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News Blog

This section contains news stories, organisational announcements, case studies, reports from trade shows, and other news about our company and our work.

We also post selected articles, news updates, and share videos on our social media channels including Facebook, Twitter and more.


PRG continues to service the UK theatre industry by providing a full Lighting package for the new musical Dear Evan Hansen, at the Noel Coward theatre in London’s West End

PRG UK has continued to be one of the leading, major technical service providers for the theatre industry, this time, by providing Lighting for the brand new musical; Dear Evan Hansen, which recently opened at the Noel Coward theatre in London’s infamous West End theatre district. With its original Lighting design by Japhy Weideman and Projection design by Peter Nigrini, Dear Evan Hansen is considered to be one of the more contemporary stage musicals in the last decade that has integrated lighting and technology more to enhance the overall production and aesthetic design. PRG's Theatre Sales Director Peter Marshall worked with the Associate Lighting Designer Ken Wills and with Production Electrician Fraser Hall to oversee and ensure that the Weidman's original lighting design was recreated as much as possible. The challenge, was that since the show was in a different theatre compared to the original Broadway production, the lighting package had to be customised specially to ensure the production was lit correctly and effectively on stage.


Inset: Multiple Clay Paky Sharpies were provided for the sharp beam specials overhead. Photo credit: Matthew Murphy


The main lighting fixtures provided consisted of Martin Viper Performances, Martin Viper DX Washes, Vari-Lite 3500 Washes, GLP Impression X4s as well as several ETC Source 4 LED Series 2 Lustrs. Multiple Clay Paky Sharpies were provided for the sharp beam specials overhead along with Chroma-Q colour force LED battens which were primarily used to light up the backdrop on stage. ­A total of four followspots were also provided which were PRG’s own proprietary Best Boy fixtures used with manual control to track the actors while they moved around on the stage. The entire lighting system was controlled off an ETC EOS control platform.


Inset: Chroma-Q colour force LED battens which were primarily used to light up the backdrop on stage. Photo credit: Matthew Murphy


Speaking on behalf of PRG’s involvement with the new production, our Theatre Sales Director Peter Marshall commented: “It has been a pleasure to be able to work with Ken and Fraser on this new and exciting production. I am looking forward to seeing how the show does at the Noel Coward Theatre, particularly as it is one of the more contemporary shows. It has been a delight for PRG to continue to our long-standing relationship with the theatre industry and maintain our reputation as the leading supplier of lighting.”


Inset: PRG Best Boy Follow Spots were used to track the actors as they moved throughout the performance on stage.

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PRG's Director of Corporate & Events John Montague, gave an insightful talk about “simplifying the complex” at Event Tech Live 2019 - Europe’s only exhibition dedicated to event technology

PRG UK was proud to make an appearance at Event Tech Live 2019, Europe’s only two-day exhibition dedicated to the world of event technology, which was held once again at The Old Truman Brewery in London. The event which was established back in 2014, saw over 2,500 visitors from all over the world attend to see a diverse range of technology on display from exhibitors, as well as see a selection of world-class, specialised talks given by some of the most influential professionals in within the industry.


Our Director of Corporate Events John Montague recently spoke to professionals within the industry about “simplifying the complex”. John talked about event design today – how by concentrating on simplicity in both design and message, we can achieve both the impact and remembrance, but also deliver the complex. Drawing on works of cognitive psychologist and economist Herbet A Simon, John illustrated that “Something is simple or complex depending on the way we chose to describe it”.



John expanded on how to break down our ever more complex digital and visual workflows into simple chunks. Using examples of Fractal geometry to demonstrate this, as well as practical examples of how PRG's cutting edge delivery teams have implemented this ethos around the globe. Bringing the talk to a close, John focused on Matthew Frederick’s three levels of knowing – Simplicity that leads to Complexity and out the other side to Informed Simplicity - emphasising the need to keep the simple at the forefront of our technical and complex world.



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PRG adds to the illumination by supplying lighting for The Phantom of the Opera worldwide touring production

PRG UK were proud to supply lighting for Andrew Lloyd Webber’s mega-hit, juggernaut musical, The Phantom of the Opera Worldwide Tour. Lee Batty (Technical Director from RUG - The Really Useful Group) oversaw the production in association with Troika Entertainment; (Executive Vice President Kori Prior and Production Manager Dave Burch), which has travelled throughout a selection of countries around Asia, including Manila in the Philippines, Marina Bay Sands in Singapore, Kuala Lumpur in Malaysia and more recently the moved into Tel Aviv and Dubai.


The iconic production kicked off its latest international touring show, since it mounted back in 1986, in London’s West End, and in 1988 On Broadway, where it is still on a high from its widely celebrated 30th Anniversary mile-stone at its long-term home at the Majestic theatre in NY. Over the years, The Phantom of the Opera has spurned 2 US tours and a UK national tour, as well as mounting touring productions in over 25 countries. The last touring production saw a dramatic overhaul of the production, from the set to the lighting and even changing the physical appearance of the Phantom and other major characters, moving away from Maria Bjornson’s classic look and feel to the original sets. This new international touring production however, has gone back to its renowned and widely recognised original aesthetic, looking more closer in its appearance, feel and production set up to that of both the West End and Broadway current productions, which in own right feels the right time to celebrate the original masterpiece.


Photo supplied courtesy of The Really Useful Group Ltd.


Lighting Designer; Andrew Bridge, (who was also the original LD for all of the productions including London’s West End in 1986 & On Broadway in New York back in 1988), re-equipped the entire production, whereby future proofing the lighting inventory for the next generation, favouring LED sources (a resource that was not available more than 30 years ago). He and his associate Michael Odam, along with Production Electrician Andy Bird, set rigorous performance criteria, whilst simultaneously identifying the vast savings that could be derived over the prospect of a potential long-term run, from running expenses, minimal air conditioning, less cabling and zero lamp replacement. To give an example in terms of the cost savings, on the previous 2006 world tour, which was predominantly an arc rig, with a similar quantity of units the production would have spent in excess of around £7,000 on a re-lamp every 10–12 playing weeks. Since using LED lights, the high level of reoccurring expenditure has now disappeared. Not only this, but the new touring production managed to achieve a massive power saving, which aside from being good for the environment, has allowed the show to be able to play to some of the smaller and more less equipped venues, which at times can have different power infrastructures for the production to link into.


“In London and New York, the productions are still based on a fixed focus tungsten lighting rig, and in the course of 33 years there have been many upgrades. However, while the original concept remains without moving lights in those locations, on the 2006 world tour we adapted the entire rig to a majority of moving lights, initially using tungsten-based units, but finding that touring voltage variations made consistency of output impossible. Eventually the journey took them to LED – but with appalling colour renderings and dimming.” he added.


Photo supplied courtesy of The Really Useful Group Ltd.


However, moving forward to the present day, and the need for a much more streamlined, efficient production – a load-in time was finally brought down from twelve days, a total of just three.


“After nearly two years of design challenges, we designed an all – LED rig, with no need for the usual heavy power requirements and space hungry dimmers. This enabled us to design a superb and ground-breaking mains distribution and control. The LED units are more robust and quieter.” (The Phantom of the Opera Lighting Designer; Andrew Bridge).


Photo supplied courtesy of The Really Useful Group Ltd.


What PRG provided for the TPOTO international touring production?

PRG’s highly experienced, and dedicated crew provided the following equipment consisting of:


LED Fixtures and Extras:


  • 47 x ETC Source 4 LED Lustr series 2 Head/Body
  • 32 x Colorsource LED PAR Deep Blue ETC
  • 7 x Freshnel LED Altman Pegasus 6” 300K
  • 2 x Freshnel HMI 2.5K Arri Compact
  • 2 x Freshnel HMI 4.0K Arri Compact
  • 26 x MAC Aura XB RGBW LED Wash
  • 50 x MAC Encore Performance Warm LED
  • 30 x MAC Encore Performance Cold LED
  • 8 x MAC Encore Wash Warm LED
  • 24 x MAC Encore Wash Cold LED
  • 6 x MAC Viper Performance
  • 2 x SPOT 2.5 HMI RJ CRYANO 3-8o CAD 2000
  • 5 x Selador Desire D22 Lustr+LED RGBAW ETC
  • 5 x Selador Desire D22 Lustr+LED RGBAW ETC
  • 6 x Strobe GLP JDC1 LED RGB
  • 14 x Impression X4 S LED RGBW GLP
  • 10 x Impression X4 BAR20 RGBW GLP
  • 7 x GOBO Rotator S4 Dual Rosco Revopro
  • 2 x Fog look Power TINY/HB Battery
  • 2 x Fog MDG Hazer ATME APS
  • 1 x Fog Look Viper 2.6 DMX 2600W 230V
  • 2 x Viper 2.6 Fluid Cap W/Filter+ Hose
  • 2 x Fog low look Cryo-Fogger High Pressure 2300W 230V
  • 1 x Cue Light GDS Cuesystem
  • 1 x Cuesystem Control DIGI 12-Way 3RU
  • 1 x Cuesystem Control DIGI 12-Way 1RU
  • 14 x Cuesystem Outstation Standard
  • 1 x ETC EOS TI GEN1 16000 console
  • 2 x Fog low look Cryo-Fogger High Pressure 2300W 230V
  • 1 x ETC ION/EOS Fader Wing 2x10
  • 1 x ETC GIO5 24000 console
  • 2 x ETC Nomad Pug Gen2 512
  • 1 x Node ETCNET3 DMX/RDM Gateway X4
  • 4 x Node Module Net3 Gateway DMX-OUT XLR5F ETC
  • 8 x Node Module Net3 Gateway DMX-In XLR5M ETC
  • 2 x Node Rack Adapter ETC Gateway X2 ETC
  • 1 x Node ETCNet3 Show Control Gateway 802.3AF
  • 2 x Show Baby 6 DMX Transceiver PSU CITY THEATRICAL
  • 1 x KVM Switch VGA USB 1X8 Adder AVX1008
  • 2 x KVM Ext USB+VGA CATXX RX Adder X200/R



    Trussing Fixtures:

  • 4 x Truss Box MBeam Slick 1’ MF
  • 4 x Truss Box MBeam Slick 4’ MF
  • 4 x Truss Box MBeam Slick 10’ MF
  • 6 x Truss Box MBeam Slick 6’ MF
  • 4 x Truss Corner MBeam 2-Way MB90HV/A/F
  • 2 x Truss Base MBeam MBBP
  • 10 x LowPro 15” x 24” BAT SPIG 8’ PNG
  • 6 x LowPro 15” x 24” BAT SPIG 10’ PNG


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PRG provided Lighting, Video and Automation Rigging for Wizkid Starboy Fest tour at the O2 arena

PRG UK maintained its stellar reputation for being the market-leading technology provider for the live music concert touring industry by working with Production Manager Tobi Oyerinde and Production Designer Francis Clegg from Mirrad to supply technical solutions which included Lighting, Video and Automation Rigging for Wizkid. The Afrobeats artist saw audiences in the thousands attend to see his debut in London as he brought his sellout Starboy Fest to the O2 arena showcasing an impressive production, to make the entire tour become one of the most iconic live music events of the year.


Photo Credit: Justin DeSouza


The project was overseen by our Lighting Account Manager Robert Watson and Video Account Manager Nilkanth Patel and worked alongside our Head of Rigging Services Q Willis who designed the rigging package to meet the demands of the production design and utilise the space on stage to ensure all of the technical elements of the production design would work as efficiently as possible throughout the show without any hitches.


Several key lighting fixtures were provided to meet the requirements of Tom Taylor and Francis Clegg’s (of Mirrad studios) lighting design which consisted of Clay Paky Mythos, VL3500 washes, GLP JDCs, GLP X4Ls and GLP Xbar 20s along with our proprietary Bad Boy GroundControl TM followspot. All of the above was controlled via an Avolites sapphire console.


Photo Credit: Justin DeSouza


With regards to rigging and automation for the show, PRG supplied all rigging to hang the lighting fixtures and video equipment along with providing a mother grid and automation rig using Kinesys to hang the huge and impressive 25m walkway which linked the Main stage and the B stage together over the audience. The grand walkway was a pivotal part of the production design, which descended above the audience throughout the show.


Photo Credit: Justin DeSouza


In terms of the video supplied, PRG provided three cameras for the IMAG, along with an impressive upstage V screen with our custom corner frame housing ROE MC-18 tiles and for the B stage 3-sided screen consisting of MC-7 tiles in order to display the supporting video content designed by Light Rhythm Visuals and Pete Thornton from More Eyes studios.


Photo Credit: Justin DeSouza


Speaking about PRG UK’s involvement with the WizKid at the O2 for StarBoy Fest our Video Account Manager Nilkanth Patel commented, “I really enjoyed working with Mirrad on this project. I recall in August Francis Clegg approached me with the concept of a V screen, this soon followed with a wacky runway on kinesis, we had many constraints but these were handled very carefully by PRG’s very own Q Willis and Robert Watson. I think the production went very well and overall everyone was very happy. I look forward to working with the team again soon.”


PRG Crew credits: Lighting & Rigging AM: Rob Watson, Lighting & rigging PM: Bill Martin Lighting Crew Chief: Bradley Stokes, Rigging & Automation design: Q Willis, Automation crew: (Max Reynolds & Bruce Macleod & Toby Rouse), Rigging HOD: Nick Brown. Video AM: Nilkanth Patel, Video PM: Karl Johnstone, Video Crew Chief: Rich Menday.

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PRG exhibited at EventLab 2019 to showcase projection mapping technology and live Notch rendering in association with Green Hippo at the Business Design centre

PRG UK Corporate exhibited for the first time at EventLab 2019, a two-day multi-channel event held at the Business Design Centre from the 14th-15th of October. EventLab saw some of the UK’s top industry leaders, speakers, venues, and suppliers attend and participate in a wide array of talks, interviews, discussions, workshops and masterclasses.


Inset: Our Business Development Director Andy Johnston talking with leading technology influencer Amelia Kallman.

In a unique collaboration with Green Hippo, live real-time demonstrations were shown on-screen showcasing innovative projection mapping technology to attendees and prospective clients. Our Business Development Team Andy Johnston and Mercedes Lopez alongside Steve Daw from Green Hippo, met with many industry leaders throughout the day, introducing them to the technology and allowing them to see and experience it for themselves.The discussions also led on how projection mapping and live rendering technology had advanced to create new opportunities, especially in the experiential market, and bring its dynamic, innovative applications to a variety of events.

Inset: The real-time projection mapping visual effects shown on screen, allowing attendees to interact with the technology.


Inset: A scaled down working model of a church showing how projection mapping can be used on large scale architecture.

Speaking about the event PRG’s Director of Corporate Events, John Montague commented, “We were delighted to be able to show close up how these exciting and fast moving applications can really engage and create interest for event production. Our team and Green Hippo had a fantastic couple of days, met with many of our current and hopefully soon to be creative clients, and really got into some fascinating conversations. The challenge now is to bring these technological innovations right into the event market for all to use and explore. The ‘refresher’ lollipops were also particularly good this time out!”


Inset: PRG UK’s Business Development Director Andy Johnston discussing the projection mapping technology. All Photo credits: Matt Chung Photography



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at


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PRG supplied lighting and rigging services for British Summer Time 2019 in Hyde Park

PRG UK, regarded as Europe’s premier provider of festivals supplied lighting and rigging for British Summer Time which ran from Friday the 5th of July to Sunday the 14th of July. PRG worked alongside Proper Productions and Loud Sound for the seventh annual event to ensure that around 250,000 revellers who attended Hyde Park, enjoyed the line-up of some of the most recognisable artists and bands within the music industry.

Our specialist team was sent down to set up the entire lighting system, truss and lamps over three days, which was supervised by Crew Chief Luke Jackson. The overall rig was a masterpiece of flexible design which was essential to allow us to meet the needs of the first-weekend headliners, Celine Dion, Stevie Wonder and Barbara Streisand on consecutive days and followed by the second-week headliners Florence and the Machine and Robbie Williams.

The full lighting rig consisted of 2-Lite Molefays, 8-Lite Molefays, VL3500 Washes, Icon Edges, GLP X4s, SGM P-5s, Solaris Flares, along with PRG’s proprietary fixtures which were Best Boy HPs, Groundcontrol Best Boy followspots and Groundcontrol Longthrow followspots, during in which time has been appreciated by over two million festival-goers since our involvement with BST.

One of the highlights of the festival was working with Robbie William’s creative team under the guidance of lighting designer Matt Pittman from Pixelmappers and associate lighting designer Matt Smith from Bryte Design to provide the additional technical solutions required for Robbie Williams’s festival-closing performance.

Since PRG has remained the market leader and the go-to supplier for delivering technical event services for most of the UK’s largest festivals, our expert team were aware that careful preparation was a vital part of the meticulous planning process before all of the equipment and crew arrived on-site. The team worked diligently together to oversee that the lighting system was constructed in the most efficient, safest way while ensuring the lighting equipment was all fully functioning during all of the days British Summer Time festival ran.



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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PRG provided LED screen solutions for INCA Productions and Es Devlin at the Serpentine Summer Party

PRG UK maintained its reputation as being the market-leader for event services technology for the corporate sector by working with INCA Productions to provide technical solutions for Es Devlin’s artistic cube installation at the Serpentine Summer Party. The prestigious annual event held in Kensington Gardens saw leading international figures from the worlds of art, architecture, design, fashion, music, film and business to celebrate and raise funds for the Serpentine gallery’s globally acclaimed exhibitions, architecture, education and live programmes.


Photo Credit: Thomas Walsh - Behind the scenes showing the screens fitted during load in for Es Devlin’s cube installation at the Serpentine.


Our Technical Director John Montague and Production Manager Tom Walsh worked with a team of expert technicians which was overseen by the watchful eye of Mark Connolly of INCA Events to deliver the challenge. This involved the team having to work with Set Square’s custom fabrication while ensuring that the cube structure rotated with all of the power and that the data was transmitted correctly via a specially made slip ring.


Photo courtesy of Luke Halls Studio


In terms of the video screen used within Devlin’s cube structure, PRG supplied a 4.8mm pitch measuring 2.5m in width x 3m in height and was made up of 54 x LED tiles. The content was provided by Luke Halls, which was played back through a Hippo media server. Also, a stand-alone screen was provided to display specific content for Google.


Photo courtesy of Luke Halls Studio


Speaking about PRG UK’s involvement with the Serpentine Summer Party annual event, John Montague commented, “It was a pleasure working with INCA Productions, but equally in being part of such a fantastic corporate event. Although some challenges arose for the crew, we were pleased to overcome them to deliver outdoor video screen solutions successfully to meet the requirements of the client in such a short space of time.”


Photo Credit: Thomas Walsh - The guests in Kensington Gardens enjoying the marvel of Es Devlin’s cube structure.



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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PRG supplied lighting, video and rigging services for Bentley’s The Future of Extraordinary Journeys

PRG UK continues to be a recognised global technical services supplier within the corporate market, by providing lighting, video and rigging for Bentley Motors’ ‘The Future of Extraordinary Journeys’ EXP 100GT live event, held at the company’s Headquarters in Crewe on the 10th of July. PRG’s corporate Account Director Steve Greetham and Senior Account Manager Cameron Bannister, oversaw all of the technical aspects of the live show while working with production company UNIT 9 to deliver the best solution to service the requirements of the client.


The staging and LED video screen including Revolution Blade video strips installed for the event. Photo credit: Andrey Buzin


The lighting rig supplied consisted of 32 x GLP Impression X4 Bar20s, 8 x Solaris Flares LED Strobes, 4 x Martin Viper Air FX moving heads, 12 x PRG Icon Beam moving heads, 14 x Clay Paky AxcorSpot 300 moving heads, 24 x Mac Aura LED Wash moving heads. A softbox circle of Lite Tile tune-able LED mesh with a diameter of 6.5m was included, along with 2 x VL4000 Beamwash moving heads, 8 x GLP Impression X4 moving heads, 12 x Clay Paky Mythos moving heads, 25 x SGM P-5 Washes and 80 metres of custom RGB LED tape for scenic integration.


The back wall curved video screen installed at Bentley’s HQ in Crewe. Photo credit: Andrey Buzin


In terms of the video products provided, the set up featured 368m of Revolution Blade video strips along with 4 x Epson 15K laser with snorkel wide-angle lens projector units. A total of 264 x Black Onyx 2.8mm LED tiles which made up the overall curved video wall, spanning over an area of 22m x 3m. Additional rigging was provided, featuring 250m of 30cm of trussing used to build both 1 x flown and 2 x ground support trussing systems. A total of 4 x Wahlberg DMX controlled winches and associated flown track were supplied to support 4 x Black Oynx 2.8mm LED totem amounting to 10 sq./m.


The lighting shown along with the curved Black Onyx video wall at Bentley in Crewe. Photo credit: Andrey Buzin


Taking into account PRG’s vast specialised capabilities and experience in delivering technical solutions for high profile corporate events, the team knew that rigorous planning and preparation was essential before the equipment and crew arrived on-site. After the build, a crew of skilled in-house and freelance technicians were able to deliver a set of faultless shows over two weeks.

Louise Burns - Head of Strategic Marketing Projects at Bentley Motors commented: “I want to thank you all for your persistence and hard work making the launch of EXP 100GT such a huge success, especially in such a short time.”




PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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PRG supplied lighting and rigging services for Elton John’s Goodbye Yellow Brick Farewell tour

PRG UK was the preferred technical supplier to deliver lighting and rigging services for Elton John’s Goodbye Yellow Brick Road Farewell European tour. Several key lighting fixtures were provided, consisting of 79 x Clay Paky Scenius Unicos, 52 x Gold GLP Impression X4s, 28 x Chauvet Colorados Quad Zoom, 54 x Best Boy Spots, 28 x Icon Edges, 18 x GLP X4Bar 20 Battens, 5 x PRG Ground Control Bad Boy Followspots and 40 x 4-Lite Blinders. The entire lighting system was controlled using 3 x Grand MA2 consoles along with 4 x H/Base Hazers and Fans, and a 16 way Clear Com Intercom system. Lighting Crew Chief, Corey Tom was facilitated by a team of 7 x highly, experienced crew members from PRG, who oversaw the construction of the lighting system while ensuring the rigging infrastructure was set up in the safest, and most efficient way possible at each venue.


Credit: Ben Gibson / Rocket Entertainment


PRG was pleased to support and work with Lighting Designer Patrick Woodroffe, (Woodroffe Bassett Associates), alongside his associate Terry Cook on all of the shows to achieve the right lighting balance on stage. Lighting Director, Kevin Bye assisted in the programming, while the media servers were overseen by Lars Kristiansen.


Credit: Ben Gibson / Rocket Entertainment


What rigging was provided by PRG for the‘Goodbye Yellow Brick Road’ Tour?

PRG’s highly experienced crew provided the following rigging equipment below:
Rigging & Trussing fixtures:

46 x 10’ Low Pro Truss
10 x 8’ Low Pro Truss
20 x 3m 30cm GP Truss
8 x 2.5m 52cm GP Truss
26 x 3m 52cm G Truss
15 x 2T hoists
40 x 1T Hoists
20 x 500Kg Hoists



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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30 years of Wacken – And PRG has been part of it for the past 17 years!

Every year for the past thirty years, on the first weekend in August, metal fans from all over the world gather in the small community of Wacken, Northern Germany. With around 75,000 visitors, the Wacken Open Air is now one of the largest metal festivals in the world. PRG has been part of the festival for 17 years now, taking care of the entire lighting and LED technology, as well as the rigging. Holger Hübner (Founder and Organizer, Wacken Open Air) is thrilled about the trustful cooperation: "The main thing is that we have fun, create a cool event and for everyone to get something out of it. PRG, us and all staff - and above all, our fans.".

If it were up to lighting designer Jerry Appelt, the collaboration would be continued for at least 13 more years, so that WOA, Jerry Appelt Lighting Design and PRG can celebrate the thirtieth anniversary of their fantastic collaboration in 2032. It won't fail because of the festival's success; tickets for WOA 2020 were already sold out within 21 hours.

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PRG provided lighting for the Spice World concert tour 2019

PRG UK supplied lighting services for the Spice Girls’ Spice World UK tour, in which the iconic 90’s girl band performed to thousands of fans in eight different arenas and stadiums, throughout the UK from the 24th of May to the 15th of June.

Various lighting fixtures were provided which consisted of 510 x GLP JDC1 strobes, 88 x Icon Edges, 160 x Robe Robin Megapointes, 34 x Robe Robin BMFL Blades, 104 x Robert Juliat Dalis 862 footlights, 62 x SGM Q-7 x wash/strobes and 6 x GLP X4s. The setup also included PRG’s proprietary such as 8 x Longthrow spots and 4 x Best Boys. The complete lighting system was controlled by a Grand MA3 console with 17 x NPUs. PRG’s Head of Event Services Rich Gorrod, along with Crew Chief Aidan Macabe was supported by a highly experienced lighting crew team. The back wall structure was a masterpiece of lighting engineering, which was worked out by Gorrod to be assembled in the shortest possible time, to allow for a clear stage, so that the video team could work on the assembly of the video globe centrepiece. The entire lighting system was waterproofed to survive potential wet weather conditions.

PRG was pleased to support and work with Lighting Designer Tim Routledge and Lighting Director Tom Young alongside Production Manager Tony Gittins to ensure all of the shows ran smoothly and contributed to the tour’s overall success. A total of 8 x Bad Boy Ground Control Followspots were used on stage and 8 x LongThrow Ground Control Followspots on Stage Co masts were used out on the floor of the stadiums.



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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PRG supplied lighting, video and rigging services for All Points East 2019 in Victoria Park

PRG UK supported All Points East 2019 from the 24th of May to the 2nd of June for another incredible year to provide its technical services on all four stages for the first time, since the festival debuted. The new annual music event attracted around 62,000 festival-goers who gathered in London’s Victoria Park to be entertained by a diverse selection of both popular, established and emerging artists.


Behind the scenes of the upper tier lighting & rigging tted on the North East Stage. Photo credit: Aanand Ewins


Despite there being so many established and emerging artists to accommodate, the LarMac production team, artist management and our in-house LD Chris Scott collaborated to devise the full house lighting rigs for both the North and East stages that met all artistic requests. PRG’s Senior Account Manager Paul McCauley and Project Manager Ian Jones supervised the video rigging on the North, East, West and X stages.


The Main Stage - APE Festival 2019 - Friday 5th July Photo credit: Aanand Ewins


The lighting rig for the Main stage consisted of PRG Best Boy Hp’s, Varilite 3500 washes, PRG Icon Beams, Solaris Flare Jrs and a selection of Molefay fixtures. Various 250kg exe, 500kg exe, 1t exe and 2t Hoists were provided for lighting, video and audio to assist visiting artists. PRG Ground Control Bad Boys were used for followspots on stage to save putting standard Followspot towers in the air allowing the crew to control the Followspots from the FOH station. In terms of the video equipment used on the main stage, PRG supplied Mc-7 imag screens, CB5 onstage screens, Barco e2 screen management, Sony hxc camera chains and Ross carbonite PPUs.


The Chemical Brothers performing at All Points East festival 2019, performing on the Main stage.


The highlight fixtures on the North stage included of Clay Paky Mythos, Martin Viper Washes DX, SGM Q7s and Molefays. Several PRG Best Boy Hps were also fitted into the rig, to provide key lighting to the stage. Regarding the video solutions provided on North stage, the rig consisted of Cb5 imag screens, Cb5 on-stage screens (for Primal Scream) and Cb5 cinema screens (for Midweek). Also included were Sony hxc camera chains and Panasonic 450 PPUs to complete the full video system.The additional video technology provided on the West stage consisted of Cb5 upstage walls, a Barco e2 screen management along with a Resolume media server. Over on the X stage, the rig contained several Revolution Blade video strips and also a Resolume media server, for content playback.

PRG is one of the most recognised providers for delivering outstanding, world-class technical services for music festivals on an international scale. Our expert team worked tirelessly during the build days to meticulously construct the rigs across all stages while ensuring that there were no technical difficulties with the lighting and video systems supplied throughout the entire festival weekend.


The Grand MA2 console used to control the main stage lighting system in FOH at APE. Photo credit: Aanand Ewins.


Speaking about PRG’s involvement with APE, Paul McCauley (Senior Account Manager) stated: “It was a pleasure working with LarMac Live again, but equally in being part of the first ever APE shows across both weekends. A new festival is always a challenge for the crew, but was very happy to deliver video requirements across 4 of the festival’s stages.”



PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at

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PRG UK welcomed renowned futurist and author Amelia Kallman from Inition Ltd to the monthly ‘Hear Yourself Think’ talk series.

PRG UK hosted another in-depth live talk for the ‘Hear Yourself Think’ talk series by welcoming one of London’s leading futurists; Amelia Kallman from Inition Ltd. As an innovation and technology communicator, Amelia has written and consulted on many occasions about the impact of new technologies and the implications upon business and the relationship between human interaction with AR, VR, and MR. She also regularly writes and consults on the emerging risks of the realities, where she has authored a cutting-edge report for Lloyd’s of London. Amelia also specialises in 
the future of retail, AI & IoT. Not only this, but she has previously lectured at Cambridge University, written a multi-award winning book, and directed the first burlesque show in 360 film. She has continued to be an impressive influence within the digital and technology industries, where she continues to be featured in WIRED UK, IBC 365, and is the successful publisher of her own popular monthly innovation online newsletter; ‘The Big Reveal’, which commands an impressive readership.

Technology, beyond the hype

Kallman opened the talk with her take on ‘Technology Beyond The Hype’, in which she outlined how 92% of companies today are unsure about surviving the digital age as advancements within 
the technology industry or how to utilise the technology best, taking into consideration perceived best practices. This was particularly focused toward retail, finance tech, and live experiential entertainment as they all continue to move at an incredible pace, which will likely continue to 
grow and adapt to customer/client demands and trends within the next coming years.


5g, disruption, machine learning & Amelia Ai

Disruption was a key subject that has been mentioned more frequently within society, and in the media, however, Amelia’s view was that innovation from disruption, presents opportunities and that the “digital, technological revolution” is rather just evolution. An example of this is the controversy surrounding 5G and how its frequency has been questionable and how it affects nature. Technology is still very much in its infancy and that being said is often still misunderstood, with its implications subjective to an individual. However, according to Kallman, 5G will become something that will lay the foundations as a platform for future tech to use, i.e. Blockchain, new realities, and even artificial intelligence. This would be used by potentially taking all data from the cloud, which would learn and adapt from the data being processed and as a result, would encourage- something which Amelia Kallman referred to as; “Machine Learning.”


An example given of this was Amelia AI - a customer service digital artificial intelligence, installed t a Swedish bank, which can handle up to 11,000 calls. She services 66% of all calls for the bank, with an 82% success rate. Her programming follows a human train of thought, where she can distinguish human emotion and adapt accordingly. The data she can process and collect, as well 𠊊s make sense of, allows her to know when customers are repeat calls and can process repeat customer service issues and follow up accordingly. This is where 5G could pave the way for such advanced A.I. to operate more fluidly and efficiently, within the digital sphere. However, this also raises another question, will people be willing to handle artificial intelligence and Machine Learning, and deal with it in everyday life, within human spaces and social environments? Will the 5G hold up to be able to support all of the data flow and will it be substantial enough to maintain all of the data streaming?


Risk, “weaponising” IOT’s and infiltrating data from points of entry

The second subject was looking at the risk of infiltrating technology from outside sources. Since using any technological device on any given data network, leaves vulnerability for the device to be hacked, as it produces an entry point. Companies still have not managed to completely overcome this issue, which has led to an oversight in introducing more technological advancements more quickly throughout the industry. Although enthusiasm has always been there, there was always that potential risk factor. With so many users connected using devices, it brings up factors of digital exposure to outsiders, who could gain very sensitive information on users. For businesses, whether it be technology developers, or those supplying the technology as a provider, it still presents an area of responsibility, and can potentially put those businesses at a disadvantaged position, if at any one point security issues are experienced – such as data infiltration, which could cause harm and damage reputations for businesses and cause clients to migrate to competitors or migrate entirely from a piece of technology, which could be a major source of revenue to organisations involved.


How immersive digital Overlays with AR and MR are making digital content much more inclusive and a shared experience within our reality

The third subject that was brought up was about how businesses were investing more in Augmented Realities and Mixed Realities to create a more inclusive experience using overlays, 
to enhance experiential events. Amelia mentioned the following: AR is the overlaying of digital imaging and video. VR completely immerses you into a unique secluded world – a “Meta verse”. MR incorporates a 360o overlay into holographic experiences within reality – which is very much more inclusive. She mentioned how MR would most likely take more of a preference in the future, with companies such as Magic Leap being the market leader for Mixed Reality. Varjo, is another company that was mentioned, who focus more on photo stereoscopic (which uses photographs to recreate an image setting, allowing a user to walk through spaces –within the photograph). The world-renowned, groundbreaking audio technology company ‘BOSE’, are a prime example adopting this ideology into their AR sunglasses, which uses Audio and augmented reality to interact with GPS. It would know where a user was going and could place a user in an immersive experiential setting, to create a digital experience.

For example, a user could potentially be in the studio with Elvis, and experience a recording session, in an experience like no other, totally inclusive yet specifically tailored to a users location and preferred topic. What was essentially developed was a unique overlay - a digital layer into life, while a user could remain in a human-orientated environment. Another way, which brings a much more personal experience, is by Microsoft’s Holo Lens.

Haptics was another concept that Kallman discussed. This new type of technology incorporates touch and feels, enhancing the interactivity of digital content. This concept would allow a user to feel shapes and objects in mid-air. It is becoming more widely introduced to experiential marketing and live events. An example of this was through digital posters for the new Pikachu – The great detective movie, which included interactive digital posters, where users could touch Pikachu and actually “feel his fur”. In addition to this, regarding VR headsets, an extra mass is now being added to create more multi-sensory feelings. This is being used to collate bio data, which measures blood pressure and heart rate, crossing over to mixed reality. This could also be used to measure adrenaline levels. for example, riding a motorcycle on a motor track through VR using haptics to make a user feel they were actually on the bike, through the feeling of the rubber overlay on the handlebars, giving a closer experience to the real thing.

With the use of VR, particularly ones that are using multi-sensors, create images, which is generated through measured brainwaves, to provide a much more personalised and individual experience for the user. The only risk from this type of immersive technology is that it could create a sense of gaming transfer phenomenon. This is basically where an individual would begin to hear and see the things they see in VR but within reality. Because the engagement with the brain is so intense, it could potentially rewire the brain and an individual’s dislocation with reality itself.

This new type of product would also allow the creation of imagery and visualisation through VR, and apply that to Mixed Reality within the real world. This crossover technology could then take the data from the digital world and then allow a user to potentially print a 3D physical model. (Think about the technology used by Tony Stark in the movie Iron Man, which allowed the digital imagery to be created and then the physical suit created from the digital blueprint holographic scans). However, the only potential disadvantage of this in its current state is that there could be an in-accuracy from the digital modelling to reality – i.e. architecture and manufacturing industries could be impacted by the inaccuracies. Over time, this would improve as the technology both hardware and software, and digital mapping of 3D imagery develops.

In conclusion, all of the above technology is inclusive and for sure is becoming integrated into our working lives, both as an aid for industry, but also as a form of entertainment and adding an extra layer to the live events industry, which only enhances the overall experience.

Experience is something that people are more willing to pay for, and it is something in which companies can truly benefit from to use to their advantage for profitable gains. Kallman stated; “even if a piece of technology sound disruptive, it doesn’t have to be”, which is true if all of the positive opportunities are recognised for these technologies. There will always be risks involved in using any new technology or device, which creates a fully immersive digital experience, however, the opportunities for financial gain, far outweigh these risks. In the future it will be second nature to use VR, AR and MR within experiential events and the scale of these technologies being adopted will only increase at a faster rate.


#SeeWhatWeCanDoTogether PRG is a leading international full-service provider of technical expertise and equipment for corporate and special events, music touring and festivals, theatre and the arts, exhibitions, brand activations, and film and television productions. To find out more about what we could do for your next event, get in touch at 

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PRG launches a new initiative: PRG Unite.

An inspiring event designed to bring together all our regions from around the world in one location, to share and develop our unique global offering.

PRG Unite has been devised with the specific intention of gathering all of our international teams together, to discuss our global offering for the future. PRG globally is the leading technical solution provider for the event industry and is constantly looking at how to best assist our clients across the world, helping them grow and develop exciting activations. The PRG Unite event enables us to discuss future challenges and strategies while combining our resources and expertise as one team.

The event will enable each of our regions (United Kingdom, Belgium, Germany, France, Spain, Netherlands, Japan, China, UAE and United States) to showcase their very best corporate projects, detailing to our clients the processes from strategic planning to event delivery, allowing our clients the unique opportunity to share our knowledge and best practice which enable us to hold such a world-renowned standing within the industry.

This insider view is sure to be a unique and inspiring insight into the future of how PRG will work with its clients on a global scale. Speaking about the upcoming PRG Unite event Richard Williams - PRG UK Chief Executive Officer commented:
“We felt this would be a fantastic opportunity for our UK customers to meet and talk directly to all our global PRG colleagues in one place. Allowing them to understand how PRG can help support and work together to provide global solutions.”

End of press release.


About Production Resource Group:
Production Resource Group UK Ltd.
(PRG) is the world’s leading supplier of entertainment and event technology to a wide range
of markets, including corporate and automotive events, concerts, special events, theatre,
television and film, trade shows and installations, such as theme parks, museums, retail stores
and performing arts centres. PRG provides integrated services and equipment, including audio, video, lighting, rigging, staging and scenery and automation systems, for these markets from more than 40 offices in North America, South America, Europe, the Middle East, Asia and Australia.

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