Canadian singer-songwriter Claire Boucher, who performs under the moniker of Grimes, recently made several appearances in the UK as part of her Ac!d Reigns tour. The production, in support of her critically acclaimed 2015 album Art Angels, used a versatile floor lighting and console package from PRG XL Video in Germany as they played venues across continental Europe before shows in Manchester, Dublin, Birmingham, Leeds, Bristol, Nottingham and Glasgow; but for the sell-out extravaganza at London’s iconic Brixton Academy, Lighting Designer Sarah Landau called on PRG XL Video’s UK Senior Account Manager Roy Hunt to help add a little additional razzmatazz to an already impressive light show with an overhead lighting rig.
Roy said “Sarah’s artistic and creative reputation is exceptional and the opportunity of working with her on any project is exciting, especially something like this.”
With the tour starting off in Berlin, it made sense for the main lighting system to be supplied by PRG XL Video’s facility in Hamburg, where Account Manager Marco Mahl took care of Sarah’s needs. Discussing her choice of lighting products, Sarah said “I needed versatile fixtures that could create a variety of looks with minimal fixture counts. I was excited to try Clay Paky Mythos for the first time; they are the best of a Sharpy and Pointe with colour mixing as well. I used Martin Mac Vipers for backlighting and projection through the camouflage netting—we needed a bright fixture with a wide zoom and interesting gobos, and they’re very reliable. The Robe Robin 300s were a bright, fast wash, perfect for backlighting and with a wide enough zoom for us to use as cyc lights too, I selected four Sharpy washes to provide sculptural side light from the downstage and midstage edges, they were very bright, even using UV filters!”
When asked how lighting the Brixton show differed from other dates on the Ac!d Reigns tour, Sarah explained “Because Brixton is an empty room, I was able to hire in an overhead plot. PRG XL Video supplied Best Boy HP and Robe Pointe moving lights, Solaris Flare LED strobes, Martin Mac Aura LED washes and an RGB star cloth. The star drop added depth and made the relatively small rig onstage look much bigger and added lots of ambience to the ‘pretty’ songs in the set list.”
Grimes’ stock has been steadily rising since her emergence with the albums Geidi Primes and Halfaxa in 2010. Her name has been included on numerous shortlists and has been marked as an artist with extraordinary potential. Boucher cites her musical influences as being drawn from video game music, k-pop, Japanese composers, and artists as varied as Christina Aguilera, Skinny Puppy, Nine Inch Nails, Beyonce, Marilyn Manson, Enya, Dizzee Rascal, Aphex Twin, Mariah Carey and Outkast. Hermione Hoby of the Guardian described Grimes’ layered style as “sounding a little like everything you’ve ever heard, the whole sounds like nothing you’ve ever heard.”
NME magazine chose Grimes’ fourth album as their album of the year for 2015, writing “Art Angels is an album everyone should own, that everyone can take something from. It’s bold, angry and provocative—a statement of intent from an artist coming of age and imprinting her singular worldview on the mainstream.” Grimes’ idiosyncratic brand of electro-poppy sounds almost defy categorisation, Sarah Landau refers to her work as art-pop, “It’s catchy and beautiful, but also very weird and experimental. Her latest record combines many disparate musical, literary, cinematic, artistic influences, and ends up representing Grimes’ eclecticism perfectly.”
Claire Boucher’s a creative force to be reckoned with, in addition to her musical talents, Claire also directs some of her music videos and creates her own album artwork. Regarding the aesthetics of the Ac!d Reigns shows, Sarah commented “Claire and I collaborate on the set designs—it was her idea to incorporate the camo netting, but I chose the colour and shape of the structure. When we first started working together, Claire and I had general conversations about the aesthetics and vibe, realised we were on the same page, and she has trusted me since.”
Sarah has handed over to the brilliant lighting director Michelle Sarrat as Grimes tours North America, stopping off for two appearances at Coachella festival before the band returns to play a number of European dates in the summer, including a handful of UK shows and appearances at Glastonbury and Latitude festivals.
PRG XL Video, the UK operation of global event technology provider Production Resource Group (PRG), is pleased to announce a new addition to its Corporate Account Management team.
Thomas Walsh joins PRG XL Video from Hawthorn, where he was a Project Manager, supplying multi-discipline production services to a variety of events. Events Thomas has delivered include the Coronation Festival Gala at Buckingham Palace.
Prior to working at Hawthorn, Thomas graduated from Leeds Beckett University with an honours degree in Creative Music and Sound Technology, and subsequently gained broad industry experience working as a Technician and Production Manager for Aztec Event Services.
Thomas will report to Guy Vellacott, PRG XL Video’s Director Corporate Group, who comments: “We’re really pleased to welcome Thomas Walsh to the team. He has a strong technical knowledge of event production across lighting, rigging, video, audio, set and staging, and this strengthens our ability to offer our clients high quality event technology and services in multiple-disciplines.”
Thomas is based at PRG XL Video’s Covent Garden location.
When the opportunity arose for PRG XL Video to support London’s latest in-vogue theatre venue, Found111, and Emily Dobbs Productions’ latest show, Bug, we quickly realised the potential of the space and talent connected to it and were delighted to come on board working with Lighting Designer Richard Howell lighting the play, as well as supplying a small, but versatile lighting package for the themed bar area.
Found111 is a pop-up theatre performance space run by Emily Dobbs Productions in the old Central St Martins School of Art & Design on Charing Cross Road. Emily explained her reason behind embarking upon such a project “When the prospect of taking on an alternative space in the heart of the West End came along, what really attracted me to it was the chance to create a level of intimacy that is rare in the West End. A venue where the space becomes an integral part of your experience, from the moment you walk in, climb the stairs and take your seat. Found111 is a temporary space, and this allows us to be bold and specific in what we produce. Spaces that sit alongside the traditional and reflect the different kinds of work being created are vital to theatre’s evolution.”
The close quarters of Found111 make for an intimate experience where the proximity between the front rows and actors is a matter of inches, and at times even less than that. It’s an environment which puts the audience in the show. From the actors unpredictable histrionics as they follow the deranged plot in the second act to the lone moments awash with paranoia, you frequently find yourself glancing over the set, at other audience members, relating to their reactions as they too watch the story progress. Susannah Clap of the Observer describes Found111 as a theatrical breeding ground which is fast becoming indispensible. She goes on “the physical conditions—the low ceiling, the cramped room where the audience almost spill on to the stage—mean that the space itself becomes a magnifying glass for actors.”
The theatre is rapidly gaining an excellent reputation, having been decorated with countless five-star ratings and gleaming reviews for their first production, Richard Greenburg’s The Dazzle, which ran through December and January. One notable area which Emily and her team excel in is their enviable ability to assemble a stellar creative ensemble, from designers to cast and Simon Evans’ direction of both The Dazzle and Bug; there is a powerful connection between all those involved with the play, including the space and audience.
Emily Dobbs Production’s latest spectacle, American playwright and actor, Tracy Letts’ 1996 play, Bug, stars James Norton (War & Peace, Happy Valley), Kate Fleetwood (London Road, Medea), Daisy Lewis (Downton Abbey), Alex Newman (The Motherf**ker With the Hat) and Carl Prekopp (Love for Love/Queen Anne). Set in the tense environment of a dingy motel in simmering, summertime Oklahoma, the gripping play explores the relationship between lonely cocktail waitress Agnes (Fleetwood), hermitised in the mid-west hotel and free-wheeling Gulf War veteran (Norton), Bug starts off serenely enough with slick dialogue, timid introductions and darkly comic interactions before ascending into a maelstrom of paranoia, delusion and insecurity centred around Peter’s insistence on the infestation of insect invaders. The acting and direction are virtually flawless, and will pull you from laughing one moment to wincing the next. However, Bug is a multi-dimensional experience in which the design and effects play as big a part as the visual talent.
Lighting Designer Richard Howell said “From the outset, I worked closely with the Director (Simon Evans), Set Designer (Ben Stones), and Sound Designer (Edward Lewis); we met up during rehearsals to discuss the visual tone of the piece and then put it all together during the technical rehearsal.” The brief Richard was given for lighting Bug was very specific, he explained “We wanted to create a realistic ‘seedy motel’ environment within the Found111 space, and one that felt natural to the audience who will pretty much be in it! The lighting also needed to work in tandem with Edward Lewis’ incredible sound design to push the piece into increasingly heightened and twisted territory as the story progressed.”
Reviews of the play lean heavily on how the tensions build to near breaking point and the production’s incendiary climax. Lyn Gardner of The Guardian noted “Letts exploits audience uncertainties and the play benefits enormously from the claustrophobic intimacy of a space capable of making scripts seem more convincing that they might play out elsewhere.” What’s on Stage’s Matt Trueman wrote “it’s a play that gets under your skin and gnaws away. Like Peter it’s deceptively easy-going to start, but, boy, does it work itself into a frenzy. Initially distracting, the claustrophobic confines of Found111 suit it perfectly. That we’re packed so close to catch our neighbour’s nits only ups the itchy intensity of Simon Evans’ production. Richard Howell’s lighting adds an X Files glow, while Edward Lewis lets the outside world of coyotes and sirens and unidentifiable whirrings bleed through the thin motel walls.”
Explaining the design process, Richard said “I approached Bug like any other play: using the text as a jumping off point for a creative process with the director and other designers. Specifically, I was interested in creating a naturalistic environment with lighting which I could then twist and abstract to help take the audience inside the mind of the increasingly un-hinged characters.” PRG XL Video’s theatre Account Manager, John Pauls, facilitated Richard’s needs, he was excited about our close relationship with Found111. John said “The technical requirements for lighting Bug were pretty complex, due to the rawness of the space, however, Richard knew exactly what he wanted to achieve and we worked together to ensure he had the most appropriate lighting products for the space. The venue’s an excellent space to use for theatre, we’re delighted to be associated with Found111.”
Continuing to explain his work on the project, Howell continued “PRG XL Video supplied me with a mixture of tungsten and LED lighting equipment. The tungsten units (a mixture of Source Four profiles and Acclaim Fresnels) were used to create the initial lamplight and sunlight whilst the LED units (moving heads and pars) created the artificial neon world that invades the characters’ minds by the end of the play. I found everyone at PRG XL Video to be incredibly helpful. John Pauls worked especially hard to make sure we got what we needed.”
Discussing the characteristics of the performance space, Richard said “Found111 is certainly a unique venue. Although I tend to do most of my work in more conventional theatres, it was exciting to be working in a space where the audience/actor relationship was so immediate.” Staging a theatre production in a limited space will always present challenges, and it is testament to the ingenuity of the creative technicians as to how they overcome these complications. “The Found111 space has no permanent infrastructure for lighting. All dimming, cable and rigging points had to be installed from scratch during the two day get-in period. This proved to be a big technical challenge, but one which my brilliant production electrician, Jai Morjaria, and his team rose to superbly.” Howell explained. “From a design perspective, the space is also extremely challenging to light. The ceiling of the venue is very low and combined with an additional scenic ceiling piece and an in-the-round seating configuration, it was a challenge just to get light into the space!”
Richard is a London based lighting designer who trained at Guildhall School of Music & Drama, he has an impressive CV of lighting for theatre, opera and dance productions in the UK and around the world. Notable shows Richard has designed for include: East is East and the Homecoming at Trafalgar Studios, Privacy at Donmar Warehouse, London and The Public Theater, New York, The Crucible and The Life and Times of Fanny Hill at Bristol Old Vic, My First Cinderella and My First Coppelia for the English National Ballet, and a collection of critically acclaimed shows at Opera Holland Park. Emily Dobbs commented “It’s been hugely exciting working with Richard on Bug. He has an imaginative and clear vision, bold desire and exceptional skills in execution.” Richard’s next projects include Jekyll and Hyde and the Old Vic, and The Grinning Man at Bristol Old Vic.
Bug runs until 7th May, but sold out long before the opening night. Critics couldn’t fail to be impressed by the audacious venue orchestrated by the ambitious and visionary Emily Dobbs. Reviews are ladled with superlatives such as: magnetic, feverish, seedy, intimate, claustrophobic, gripping and compelling.
PRG XL Video’s joint head of theatre, Peter Marshall commented “PRG is pleased to support Found111, this intimate performance space, and work along-side Producer Emily Dobbs who has an excellent reputation for producing critically acclaimed and ground breaking new material in a very unique venue. It was also good to collaborate with Lighting Designer, Richard Howell, and give him the tools to create the various scenes, and to portray the diverse moods of this exciting new production”.
Production Resource Group, L.L.C., (PRG) recently marked the two year anniversary of its global partner network program with the second PRG Alliance Summit. Under the theme ‘Gearing Up For Success’, the Summit took place during the Prolight + Sound 2016 trade fair at the Festhalle Messe Frankfurt.
Since its inception, the PRG Alliance has grown in both size and reputation, and now offers technology, services and support to event producers in a total of twenty five countries.
The PRG Alliance Summit is already a key date on the calendar for members, allowing them to meet face to face, share knowledge and best practices, and increase their collaboration. The location of the Summit at Prolight + Sound also enables them to meet at an event where the newest and most exiting technology is on display.
This year’s Summit included a presentation of the PRG Alliance’s future plans from Alliance Director, Tom Van Hemelryck, and Account Manager, Luciana Rosa, which include expansion into new regions, opportunities for training, and the aim to include a wider variety of service companies.
After the introduction, members of the Alliance shared their experiences and knowledge acquired during the past year, including a custom-shaped large-scale LED floor and wall for concert touring; special lighting for fashion shows; and the logistical issues facing shows located in unusual or remote locations.
Following this the PRG Projects team shared examples of their work with custom LED projects for major opening ceremonies including wireless hex panels and pixel tablets seen by millions around the world.
“Watching the presentations, we see the potential applications for these technologies in Italy – we are always eager to bring new services to our clients and we see the potential for customized LED solutions in our market,” commented Alessandro Rossani, CTO of STS Communications in Italy.
Members also enjoyed a presentation from Chris Reed of Restless Communications on the best ways for technical production companies to use social media to promote their brands; and this was followed by sessions from Minesh Pore, General Manager of Pico Europe on working with corporate clients and managing expectations, and Lee Charteris, VP Operations, Flash Entertainment on the challenges of producing concerts and events in emerging markets.
The Summit concluded with a dinner in the Festhalle which further enabled the members to network with each other.
“We see how the PRG Alliance is well established and continues growing through making personal connections between the members and with the market,” said Tom Van Hemelryck, Director of PRG Alliance. “We carefully select the members and I am happy to have such an unprecedented group of companies with high-quality technical production services working together on several events in the last year – success always comes from collaboration.”
Members at the 2nd PRG Alliance Summit
For more information visit the website www.prgalliance.com
To mark World Autism Awareness Day on April 2nd 2016, PRG XL Video partnered with The Jigsaw Trust to light Guildford Cathedral blue for the “Light It Up Blue” campaign.
The campaign sees buildings and landmarks around the world changing to blue to raise awareness for Autism globally and to kick off International Autism Awareness Month during April.
From the evening of 31st March to Monday 4th April 2016, the night-time floodlights which accentuate the modern Guildford Cathedral building were changed from orange to blue – the signature colour of the Autism Awareness campaign.
To achieve this change, a team of staff from PRG XL Video visited the cathedral on 31st March to switch lamps in the floodlight fixtures in the grounds of the building, and up on the roof.
This is the fifth year PRG has worked with The Jigsaw Trust to make this change at Guildford Cathedral, and the Dean of Guildford, The Very Reverend Dianna Gwilliams, the Jigsaw Trust’s CEO, Kate Grant, and PR & Fundraising Officer, Steven Morgan, visited the venue to see the changeover being carried out.
Kate Grant commented: “My hope is that World Autism Awareness Day will help highlight the work that organisations like Jigsaw do, and we are immensely grateful to PRG XL Video for their ongoing support in helping us shine a light on autism.”
PRG XL Account Manager, Cameron Bannister led a team of four crew – Bradley Stokes, Christopher Ashton, Simon Port, and Russell Harris - changing the lamps. The work included some height work for the team, climbing on to the cathedral roof and tower to make the changes.
PRG XL Video Event and Development Director, John McEvoy commented: “We’re pleased to continue our long-running support to the Jigsaw Trust and Guildford Cathedral in raising awareness for the Light It Up Blue campaign, and help to give the World Autism Awareness Day a higher profile.”
Jigsaw Trust website link.
PRG XL Video, the UK operation of global event technology provider Production Resource Group (PRG), is pleased to announce a new specialist video team in its Theatre department.
With the aim of growing its Theatre team’s technical expertise in video, Gareth Jeanne returns to the UK from PRG’s US operation, where he led XL Video’s concert touring team and was more recently part of PRG’s global Music Group. Gareth will take up the role of Account Director alongside experienced lighting specialist Peter Marshall.
The new role is a return to the theatre world for Gareth, as prior to joining XL Video, he was Video Project Manager at Stage Sound Services.
Joining Gareth in the team is Oliver ‘Ollie’ Luff, who joined PRG XL Video in June 2015 as a Technical Project Manager. Ollie takes up the role of Senior Account Manager, and brings a wealth of experience from his time as a freelance video technician working on a variety of theatre productions.
Gareth comments: “I’m pleased to return to the UK to lead PRG XL’s new Theatre video team. This is an exciting opportunity to grow the company’s video services for theatre and arts productions. I believe our team will offer production and video designers a greater depth of innovation, technical knowledge, and smarter thinking, which will enable them to realise more creative and complex theatre designs.”
“Both Ollie and I have an established background in theatre, so we’re delighted to join our colleagues Peter Marshall, Jon Cadbury, and John Pauls to build PRG XL Video’s Theatre team for the future.”
Peter Marshall comments: “It’s great news to have Gareth head up the Theatre Video team, especially with his extensive past experience in this market with Stage Sound Services, and to have Ollie join him with his background as a freelance video production technician, primarily working within touring theatre.
“They, together with lighting veterans Jon Cadbury, John Pauls, and myself, make up one of the most talented and experienced theatre departments in the industry. This will allow us to offer unparalleled service and back-up to the designers, production managers and technicians we serve.”
Gareth and Ollie will be supported by Technical Project Manager, Ed Goddard, who joined the theatre team last year, and Lauraine Young, one of PRG XL’s team of highly experienced Account Co-ordinators.
“We are so pleased and excited to have Gareth heading-up the video side of the PRG XL Video Theatre team alongside Ollie Luff,” said Commercial Director, Lee Spencer. “Their combined experience of working in theatre-land, along with their thirst for innovation brings a new dimension to PRG XL Video.”
PRG XL Video is excited to announce the addition of Emily Gibson as an Account Manager in its Corporate Events team.
Emily joins the company from Production Artworks where she has worked since 2011, and brings five years experience in the field of creative video services to PRG XL Video, having worked in the sector since her graduation from Loughborough University.
During her time at Production Artworks, Emily specialised in creative applications of projection, including projection mapping and bespoke installations for conferences, exhibitions, award ceremonies, and experiential events. She now brings this expertise to PRG XL Video.
“I’m delighted Emily has agreed to join the team,” said Guy Vellacott, Director Corporate Group, PRG XL Video. “Emily’s knowledge of the creative video market will be a great asset to the team, and help to expand our expertise in experiential events.”
Emily will report to Guy Vellacott on a day-to-day basis, and will be based at the company’s Covent Garden location.
Following on from last year’s highly acclaimed event, Letters Live returned to the Freemason’s Hall in Central London in mid March for its second run of shows.
Letters Live celebrates the art of letter-writing, and features a variety of well known actors, personalities and performers, reading interesting and significant correspondence, both modern, and from history.
This year’s shows supported a number of literacy charities and organisations including First Story, as well as providing some much needed profile for Help Refugees UK, which supports people fleeing from conflict in their home countries.
For the show production, PRG XL Video worked with production consultancy NP+Co, and their creative director Nigel Peters, and production manager Kahren Williams, to supply high brightness video projection inside the historic Freemason’s Hall.
The intricately decorated building presents some challenges in terms of suitable surfaces for projection, but the production team decided that four separate ‘screens’ would be created using the flat marble walls at each corner of the great hall.
Using four of their Barco HDF-W14 units rigged on truss either side of the hall, they projected on to the opposite walls, with content displaying the Letters Live logo before the show. During the performances, the content gave information on the performers, and about the letters being read.
Jay Mobbs-Beal, Account Manager, PRG XL Video commented: “It’s great to work with Kahren and her team on the Letters Live event for the second year. It’s an unusual event, but one which is growing in popularity.
“The venue is quite unusual, but the projection worked well in its location, and we increased the brightness this year to ensure the visual content had great colour and clarity.”
Nigel Peters summed up: “PRG XL’s outstanding team, no nonsense advice, and decent rates on state-of-the-art equipment made beautiful crisp work of the image projection at Letters Live. Here’s to the future of letters… and Letters Live!”
Continuing a long-running relationship with Waltham Services, producer for Autosport International’s Live Action Arena, PRG XL Video has supplied a state-of-the-art high brightness projection solution for the 2016 show, held at Birmingham’s National Exhibition Centre.
Autosport International is a globally renowned trade show, exhibition and performance car show created and managed by Haymarket Exhibitions at the NEC every January.
Alongside appearances by current and former drivers and teams from a variety of motor racing series, one hall of the NEC holds the Live Action Arena, where members of the public can see an array of current and classic racing cars put through their paces by a team of expert drivers.
For more than five years, PRG XL Video has worked with Malcolm Forbes of Waltham Services to provide projection in the Live Action Arena. For the 2016 show, the screen configuration was changed to place the projection screens in the centre of the arena. The central screen was 8 metres high and 40 metres wide, and flanked on each side by two 15 metre-wide screens.
Bringing the screens to the centre of the hall ensured the crowd had the best possible view, and to give the combination of playback content and IMAG footage the maximum impact, PRG XL Video Account Manager, Toby Evans, specified Barco’s highest brightness HDQ-2K40 projectors for the event, along with PRG XL’s Catalyst media server packages to serve playback content to the screens.
Toby comments: “We’re happy to continue our working relationship with Malcolm and Waltham Services. This year our brief was to increase the visibility of the projection in the Live Action Arena, so the Barco 40k units were the obvious choice. With their massive 40,000 lumens output, they ensured that the audience had a really clear view of the high octane action and content on display.”
Following a long break from the live scene, The Corrs returned to touring in the UK with arena dates in January 2016. The tour supported the release of their latest album, White Light.
For the tour, Henry McGroggan and Ian Calder contacted PRG XL Video to supply lighting and video, having worked with both teams separately in the past. Both worked with the band’s new lighting and video designer, Steven Douglas, to satisfy his design brief.
Steven’s design was a multi layer design which featured a shimmering semi-opaque metallic drape forming the backdrop to an array of Orbis-Fly LED spheres. These were used to great effect throughout the show – starting from a flown position above the stage, and then lowering to create a variety of multi-coloured effects including wave patterns.
“The brief from management was very simple, ‘clean and theatrical’,” said Steven Douglas. “The main objective was to enhance the performance rather than distract from it. I had looked at the Orbis Fly system before and was really interested in using it, and this seemed to be the perfect show to implement it. The Orbs were mainly used to shape the stage for different looks during the show.”
Steven continues: “Video was always going to be a big element but I wanted to be able to hide it when not needed, so I contacted Perry Scenic with an idea to find a fabric that would look solid when lit from the front but would be transparent when the video came from on behind. The metallic drape was the result.”
Supplementing the Orbis-Fly spheres, PRG XL Video Account Director, Yvonne Donnelly Smith supplied a variety of lighting fixtures including the company’s proprietary Bad Boy followspots, and Best Boy HP spots flown from the rig and in two columns on either side of the stage. The flown rig also included a mixture of Clay Paky Sharpy and A-leda K20 washes.
Steven explains: “Lighting-wise, I went for a simple rig of three straight trusses along with four theatrical forms with a large amount of profile fixtures. Once PRG XL was confirmed as the tour vendor, I was happy to try out their Best Boy and was very pleased with their output and gobo selection. The zoom in particular was quite impressive.
“Having the Bad Boy followspots was a great help, allowing me to take over control of certain attributes of the fixture, and leave some things to the operator. Control wise I chose my preferred console the GrandMA2. I’ve used it for every tour I’ve done for the last five years and it does everything I need it to do”
For crowd highlights a row of high brightness Sceptron LED strips were arranged to the front of the main rig, throwing light across the arena audiences.
Crew chief for lighting was Marc Callaghan, ably supported by experienced lighting technicians Russell Cobden, Martin Goulding, and Jack Gambino.
On the video side, PRG XL Video Senior Account Manager Paul ‘Macca’ McCauley put together a package that included LED screen, IMAG projection and camera system.
The large ROE MC 18mm LED screen was situated behind the metallic drape, shining through at various points during the show and giving an extra level of depth to the visual design.
“Content-wise we didn’t want to use stock content,” said Steven, “but Jim Corr had discovered a photographer, Conor McEneaney from the band’s home town of Dundalk, and we used quite a few of his images during the show along with some of my own photography. This was mixed with IMAG and some custom content created by myself and PRG XL’s Stuart Merser.”
Amongst the onstage risers a variety of Sceptron LED batons were rigged vertically. Steven Douglas selected these as they resembled fluorescent tubes – a reference to the band’s album title ‘White Light’. Both the screen and batons were mapped and fed content via two of PRG XL’s Catalyst media servers that Steven Douglas controlled via the lighting desk.
For the IMAG, all the action was captured via three Sony HXC-100s in the pit, and two of PRG XL’s proprietary HDiye minicams on stage for close-ups. Video Director, Stuart Merser, expertly cut the footage live using a Panasonic-based PPU, and the images were output to two large projection screens each fed by a pair of Barco HD20 projectors. In addition to Merser, the video crew for the tour included Ant Barrett and Tom Prew.
For a slideshow of more photos, click here.
PRG XL Video, the UK operation of Production Resource Group (PRG), is today celebrating winning Favourite Video Rental Company at the 2016 TPi Awards.
The event, which took place on Monday 22nd February at Battersea Evolution in London, is attended by a wide variety of companies from the entertainment and events industry both from the UK and worldwide.
The Favourite Video Rental Company award was presented to the PRG XL Video team by Sarah Cox, from category sponsor, d3 Technologies.
This win is the 12th time in the TPi Awards history that the UK video team have won this category, and brings the total number of TPi Award wins to eighteen for Production Resource Group companies.
“Winning this award yet again only goes to confirm that the coming together of PRG and XL Video is a winning combination!” said Lee Spencer, PRG XL Video Commercial Director. “I would also like to thank our teams at all the UK locations whose hard work won us this year’s award.”
PRG XL Video UK CEO Lucas Covers comments: “We are delighted with the recognition for our video services, and particularly honoured as this award is voted for by our colleagues and peers in the industry. We will continue to strive to supply the best possible video service in the market.”
Other winners on the night included some important PRG XL Video clients. Oli Metcalfe won two awards for Best Set Designer, and the Des Fallon Video Visionary category, for his work with Muse; and the Best Lighting Designer was Ed Warren for his work with Mumford & Sons.
New PRG Lighting Library features growing repository of content that will enhance the user experience
As a part of their shared commitment to empower today's entertainment designers, Vectorworks, Inc. and Production Resource Group (PRG) announce that they will collaboratively develop and implement new features for Vectorworks® Spotlight software. More specifically, PRG will work with Vectorworks' research and development team to develop new tools and object libraries for Spotlight, the standard for CAD software in entertainment design, as well as drive efficient workflows that are crucial to the industry.
"Our goal is to provide state-of-the-art technology and tools that enable designers to explore their ideas so they can ultimately develop, document and communicate designs that create memorable entertainment experiences," said Dr. Biplab Sarkar, CTO of Vectorworks. "We gravitate toward strategic industry partners such as PRG because they are uniquely qualified to provide the resources and services required for our customers."
Vectorworks is a global leader in developing 3D design technologies for the AEC, landscape and entertainment industries, including Spotlight software, which helps professionals in the lighting, scenery, set, event, theatre and exhibit design space balance the need for individual creativity with the requirement for synchronized, accurate design information.
Contributing more than 25 years of experience to the partnership, PRG is the world's leading supplier of entertainment and event technology solutions, providing integrated services and equipment, including audio, video, lighting, rigging, staging and scenery for clients all over the world. With more than 40 offices worldwide, the company has relied on Spotlight software for many years.
"In conjunction with the announcement of this partnership comes our initial efforts with creating a large catalog of PRG gear as library content for Spotlight users," said PRG's Special Operations Director Götz Bauer. "The increased content resources will be a tremendous efficiency gain, making the design development and documentation process even faster for lighting, production and scenic designers."
Initial content that will be shared through this partnership includes PRG’s own line of production equipment including lighting instruments, consoles, LED panels, trusses, motors and media servers. PRG is also adding other content from vendors that it represents and supplies, such as Prolyte Truss and Vari-Lite.
The growing content library is available initially as a first-access benefit for Vectorworks Service Select members and can be downloaded here. To learn more about the growing content library, Vectorworks Service Select members can visit this link
Working with acclaimed production designers, Louis Oliver and James Scott of Okulus Design, PRG XL Video supplied lighting, rigging, and video for Chvrches most recent UK tour.
The package combined specially adapted trussing, a variety of lighting types, plus custom-built LED video towers.
Oliver’s multi-layer design centred around three monoliths of LED video screen. This was built from PRG XL Video’s MC-7T LED, supplied by Senior Account Manager, Paul McCauley, and housed in custom units built specially for the tour. The 7mm LED was selected because of its visual clarity.
Senior Account Manager, Roy Hunt worked closely with Okulus on the lighting and rigging specifications to ensure a smooth and perfectly executed tour.
The lighting package included 33 Martin Mac Auras. Okulus specified nine in a mid stage truss and 24 on the floor. Eight of these were used to surround the central monolith.
Between the towers and to the sides of the stage four large and two small floor towers, specially adapted from PRG’s Bat Truss, housed a combination of Clay Paky Mythos beams interspersed between trios of Philips Nitro Strobes arranged in horizontal lines. The taller towers included three rows of lighting with two each on the smaller side towers.
The combination of lighting and video gave the set a multi-depth look.
Above the stage, the flown rig included Clay Paky Mythos combined with eleven sets of high brightness Clay Paky Stormys to extend the look of stark lines from the floor to the roof (from Nitro 510Cs). For the tour Michael Cristino and Oliver looked after the lighting and video production. When it came to the Alexandra Palace show, the lighting team was led on site by Crew Chief Luke Jackson. Rich Menday was technician for both lighting and video.
Hunt commented: “This was an interesting and challenging design to fulfil. Our team did a great job in bringing the design to life and the Alexandra Palace show was a fitting culmination for this leg of the tour.”
For the tour’s final UK show at Alexandra Palace the production, led by Tour Manager, Cara McDaniel, and Production Manager Anders Karlsson, requested the addition of IMAG screens to give the audience a clearer view at the rear of the large London venue.
Okulus specified two IMAG screens, in portrait orientation, which were flown and angled slightly to front of house, giving the production a further level of depth. The two 15’ wide x 20’ high screens were each fed by PRG XL Video’s Panasonic PT-DZ21K high brightness projectors.
IMAG footage was supplied via four Sony HXC-100 HD cameras – two at front of house and two handheld in the pit – directed by Moose and engineered by Ray Gwilliams. Bradley Stokes joined the production as a supplementary technician for the Alexandra Palace show.
PRG XL Video, the leading supplier of lighting, video and rigging technology for events and entertainment, is pleased to announce Rob Brown has joined their Corporate team, as a Senior Account Manager, based at the company’s Hemel Hempstead location.
Rob has more than 14 years experience in the AV and technical industries, working with 360˚ production companies, mostly in the financial sector. He now brings his expertise to PRG XL Video, to help the Corporate team better serve multi-discipline event production agencies and their end clients.
He comments: “I’m delighted to join the team at PRG XL Video at such an exciting time in their history. With PRG and XL Video coming together, now is the ideal time for someone with my expertise to join them. I look forward to helping the team expand their technical knowledge into more 360˚ events.”
On a day to day basis, Rob will report to Guy Vellacott, Head of PRG XL Video’s Corporate Events business.
Rich Rowley, PRG XL’s Sales Director comments: “We’re looking forward to working with Rob. He brings a vast wealth of both technical and business experience to the team.”