Taking place in East London’s Victoria Park across a weekend in mid-July Lovebox and Citadel festivals feature an eclectic mix of the coolest music artists around, with Frank Ocean and Chase and Status headlining Lovebox and Foals headlining Sunday night’s Citadel line-up.
PRG worked with festival producers MAMA Festivals to specify a live video production package that included LED video screens, live camera system, and content playback and screen management system.
The versatile package consisted of two large 10.8m high x 7.2m wide IMAG screens formed from ROE Visual MC-7 LED, packaged in PRG’s own custom-designed touring frames. As LED Crew Chief, Steven Grinceri says: “Using the frames allows each screen to go up in around an hour.”
Out at front of house a further three delay screens, also built from MC-7 and measuring 4.8m wide x 2.4m high, were used by Frank Ocean to extend content out around the site, and acted as additional IMAG screens across the remainder of the weekend, bringing the whole audience closer to the onstage performances.
To capture the artists live from a variety of angles, PRG supplied three Sony HD cameras at front of house, and two Bradley robo-cams located on stage which captured close-up and side-on shots of the artists.
Video Director Alex Chew used PRG’s Ross Carbonite PPU to cut the live footage. The video system engineer was Andrew Powell.
Paired with the PPU, PRG used their Barco e2 screen management system to output the content across all six LED screens on site, and this was managed by PRG’s media server and control systems expert, Erica Frost.
On Saturday evening Chase and Status live streamed their set on their Facebook page, and PRG’s camera system was also used to supply footage for the live stream.
PRG Account Manager Michael George commented: “I have been working on this festival for a number of years, and each year it pushes the boundaries of live events and live broadcast. It is a great festival to work on, with a really eclectic line-up. We’re looking forward to 2018 already!”
Glastonbury is well-known for being a festival with quirky elements and the bravado to push technological and creative boundaries; and it’s one that PRG are delighted to continue their involvement with. Nick Diacre, Technical Director of ddld, partnered with PRG to bring an innovative 360˚ video installation to the Gas Tower area in Shangri-La.
Nick described the concept of the installation at Glastonbury this year: “We’ve created a 360˚ immersive projection environment in an outdoor arena with a capacity of 1200. The structure itself is inescapable to the audience, being almost twelve metres tall in places, and completely encompassing the arena. Over the period of four days, we welcomed over fifty guest artists, as well as VJs and AV artists to the arena to contribute content across our 360˚ screen.” Shangri-La’s Willy Brothwood was responsible for the design and build of the Gas Tower structure.
The 360˚ projection is achieved by mapping eight Panasonic PT-DZ-21k projectors across the playback surfaces. These are fed by a combination of d3, Touch Designer, and Resolume media servers patched through a 32x32 routing matrix. Nick explained: “We needed to create a system which not only served the purpose of simultaneously projecting eight HD outputs in a field, but also has the flexibility to accommodate the varying demands of the content creators we had performing in the space. The core team of VJs and a handful of those dropping in to play a set were more than comfortable to use one of our media servers to replay their content; but some would simply give us an output from their laptops—be it one, two or three screens, which we then fed into the d3 and remapped it onto the eight screens surrounding the arena."
Nick worked with Shangri-La Creative Director Kaye Dunnings, Technical Production Manager Seain Loughlin and Production Director and Music Programmer Robin Collings to bring the concept to life. Ela Brunel Hawes oversaw the careful curation of bands, VJs and visual artists appearing in the Gasworks, these included: Limbic Cinema, a VJ collective from Bristol; Delta Process, video mapping experts from Italy; Enjoy Kaos Visuals; DJ’s Yoda and Cheeba who produced an AV centric set that was both reactive and interactive with the audience; and Ela’s own company EBH Luminaire, with partner Daniel Shutt. Nightly performances of ‘The Bomb’ were performed by ‘The Acid’, with production support from Smriti Keshari, Margaret Avery, and their d3 operator, Scott Millar. The original ‘The Bomb’ d3 show was developed by Ben Kreukniet and UVA.
Nick explained what set their project apart from other endeavours: “Simply projecting video onto a 360˚ surface is really cool, but nothing new or particularly novel. However, the challenge was building a system which has the versatility of accepting all the artists over four days. We had our ups and downs, but everything went well and I think that what we achieved is something special.”
Video Systems Engineer Erica Frost has worked with Nick at Glastonbury for four years: “What I love about working with Nick is that he’s so enthusiastic and inspiring. Nothing is impossible with Nick, whenever we discover we need a new way of doing something, he’s open to different methods and solutions. His passion and drive is contagious, it rubs off on you and makes you a better creative technician. Before the Gas Tower project, we did a different video installation in Shangri-La, with live projection mapped content on a surface of tessellated triangles. Being an organically produced surface, there were no 3D models—which meant that each shape had to be individually mapped. Nick’s the kind of person who likes to take on ambitious challenges, pushing his own capability and that of the technology.”
PRG Account Manager Rich Pow, facilitated Nick’s equipment needs: “It’s a pleasure, as always to support Nick at Glastonbury. We’ve worked together on this project for a number of years, and each time Nick ups the ante and makes a real impact at the festival. Nick’s a real street geek and always finds new ways to utilise the technology to his advantage. He’s full of ideas, work-arounds, enthusiasm and knowledge; he doesn’t just think outside the box, he jumps on top of it to get the best view in the house.”
Nick started the preparation for the Gas Tower installation several months before the event: “Despite designing an incredibly versatile but complex system for this year’s production, we’ve managed to reduce the amount of kit needed to make it happen; this is largely down to using the incredibly powerful and practical media server, d3. Everything was built so it could be quickly moved in and out of place on forklift trucks; it’s Glastonbury, we always need to prepare for mud! We loaded in four days before the field went live, and then spent the rest of the time fine tuning the system and running content. In our line of work, we spend so much time sitting at a desk looking at a monitor or two, to be able to see your work in such an arena is really, really cool.”
Photos 1, 2, 3 & 5 Nick Diacre. Photo 4 by Ela Brunel Hawes.
When Bat Out of Hell-The Musical Co-Producer Michael Cohl stood on a make-shift stage outside the London Coliseum at the press launch of Bat Out of Hell-The Musical in November, he declared his latest project, along with fellow Producers David Sonenberg, Randy Lennox and Tony Smith, and Production Manager, Simon Marlow, to be the biggest rock musical to premiere in London since We Will Rock You. He wasn’t wrong, positive reviews are plenty, with The Times calling Bat Out of Hell: ‘a crazy, wild child of a rock ‘n’ roll musical’, The Guardian declared the: ‘roaring choruses and fairy-tale plot are built for the ENO’s stage’. The Stage said: ‘Bonkers it may be but, hell, it’s pretty brilliant too’, adding: ‘although set in the future, in many ways it feels old-fashioned, like a huge, 1980s arena gig, intensified by Patrick Woodroffe’s blazing lighting.’
With Jim Steinman’s Iconic soundtrack, made famous by Meat Loaf, one of the most ambitious set designs to ever grace the stage of a theatre by Jon Bausor, an innovative use of video by Finn Ross, and an up-scaled, operatic lighting design by Patrick Woodroffe—Bat Out of Hell-The Musical has made a big impact on the UK musical theatre scene, which it will attempt to emulate when the show transfers to Toronto in October.
Set against amidst the ruins of a post-cataclysmic city, Bat Out of Hell-The Musical is a romantic adventure about rebellious youth and passionate love. Jay Scheib directs this stampeding musical, which sees wild-eyes Strat, leader of street gang, The Lost, fall for Raven, the daughter of the dictatorial leader of dystopian city, Obsidian amidst the bombastic soundtrack, featuring classics such as: I’d Do Anything For Love (But I Won’t Do That), You Took the Words Right Out Of My Mouth, Two Out of Three Ain’t Bad; and, of course, Bat Out of Hell.
Peter Marshall, Director of Theatre for PRG XL, oversaw the provision of kit to Bat Out of Hell: The show initially opened for a twelve-week run in Manchester at the start of the year, before transferring to the coliseum for the summer season from June to August. It was brilliant to continue our relationship with Producer Michael Cohl and General Manager Julian Stoneman again—after supporting them on Rock of Ages, and very exciting to work with Patrick and Finn, providing some of the latest technology on the market, including the Panasonic PT-RZ31K laser projectors. Bat Out of Hell was one of the first installs of these fabulous projectors in the world, which came straight from the Panasonic factory in Japan to the Opera House in Manchester.”
Associate Lighting Designer, Rob Casey worked alongside Patrick Woodroffe: “The overarching theme of the lighting for Bat Out of Hell is to achieve big, operatic backlighting which compliments Jon Bausor’s rugged set. We took a basic set of ideas from Patrick and theatricalised it using numerous positions overhead and around the set. The trusses are trimmed to around twelve metres, well out of view and capable of giving a steep-angled backlight, which Patrick is a really big fan of.”
Lighting Programmer Chris Hirst added: “The main workhorse lights we’re using are the Martin Mac Viper Performance moving lights, as well as GLP X4 and X4L LED lights, which we use to achieve a lot of the looks seen on stage. Additionally, we have Martin Atomic and HES Dataflash strobes, a variety of different sized Colorblaze LED battens, Icon Beams, Colorblast CB6 LED lights, and a substantial package of generic lighting fixtures in the rig. All the lighting cues are pre-programmed on a GrandMA2 console to timecode, which allows all the big, strobe looks, yet can still be cued through by a DSM.”
Bat Out of Hell-The Musical makes innovative use of the latest projection technology from Panasonic to add to the overall look of the set and lighting design. Peter Marshall explained: “When we specified the equipment needed for the show, it was clear that only the highest performance projectors would suffice. We opted for the Panasonic PT-RZ31K laser projectors to take on the bulk of the projection work. Being a laser light source, these units are incredibly efficient with a maximum lifespan of around 80,000 hours, suffering minimal light output drop off over the life of the lamp.”
Emily Malone, Video Programmer on Bat Out of Hell added: “The Panasonic laser projectors are brilliant, they’re very bright but also very quiet for a projector of that size, which means they are perfect for theatre. We’re running all the content through a d3 media server, triggered by a GrandMA2 console. The d3 is an incredibly versatile media server which gives us the ability to integrate content across three dimensions, and tie in to Notch, which we feed live camera footage through to apply real-time effects. The combination of using d3, Notch and a GrandMA2 console gives us the maximum amount of flexibility and allows the show to be run by one person, on one console—activating both lighting and video cues.”
Video Designer, Finn Ross, of FRAY Studio design, commented: “The video design for Bat Out of Hell summons the ruined world of Obsidian, the neo-futuristic city in which the show is set. The set is fully video mapped and constantly textured by video to shift us from location to location, in an abstract style inspired by the ruined Bronx of the 1970s. We also use a lot of live camera to present certain aspects of the show as if happening in a dream. We process the camera through Notch to give the image a heightened, dream-like atmosphere. Everything is sequenced in d3, making it very easy for us to rework whole segments of the show in visualisation.” Working alongside Finn and Emily was Video System Engineer, Jonathan Lyle and Video Engineer, James Craxton, who designed and implemented the system to realise Finn’s artistic vision.
General Manager Julian Stoneman commented: “Once again it was a pleasure to be working with PRG on such an epic production as Bat Out Of Hell The Musical. The expectation from an audience pointof-view was going to be huge and with the designers that were employed, it meant that the finished product was going to be a class of its own. The designers along with PRG worked as a family, so the time and effort that was put in was never wasted."
Rob Casey described the challenges of adapting the set-up when moving between the two venues: “Moving from Manchester to London was a really big change, the Coliseum is considerably bigger than the Manchester Opera House, so some adjustments were always going to have to be made. That said, we had both venues in mind when designing the show, so very little of the lighting rig changed, with the exception of reconfiguring the way some of it was rigged overhead. When we were in the Opera House, the additional width of the proscenium arch in the Coliseum was marked on the wall, so we knew what would and wouldn’t be visible when we arrived in London. The transition between the venues was very smooth, because the core team was kept the same for both theatres. Production Electrician Rich
Mence lead a team of seven production electricians to bring this mammoth production to the stage.”
Rich discussed: “I was really excited about working on Bat Out of Hell, I remember listening to my dad’s copy when I was really little, so to be given the opportunity to see it brought to life on stage was an exciting prospect. It’s not like a regular musical theatre show, being so loud and rocky. The load-in schedule for London was fairly quick compared to Manchester, where we had an additional couple of weeks to build everything and technically rehearse it, with the show still being tweaked during preview shows. Because we already knew how the show would run, we spent most of the time before previews adjusting the position of the lights to accommodate the Coliseum stage, which is much bigger than the one in the Manchester Opera House. I’s been a pleasure working with the whole team on Bat Out of Hell; everyone has played a vital role in making the show what it is.”
Rich continued: “The most challenging part of prepping for the show, was that we always had to have in mind that the production was going to move between two different theatres. Usually a show of this size would go into a venue and sit down for a prolonged period of time. We treated Bat Out of Hell like a tour in terms of infrastructure needed, the show tours all its own cable, distro and control networks, which isn’t always the case with a big West End show. Every element of the rig—electrics, smoke effects and pyro, needed to work in both theatres, and be practical to move. Building the rig in the modular way that we did, enabled us to move the whole lot between two cities with only minor alterations needed. Soon, the show moves to Toronto, so we will need to go through the process again, and then probably again after that when the journey continues.”
Peter Marshall concluded: “It may sound like a cliché to say that it was delightful to be involved with the show, but everything about Bat Out of Hell has been brilliant and a real privilege to be part of it. The music, design, people and experience have been amazing. The out of the box creativity shown by all the creatives involved have allowed us to showcase exactly what we can do combining lighting and video in the theatre. We wish everyone involved in Bat Out of Hell all the best for the remainder of their time in London, for the transfer to Toronto and beyond.”
Bat Out of Hell The Musical will play at Toronto’s Ed Mirvish Theatre from 14th October to 3rd December 2017.
56,000 music fans, 100 hectares of camping grounds, 350 DJs and four days of beats, bass and applause – the result is EDM Festival "Nature One". This year once again, visitors were able to celebrate three days watching various stages at one of the biggest electronic dance festivals in Europe.
Before the 23 floors were opened for the crowd on 4th August, a large team of technicians put in five days of hard work. PRG was commissioned by the client i-Motion GmbH to set up the OpenAirFloor, the largest floor of the festival. PRG Account Manager Jan Sander and his team were responsible for the rigging and installation of lighting, video and sound technology. And the stage was also built by the PRG crew.
At a festival usually the stage is the main focus, but not at Nature One 2017. On the OpenAirFloor, a large part of the technology was designed in such a way that the audience played a central role. Lighting designer Thomas Gerdon explains: "What makes the lighting design special here is that we do not have a stage with a lighting system like a normal Rock'n'Roll Festival, but the lighting system is mainly above the people - so it is a floor concept and no real stage concept."
Also for Jan Sander (PRG Account Manager), this was an extraordinary show, which he set up with his team of technicians: "The audience was offered a great choreographed show, with top DJs and a full multi-media show behind it. Great lasers and spectacular pyro effects were used as well."
The PRG team needed 280 man days, spread over five days of construction and rehearsal time.
The lighting show used mostly moving lights and LED fixtures. 34 Icon Beams were used as stage lighting, with 48 SGM Sixpack and 52 SGM Q-7 and 24 SGM Q7-W. Additional lighting technology that was used included: 124 GLP GT-1, as LED strobe light, 108 GLP X4 L and 48 GLP JDC-1.
For the right beats and bass the PRG team installed on the OpenAirFloor 24 x Meyer Sound Melody, 32 x Meyer Sound Mica, 16 x Meyer Sound Milo and 32 x Meyer Sound 700 HP. The customer's request was that a special sound performance should be generated in the bass range. The bass was set up accordingly in a certain formation so that the kick and sub bass could be optimally reproduced.
From the FoH (Front of House) the show was controlled by three Grand MA 2 Fullsize, 2 GrandMA Light and 14 Grand MA 2 NPUs. These also triggered the media servers, lasers and pyro effects.
The video technology of the large OpenAir stage was also integrated into the overall concept. Among others, P30 LED panels covered an area of 160 square meters, as well as ROE MC7-HB modules installed as a 30 square meter DJ booth. The entire technology was attached to almost 1,000 meters of truss.
Despite the difficult weather conditions - there were storms, thunderstorms, rain and sun - the technology worked perfectly. Thomas Gerdon added: "From Thursday evening to Sunday morning, not one lighting fixture had to be exchanged. This is extraordinary in such weather conditions and speaks for the top quality of the material and a very good installation."
The Electronic Dance Festival (EDM) “Nature One” was a success once again in 2017. On the former rocket station Pydna there were fireworks, electronic music, lasers, pyro and a multi-media-show.
Lighting designer Thomas Gerdon is delighted about the successful festival and praised the cooperation with PRG: "The advantage of working with PRG is that during pre-planning I can select the best possible lighting equipment from the portfolio because of the size of the company and the size of their inventory. The second big advantage is that the people who work at PRG have great experience when it comes to projects as big as this."
Sir Elton John is one of a number of acts PRG has had the pleasure of working with for many years. Account Director Jon Cadbury explains a little about PRG’s history with Sir Elton’s tours: “We have been working with Sir Elton and his touring team for many years, and we supply lights for most of his shows around the world. I look after them in Europe, together with a fairly consistent, and excellent lighting team, and my colleague Curry Grant takes care of all of the North American and rest of the world shows. Sir Elton usually tours twice a year in Europe, as well as touring the US and the occasional residency in Las Vegas; it’s like he’s on a never-ending tour – he is surely one of the hardest working artists touring today.”
As part of a wide-ranging tour, taking in numerous countries around the world, Elton played a number of dates around the UK this Summer. We had the opportunity to catch up with Lighting Crew Chief Lars Kristiansen, and Lighting Designer Kevin ‘Stick’ Bye, when Elton and his band played the First Direct Arena in Leeds.
Lars has worked with the touring production and the LD for fourteen years, during which time there have been various designs which have been utilised in a variety of venues, from racecourses to rugby stadiums, and arenas to cabaret clubs. “There have been lots of subtle changes to the lighting rig over the years. I think that what we have now is a very good system, it’s multifunctional, bright and we can now get the whole rig in the air in two and a half hours. The main lighting fixtures used are Vari*Lite VL3000 spots, Vari*Lite 3500 washes, Clay Paky Sharpy and Beams, and Martin Mac Viper AirFX moving lights.”
One recent change to the touring rig is the use of the PRG GroundControl™ Followspot System. Lars explained: “When I first saw them in action at an open day at The O2, London last year, I knew we had to have them for the tour. We use four Best Boy GroundControl heads on our front truss, in line with the key lighting, with the base station controllers set up behind dimmers at the side of the stage. Compared to regular followspots, they’re super-easy to set up, with the added benefit of not having to deal with in-house spots and local crew in the different venues we play.”
This is also a benefit to Marshall Arts, Sir Elton’s long-term tour promoter who do not have to construct front of house followspot towers with the associated logistics issues and potential audience sight restrictions.
Kevin ‘Stick’ Bye is also an ardent fan of the GroundControl: “Moving to a remote followspot system has given us more freedom - we’ve improved the sightlines for a lot of the audience, by not needing to build a tall front of house structure, which would have impaired people’s views in some of the venues we play in such as rugby grounds or racecourses. Moving from M2s to GroundControl was smooth and seamless.”
Stick has been with Sir Elton’s touring team for eighteen years, and described the current show design: “We’re presently touring a lighting rig designed by Patrick Woodroffe, the concept of which is pretty basic - the intention being to keep the attention on Sir Elton and his band, with the lighting adding a bit of flavour and embellishment. The upstage LED wall is used for simple, wallpaper-like content. The lighting looks mostly use the colour pallet determined by Patrick, with the layout of the lights adapted and scaled up or down, depending which venue we play in. I try to stick as closely as possible to Patrick’s design, most of the songs are very monochromatic - reds or blues, and then we let it all loose and go crazy at the end!”
Stick operates the lights from an MA lighting GrandMA2 console: “Being an old Vari*Lite guy, I used to use a Virtuoso console, but we needed something which was available and could be supported around the world. The MA2 is an excellent console, and is unbelievably stable, which means I don’t have to deal with unexpected board crashes. The show is run cue to cue, we and we don’t use timecode because each night is different. Sir Elton will play some songs faster or slower, and has even been known to stop and start over. I have lots of busking pages, with song-specific colour bumps and effects worked out between Patrick and myself. I think what we ended up with is the best of both worlds, the flexibility of manual control, with the security of tight cueing.”
The video content for the show is replayed through a PRG Mbox media server. Lars explained the unique set-up used on these tours: “We’d been hiring Mbox from PRG for several years, taking a full-sized rack out on tour, with the software running off of Mac Pro towers, but this was inconvenient when we were doing small shows abroad and wanted to check the rack in as general luggage. To resolve this, I built a custom system using two MacBook Pro laptops in a Peli Case with processing and routing hardware, and bought our own version of the Mbox software from PRG. We now have a compact, lightweight video playback system which can be transported easily around the world.”
Jon summarised PRG’s relationship with Sir Elton’s production team: “It’s nothing short of a pleasure to facilitate this artist’s touring needs. The rig is well designed and very practical for the varied needs of the tours. The hand-picked crew are one of the best teams we work with - they know the show inside out and are very loyal and dedicated to Sir Elton, trying to ensure they are available for his shows. Sir Elton John is an excellent customer whose loyalty we value very highly.”
Celebrating some of the finest music and artists from the 80s, Rewind festival takes place over three weekends each summer. Starting in Scotland at Scone Palace, near Perth, then moving on to Capesthorne Hall in Cheshire, and with the final weekend at Henley, the festival includes performances from a variety of eighties superstars including Human League, Nik Kershaw, Go West, Level 42, Kim Wilde, the British Electric Foundation, and the Trevor Horn Band.
PRG provides support to Production Manager, Keith Morris, Lighting Designer, Martin Nicholas, and Video Content Director, Miguel Riberio, supplying lighting and video technology, and experienced technical crew for all three weekends.
Unlike many festivals which take place over a single weekend, sometimes in dual locations, Rewind is a ‘touring’ festival, taking the same production package to different sites over several weeks. As well as the main stage, the site includes a Silent Disco, tribute band tent, funfair, and even an inflatable wedding chapel!
For the production, PRG XL Video’s Senior Account Manager, Paul McCauley, supplied three large LED screens, plus cameras and PPU system for IMAG. The rear upstage LED wall formed the backdrop to the stage, and two large portrait screens were flown one either side of the stage. Ian Jones oversaw the video crew on site, which, for the Scottish show, consisted of Chris Johnson, Mark Eisen, Steve Wood, and Fabrizio DiLelio looking after LED, and Rod Williams on cameras. Mark, Steve, and Fabrizio also doubled as cameramen over the weekend.
The side screens were used to display a combination of IMAG footage from the cameras, and content created by Miguel Riberio. The side screens were a new addition for 2017, and Miguel took full advantage of them, creating content which spread out from the centre screen and across the side screens, which made for an immersive experience for the enthusiastic crowd. The IMAG footage was presented in a picture in picture format over the content.
Two HD cameras were used for IMAG; one positioned at front of house with a long lens, with a further camera in the pit for close-up shots. The live camera mix was directed by Jerry Rosenfield using one of PRG’s Panasonic AV-HS450 desks with the PPU engineered by Glenn Austin.
For his content, Miguel used d3 media servers to serve the content, controlled via one of PRG’s v476 desks. He paired this with a v276 on his laptop which enabled him to make small changes and adjustments on site or in the hotel over the weekends.
Paul McCauley commented: “It’s a real pleasure to continue working with Keith and the team. It’s great to see Rewind growing and employing new technology and bigger setups each year. These really engage the audience, and increase their enjoyment of the event.”
PRG XL’s Director of Music, Yvonne Donnelly Smith worked with lighting designer Martin Nicholas to supply lighting for both the main stage, and for the Silent Disco, which takes place in a large marquee tent on the Friday evening of each weekend, and after darkness on the other evenings.
For the main stage a package of GLP impression X4, PRG Icon Beam, 2Lite Molefays, and VL3000 spot fixtures were used. These were complemented by a set of Sky Pan and Arri 10Kw vintage lights, which Martin restored and maintains himself. They line the sides of the main stage to, as Martin says, “create a bit of eye-candy and extra interest for the cameras.”
To create a different look for the lighting, Martin used ladders flown at the side of the stage and in front of the rear LED screen. These held a number of the GLP X4s and 2 Lite Molefays, and with the LED screen in use the ladders could barely be seen, giving the impression that the lights were floating in mid-air.
With a lot of performances taking place during daylight, it was key for Martin that the lights he chose were bright and punchy, so they were visible alongside the LED screens from day into night. He used an Avolites Pearl desk for control. The lighting crew for Scotland was overseen on site by Kal Butt, and included crew chief Paul Makin, Simon Swift, Mark Clough, and Richard Griffin.
Technicians Mark Scrimshaw, and Dave ‘Lights’ Beazley looked after the Silent Disco lighting, which included an almost mandatory mirrorball. Festival goers were enticed to take part by two Supernova searchlights, which threw beams into the sky to let everyone know the disco was open.
The Silent Disco consists of two DJs each playing out a mix of 80s hits. Audience members each wear headphones with two channels, and people can choose which channel they want to hear. Effectively the DJs compete for their audience, and the lighting reacts in time to the most popular song.
Hazers create an atmosphere in the tent, and GLP X4 LED lights, and Icon Beams are used to pan around the space and bounce off the mirrorball. For added eye-candy and sparkle, Miltec LED battens lit up the space behind the DJs.
The main stage’s combination of brightly coloured lighting and beautifully crafted video content echoed back to a decade of great music, and crazy fashion, and many of the attendees immerse themselves dressing in 80s fashion or as their favourite characters from the time. It all makes for a huge party atmosphere, and Rewind grows in popularity every year.
Yvonne Donnelly Smith sums up: “Rewind is a great fun event to work on. PRG has been involved for several years, and Martin’s design grows in tandem with the popularity of the festival. Keith, Martin, Miguel and the team are a pleasure to work with!”
On a hot and sticky evening in early July, revellers packed pop-up central Manchester venue, the Castlefield Bowl, spilling over onto the adjacent railway viaduct and the balconies of nearby apartments—intent on witnessing the Abba-like anthemic indie rock of Arcade Fire. PRG supported Production Manager Bob O’Brien and the show designers, Moment Factory, with a versatile package of lighting and video to facilitate a thirty-two date European tour, taking in a variety of indoor and outdoor venues, as well as headline festival performances.
Lighting Designer Chris Bushell discussed the nature of the tour, and the processes between him and the other creatives on the design team: “I worked with the Creative Director, Tarik Makou from Moment Factory, as well as Video Director Icarus Wilson-Wright and the band themselves to design the look of the show. The concept we started off with was that of a contained environment, one which isn’t affected by outside influences—from which Tarik and his team at Moment Factory created the ‘smoke box’, an eleven-metre-wide, three-metre-tall transparent acrylic enclosure, filled with moving smoke and lighting and video effects.”
The grand, sweeping melodies of an experimental musical collective such as Arcade Fire, are well served by the experience design, which perpetually shifts the relationship between colour and space throughout the show. Chris continued: “The box contained lots of smoke machines and fans to move the smoke around. There was a selection of lighting fixtures, including Martin Mac Quantum wash LED lights on the floor at the back of the box, which worked in tandem with a lot of GLP X4 Bar 20 LED battens to give an overall wash of colour. The X4 Bar 20s also created strong, defined lines of colour through the smoke. There were four overhead trusses and two side trusses, loaded with more Mac Quantums, Clay Paky Sharpy Wash lights, Robe Robin BMFL Blade moving lights and SGM Q7 LED strobes. Additionally, there were three ten-foot truss towers on each side of the stage, rigged with Icon Beam lights and X4 Bar 20s, which scanned over the audience and were used to create a cage-like structure of light in front of the stage.
The use of video technology for the Arcade Fire tour was far from conventional, Video Director Icarus Wilson-Wright described the set-up: “The smoke box sits in front of a video screen made up of ROE Visual MC-7H LED tiles, on motion control that moved the screen from behind to above the smoke box during the show. In addition, there was a projector either side of the stage which fired laterally into the smoke box to add another dimension to the video content, rather than relying solely on the LED screen. The smoke box has inlets and outlets, which enabled us to accurately control the level of smoke from Chris Bushell’s lighting desk. The use of smoke of smoke wasn’t random, and very carefully planned out; different video looks were transitioned in and out using varying levels of smoke. Some of the content was produced to confuse the audience’s ability to distinguish between real and virtual smoke.”
Icarus explained how he was given a brief from the band and then worked with the team at Moment Factory to bring everything together: “Arcade Fire are a really interesting band to work with, they’re arty, driven and demanding—but more than anything else they’re really, really nice people. The biggest challenge we had was the set list and song order, nothing is fixed and there would be lots of changes from night to night, with the sudden inclusion of old or new songs that require new looks. With so many people on stage swapping instruments and positions, it may look chaotic, but is well disciplined and planned out; that can’t be easy to do—so hats off to them for that!”
The screen content was created by Moment Factory, and is made up of a mixture of created graphic looks and shot footage. Icarus added: “There was a lot of thought put into all the visual elements of the show; the lights, screen and smoke all come together to make a whole. The artwork for their latest album, Everything Now, was created by an artist called JR, who produced a billboard in the desert with the album title in neon writing—this was referenced in the looks for the title track of the album which opened our show in Manchester. Having worked with JR on another project before, it was great to see his input on a live show again - he’s a fascinating character, with a good world view, a good choice!”
As well as reflecting the multifaceted nature of the band, one of the main factors for this design was that it could be flexible enough to fit in a wide variety of venues of venues. Chris explained: “Usually when you prepare for a tour, you know you will be in one type of venue, with maybe a couple of bigger shows and festival slots, but for this tour—everywhere’s been different. We’ve played at various different sized festivals, in established outdoor performance spaces as well as at short-term summer only sites, inside small concert halls, a castle and even an old East-End London boxing gym. As such, we needed to be super flexible and able to play both end on and in-the-round staging configurations. The layout was predetermined for each venue we played, but everything was on wheels, even the smoke box, so we could tweak things on the day. The current plan is to expand on this design and perform it in-the-round during a bigger arena tour. Arcade Fire are a fascinating band to work with, whilst there is an established order, they function very much as a collective and everybody has creative input when discussing how the show will look.”
PRG are supplying Arcade Fire around the world, with Yvonne Donnelly Smith taking care of the band’s lighting and rigging requirements, and Paul ‘Macca’ McCauley looking after their video in the UK and Europe. When they continue their tour in North America, Mark O’Herlihy takes care of lighting, video and rigging. Yvonne commented: “Working with the Arcade Fire team was brilliant, they produced a fantastic looking show, and it’s a pleasure to be able to play a part in it. With PRG supporting Arcade Fire on both sides of the Atlantic we’re able to offer a seamless transition of kit, duplicating their rig to their exact specifications with any compromise; with the added bonus of our teams being in constant communication, so nothing’s left to chance.”
American musical theatre star, Idina Menzel, recently played the Royal Albert Hall, as part of the UK leg of her 2017 world tour. The singer, famous for her roles in Broadway blockbusters Rent and Wicked—is also known for her Oscar and Grammy award winning song ‘Let it Go’ from Disney’s animated film Frozen. Her current tour features a magical medley of numbers from the musicals she’s appeared in, as well as her own solo songs, covers, and the instantly recognisable, Let it Go.
Production, lighting and video design for the tour is by Abigail Rosen Holmes, who has also designed shows for artists such as Miley Cyrus, The Cure, Shakira and The Pet Shop Boys. Working with Abbey on the design and programming of the tour were Felix Peralta lighting programmer, Dan Scully video content and editor, and Eric Marchwinski programming video. Lighting and Video Director, Teddy Sosna commented: “Abbey and I have worked on numerous projects together—we met several years ago when she was teaching lighting and video design at Carnegie Mellon School of Drama in the US, where I studied. Abbey knew the passion I have for lighting in the theatre and brought me on-board for the 2015 Idina tour, and I’ve been part of the team ever since.”
Teddy discussed some of the looks and how PRG was able to help pull them off: “The lighting style is very theatrical, it’s an intricate design which focuses on soft and elegant looks, while still building up the excitement of a pop concert. The back of the stage is covered with strips of white voile, punctuated by panels of light grey custom woven jacquard fabric from Rosebrand, featuring a pattern based on a design which Abbey came up with specifically for this tour. The toughest part of pulling off a big looking and elegant show can be working with the various constraints of each venue. We owe so much to our PRG crews who contribute their decades of experience, and practical creativity to fill every last inch of our often historic and unique venues. Our UK crew chief Steve Sinclair has been able to adapt our rig to fill all sorts of challenging spaces, and in the US Rob Simoneaux is with us again for a second season, going above and beyond at every turn to ensure that anything PRG can help facilitate, no matter how trivial, is promptly taken care of.”
Abbey and Teddy have designed the show beautifully—the stage is lit with a delicate grace, which enhances Idina’s inimitable vocal prowess and animated stage presence. Their lighting of the rear fabric is so precise that it has an ethereal feel about it—the fabric and colours move gently in the breeze from the on-stage fans, the result of their endeavours is a sight to behold.
For the Royal Albert Hall show, Teddy also took advantage of the beautiful architecture surrounding the stage: “Everyone involved with the creative look of the show, including Idina, are keen to utilise the stunning surroundings of the venues we play in. When you program lighting for a show in a venue such as the Albert Hall, there is so much more you can do to enhance the aesthetic environment the audience occupies rather than in a black-box arena. Being able to take control of the architectural lighting in the Albert Hall gave me more creative freedom and enhanced the audience’s experience even further. A venue like this is so full of character!” Teddy operated the lights from an MA Lighting GrandMA2 lighting console, with pre-programmed cues being manually triggered by him rather than timecode, because of the quite big variances of how the set runs from show to show, with Idina indulging in the opportunity to interact with the audience between songs.
Following her show at the Royal Albert Hall, Idina Menzel continued her tour around the UK, before returning to North America. PRG are proud to be supporting Idina around the world, supplying a full lighting and rigging package, with ROE MC-7H video screens added for the US dates. The full show includes custom LED scenic pieces built by Tait, those and the video screens are controlled through Mbox. Yvonne Donnelly Smith, Director of Music (Lighting) in the UK said: “It’s a pleasure working alongside our colleagues in North America to support Tour Manager David Licursi, UK Production Manager Nick Belshaw, and Abbey and Teddy by supplying lighting and rigging for the Idina Menzel tour. The hard work and meticulous attention to detail by everyone involved is plain to see, when you watch this stunning looking show.”
Supporting the team from GaiaNova, PRG recently supplied high brightness projectors for a demonstration of the GaiaNova 360˚ Theatre – a pop-up projection dome.
The 360˚ dome, with specially created content, can create a highly immersive experience. Creation of content for the dome is similar to the methods used for virtual reality (VR) experiences, but the end result is much more social, and removes the need for expensive headsets.
Mapping of the dome is done using a 360˚ camera system, which is much quicker than traditional projection mapping. The full dome projection requires six projectors emitting 20,000 lumens each.
The self-supporting dome structure packs down into a single small container, ready to be transported by road, rail or ship, and can be constructed almost anywhere.
The GaiaNova 360˚ Theatre holds up to 1000 people standing, or around 200 in reclined chairs or hammocks.
PRG XL Video, the UK operation of Production Resource Group LLC (PRG), is excited to announce the addition of Luke Stevenson to its Corporate and Events team.
Reporting to Director of Corporate, Steve Greetham, Luke joins the team as Senior Account Manager, bringing a wealth of experience from his time with AVC Live.
During his 11 years with AVC Live, Luke undertook several roles including Venue Manager; Sales and Operations Manager; and most recently four years as Technical Producer, where he applied his extensive experience of delivering events on-site.
At PRG XL Video, Luke will focus on the end to end production of 360 ̊ events, and working with both agencies and in-house event teams.
Steve Greetham commented: “We’re delighted to welcome Luke to the Corporate and Events team. He brings a broad technical knowledge to PRG XL and his depth of experience complements the strengths of the existing corporate team.”
Luke added: “I’m delighted to be joining the team at PRG. It’s clear that there are a lot of talented people in their respective fields and I’m proud to be a part of it. I’m looking forward to making my contribution on some exciting projects.”
Luke Stevenson is based in PRG XL’s London sales office, near Covent Garden.
Premium business and analysis software company Tableau has a growing worldwide audience for their software. Supporting this audience, the organisation holds conference events for their clients in a variety of locations around the world. Combining product presentations, education sessions, software surgeries, networking, and social events, Tableau Conference On Tour has spanned North America, Asia Pacific, and Europe, with events in Tokyo, London, and Berlin taking place in 2017.
Supporting this program of events, PRG’s Director of Global Accounts, Nick Barton, is Tableau’s key contact for live event technology and services. He has worked with Tableau since early 2015 and has delivered 14 events for them to date.
For the events outside of North America, Nick leverages PRG’s global network, working with account managers in PRG’s locations worldwide to deliver Tableau Conference On Tour providing matched equipment and services across several countries. He travels to each event to oversee the production and ensure that the final delivery of the show meets the expected high standards.
Each of the larger events consists of a plenary keynote room, with smaller breakout rooms and social areas. To deliver their design, Tableau relies on Production Resource Group (PRG), who supply staging, lighting, rigging, and audio-visual technology and services for the events, as well as expert production staff and technicians.
For the most recent conference at London’s Tobacco Dock, Nick worked with UK Account Manager Rich Pow to provide all the show technology requirements locally in the UK.
Tableau aim to keep the design of their events clean and modern, and PRG support this, providing technical drawings and renders in advance, which can be refined to the client’s requirements.
The design for the London show included custom-built stage set and lecterns, and the use of large video screens in the plenary and across the breakout education sessions. Two large high resolution LED screens, used in split screen format, were situated on each side of the presenter. These displayed playback content and IMAG footage from the live camera. The live mix and output to screens was delivered using a Barco e2 screen management system.
To light the show, PRG utilised a combination of Tobacco Dock’s in-house lighting rig supplemented with a range of their own fixtures, including scenic floor lighting across the main stage. Crew Chief for Lighting was Dana Read, with Nathan Avery overseeing the video elements. Sennheiser radio channels were supplied for the presenters and a combination of wired and wireless Telex comms system was used for the plenary.
Breakout rooms across the site varied from a four-screen wide set-up in the Little Gallery, using Barco projectors and individual screens across the width of the room, to single Panasonic laser projector and screen pairings in the multiple education rooms.
Each breakout room included a custom-built lectern with in-built onstage switching system for presenting from a variety of inputs. Sennheiser radio channels were also supplied in each of the breakouts. Ben Monk oversaw the technical setups for all of the breakout areas.
A ‘surgery’, with Tableau Doctors on hand to help attendees with specific software issues, contained more than 20 workstations, and PRG supplied a pair of matched monitors for each PC.
Multiple plasma screens were used around all the Blend and Beats social and networking areas, including a rigged circle of plasmas in a central walk-through area. All of these displayed information, sponsor logos, social media feeds, and were used for relays of the keynote sessions.
d&b audio speakers were spread across the site ensuring all attendees were fully informed at all times, and between sessions could enjoy some chilled tunes from the Tableau DJ.
To ensure clarity of signal, PRG used an audio fibre system to feed into the plasma circle-truss area, as it was a considerable distance from the plenary.
Tableau’s next event will take place in Berlin later this year, where Nick will work with PRG’s team in Germany to deliver the show.
The Islamic Solidarity Games is an event which involves elite athletes from countries who are part of the Organisation of the Islamic Conference. Despite the names, non-Muslim citizens in the member countries are also allowed to compete. The first was held in Mecca, Saudi Arabia in 2005, with the most recent event taking place in Baku, Azerbaijan in May 2017.
PRG was selected as an official supplier for the opening and closing ceremonies, providing lighting for both large-scale events. The lighting design was created by Adam Bassett of Woodroffe Bassett Design, with associate designer, Terry Cook, who worked with PRG Account Director, Yvonne Donnelly Smith, and Head of Event Services, Richard Gorrod to specify the lighting requirements of the huge visual production.
The design in the Baku National Stadium made use of all levels of the stadium for lighting, as well as the stage built in the centre of the athletics track.
PRG used a combination of its own PRG Bad Boy, VariLite VL35kw, and SGM P5 15 fixtures around the roof trusses, of which there were 30 in total. At balcony-rail level high brightness Icon Edge and VL35k wash fixtures were added into the mix, creating maximum impact with beams reaching up into the sky and across the stadium.
Framing the colourful projections on the main shaped rear screen, brand new ultra-bright Icon Edge units were mounted on the edge of the screen on custom T bars. Icon Edge and Icon Beam units were also used to surround the stage floor. Philips iW Blast, and Color Blast TRX fixtures were used in the VIP Box as a quality front light, and coloured backlighting respectively. SGM P5s were used to backlight the audience on Levels 1 and 2.
Eight of PRG’s newest version of its revolutionary GroundControl™ Followspot System – the Long Throw - were used to as high level followspots mounted on separate trusses around the roof catwalk. These units are as bright as a 4k Gladiator followspot, and can be rigged on a truss, so improving safety and reducing weight by negating the need for operators in baskets. A combination of standard GroundControl Best Boy units, and M2 traditional followspots were used in the closer positions.
Two side light positions were populated with PRG Best Boy and Bad Boy units, and either side of the stage two architectural columns were lit up using a mixture of Floor Cans, 650kw Fresnels, and Birdies.
In total more than 1,100 lighting fixtures were used for both ceremonies. PRG Crew Chiefs Mark England and Luke Jackson led a team of highly expert technicians. Alex Passmore and Ben Hornshaw programmed the lighting on GrandMA consoles, and a WYSIWYG suite was used for pre-programming at PRG’s Longbridge location, and on-site during the build phase, and for pre-programming of the Closing Ceremony.
The control and networking was all managed using a S400 data distribution system with S400 fibre switches and a combination of Supernodes and Node+ units.
Richard Gorrod commented: “Our PRG Best Boys are still one of the best fixtures for a harsh stadium environment. The new Icon Edge performed brilliantly – it’s very reliable and a true work horse! The new GroundControl Long Throw followspots also performed well – they’re super bright and give you the advantage of hanging them in positions where you would not be able to site a conventional 4k followspot. The S400 system again performed brilliantly, as the glue for the whole system. Our crew were true stars – installing and maintaining the equipment on site under many different pressures.”
Adam Bassett commented: “Once again we were blessed with a great level of support, technical expertise and most importantly a brilliant crew. The PRG team in Baku, and behind the scenes back in the UK, were great and made a technically challenging production go very smoothly. The system lived up to every expectation and the ability to use the new GroundControl Long Throws massively changed how we were able to light the shows. By having the ability to place followspots in locations otherwise inaccessible with conventional spots, it enabled us to achieve the optimum angles and as a result protect the video projected surfaces which were so crucial.”
Hosted in the Idyllic spa town of Buxton, huddled within the breathtaking landscape of the Peak District National Park; the Buxton International Festival is a celebration of theatrical and literary excellence which attracts speakers, acts and audiences in coveted numbers. PRG XL Video are honoured and thrilled to be supporting Lighting Designer Mike Gunning, and Production Electrician Tim Ball, with a theatrical lighting package for the three operas headlining this year’s festival at the Buxton Opera House: Verdi’s ‘Macbeth’, Britten’s ‘Albert Herring’, and Mozart’s ‘Lucio Silla’.
Although its heritage can be traced farther back, the current format of the Buxton Festival has been running since the refurbishment of the opera house in 1979—and has grown to become the highly respected cultural event it is today. Drawing crowds from far and wide, patrons of the Buxton Festival know what they want to see, and what they don’t. Tim Ball explained: “The prestige of the productions we put on at Buxton need to be of the highest standard, our audiences expect our offerings to rival anything that may be seen at the big opera houses in capital cities around the world.”
Tim has been closely involved with the festival for over fifteen years, and describes the seventeen-day event as one of the highlights of his year. He discussed what it takes to oversee the practicalities of lighting three operas in rep at a festival like Buxton: “One of the biggest challenges we face is the schedule—we begin our load in on Monday morning and by Tuesday evening we need to be ready for the first rehearsal. This timeframe would be tight for fitting up one show, but we are essentially hanging three different rigs concurrently. With practicality in mind, we opted to use moving lights where possible, rather than purely generic lighting fixtures—that way we can have a compact and manageable rig with less time spent refocussing between shows.”
Mike Gunning was appointed to the role of Lighting Designer for all three operas, and explained how he approached the project: “I started off by looking at each opera individually, drawing in the lighting fixtures need to achieve the specific lighting looks for each production, I then added a number of supplementary generic lights, which would be used for all three shows.” For each opera, Mike is working with different designers and directors. All three productions are dramatically different to one another. “Macbeth is a traditional grand opera—like one would expect to see in Covent Garden, or at The Coliseum. Designer Russell Craig created an asymmetric set with slanted walls, which uses a lot of red and dark blues. I use powerful and moody lighting to help tell the story, lighting large parts of the opera from the side—creating big, dramatic shadows. I’m very pleased with what we’ve done for Macbeth.”
Mike emphasised that the three operas are very, very different from each other, so much so that for those watching all three productions, wouldn’t believe the trinity of operas were lit by the same lighting designer. Mike continued his insight into lighting the operas at this year’s Buxton Festival: “Albert Herring is a very British opera, lit in a classical and naturalistic way—it’s set in a conservatory, a shop, a street and a town hall. I used a lot of tungsten lighting to make it look realistic. The lighting and set for Lucio Silla is a lot more abstract. The set comprises of three large steel walls, with a very thin gauze stretched over them and is back-lit using GLP Impression LED wash lights, whose shift in colours reflect the changing moods of the different arias in the opera. The design for Silla is all about the interpretation between the floor and walls, and how they interact with each other to define the scene and space within which the opera is set.”
Mike’s choice of lighting fixtures is a modest inventory—very cleverly used to achieve a subtly dramatic effect. The rig comprises of Vari*Lite VL1000 A/S and Martin MAC TW1 moving lights, with GLP Impression RZ LED wash lights and a selection of ETC Source4 generic lights, some of which are fitted with coloured scrollers to add some variation to the acting lights at the front. All three operas are predominantly lit from above and the side, with Mike cautious of using too much front light, for fear of flattening out the looks on stage. In-house Strand followspots are used delicately and sparingly throughout the shows.
Mike is assisted by Lighting Programmer Ian Wilson, who used an ETC EOS lighting console to program the lights, before transferring the show files to an ION for the run. Ian has worked at the festival for more than ten years, and explained how he and Mike are working together on this year’s productions: “Working with Mike is brilliant, he’s got a very clear idea of what he wants to do. During programming, he gave the creative direction, and I worked out how to achieve it using the console. Everything has been programmed on site, I will be here until the opening nights, after which I hand over to show crew to operate the lights during the run.”
Mike originally comes from an opera lighting background, but has lit a variety of genres within the theatre and concert touring repertoire. “I try to tell the story with light, the shifts in lighting are more driven by emotion than logic. Lighting opera is no easier or harder than lighting rock n roll, you listen to the music and interpret what you hear. It’s not that difficult.”
Whilst the Opera House is the epicentre of activities taking place during the festival, other events will be held at various venues around the town. Other notable dates to look forward to over the next few weeks include presentations by esteemed authors such as: Tony Robinson, Chris Patten, Vince Cable, David Starkey, Jeremy Paxman and a catalogue of other well-known names from within the literary, history and political spheres. There is an extensive agenda of concerts, walks, talks and tours around the splendorous spa town. Additionally, Buxton has its own fringe festival, which is widely regarded as being the biggest in the UK after Edinburgh. 2016’s Buxton Fringe Festival featured nearly 500 performances from 150 entrants.
PRG XL Account Director, Jon Cadbury, oversaw our involvement supplying lighting for the Opera House: “This is our second year supporting the festival, we couldn’t be happier—it’s great to be involved with such a creative and culturally diverse production. Tim and Mike have exceptionally high standards, and know exactly what the need to make things happen. It’s a pleasure working with them!”
The Buxton International Festival and fringe festival run until 23rd July.
When a band like Kiss take to the road on a European tour, they demand an aesthetic extravaganza which delivers the ‘wow factor’ on an epic scale. PRG XL Video are delighted to have supported Lighting Designer Sean ‘Motley’ Hackett and the band with a complex video system, made up of LED screens, projection, a HD camera system, media servers, and a crew of engineers and technicians to ensure everything ran smoothly for the 37 days the tour was on the road.
Motley’s an established Lighting Designer who’s worked with Kiss since 2007, as well as other acts including INXS, Andrea Bocelli, Savage Garden and has worked for Bytecraft/PRG Australia as Crew Chief and fill-in LD on many tours. Motley described the process behind designing the lighting and video rig for the current tour: “The main element of any Kiss show is that it has to be big. The brief from the band was that they wanted this tour to be big, with lots of video in the air. The basic layout of the screens evolved from what we did during a nine-night residency in Las Vegas back in November 2014, where we had four fingers of video screens coming out over the stage. During the initial discussions, we thought it would be great to break it up and spread it all over the stage—creating lots of little video walls with lighting trusses in-between them.”
Steven Lemahieu, affectionately known on the crew as Waffle, due to his Belgian heritage, worked as LED Crew Chief on the tour: “The Kiss tour uses a very complex video set-up, with lots of playback surfaces. We have two different types of LED screen, the back wall is made up of ROE MC-7H tiles, with 16 individual MC-18 screens overhead and at the front of the stage, as well as two Barco HDX-W18 projectors either side of the stage using image blending to display the IMAG footage in portrait format. The LED screen signals are driven by the latest ROE HD101 LED processors; with content fed from a Catalyst media server, supplying two LED outputs, one for the back wall and one for the network of smaller screens, as well as the IMAG for the side screens. I ran two signal cables to each screen, a feed and return, enabling us to use the return as a back-up should the main cable become damaged during the show. Loading in the screens was quite a complex process, because the smaller screens are raked over the stage. We used the custom touring frames from PRG XL which allowed us to double-stack the frames on the dollies, that way, we could just wheel them into place and lift the screen up. There were four motors for each small screen, when everything was up an in-place, we trimmed the screens to the correct height. We started the LED load in at around 07:30 each day, and finally had it all ready to go by 14:30, which was seven hours of constant, hard work!”
The Kiss tour featured a lot of fire and pyrotechnic effects, which took its toll on the LED screens over the stage. Waffle explained how everyday he and other LED techs on the tour would spend several hours replacing damaged modules on the screen tiles, where the heat had caused the LEDs to pop off of the surface.
Sandro Bruni performed the role of Video Crew Chief, leading a team of eight video technicians, including a Director, LED Techs, Media Server Programmer and Camera operators. Sandro also took care of the projection technology, as well as supporting other members of his team whenever needed: “Working on a tour like Kiss is always a big challenge, and requires a special kind of person. We had a very gruelling schedule, prepping in the UK, then going to Russia, Scandinavia, Southern Europe, then back to the UK. The whole rig is very complicated and involved us working with and around other departments. Everyone was pushed to their absolute limit, but each member of the crew was brilliant; we’ve worked hard, got on with the job and had a great time doing it!”
Stefaan Michels, Director of Music (Video) handled the PRG XL kit and crew requirements for Kiss: “As always, it was such a pleasure to work with the Kiss production team; the professionalism of Robert Long and Jeff Bugowski and their continuing support and trust in PRG XL is fantastic. The whole team enjoyed working with Motley and playing our part in supporting his vision for such a great show. I’d also like to thank the project management team at PRG XL, particularly Chris Holz and Leroy Murray, who helped make it all happen.”
PRG are supplying a similar video rig as the Kiss tour continues in North America until September.