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.



Proposed Eco-Design Working Plan - EU Lighting Regulations

PRG Calls For Stage & Studio Exemption!

The EU’s Ecodesign Working Plan 2016-2019 would come in to force in September 2020. Put simply, only compliant control gear, fixtures and lamps could be sold going forward.

The proposed legislation has sent shockwaves across our industry and has triggered the creation of a #SaveStageLighting campaign, since every lighting manufacturer, supplier or individual working within the entertainment/lighting industry would be directly impacted.

Implementing this new legislation, which puts our industry on the same level as domestic lighting and appliances would result in tremendous financial stress.

Events like concerts, musicals, theatre, exhibitions, corporate events, TV productions, fashion shows, film shoots, and sporting events could go dark, as it would be illegal to supply new lighting fixtures and lamps that do not meet the new EU energy standards beyond September 2020 (including a minimum 85lm/W efficiency and a maximum 0.5W standby power consumption). That means that nearly every single lighting fixture on the market would be affected, be it discharge, tungsten or LED!
We understand from the proposal that our kit in use prior to Sept 2020 can still be used without being effected.

PRG aims to drive constant improvement and calls for a specific Stage and Studio Exemption!

As a forward-thinking business, PRG strives to improve the energy efficiencies of its own equipment by developing material in-house, e.g the PRG SPACEFRAME™ and the PRG GroundControl™ Followspot System, reducing the global footprint in terms of weight, space and handling. These factors reduce the number of trucks for transport, the airfreight load, the manpower needed, transport of manpower and the energy consumption. PRG also aims to push the envelope of efficiency working with lamp manufacturers and our optics used in PRG products.

Our global presence through our 41 affiliates and their teamwork reduces transport and manpower related costs, while ensuring the best support globally - decreasing our carbon footprint.
Furthermore, the PRG Alliance and its’ members, improve our energy efficiencies even more by supporting our productions within their regions.

Lighting designers, lighting manufacturers, programmers, technicians, venues, rental companies and service companies, as well as the artists and performers, are in need of a Stage and Studio Exemption.

Gary Boyd, Executive VP and Chief Operating Officer, EMEA for PRG said: ”I strongly encourage everyone in the live entertainment industry be it TV, Film, Theatre, Music, Corporate to sign the petition and most important to voice your concern through the EU online consultation by May 7. This is YOUR voice to the EU to make changes and petition for a Stage & Studio Exemption. Working with LightingEurope we will continue to make our combined voices heard. We need you to do your part!”


For further information or to sign the petition, follow the links below:

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Event Production and Groundbreaking Tech Solutions for the Automotive Industry

The automotive industry is as competitive as it is lucrative. It is estimated that an incredible 81.6 million cars will be manufactured globally in 2018. Automotive is a core part of our global business. PRG supply lighting and video technology as well as the rigging infrastructure to all the key automotive events around the world, including: trade shows, sales meetings, public exhibitions, brand activations and product launches.

“The knowledge and experience of our team, married with the extensive local and global inventories of the latest products enable us to work with event agencies, designers and manufacturers to deliver pioneering technology solutions for cutting edge show delivery.” Andy Johnston – PRG Business Development Director

Our technical experts, product specialists and event professionals are on hand to guide you through how to make best use of our lighting and video technology, and ensure that during production and pre-production, your event receives around the clock support.

Automotive brands we are proud to partner with repeatedly include: Audi, Aston Martin, Skoda, Bentley, Nissan, Lexus, Jaguar Land Rover, Toyota and Mercedes-Benz. Applications for our video technology are endless. Enhance your event using one of our customisable LED video screens? Or really wow by projection mapping onto a car! We look forward to talking to you.

For information click here. 

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 or all shapes and sizes. We employ more than 3,000 professionals worldwide, and have locations in the UK in London and Birmingham, and more than 40 international branches.

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PRG Puts The Wow Factor Into West End Eurovision

PRG helped bring the legendary battle of Eurovision to the West End last month. The exclusive night combined the excitement of eight West End shows and eight classic Eurovision songs, to the delight of a live audience and panel of celebrity judges.

West End Eurovision last dazzled the audiences of London’s Theatreland back in April 2014, so those lucky enough to get tickets had been anticipating the night for some time! Held at the West End’s legendary Shaftesbury Theatre, the unmissable show was part of a fundraising campaign led by TheatreMAD.

The show saw a variety of top West End casts challenge each other to perform legendary Eurovision hits. And not only did the night showcase the very best of Eurovision, there was even a special guest appearance by a past Eurovision Song Contest performer. As the show closed, audience members were invited to vote for their favourites via text, with Israel soon emerging as the clear victor! Trophies were then awarded to the Champions, the Best Ident Movie and the Best Creative.

PRG assisted the show’s lighting designer Tim Deiling, who has previously led the lighting design for highly acclaimed shows such as Guys and Dolls, American Idiot, Jack and the Beanstalk, Macbeth, Boiling Frogs and many more. Previously the Associate Lighting Director at the National Theatre, Tim has worked on live shows and films, and in 2008 was awarded the title “Young Lighting Designer of the Year” from the Association of Lighting Designers.

PRG supplied a range of top end kit for West End Eurovision, including an EOS 8000 console, Clay Paky Sharpy Beam 189W Blk, SGM Q-7 Rgbw Led Wash/Strobe Blk, Truss Tri Ltbeam 2.00m Mf, Truss Tri Ltbeam 2.00m Mf Blk, Truss Base Ltbeam Male Hd and Truss Base Ltbeam Sq Stb/M 12.5lbs.

The show proved hugely successful, raising over £50,000 and counting for The Make A Difference Trust, which raises funds for HIV and AIDS projects that build awareness and provide care, support and education in the UK and Sub-Saharan Africa. Our team was delighted to support such a worthy cause, and assist in bringing the magic of Eurovision to life for one night only!

PRG has been supplying lighting and video technology to theatre and the arts in the west end and across the UK for over 45 years.

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PRG Boosts Corporate and Events Team with New Hires

PRG, the technical production specialist, has bolstered its corporate and events team with the appointments of John Montague and David Lawrence.

David Lawrence

Lawrence, a former project manager at Creative Technology, joins PRG as Account Director where he will use his extensive AV experience to deliver high-end live events projects for a number of corporate clients. 

Most recently employed as solutions director at SMART AV, Lawrence will work alongside Montague, former production director at FIX8Group.

John Montague

Montague, who has considerable experience of live events, production and operations, joins PRG as Technical Sales Director, Corporate. Montague will draw on his vast visual and technical production expertise, ensuring PRG clients have access to experienced technical support to help guide on direct AV solutions.

Teresa-Anne Dunleavy, Chief Executive of PRG, commented, I am pleased to welcome John and Dave to the PRG family. Their appointments boost PRG’s corporate and events team and reflect our current growth in this area.

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 or all shapes and sizes. We employ more than 3,000 professionals worldwide, and have locations in the UK in London and Birmingham, and more than 40 international branches.

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Innovision at the NEC: Case Study

Innovision contracted PRG to support them with the delivery of the technical requirements for the Innovate UK event at the NEC Birmingham in November 2017. Across two days, Innovate 2017 brought 2,750 of the UK’s most innovative thinkers, creators and inventors to the NEC in Birmingham.

The Brief:
Innovision required the supply of full 360 degree audio, lighting, rigging, power and video services for the theatre spaces and exhibition environment for the two day event at the NEC. In addition, the client required a partner which could be relied upon to manage last minute growth in the event’s requirements.

What We Did:
Working alongside Innovision, a 30-strong PRG team was led by Account Manager Cameron Bannister, Project Manager Ian Jones, Video HOD Russell Harris, Lighting Power and Rigging HOD Dana Read and Audio HOD Mark Bonner were tasked with the delivery of the lighting, the rigging, the audio and the video packages for Innovate UK.

This two-day conference and exhibition explored the major themes brought about by the pace and complexity of our world and what these themes mean for individuals, businesses and governments.

In the exhibition area, PRG supplied the power distribution and the screens for exhibitors for a large number of the stands, enabling them to present groundbreaking ideas, from robotics to urban planning.

Most spaces employed a generic key lighting rig, with the main plenary adding in GLP X4 moving heads to add colour and enhance the energy in walk up stings. From a video point of view, PRG used the Bright Sign digital display system to allow quick and efficient updating of session scheduling across the site from a single, central location.

Video switching was kept simple and consistent in all areas with the use of Barco PDS 902 switchers to enable more efficient organisation of multi-discipline staff across the event’s multiple zones.

A key highlight of the event was the successful delivery of the Bright Sign digital signage system, which transformed the experience of the customer. The use of this technology meant that Innovate UK was able to track exactly what was going on and when, throughout the event. Previously, this element had proved a burden for the customer, due to the inadequacy of technology employed.

A focus on flexibility was key to the success of this job. Lucy Gibson, Innovision Technical Production Manager said: “We wanted a delivery partner that could scale, and particularly that could manage the last minute growth that often happens with this event. I think in this job PRG went from one truck to three. We added three more breakout rooms and a huge number of screens in the last few weeks and it was great to have someone who could keep up with that.”

Indeed, this project saw significant growth in the penultimate weeks before the event itself, and the PRG team were able to easily scale up equipment and staffing to seamlessly accommodate the changing requirements of our client, in the run up to the two-day build.

A multi-discipline approach meant that all interdepartmental considerations, for example rigging and power, were managed without needing the involvement of production. This proved invaluable in enabling the PRG team to seamlessly upscale the requirements of this project. PRG’s ownership of the whole project, meant the customer had the time to focus on their clients needs more actively.

The event’s location, close to PRG’s Headquarters in Longbridge, meant that PRG was easily able to fulfil last minute requirements and provide additional kit as and when needed.

Innovate 2017 delivered fresh perspectives on innovations such as artificial intelligence, smart cities, alternative food sources and space exploration. Keynote speeches, practical workshops and seminars were all on the bill, as well as opportunities for attendees to have one-to-one meetings with potential investors.

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 or all shapes and sizes. We employ more than 3,000 professionals worldwide, and have locations in the UK in London and Birmingham, and more than 40 international branches.

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Sky High Expectations See a New Focus on Creating the Spectacular

Jaw-dropping visuals, huge high definition video screens and spectacular lighting, mesmerising surprise special effects and remarkable shows are now part and parcel of running a successful event, as brands and events organisers look to surpass the competition.

As one of the world’s leading entertainment and events technology provider, PRG, is at the forefront of this ever changing entertainment landscape. Just last week, the company help deliver spectacular lighting at the National Television Awards. Now, the team is hard at work on the Fast and Furious Live global arena tour, helping to create awe-inspiring lighting and video effects to match the adrenaline-fuelled thrills of a franchise built on speed.

Tonight at the NTAs #Repost @samjpatton

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In December, Clash Royale took over London’s famous Copper Box Arena, with 16 participants competing for a $150,000 prize in a multiplayer mobile-based game. The show’s lighting, brought the magic of this hugely popular game to life in front of a live audience.

#Repost @clashroyale ・・・ #clashroyaleworldfinals

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The trend towards more innovative sound and lighting effects has been notable in London’s Theatreland over the past decade from wizarding magic to the West Ends latest smash hit Hamilton for which PRG provides the lighting equipment for a lighting design by Lighting Designer, Howell Binkley and Associate Lighting Designer, Ryan O’Gara. With the audience’s sky high expectations to consider these new productions just get better and better all the time.

#Repost @fastandfuriouslive. . . . #fastfamily #fastandfurious #fastandfuriouslive

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Brands too are always on the lookout for ways to impress their guests, whether they’re hosting a luxury product launch or entertaining key stakeholders with a prestigious party. The PRG team has seen a huge upsurge in the number of brands looking to create something completely different, and they’re having to work increasingly hard to do so. Big names are often on the bill at corporate events, whether that be a rockstar comedian hosting an awards ceremony or a chart-topping band entertaining guests as the party gets started.

Global leaders such as PRG are at the forefront of the most exciting developments in entertainment, and are always on the lookout for new ways to inspire and astound.

For U2’s The Joshua Tree Tour 2017 PRG announced a new product innovation along with the application of an industry-first technology solution: SPACEFRAMETM and a 4K Broadcast Camera System. These were integrated into the design, production and operations for the tour, demonstrating PRG’s dedication to innovating products that anticipate the needs of tour managers, designers and artists seeking to push boundaries and deliver a more immersive concert experience onsite or virtually.

As events entertainment gets more and more impressive, it becomes increasingly difficult to wow guests, leading us to an exciting period of innovation as events entertainment providers compete to deliver the most innovative sets and shows. With a strong focus on innovation, PRG leads the industry in advancing this technology through its applications. The company has over 100 issued patents and a similar number of pending applications, and excels at combining market expertise, state-of-the-art equipment, and in-house engineering and manufacturing to provide creative solutions for its clients; allowing them to work smarter.

The focus now is on designing and delivering the most exciting events entertainment, through the use of hard-hitting brand new technology, amazing special effects, the biggest and best sound systems and a few famous faces thrown into the mix. Keep an eye on upcoming shows like Fast and Furious Live to see what the future of entertainment may bring. It’s going to be incredible!

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. They employ more than 3,000 professionals worldwide, and have locations in the UK in London and Birmingham, and more than 40 international branches.

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live streaming events

Live Stream Your Next Event With PRG

PRG is the go to company for live streaming services from theatre, product launches and gigs of all shapes and sizes.

Providing live streaming for a rich and varied selection of different events, the PRG team can often be found working on events ranging from the English National Ballet performances at the Royal Opera House to gigs from grime and hip hop artists like Stormzy.

Product launches too are popular choices for event live streaming; in the past the PRG team headed to Berlin to produce a live stream of the launch of the latest Mercedes model.

The specific requirements of different clients dictate the live streaming services on offer here at PRG. So, our team can assist with anything from live feeds streaming from a single camera, up to huge-scale productions with a camera crew and 25 cameras broadcasting footage across the globe.

Our technology offers the flexibility to live stream events to any platform clients choose. We’ve been tasked with live streaming to YouTube video players which can be embedded in a clients website. If you’d like to hear more about all the different streaming options on offer from PRG just drop us a line, we’d love to chat about it in more detail. 

Our live streaming services are a great value way to spread the word about your event. With live streaming, the opportunities to create a buzz really are limitless.

Whether you’re looking to capture every moment of your event and broadcast it to your audience, or you’d prefer just to share snippets of the day via your media channels, we can do it. In fact, many of our clients prefer us to simply share the highlights of their event. Footage like this is great for social media channels and always creates a buzz on our clients’ Facebook and Twitter accounts. 

Find out more about live streaming with PRG here, or contact Michael George: for more information.

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PRG at the MTV EMAs

The 24th annual MTV EMA took over London’s epic SSE Arena, Wembley, on 12th November. 

The evening’s celebrations included awards presentations and world class performances from some of the industry’s biggest music acts. 

PRG provided all lighting for the prestigious event but the real workhorse of the night was PRG’s own Icon Edge; 132 fixtures in all. Lighting Designer was Al Gurdon with operators Alex Passmore and Jonathan Rouse and crew chiefed by PRG’s Rich Gorrod.

On the red carpet PRG provided lighting, rigging and video production. The Lighting Designer was Stuart Pring, with PRG Crew Chief Sam Healey and Head Rigger Q Willis. 

PRG Head Of Event Services Rich Gorrod oversaw all event planning and delivery on the night. He said: “The extensive rig came together in just two days thanks to stringent prepping by the warehouse team in Longbridge and expert assembling by our great crew on-site. It’s a great team effort that works brilliantly”.



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Hosted by Rita Ora, the production included voiceovers from Capital FM DJ Roman Kemp. Show highlights included a Shawn Mendez performance, with a rotating pods backdrop, and VI6K’s in the floor of the arena for optimum visual impact. Having the whole rig on Kinesys provided optimum versatility to close down performances in spectacular fashion.



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PRG is a multi-award-winning supplier of lighting, video and rigging systems to the events and entertainment industry around the world. Our clients include music touring companies, event producers, theatre designers, film and television production designers, and the producers of brand activations and special events of all sizes. For more information on how PRG can help you call +44 121 477-1100 or click here

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The Ferryman play. Lighting Design by Peter Mumford. Photo credit: Johan Persson.

PRG Supports Peter Mumford with Theatre Lighting Technology for The Ferryman

Produced by Sonia Friedman Productions, Neal Street Productions and Royal Court Theatre Productions, The Ferryman not only has multiple 5-star reviews to its name, but also the accolade of being the fastest-selling play in the history of the Royal Court Theatre. Now the play, written by Jez Butterworth, and directed by Sam Mendes, has transferred to the West End’s Gielgud Theatre where it is now booking until 19th May 2018 due to overwhelming demand.

Olivier Award and Knight of Illumination Award-winner Peter Mumford has lit Rob Howell’s set for both runs of the production. The play is set in rural Derry in the early 80s, where the Carney farmhouse is a hive of activity preparing for the annual harvest. A day of hard work, will be followed by a celebration of the harvest, but this year they are interrupted by a visitor.

The entire action takes place across two days, with an introductory scene then leading to the remainder of the action unfolding in the kitchen of the Carney household. With a single set used for the majority of the play, the lighting becomes key in transporting the audience into the kitchen setting, and in transitioning through the day as the sun rises and shines through the window.

Lighting designer Peter Mumford explains his initial approach to designing for a show: “Once I have familiarised myself with the material - opera score/script/musical composition etc. - and met with the director and designer for initial concept and design meetings, I tend to concentrate on creating a ‘palette’ that will enable me to create my work alongside and in tandem with the direction of the performance and the surface design. Whilst I will almost certainly have imagery in my head, I regard my real creative process and application to happen in the theatre with all the other elements present because they are basically the canvas on to which I work.

He continues “My approach is more like a complex preparation - creating a shape for the lighting rig, choosing the right equipment, making decisions about colour, but I never commit to the number of cues or precise pre-planning of lighting states - that is something I create in situ.”

For his design for The Ferryman, Peter first read the script and met with Sam Mendes and Rob Howell, attending read-throughs and following the evolution of both the script and set design. Alongside this, Peter began to map out the lighting design: “I had to design and draw it, work out the technical specifications to fit into the theatre. In this case we knew that it had to work for both the Royal Court, and later The Gielgud, so that became an additional technical consideration as well.”

Peter did not work alone on lighting for The Ferryman, bringing with him lighting programmer, Cat Carter, and production electrician, Matt Harding. He was supported by assistant designer, Rachel Cleary, who Peter describes as “brilliant! I’m sure she’ll be seen working as a lead designer in her own right before very long.”

With the play mostly taking place in a single room, over many hours, the imitation of natural daylight, sunrise and sunset was a key feature of the lighting. Peter explains how this was achieved within the set: “Rob Howell’s design gave me a ceiling over the whole room, but he also gave me a window, thank goodness! I never mind sets with ceilings, but it does, to some extent, define how one approaches the lighting.

Peter explains how the light seemed to move within the room as the light changed ‘outside’: “I had a considerable number of units behind the window to maximise the way I could move both colour and light around the room; creating the feeling that the natural light from outside was the dominant light in the room. To that extent, the ceiling actually helped to show the feeling of a sun setting and the light moving across the space. Here the ETC Lustres were invaluable because I could create smooth colour changes over cues that were as long as 12 minutes in some places. I wanted to create seamless changes where, in fact, the light goes on a considerable visual journey, without being too apparent.”

Internal room fixtures were essentially cosmetic, but were part of the story. Peter explains: “To some extent they give me a reason to create a pool or glow of light in different areas of the room, for example, there is a moment when Caitlin enters after the sun has gone down and the room has become quite dark. She switches on the centre pendant light, and that gives me license to completely change and transform the room lighting with the snap of the switch, while still being within a completely naturalistic narrative.”

Some scenes in the play include candlelight, creating an eerie mood and calling for a very different lighting effect. Peter used Par 16 Birdie lights to achieve this. He explains, “I hid little ‘Birdies’ in corners and crevices of the room – influenced by the idea that the candles used in Act 3 would be distributed around the room, and would naturally send a variety of random shadows up on to the walls and ceiling. Of course, the candles by themselves would not be bright enough to illuminate a long scene in a big theatre, so I amplified this quality in a controlled way.”

For night-time scenes the room has a hearth-like warmth, Peter explains how he created the effect using both colour and the lighting angle, “Whilst the Birdies relating to candlelight were set mostly on the floor, I used another layer of units low slung from the front of house, in particular a couple of (quiet!) moving lights that could imperceptibly track action and maintain intimacy.”

“I had to use good old VL1100s because of the noise factor. They are still the only usable moving light in drama situations like this, and I still haven’t found another moving light which will allow the absolutely smooth introduction of diffusion to the beam – one of the main factors that allows me to move light around the set imperceptibly.”

Lighting the performers, capturing their movements and facial expressions, has its own specific requirements. Peter explains, “The key light for me was the light coming through the window, and wherever I could, I used that light to edge and shape. Similarly, another source was that which I got into the space through the stair well, along with runs of GLP X Bar 20 strip lights that I had hidden behind the ceiling beams. Much of the front of house lighting was rigged as far left and right as possible, to maintain ‘shaping’ and not give too much flat light.

“There were, of course, units coming straight in to give facial clarity, but hopefully working more as ‘fill light’ on an actor who was already benefitting from the more three dimensional quality from the side light”.

With Rob Howell’s set design presenting some interesting challenges for the lighting, Peter sums up how his work on The Ferryman differs from many other productions, “It’s not a huge rig, by any means, and it’s what I would call an unusual focus. Each light has pretty much its own job, and there are not really any basic washes as one might normally have.”

PRG XL Video Account Director, Jon Cadbury, worked with Peter to supply the fixtures required for his design.

The Ferryman is at the Gielgud Theatre until 6 January 2018. For tickets visit

£12 Day seats are available for each performance at 10.30 am in person at the Gielgud Theatre Box Office.

Photo credit: Johan Persson

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gary-numann-lighting 4

PRG UK Supports Cue Design Ltd with Lighting for Gary Numan Tour

With a triumphant return to the UK chart with his latest album, Savage, Gary Numan has recently embarked on a tour of the UK featuring a lighting and production design by Luke Edwards of Cue Design.

The album’s theme of a post-apocalyptic world carries through into the design for the show, with Gary working with Luke Edwards to translate his vision into a touring production. To achieve this, Luke contacted PRG Account Manager, Rob Watson to provide rigging and lighting support for the design.

Luke already had a design concept which utilised panels of 6mm LED arranged in columns, with a row of Robe spiders between each column, but turned to PRG to supply a moving dolly system to which the panels and lights were affixed. This enabled the dollies to simply be rolled into place and powered up. For the larger shows on the tour – Bristol, Brighton, London, and Southend – an additional flown rig was required in place of venue lighting, and PRG worked with Luke’s design to complement the floor units.

Three trusses graduated downwards to upstage were used, holding six fixtures each of Clay Paky Mythos, and B-Eye K10 moving lights; six Chauvet Strike 4 blinders per truss, and six Martin Atomic strobes. The highly effective arrangement enables Luke Edwards to create a variety of stark and atmospheric looks. Much of the key lighting is done with fixtures at the side of the stage, rather than front on, and this adds to the overall look of the lighting design.

The lighting is backed with PRG’s proprietary networking technology which includes Series 400 Ethernet Switches, and a Supernode interface with Luke’s Avolites Quartz desk.

Luke’s key lighting crew for the tour are Karl Lawton and Bradley Stokes who work together to get the whole rig up in relatively short time-frames – necessary as the UK tour included several back-to-back shows in a row.

Luke commented: “Working with PRG again has been great and they really seem to want to support younger designers. Everything from prep to crew to handling my account has been flawless and the support received was incredible to help make this show a success.” Rob Watson added: “It’s been a pleasure to work with Luke to provide support for his creative design. We have supported him on two or three tours recently, and each one has a unique, creative look. We’re keen to work with up-and-coming creatives like Luke, who bring fresh new design ideas to our industry, and to build relationships with them as they grow their careers.

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Caroline Hill, Account Manager, TV & Film PRG UK

PRG UK Strengthens TV and Film Team

PRG has appointed Caroline Hill and Mark Davies to its UK TV & Film account management team.

Caroline joins from Panalux Broadcast and Events where, for five years, she oversaw the delivery of a diverse range of events including fashion shows, television series, rigging for feature films, and, most recently, the lighting and rigging elements of the factual show ‘World War One Remembered: Passchendaele’ for the BBC.

Caroline studied lighting and entertainment electrics at college before going into the West End theatres as an in-house electrician, followed by a move to PRG as a moving light technician. Caroline comments: “My favourite moving light is still the VL5 because the key to the fixture is the prep and tuning of the mechanical parts. The success of the fixture is down to the attention given in the prep.”

Caroline now brings her in-depth technical knowledge, and wide experience of event, television and film lighting back to PRG. She is based in PRG’s Covent Garden, London office.

Caroline is an addition to the already bolstered TV & Film account management team that welcomed Mark Davies earlier this year. Since joining PRG as a lighting project manager over ten years ago, Mark went on to head up his department before moving into this current account management role. He brings a wealth of experience and knowledge of technical lighting systems.

TV & Film market leader Kelly Cornfield commented: “Caroline and Mark are great additions to the team and will support our continued growth in this sector.”

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Da-Bangg UK Tour. Photo: Scott Davies.

PRG Goes Bollywood with Da-Bangg The Tour

Bringing together an array of Bollywood’s biggest stars including megastar Salman Khan, Da-Bangg The Tour visited the Barclaycard Arena, Birmingham and The O2 arena, London; hosted by Lyca and brought to the UK by Farhath Hussain and Think Events.

Managed, scripted and directed by Sohail Khan Entertainment and JA Events LLP, the shows brought the music, dance and show-stopping entertainment of Bollywood movies to the live stage.

Working with lighting and video designer Elton D’Souza, PRG XL Video supplied a complex moving lighting rig and multi-section moving LED screen, creating a vibrant set for the high-energy performances.

PRG Director of Music, Video, Stefaan Michels supplied a full package of live video technology including LED screens, media servers, camera and IMAG projection system, and experienced crew.

Over 300 tiles of ROE Visual MC-7 LED was used to create 6 separate LED screens. To the sides large vertical screens had door spaces built into them, allowing the performers to access the stage. Alongside them centre stage left and right two more large LED sections were built. In the centre a horizontal flown section spanned between the vertical screens with a second section below which moved to allow group entrances to the stage.

The ‘door’ sections were created using a truss system with i-beam running through it, enabling the screen to slide open and closed manually. The LED crew chief was Stevie Marr.

Content for the screens was supplied via PRG XL’s Resolume media servers which are a popular choice with designers looking to create video content on the fly. The centre LED sections displayed either content or live IMAG footage which was seamlessly switched using Barco PDS 902 switchers.

Flown either side of the stage, two 24ft x 13ft projection screens displayed IMAG footage from Barco HDF-W30 projectors. The footage was captured using three cameras – a handheld unit in front of the stage, long lens at front of house, and a Jimmy Jib located at the side of the stage. The live camera mix was directed by Noel Wyatt using one of PRG XL’s Panasonic AV-HS450-based PPUs, which was engineered by Jeroen ‘Myway’ Marain. Robyn Tearle doubled as both projectionist, and jib cam operator for the shows.

PRG’s Account Manager Gordon Torrington took care of the lighting specification, working with Head of Event Services Richard Gorrod to supply an automated curved rig which moved down toward the stage to an almost vertical position during some performances.

The rig used a lot of PRG’s own Bat Truss, which enables a fast load-in. The silver truss, including the curved S shape, was formed from A-type. Nick Brown was the rigging Crew Chief, working with drawings done by PRG’s Head of Rigging, Q Willis. The rig used a Kinesys system which included 30 hoists for the huge rig, including a flying platform. This was managed by Simon Nott and John Heatherton.

More than 80 of PRG’s Icon Beam fixtures were used on both the lighting towers and on the moving fingers of the flown rig. These high brightness fixtures enable the lighting director to create a colourful punchy look. Alongside these on the flown rig, PRG Best Boys, and GLP X4 and X4XL LED lights were used. A six-strong lighting team was led on site by by PRG’s Luke Jackson.

Richard Gorrod commented: “This was a complex lighting and video rig with a relatively short load-in time, but the lighting, rigging, and video teams pulled together and the result looked great!”

Photos: Scott Davies

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Creamfields festival 2017 - lighting, video and rigging

PRG Supplies Lighting, Rigging, and Video Technology for Creamfields 2017

With 10 performance spaces, including 2 main stages, 4 tent arenas, the highly acclaimed Steel Yard, and the new-for-2017 Warehouse venue, Creamfields has once again cemented its place amongst Europe’s biggest music festivals. With audiences travelling from across the globe, and world-famous dance music superstars, the festival continues to go from strength to strength.

This year’s main stage performers included Martin Garrix, Axwell Ingrosso, Hardwell, Fatboy Slim, and deadmau5, alongside special arena performances from the likes of Richie Hawtin and Stormzy.

Creamfields’ Technical Producers LarMac LIVE once again chose to bring in PRG as a supplier of video, lighting and rigging technology across multiple stages. Amongst the technology and services provided, PRG XL’s team supplied rigging, indoor and outdoor video screens; a broad variety of lighting; LED signage; media servers and content manipulation technicians; and broadcast equipment and support.

On the main Arc (CF01) and Horizon (CF02) stages, PRG supplied festival technology including lighting, rigging and video across both structures. Head of rigging, Q Willis took care of the rigging on both stages, leading a team of expert riggers who created the backbone for the lighting, video, and audio technology.

For all the video elements PRG XL Senior Account Manager, Paul ‘Macca’ McCauley took care of the specifications, with Project Manager Ian Jones taking care of the technical delivery. For lighting, Account Manager, Gordon Torrington, and Event Services Coordinator, Chris Scott, took care of the design and implementation on site.

The Arc stage featured, as its name suggests, curved wings which created an immersive space for the audience. The wings were made up of vertical columns of 12mm ROE Visual LED, built into PRG’s custom touring frames. The spaces in the frames between the columns were used to rig a variety of lighting fixtures including Ayrton Magic Panels, 4 and 8 Lite Molefays, and Atomic Strobes. Icon Beams lined the front of the stage below the wings, creating beams of light which stretched into the sky as the sun set.

On stage a large upstage back wall was formed from ROE 7mm LED, with a DJ riser built from the same material. The flown lighting was designed to offer incoming artists with a versatile package of fixtures, and this included Icon Beams, PRG Best Boy spots, Solaris Flare Jnrs to either side of the stage, GLP X Bar 20s, and B-Eye K10s. Additional GLP X Bar 20 fixtures were brought in for Tiesto’s headline spot on Sunday evening. Lighting crew chief was Aiden McCabe, with Chris Scott operating using GrandMA2 consoles. Video crew chiefs on CF01 were Ollie James and Colin Mudd.

Above the stage, the LED header was made up of ROE MC-18 Hybrid LED, enabling content designers to use it for content matched to the rest of the screens, as well as prominently displaying the Creamfields branding for everyone to see across the site.

On Horizon, the 18mm ROE Visual LED panels were built into the structure with specific horizontal rows missing on the wings. The spaces in the frame structures were then used to rig a variety of lights including 2 Lite Molefays and SGM Q7 blinders. Below the wings dozens of the new high brightness Icon Edge moving lights were used as beam lights.

On stage, a back video wall and a front DJ riser were both formed from ROE Visual MC-7 LED, with a header of 18mm LED above the stage. Both the lighting floor package and flown rig included Atomic Strobes and Martin Mac Viper Profiles, with the stage flown lighting rig adding 4 and 8-Lite Molefays and PRG’s new Icon Edge moving lights. Cy Dodimead was lighting crew chief for CF02, with Adam Power operating, using GrandMA2 desks.

On Sunday evening, headliner Martin Garrix changed up the DJ riser for a giant LED + symbol which makes up part of his logo. Behind this, flown ladders held additional LED lighting fixtures, creating a multi-layered performance space on stage. Video crew chiefs for CF02 were Craig Saunders and Steven ‘Waffle’ Lemahieu.

Across the other arenas and venues on site, PRG supplied a variety of technology, creating a different look in each space.

In the Armada/Mega Arena space (CF03), a sectional, wide video screen formed from 15mm LED spanned the rear of the stage, and saw headline performances from Above & Beyond, Alesso, and Armin Van Buuren.

In Steel Yard (CF04) a large upstage ROE Visual MC-7 LED screen and matching DJ riser were augmented by PRG’s lighting flown above the stage. The lighting fixtures were arranged on a Kinesys system, as well as lining the sides and centre spine of the huge metal roof trusses. This created an immersive space, lighting the audience with colourful beams from over 100 fixtures including GS Beams, PRG Bad Boys, and SGM P-5. Creating a great team, Steve Major was lighting crew chief on CF04, with Tess Minor operating using a GrandMA2 desk.

Steel Yard saw exclusive performances on Friday and Saturday from deadmau5 & Eric Prydz, and Richie Hawtin. Steelyard has already been used for two standalone Creamfields events in Liverpool and London, and is returning to Liverpool’s waterfront for a further three shows this November.

Gordon Torrington commented: “We were very happy to supply lighting to LarMac LIVE for three stages at this year’s Creamfields. It’s a brilliantly organised festival, with a huge crew. Everyone works very hard, with a strong sense of collaboration, and the end result looked amazing!”

In the Pepsi Max arena – a circular tent arena, a 4.8m wide LED upstage wall and DJ riser at the rear of the tent were flanked by 54 square screens; 27 on either side arranged in rows three squares high. The wings wrapped around the audience creating a high-energy space which was extremely busy all throughout the festival.

The CF06 stage, featured a single wide ROE Visual 7mm LED screen, spanning right across the rear of the tent arena. The screen was gently curved, mimicking the curve of the tent. On Saturday night, it played host to a very special one-off performance from Stormzy which saw such high demand that audiences were waiting outside the arena to get inside.

Especially for this performance, PRG brought in one of their GroundControl™ Followspot Systems. The followspot was rigged at front of house with the controller backstage. Using GroundControl meant that the organisers could avoid having to build a followspot tower at front of house.

In CF07, which hosted Mad Decent, and MK Area10 over the weekend a large upstage flown 12mm LED screen was paired with an LED DJ booth. The arena saw headline performances from MK and Diplo over the weekend, and boasted a DJ set from superstar Idris Elba, and special guest slot from Gorgon City.

New for 2017, the Warehouse was a new structure designed to hark back to Cream’s roots in warehouse parties, and celebrate its 20th anniversary. Giving the new arena an edgy look, PRG XL supplied an upstage screen formed from semi-transparent ROE Vanish LED. With lighting arranged behind the screen, it gave performers a three-dimensional backdrop and a fresh creative look for the new space.

Outside Warehouse and Steel Yard small LED screens were placed which ran looped content with the venue branding. These stepped away from the traditional tent branding and were highly visible around the site.

Across all the stages PRG supplied Resolume media servers to serve content. Project Manager Ian Jones, and Video Content Expert, Erica Frost worked on supplying pixel maps of the various stages to all the incoming artists and DJs ahead of the festival weekend, so they could format their video to the varied screen layouts. For those who needed extra assistance, PRG XL had content technicians on hand to re-size and reformat performers content on-site.

With Creamfields being captured for broadcast on BBC iPlayer and live stream from 4 stages for Facebook Live, media company Corrino were brought in to manage the broadcast element of the festival. PRG were asked to supply equipment for Corrino, including four portable production units, sixteen front of house cameras, and four on-stage robo-cams for some performers. Video engineer, Alex Mulrenan was onsite to maintain the PPU system, and support Corrino’s requirements.

“We’re delighted to continue our working relationship with LarMac LIVE and Creamfields,” commented Macca. “Every year, the technical specification grows and is more impressive, and the audience love it. Massive thanks to every single member of our hardworking crew who worked long hours to make the festival look amazing. We can’t wait to see the designs for next year’s 21st Birthday event!”

Photo credit: PRG, except Warehouse image: ALIVE COVERAGE, and Armin van Buuren in the Mega Arena: Geoffrey Hubbel.


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Green Day at BST Hyde Park. Photo: William Gallegos

PRG Supplies Lighting for Barclaycard Presents BST Hyde Park 2017

PRG continued its involvement with the Barclaycard Presents BST Hyde Park festival, working with Operations Director, Dan Craig of LoudSound Events, and Production Director, Mark Ward of Proper Productions, PRG supplied a comprehensive system of lighting and rigging for this year’s run of shows in Hyde Park.

With BST Hyde Park spanning two weekends and with six headline acts, Production Director, Mark Ward of Proper Productions explains some of the challenges of staging the event: “The logistics of moving vast quantities of infrastructure in and out of a Royal Park to build and strike the site has significant challenges in terms of scheduling and traffic management.

“As we run across two weekends, as well as pulling off myriad mid-week events that AEG bring to the park, that means the entire event team have to keep functioning at a very high level for a long-period. Stamina and intelligent time management become mission critical.”

With different audiences arriving and leaving each day, Barclaycard Presents BST Hyde Park is unlike other festivals with camping. Mark explains: “Running a full audience ingress and egress every day, with vastly differing audience profiles, is a major added operational challenge.”

With all of these considerations and challenges, Mark relies on technical suppliers to be well-prepared. He clarifies: “What we need on this show is no different from most others – attention to detail in the run-up to the show, enthusiastic positive crew on site, well prepared gear in great condition, and all at sane prices!”

PRG supplied lighting and rigging for the main, second and third stages, as well as additional support for touring headliners including: Justin Bieber, Green Day, Tom Petty & the Heartbreakers, Kings of Leon and The Killers. PRG supplied their new GroundControl Followspot System Long Throw followspot, as well as Vari*Lite VL3500 wash moving lights, GLP Impression X4 LED lights, SGM P5 LED lights and a selection of two, four, and eight light molefays; all of which were controlled by a network of GrandMA2 consoles at front of house.

Main stage Lighting Crew Chief Luke Jackson explained the logistics of lighting a major festival like BST Hyde Park: “There’s a lot of work that takes place before you see the band on stage. The headline acts load in and out overnight, with the smaller ones either utilising the ‘house’ rig, or adding their lighting/video requirements supplementary to the headliners. Obviously, the current night’s main act needs to load out of the stage before the next one can load in, so our teams are literally working all through the night. Even when the lighting and video hardware is hung, the data needs to be flashed through, and tweaks to existing programming made. The night shift will then hand over to a team of lighting technicians covering the daytime, until they clock back on in the evening for another changeover, so it’s a twenty-four-hour operation to put the acts on stage.”

Barclaycard Presents BST Hyde Park is the first event where the followspotting for every act was done with the new Long Throw GroundControl Followspot System, which replaced traditional followspots on the front of house towers.

PRG Event Services Coordinator and Crew Chief for the second stage at BST, Alex Peters explained why using the Long Throw GroundControl followspots were perfect for BST Hyde Park: “Previously, we’ve used either the Bad Boy or Best Boy versions of the GroundControl as truss spotlights over the stage, but there hasn’t been a remote followspot which can compete with either a 2.5K Lycian or 4K Robert Juliat Lancelot to use at front of house. With the addition of the GroundControl Long Throw to the inventory at PRG, it’s given us a new level of flexibility when deciding which units to use.

“The advantage of a remote followspot system is we don’t need to rig anywhere near as much steel because it’s simply a moving light on the tower, with no need for a platform. The operators are based in a Portacabin behind the main stage, so there’s no climbing involved; plus, there’s the additional benefit of the lighting operator being able to control many of the luminaire’s functions directly from the console, with only the positioning handled by the followspot operator, thus meaning all spots are of equal intensity and colour temperature.”

Mark Ward explains that the use of GroundControl Followspot System is a carefully considered choice: “The benefits in terms of reduced footprint, with more compact structures at front of house, and better sightlines for the audience are obvious. The benefit in terms of a safer working environment for the operators is less obvious, but no less relevant to how a world class production should be thinking through its equipment choices.”

Director of Music, Lighting, Yvonne Donnelly Smith commented: “It was a pleasure working on this event with Dan and Mark. This world class festival warrants close attention to the artists touring requirements, and we always work to supply the latest technology for BST Hyde Park. The design never stands still and continues to evolve.”

Green Day photos: William Gallegos
Tom Petty & The Heartbreakers photos: Matt Rakowski

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