motive – raising money for the incredible Royal Marsden cancer charity.
The formidable line-up included; Gary Brooker, Tom Jones, Eric Clapton, Mick Hucknall, Nick Mason, Bonnie Tyler, Rick Wakeman, Yusuf / Cat Stevens, Paul Young, Mike Rutherford, Paul Carrack, Zucchero, John Illsley & Paul Jones. The star-studded line up teamed up to make a stand against cancer and all funds raised from the concert will go towards building the Oak Cancer Centre, the Royal Marsden’s cancer treatment and research facility.
PRG worked alongside Lighting Designer Steve Nolan to supply lighting and rigging. This consisted of 5 pods made up of Icon Beams and GLP X4’s. A front truss which showcased the award-winning PRG Best Boy® Spots for keylight, as well as 6 towers made up of Icon Beams, GLP X4’s and Solaris Flares. Not forgetting the PRG Bad Boy PRG GroundControl™ Followspots and back spots.
PRG were thrilled to be able to support with this incredible cause, and the reception has been superb. Event Director, Andrew Zweck from Sensible Events said: "The event was a huge success and team PRG did a great job! Everyone involved are so pleased with how well the event went and to top it off, we have raised close to £1 million!"
The night was fantastic from start to finish and there were some real standout moments; from Zucchero’s performance of Miserere which was a truly moving tribute to the late Pavarotti, who passed away in September 2007 of pancreatic cancer, to Bonnie Tyler’s performance of Total Eclipse of a Heart which saw the audience shine the torch on their phone in honour of those who have lost their lives to cancer.
Special thanks to:
Production Manager Steve Reeves, from Pull the Pin out.
Event Director Andrew Zweck, from Sensible Events.
VidCon, held at Excel London from 20th to 23rd February, is the world's largest event for fans, creators, executives and brands who are passionate about online video and building diverse communities. This three-day celebration of all things online video offered a packed agenda that engaged the communities, the creators, and the industry with an inspiring mix of main stage speakers, fireside chats, live podcasts, online celebrity and influencer Q&A’s, along with a wealth of industry networking opportunities.
PRG provided full-service lighting, video and audio for all conference and plenary areas. The production team headed up by PRG Technical Account Manager, Dan Cebreiro, worked closely with Galore to create an environment that delivered for the professional industry audience and also provided a colourful, engaging backdrop for the younger community. “We used a screen capture application to present a live TikTok video taken on an iPhone, of online video creator Holly H, which went down well with the community fans, along with triggered audio playback for lip-syncing for the other influencers on the main stage; all great fun," said Cebreiro. “The audio control set up was similar to a festival, using 3 audio consoles, one for the main day conference, a separate console for mixing bands and one side stage for onstage monitors.”
The VidCon convention was launched in 2010 and is a global roadshow for online video stars to meet and discuss the emerging business of online video as well as it being a live platform for them to interact with their biggest fans. “For the second annual VidCon London, Dan and his team at PRG were exceptionally professional, adapting to all the last minute changes that are typical for this kind of live event, and playing a key role in the production of some amazing stage shows for the attendees.” said Gerado Lopez, Executive Producer at Galore. “Our next stop is Abu Dhabi followed by Mexico City and then the flagship show in Anaheim, California.”
Since PRG UK opened its Design & Operations Hub in Greenford back in 2019, the facility has been a huge success! We’ve welcomed a variety of clients across all of our markets to use the state-of-the-art equipment onsite.
The hub, which is located in Greenford, showcases three pre-viz design suites, which provide industry professionals access to a range of resources to assist in creative design and technical planning. Forming an ongoing programme of investment, this new installation features industry leading lighting consoles, and dedicated platforms, running both WYSIWYG and MA3D software, with full HD monitors.
Speaking about the facility, Tiago Lima, PRG Design Services Manager commented: “The three pre-viz suites have been instrumental in providing full lighting service resources. Our new self-contained suites have allowed us to not only provide clients with state-of-the-art resources, but also apply immediate technical support, covering all aspects of production. We continue to welcome further clients from all our areas of our business to come and try out the facilities.”
Created with our customers in mind, the self-contained suites offer relaxed and informal surroundings, making them ideal for client meetings and presentations. The main pre-viz suite is equipped with two programming stations, for co-programming your lighting and video projects. Each station is equipped with audio interfaces, audio inputs, timecode, 1GIG network switches, ARTNET DMX interface and console external screens.
The other two contained suites offer one programming station, suitable for smaller scale productions. The Design and Operations hub also benefits from direct access to an onsite warehouse, full of lighting inventory making it suitable for equipment reference and product demonstrations.
Our Design & Operations Hub recently welcomed Associate Lighting Designer Sean Gleason, and Lighting Programmer Tom Davis from the hugely successful stage musical, ‘Everybody’s Talking About Jamie’. The lighting design was slightly modified from Lucy Carter’s original design for the West End production, and for the first time PRG’s Icon Stage lighting fixture was integrated into the amended lighting rig.
Speaking about using the WYSIWYG software, Sean Gleason commented: “The pre-viz suites have allowed us to track the lighting rig and visualise how the rig would look on stage and how the lighting fixtures would be programmed in the touring show. The WYSIWYG software is incredibly accurate to show exactly how the fixtures would be operated during the production and can also give us an indication of where the beams will shine on stage. It helps us create a more balanced rig when lighting the backdrop and the performers on stage and saves on production time, as we can do all this without using up valuable tech rehearsal time leading up to a show opening. PRG have been incredibly welcoming and have assisted in everything we need. The design services team have been great assisting us with additional technical expertise to fulfil all of the lighting and technical requirements.”
We kicked off our 2020 Hear Yourself Think series of industry meetups, held at our London offices in Covent Garden on 29th January, with award-winning creative digital entrepreneur host, Bushra Burge. Bushra shared her insight into the importance of touch and how humanising technology can enrich the user experience.
The session was a thought-provoking hour of exploring the evolution of haptics, the use of touch, and the future of humanising technology within the world of live events. Bushra shared insight drawn from a few of her recent projects, including Dark Matter, a groundbreaking first of its kind, experiential fashion -VR- haptic piece, which was shortlisted for awards and presented internationally from Colombia to Singapore. Bushra and her team challenged the look of VR, turning the wearer into a piece of the art, particularly poignant in gallery settings where waiting in the queue is as long as the VR experience itself. The experience covered a number of multi-sensory inflatables, hacked blood pressure machines, buzzers, fabric manipulation, and VR headsets to create a holistic wearable story experience.
Our Director of Corporate & Events, John Montague, commented. “We are always interested in learning from the abundance of creative talent out there and finding ways to apply this to the technology we provide within a live event environment. These talks are an opportunity to invite our industry colleagues to join us to do the same for their areas of expertise. They are an opportunity for time-poor industry professionals to take some time out, chat with some interesting people and literally hear themselves think!”
Emma Walker, Head of Creative Resource for Creative Events Agency, We Are Family, added: “Bushra was amazing, I found her work truly inspirational; demonstrating how humanising technology by combining science, communication, VR wearables, fashion and haptics, transformed the user and spectator experience. It really gave some useful takeaways.”
Bringing together 600+ solutions and 35,000+ professionals across all sectors of gaming, ICE London, held at ExCeL London is the World’s gaming innovation showcase. PRG UK was selected by Clarion Events to deliver world-class overhead lighting and rigging solutions to exhibitors across the venue, alongside supporting Clarion with technical production for the ICE Esports Arena.
As a new initiative for ICE London 2020, ICE London with sponsors GG.BET provided the most complete B2B esports learning experience to be found anywhere in the world, the ICE Esports Arena. Gaming industry visitors had the opportunity to be both exhilarated and educated as they watched eight of the world’s greatest Counter Strike Global Offensive (CS:GO) teams compete in a closed tournament, with a prize pool of $250,000.
Our team helped facilitate the 200+ strong audience to watch the finalists battle it out from a central stage. An impressive expanse of high-resolution LED immersed the audience in the gameplay, whilst a 2-channel headset gave them the option to check in on the action, or tune in to the gaming professionals, offering sage insight into why esports is becoming increasingly relevant to a wider market. ICE London and GG.BET provided the best of both worlds, demonstrating first hand, how brands can best utilise this exciting market to drive their competitive advantage.
Will Harding, Head of Esports for Clarion Events, was delighted with the response, stating: “The first B2B Esports Arena at this year’s ICE London was a huge success, with thousands of ICE visitors converging to watch the tournament and millions watching on streaming platforms. Working with tech partners such as PRG, that have global reach and local market knowledge is a real advantage when putting together such a unique project.”
Leszek M, Commercial Director for PRG UK added: “Esports is an amazing market for event production technology – it combines the skills and knowledge from TV, Live Theatre drama and Corporate sensibilities, so our UK team was thrilled to be offered the opportunity to deliver successfully, with Clarion Events across the ICE London 2020 event.”
December 19th to 21st, 2019, are dates that EDM fans in Saudi Arabia will not easily forget! The very first edition of the MDL Beast Fest held in the capital, Riyadh, was an immediate hit. The stellar line-up included 28 International music acts, such as Tiesto, Steve Aoki, David Guetta, Martin Garrix, and 24 home-grown Saudi Arabian DJs including DJ Duo Dish Dash and EDM DJ Cosmicat. PRG is proud to have provided 360° technology support and production services to this.
From a creative dream to technical reality
The record-breaking festival took place at a purpose-built venue on the outskirts of Riyadh, Saudi Arabia. Entertainment offerings were split across five stages delivering a truly spectacular event. PRG was the proud provider of 360° technology and production services for this remarkable first of its kind and it proved a real showcase, demonstrating the collective capabilities of the PRG teams from Dubai, UK, Belgium, Germany and France and their ability to collaborate in making that creative dream a technical reality!
MDL Beast is a festival of superlatives. The PRG team set up a total of 480 tons of equipment on-site — audio, lighting, video and rigging for the five primary stages — but it’s not all about the gear!
For this world-class and amazing first in the region, PRG has come together as a global team to deliver production excellence across all disciplines. This is what PRG is all about…it’s all about our people!
5 stages, 1 big immersive experience
More than 400,000 visitors immersed themselves across the 5 performance arenas, each of them beyond spectacular in terms of scale and visual impact! This, together with a mix of art & cultural zones, fashion activations and food & beverage outlets created a fantastic festival setting.
“We delivered over 3000 square metres of high resolution LED Screens across the festival site, from the impressive and Guinness World Record winning main stage, reaching some 37 metres high, to the immersive 360 degree video performance zones, the scale of this event was truly mind-blowing ”, explains Niel Beelen.
PRG in the Middle East
The supply of state-of-the art equipment was simply one aspect of our scope of work for MDL Beast. Added to this technology was the supply of a diverse range of technical specialists from the across the PRG world.
“PRG is all about technical production services. In a short time-frame our teams across three continents were able to come together team to deliver a truly mega event. MDL Beast was a great festival and we are really proud to have played a part in making this a success!” says Stephan Paridaen, CEO of PRG Group, who was in Saudi Arabia for the occasion. Paridaen continues: “We are really proud to be supporting the vision of 2030, delivered by the Saudi Arabian Leadership, has a focus on culture and tourism, sports and entertainment and what better example than this amazing event, MDL Beast!”
PRG wants to thank and congratulate MDL Beast LLC and Sela for this incredible achievement and to our fantastic global PRG Team.
PRG UK was honoured to be able to provide its industry-leading technical expertise to supply video technology for the 50th Anniversary of Centrepoint - the UK’s leading youth homelessness charity. The celebratory live music event welcomed it’s Director His Royal Highness, The Duke of Cambridge, along with many leading figures to experience live music from a selection of musicians and artists, who performed to the attending Royals and an audience in the thousands that attended the Roundhouse to support the prolific charitable cause.
Video Account Manager Nilkanth Patel worked alongside the production team to provide his expertise to ensure that the video equipment specifications and relevant supporting technology provided, met all of the artists' on stage requirements while taking into account the size and performance space of the Roundhouse venue.
Inset: A total of 102 Sqm LED screen panels were used to make up the video wall on stage. Photo credit: Harry Richards
In terms of the equipment package provided by PRG UK, the LED screens consisted of 48 Sqm of Black Onyx3 (3.5mm) screen panels for the IMAG and 54 Sqm of Black Onyx3 (3.5mm) screen panels, to make up the video wall behind where the bands were performing on stage. In terms of the Cameras and PPUs, the equipment supplied consisted of 2 x HXC-100 Cameras with 70x lenses, 1 x Panasonic HS400 PPU, 2 x Playback Pro machines and 2 x PPT/Keynote machines. To complete the video package, 2 x Barco E2 Master signal processors were provided along with 6 x DVI fibre kits and 3 x SDI-HD fibre kits. A total of five of our highly trained crew supported the event to assist with all of the band’s production team and the production manager's technical requirements both on stage throughout the performance and also to ensure that no technical glitches occurred on the night. The set was designed by Takis who provided his multi-disciplinary approach to enhance the focus on the visuals, in which he utilised the large scale video screens to draw attention to the artists performing on stage and to add context to the content displayed which provided a theatrical element to the production overall.
Inset: Photo credit: Harry Richards
Speaking about PRG’s involvement with Centrepoint, Video Account Manager Nilkanth Patel commented about working with the Centrepoint team to bring all of the technical elements together:
"It was a pleasure working with Takis, Richard and the team at Centrepoint. I was really impressed with their can do attitude and the fantastic difference they are making towards homelessness in the UK. A vast amount of work was pulled off in a single day and even with time against all departments the program was a great success.”
The incredible set design was by Takis who used PRG to provide the LED video screens to display the powerful emotional content on stage. Photo credit: Harry Richards
PRG is excited to announce the appointment of Simon Watkin who has joined the team as our Chief Financial Officer for PRG’s EMEA operations. Simon will be focussed on providing financial leadership and functional expertise to the EMEA region, alongside wider advisory support to the business.
Simon brings with him a wealth of knowledge and experience as he trained and qualified as a Chartered Accountant at PWC and has acquired 15+ years’ experience in finance. Alongside his career in finance, Simon has also gained experience in operational, buying and product management roles, which has given him a broader commercial awareness and expertise.
He joins us from Claire’s Accessories: he worked as the European Finance Director from 2013, before running the European Operations for the past 3 years, and we are delighted to have him on board.
Simon commented: “I am thrilled to be joining PRG. The business is an undoubted leader in the entertainment industry, and with the high-quality team we have, I look forward to helping the business capitalise on the great opportunities it has for future growth.”
Reporting directly to Chris Corrini, Global CFO of PRG Group, Simon will form part of our core senior management team and will be working across all of our offices throughout Europe and the Middle East.
Chris commented: “We believe Simon Watkin is a first-rate addition to the PRG team and we are delighted he has joined as CFO of PRG’s EMEA operations. He brings quality financial and operational experience with several large and mid-sized multinational firms with multi-location operations. Simon brings passion and energy to his work along with strong leadership. He has been a positive contributor to his companies throughout his career.”
Continuing to uphold our reputation for being the premier supplier for event technology in the concert touring industry, PRG UK supplied Video Screens, Cameras, PPU and Media Servers for Volbeat’s Rewind, Replay and Rebound European tour. The iconic Danish Rock band embarked on their tour in the early autumn, where they played to thousands of audiences across thirty-two major outdoor venues in fifteen countries. Video Account Manager Nilkanth Patel, worked with Production Manager Andy O to provide his technical expertise to bring Niller Bjerregaard’s design to life while taking into account the variety of different venues in the touring schedule, and to make sure that all the technical requirements of the band and production were serviced effectively throughout.
Photo credit: Brittany Bowman
In terms of the video equipment provided, the LED screens consisted of 86.4 Sqm of CB5 panels, 14.4 Sqm of MC-18 Hybrid along with our proprietary products which included 25.66 Sqm of PRG V18 screens and also over 18 Sqm of PRG V18 screens configured as a riser front. In terms of the Cameras and PPUs, PRG provided, HXC-100 Cameras (two placed in the pit and two at front of house), HDieye Mini Cameras placed around the stage inconspicuously and HD120 Robo Cameras to give options. To complete the video package, mBox media servers were provided for content. A total of six of our crew supported the tour to assist with the band’s production team and the tour manager's technical requirements and to ensure that no technical glitches occurred during performances.
Photo credit: Brittany Bowman
Speaking on behalf of PRG’s involvement with the European run of Volbeat’s tour, our Video Account Manager Nilkanth Patel commented: “Productions like this can cause much worry with the complexities of rotating monoliths and cable management but the PRG team alongside the production manager Andy O worked through this and made sure that all was smooth and tour-able. PRG’s lightweight ROE CB5 screen and MC touring frames really proved themselves to make sure the monoliths were light enough to track and for the pods to securely fasten to the screens above whilst the PRG V18 screen was a simple and effective screen behind the band to create a lower resolution back wall. It has been a pleasure to bring to life the designs that were just a concept by “Niller Bjerregaard” and from what I have seen I am sure he is very pleased with the final product.”
PRG UK has continued to be one of the leading, major technical service providers for the theatre industry, this time, by providing Lighting for the brand new musical; Dear Evan Hansen, which recently opened at the Noel Coward theatre in London’s infamous West End theatre district. With its original Lighting design by Japhy Weideman and Projection design by Peter Nigrini, Dear Evan Hansen is considered to be one of the more contemporary stage musicals in the last decade that has integrated lighting and technology more to enhance the overall production and aesthetic design. PRG's Theatre Sales Director Peter Marshall worked with the Associate Lighting Designer Ken Wills and with Production Electrician Fraser Hall to oversee and ensure that the Weidman's original lighting design was recreated as much as possible. The challenge, was that since the show was in a different theatre compared to the original Broadway production, the lighting package had to be customised specially to ensure the production was lit correctly and effectively on stage.
Inset: Multiple Clay Paky Sharpies were provided for the sharp beam specials overhead. Photo credit: Matthew Murphy
The main lighting fixtures provided consisted of Martin Viper Performances, Martin Viper DX Washes, Vari-Lite 3500 Washes, GLP Impression X4s as well as several ETC Source 4 LED Series 2 Lustrs. Multiple Clay Paky Sharpies were provided for the sharp beam specials overhead along with Chroma-Q colour force LED battens which were primarily used to light up the backdrop on stage. A total of four followspots were also provided which were PRG’s own proprietary Best Boy fixtures used with manual control to track the actors while they moved around on the stage. The entire lighting system was controlled off an ETC EOS control platform.
Inset: Chroma-Q colour force LED battens which were primarily used to light up the backdrop on stage. Photo credit: Matthew Murphy
Speaking on behalf of PRG’s involvement with the new production, our Theatre Sales Director Peter Marshall commented:
“It has been a pleasure to be able to work with Ken and Fraser on this new and exciting production. I am looking forward to seeing how the show does at the Noel Coward Theatre, particularly as it is one of the more contemporary shows. It has been a delight for PRG to continue to our long-standing relationship with the theatre industry and maintain our reputation as the leading supplier of lighting.”
Inset: PRG Best Boy Follow Spots were used to track the actors as they moved throughout the performance on stage.
PRG UK was proud to make an appearance at Event Tech Live 2019, Europe’s only two-day exhibition dedicated to the world of event technology, which was held once again at The Old Truman Brewery in London. The event which was established back in 2014, saw over 2,500 visitors from all over the world attend to see a diverse range of technology on display from exhibitors, as well as see a selection of world-class, specialised talks given by some of the most influential professionals in within the industry.
Our Director of Corporate Events John Montague recently spoke to professionals within the industry about “simplifying the complex”. John talked about event design today – how by concentrating on simplicity in both design and message, we can achieve both the impact and remembrance, but also deliver the complex. Drawing on works of cognitive psychologist and economist Herbet A Simon, John illustrated that “Something is simple or complex depending on the way we chose to describe it”.
John expanded on how to break down our ever more complex digital and visual workflows into simple chunks. Using examples of Fractal geometry to demonstrate this, as well as practical examples of how PRG's cutting edge delivery teams have implemented this ethos around the globe. Bringing the talk to a close, John focused on Matthew Frederick’s three levels of knowing – Simplicity that leads to Complexity and out the other side to Informed Simplicity - emphasising the need to keep the simple at the forefront of our technical and complex world.
PRG UK were proud to supply lighting for Andrew Lloyd Webber’s mega-hit, juggernaut musical, The Phantom of the Opera Worldwide Tour. Lee Batty (Technical Director from RUG - The Really Useful Group) oversaw the production in association with Troika Entertainment; (Executive Vice President Kori Prior and Production Manager Dave Burch), which has travelled throughout a selection of countries around Asia, including Manila in the Philippines, Marina Bay Sands in Singapore, Kuala Lumpur in Malaysia and more recently the moved into Tel Aviv and Dubai.
The iconic production kicked off its latest international touring show, since it mounted back in 1986, in London’s West End, and in 1988 On Broadway, where it is still on a high from its widely celebrated 30th Anniversary mile-stone at its long-term home at the Majestic theatre in NY. Over the years, The Phantom of the Opera has spurned 2 US tours and a UK national tour, as well as mounting touring productions in over 25 countries. The last touring production saw a dramatic overhaul of the production, from the set to the lighting and even changing the physical appearance of the Phantom and other major characters, moving away from Maria Bjornson’s classic look and feel to the original sets. This new international touring production however, has gone back to its renowned and widely recognised original aesthetic, looking more closer in its appearance, feel and production set up to that of both the West End and Broadway current productions, which in own right feels the right time to celebrate the original masterpiece.
Photo supplied courtesy of The Really Useful Group Ltd.
Lighting Designer; Andrew Bridge, (who was also the original LD for all of the productions including London’s West End in 1986 & On Broadway in New York back in 1988), re-equipped the entire production, whereby future proofing the lighting inventory for the next generation, favouring LED sources (a resource that was not available more than 30 years ago). He and his associate Michael Odam, along with Production Electrician Andy Bird, set rigorous performance criteria, whilst simultaneously identifying the vast savings that could be derived over the prospect of a potential long-term run, from running expenses, minimal air conditioning, less cabling and zero lamp replacement. To give an example in terms of the cost savings, on the previous 2006 world tour, which was predominantly an arc rig, with a similar quantity of units the production would have spent in excess of around £7,000 on a re-lamp every 10–12 playing weeks. Since using LED lights, the high level of reoccurring expenditure has now disappeared. Not only this, but the new touring production managed to achieve a massive power saving, which aside from being good for the environment, has allowed the show to be able to play to some of the smaller and more less equipped venues, which at times can have different power infrastructures for the production to link into.
“In London and New York, the productions are still based on a fixed focus tungsten lighting rig, and in the course of 33 years there have been many upgrades. However, while the original concept remains without moving lights in those locations, on the 2006 world tour we adapted the entire rig to a majority of moving lights, initially using tungsten-based units, but finding that touring voltage variations made consistency of output impossible. Eventually the journey took them to LED – but with appalling colour renderings and dimming.” he added.
Photo supplied courtesy of The Really Useful Group Ltd.
However, moving forward to the present day, and the need for a much more streamlined, efficient production – a load-in time was finally brought down from twelve days, a total of just three.
“After nearly two years of design challenges, we designed an all – LED rig, with no need for the usual heavy power requirements and space hungry dimmers. This enabled us to design a superb and ground-breaking mains distribution and control. The LED units are more robust and quieter.”
(The Phantom of the Opera Lighting Designer; Andrew Bridge).
Photo supplied courtesy of The Really Useful Group Ltd.
What PRG provided for the TPOTO international touring production?
PRG’s highly experienced, and dedicated crew provided the following equipment consisting of:
LED Fixtures and Extras:
47 x ETC Source 4 LED Lustr series 2 Head/Body
32 x Colorsource LED PAR Deep Blue ETC
7 x Freshnel LED Altman Pegasus 6” 300K
2 x Freshnel HMI 2.5K Arri Compact
2 x Freshnel HMI 4.0K Arri Compact
26 x MAC Aura XB RGBW LED Wash
50 x MAC Encore Performance Warm LED
30 x MAC Encore Performance Cold LED
8 x MAC Encore Wash Warm LED
24 x MAC Encore Wash Cold LED
6 x MAC Viper Performance
2 x SPOT 2.5 HMI RJ CRYANO 3-8o CAD 2000
5 x Selador Desire D22 Lustr+LED RGBAW ETC
5 x Selador Desire D22 Lustr+LED RGBAW ETC
6 x Strobe GLP JDC1 LED RGB
14 x Impression X4 S LED RGBW GLP
10 x Impression X4 BAR20 RGBW GLP
7 x GOBO Rotator S4 Dual Rosco Revopro
2 x Fog look Power TINY/HB Battery
2 x Fog MDG Hazer ATME APS
1 x Fog Look Viper 2.6 DMX 2600W 230V
2 x Viper 2.6 Fluid Cap W/Filter+ Hose
2 x Fog low look Cryo-Fogger High Pressure 2300W 230V
1 x Cue Light GDS Cuesystem
1 x Cuesystem Control DIGI 12-Way 3RU
1 x Cuesystem Control DIGI 12-Way 1RU
14 x Cuesystem Outstation Standard
1 x ETC EOS TI GEN1 16000 console
2 x Fog low look Cryo-Fogger High Pressure 2300W 230V
1 x ETC ION/EOS Fader Wing 2x10
1 x ETC GIO5 24000 console
2 x ETC Nomad Pug Gen2 512
1 x Node ETCNET3 DMX/RDM Gateway X4
4 x Node Module Net3 Gateway DMX-OUT XLR5F ETC
8 x Node Module Net3 Gateway DMX-In XLR5M ETC
2 x Node Rack Adapter ETC Gateway X2 ETC
1 x Node ETCNet3 Show Control Gateway 802.3AF
2 x Show Baby 6 DMX Transceiver PSU CITY THEATRICAL