World - Green Hippo has released a major upgrade to its Hippotizer software which introduces a new design, pre-programming and content delivery workflow. Version 4.6 builds on the familiar flexibility of Hippotizer’s realtime media manipulation system with planning, visualization and timeline control architecture.
“Version 4.6 is the result of some incredible work by our R&D team who have worked their trademark Hippo magic to implement a host of powerful, simple-to-use, project-enhancing features designed with the end user firmly in mind,” says Green Hippo’s product and development director Ryan Brown. “Hippotizer has always been the ‘pocket knife’ of media servers, delivering multiple solutions from a single box. Now, version 4.6 adds so much more.
“Version 4.6 combines Hippotizer’s familiar content and design practices with a redesigned, realtime 3D visualizer and projector planning tools for intuitive playback and control, giving designers the tools to manage, manipulate and plan projects with full visibility. Users can deliver on-the-fly changes, with easy control options, for an even faster and more creative toolset. In short, it’s the next giant leap in collaborative video design, production and content delivery.”
Key new design features include Projector Planning, giving full visibility of the projection environment and requirements, and improved integration with third-party 3D tools (C4D, DAE, OBJ) and textures in Cinema 4D. The Hippotizer development team says this takes the guesswork out of projector placement, pr
Russia - On 12 April 2021, the Baikonur Cosmodrome hosted a gala concert to celebrate the spaceflight of the first cosmonaut Yuri Gagarin. The festivities were broadcast live by the Russia TV network.
The concert’s ‘X-factor’ was a beam of light shooting out from the pit of the launch complex that sent the Vostok-1 spaceship into orbit 60 years ago. The light beam was created by TDS, a full-service production company.
The design concept called for the light beam to be so powerful that more than 60 high-power light projectors would be needed to create it. Another way to accomplish the task was to use augmented reality technology.
“Our team landed at the Baikonur Cosmodrome on 9 April,” reports TDS. “We had only four days to prepare the equipment for filming, install special marks, calculate precise distances using industrial-grade range meters, calibrate five cameras, integrate the light beam into the launch facility, and fine-tune a realistic output picture.
“The broadcast was performed with the five AR cameras, of which two were tracking cameras - including one on a telescopic camera crane - and three static view cameras.
“Our primary challenge was to make the beam look realistic, and integrate it with a physical object - the launch pad, which was a very complicated structure. We accomplished the task by putting a mask on the beam itself. It produced an excellent result. We were able to achieve precise tracking at a distance of 360m (four football fields) from the cameral to the virtual object.
Using the Pi
UK - Dream is a multi-layered mix of movement, music, visuals, cool technology and narrative magic, an immersive digital performance fusing the drama of Shakespeare with the dynamic worlds of gaming and theatre in a production by the UK’s Royal Shakespeare Company in collaboration with Manchester International Festival, Marshmallow Laser Feast, and the Philharmonia Orchestra (read a full production report in the upcoming issue of Lsi, out early May).
Staged physically in the Studio at Portsmouth Guildhall and inspired by the classic A Midsummer Night’s Dream, the characters were played by six real actors utilising Vicon motion capture cameras, their avatars and effects appearing onscreen - centring around the antics of cocky and capricious mischief-maker Puck. They run amok in the virtual Midsummer forest, hellraising and spoofing four other sprites during a disruptive and chaotic journey.
Matt Peel was responsible for lighting design and show control. He utilised the power - and specifically the OSC (open sound control) and DMX remote triggering capabilities - of his grandMA3 system with the new grandMA3 software.
The show was broadcast live for 10 evenings and enjoyed by thousands worldwide, who logged in, either paying for an interactive ticket - with the chance to shoot fireflies into the story to help illuminate Puck’s pathway through the forest - or simply watch the performance for free.
Dream was originally intended to be an in-person performance during 2020, but due to the pandemic, was adapted and re-work
Sweden - Blackmagic Design reports that its technology has been instrumental in allowing the creators behind ReaktLive.com to stream performances direct to audiences from its own platform.
Based out of the former EMI/Abbey Road Stockholm studio, the live content experience has built its live video capabilities around the Blackmagic URSA Min Pro 12K, URSA Mini Pro 4.6K G2 and Micro Studio Camera 4K with the support of Scandinavian Photo.
The full-service streaming studio and broadcast company features a studio design with six small, discreet cameras on robotic rails and jibs, reveals co-founder Nicolas Notini. “The purpose of automation for us was to ensure artists and creators have far fewer distractions and can just ‘do what they do’ more easily.
“With our background as professional musicians, this is how we feel it works, and looks, best. After a few minutes, the cameras will be ignored, and the artist can ‘get into it.’ We are also not afraid to have the technology in the frame when it makes sense, as it helps to enhance the sense of being there in the room for the viewer.”
The streams have a deliberately filmic quality. Every part of the production chain has been considered with that in mind says Notini. “From the best audio possible, in the best studio, with the best gear. And everything, including the audio, is mastered live as we broadcast.”
He continues: “From lighting design to only using cine lenses, the entire system is designed to produce a cinematic look throughout. All cameras are ISO recorded in 4K on H
UK - The Vice-Chancellor’s Innovation Awards recognise and celebrate the high-quality research-led innovation at Oxford University, that is having societal or economic impact. With categories including Team Work, Building Capacity, Inspiring Leadership, Early Engagement Innovators and Policy Engagement, the Awards reflect the excellence of the innovation that takes place across the University.
Established in 2018, the first two editions of the Awards were celebrated at a live event involving around 150 delegates who enjoyed panel discussions as well as a presentation ceremony. The 2020 renewal was due to take place at the Sultan Nazrin Shah Centre at Worcester College, Oxford, but the prevalence of the COVID-19 pandemic rendered this impossible.
Supported by events organiser Michelle Miles of Fusion Events and Weddings, the university opted to stage a virtual event. The Innovation Awards of 2020 were to remain true to their name when Oxford-based event production specialists THAT Event Company (TEC) came onboard.
TEC’s brief was to create a fully virtual and interactive replacement for the live event. Following a pre-filmed introduction from the Vice Chancellor, the event would be placed into the hands of a moderator who would manage the guest speakers, panel discussion and question and answer session with the live audience. Following detailed consultation between the stakeholders to clarify and explain the possibilities in detail, TEC began to create a bespoke virtual package.
Whilst the event was filmed live at the King’s Centre, the a
Germany - At the new Axel Springer Campus in the heart of Berlin, WeltN24 has commissioned two state-of-the-art TV studios for the WELT station. Both news studios are equipped with Ethernet/IP-capable lighting fixtures throughout, enabling IP-end-to-end communication and, therefore, efficient workflows that are fully integrated into the broadcast infrastructure. The ARRI System Group handled the consulting, planning, and turnkey installation of the studio lighting and control systems on behalf of the system integrator Qvest Media and in close partnership with the planning office mo2 design.
WELT’s two TV studios enable closer networking and collaboration with digital and print. This exchange is also reflected in the visual concept of the studios, each measuring 175sq.m and 5.5m high. Glass fronts in Studio 1 ensure transparency, visibility, and interaction. Challenges in terms of the lighting design were also the motorised and movable LED video panels on three sides and a required minimum range of movement for the presenters on set without changing the lighting fixture positions.
After extensive testing, a total of 100 soft lights from the ARRI SkyPanel series (S60-C, S30-C) and Moving Lights with the Fresnel characteristics from Robe Lighting were chosen. These are supplemented by LED bars which are affixed to the top of the motorized video panels to direct an appropriate backlight onto the presenters.
In Studio 2, especially for the green box, ARRI’s SkyPanels with different apertures (S120-C, S60-C, S30-C) were specified to achieve optimal l
Spain - Pixotope has enabled VideoReport Canarias, a regional news and entertainment broadcasting services provider, to expand its virtual production offering in six months.
VideoReport Canarias is the broadcasting services provider of a number of well-known media broadcasters in Spain, including RadioTelevision Canaria. VideoReport Canarias partnered with Pixotope to find a more resource-friendly and visually stimulating way of producing live TV. Working through Pixotope’s distributor Tangram and VideoReport Canarias’ supplier and system integrator Bienvenido Gil (BGL), an entirely new show format was created for RadioTelevision Canaria’s daily primetime weather show, Una Hora Menos.
“Innovation has always been at the core of VideoReport Canarias. This is why we were excited to introduce virtual reality in our sets, specifically in our prime-time show. What motivated us to use Pixotope was that we thought it was a great solution, affordable and pretty quick to turnaround in time,” comments Anuska Simón Gómez, general manager at VideoReport Canarias.
Moving away from traditional talk-show production sets with expensive LED screen displays and changing stage fixtures and furniture, Una Hora Menos went from a small costly production set that had limited stage resources and a single camera operation to a versatile and multi-camera operation studio that can produce a limitless number of stage scenarios to assist in the shows’ news reporting and creative storytelling.
“Pixotope allows us to save money and time by prov
UK - The Institute of Sound, Communications and Visual Engineers (ISCVE) has announced the launch of its remote invigilation service for HS&E assessments. The new online service means applicants who need a valid HS&E certificate to accompany ISCVE ECS card applications, can now take their HS&E assessment online.
Prior to the launch of the new service in conjunction with ECS, applicants for HS&E assessments were required to take a test at an approved centre or at an event organised by ISCVE. The new online service reduces the requirement for travel to centres and allows applicants to take the assessment without having to leave home or the office.
The new service means applicants now have the opportunity to securely and safely complete their HS&E assessments online using just a web browser, thereby avoiding any unnecessary delays. Results are published immediately once assessments are completed.
“The launch of this new service overcomes any social distancing challenges applicants may face when requiring an HS&E assessment, as it can now be taken in the workplace or in the comfort of their own home. New pages on our website allow members to apply for ISCVE ECS cards and apply for their HS&E assessment, all at the same time,” confirms Ros Wigmore, Secretariat, ISCVE.
“Once an application is received, we provide the applicant with all the necessary information on how to take the HS&E assessment. With an automated online monitoring software, using an artificial intelligence programme, we can verify the identity
USA - With the year-long Covid shutdown turning live performance on its ear, the challenges facing music venues and organisations have been relentless. Like so many orchestras, the San Francisco Symphony has been reinventing and regrouping, finding new ways to bring music to arts-starved audiences, including incorporating the recording and streaming of audio and video content.
One of the challenges, explains Jon Johannsen, audio engineer for the Symphony, is capturing the orchestra when members can’t play together as an ensemble. “With wind and brass players in particular, we can’t have that many musicians together in a common space. People still need to be isolated in individual capture rooms.” As a result, the Symphony has created literally dozens of individual capture spaces on site. “We’ve now created capture rooms everywhere – downstairs, in dressing room areas, on alternate stages, all throughout the facility.”
The logistics and bandwidth demands of simultaneous audio and video capture from 50 or more multiple sources calls for a network for more complex than what the Symphony had previously employed. “Our old analogue workflow was pretty straightforward,” Johannsen recounts. “We had a series of capture microphones over the stage, with all inputs coming to Merging Technologies recorders in a central location in the booth. We were doing full 122-input captures, but the network was not central to the system. One moderately managed switch could handle everything because there wasn’t really a true network.”
USA – Northview Church, a multi-site community church serving central Indiana from nine campuses, is delivering engaging visual content for its live worship and online services using the time-saving features of a Hippotizer Boreal Media Server from Green Hippo. Located at the church’s Carmel campus, the Boreal feeds content to the 60ft x 25ft projection screen which forms a striking backdrop to services both live and streamed.
“The Boreal drives all the video content on the upstage screen, plus any overlays or synchronised video on the house IMAG screens,” says Evan Rodecap, president of Signal Productions. A long-standing full-time engineer for the church, Evan knew Hippotizer from the touring world, and consulted on the specification of the Hippotizer Boreal.
“The Hippotizer had the outputs and resources, within a single frame, needed to drive the projection blend,” says Evan. “Another factor was the low point-to-point latency in using video mix effects, which is critical in relation to low latency IMAG screens. It was the only server demo’d that could match the low latency needed while processing complex video effects.”
Another major advantage was the Hippotizer’s easy integration with the lighting desk, a grandMA3 full-size, running grandMA2 software. “The installation was completed in a few hours,” says Evan. “The CITP functionality of any server was a must. Out of the box, Hippo connected and indexed seamlessly to the console CITP pool. Mapping DMX parameters was extremely simple. They had previously used other media
UK - Brompton Technology has announced its new Tessera v3.2 software with ShutterSync, a tool for users of Tessera SX40 and S8 LED processors. In addition, it has added the option to upload a custom 3D LUT directly to the Tessera LED processor for the very first time.
Tessera v3.2 is designed for creatives using LED on camera for both virtual production and XR (eXtended Reality) applications, giving professional users more flexibility than ever before with convenient features that put the emphasis on creative choice and control.
“Until now, filming an LED screen required the camera’s shutter speed to be precisely matched to the LED screen refresh to prevent ugly artefacts appearing. With ShutterSync, LED refresh can be tuned to the camera, not the other way around, giving creative control back to the user,” says Brompton CTO, Chris Deighton.
ShutterSync is a processing feature that automatically adjusts the timing of the LED refresh to match the preferred camera setup. It can optionally be used in conjunction with Frame Remapping, which allows the user to interleave different areas of the video raster or solid colours in the output enabling multi-camera systems, and transforming the workflow for virtual production.
With ShutterSync, the LED screen ceases to be an obstacle to work around, becoming a genuine partner in the creative process with many of the commonly experienced visual artefacts on camera a thing of the past. “This means that the DOP retains creative flexibility for camera configuration, with wider choice of aperture,
Germany - The HI-HOIC AOC Install connection cable from Somer Cable uses a high-performance fibre-optic construction in a highflex jacket and is equipped with robust all-metal connectors from Sommer’s own brand HICON together with a high-quality.
Due to its compact diameter of only 4 mm (0.16 in.), the cable can be laid almost anywhere in a convenient and space-saving way, says the company. The optical transmission of the high-speed data works reliably and is also suitable for use in RF-exposed environments.
Convenient (uni-directional) pulling through empty pipes and cable ducts is assured by the super compact micro HDMI D-type connector on the sink side (monitor, beamer, TV). The supplied clip-on pulling device (13.7 x 10.14 mm / 0.54 x 0.4 in.) gives extra protection to the connector and allows a safe and easy installation. Afterwards the micro HDMI can be converted to the type-A HDMI standard by means of an interlocking precision adapter attachment with a dovetail guide.
UK - Vestel Visual Solutions has been selected by Wycombe Wanderers FC as its official AV partner. Vestel’s digital signage and interactive displays have been deployed throughout Adams Park as part of a major infrastructural project to digitally transform the stadium and boost fan engagement.
Over 50 Vestel displays have been fitted to enhance key supporter areas across the ground. Within the club shop, which fronts Adams Park, a 75” PDX75 screen provides a window display, with 2500 NIT brightness ensuring incoming fans can see the latest content in vivid detail as they approach the stadium - visible even in the summer. Within the store itself, a slimline 55” UHD model, alongside multiple 37” stretched displays, offer eye-capturing visuals to promote the latest club merchandise, as well as wider news from the club including ticketing information for upcoming matches.
Within the stadium itself, multiple bar areas including Monty’s Bar, Honours Lounge and the Vere Suite have been equipped with an array of vibrant digital signage solutions, which are expected to play an important role in encouraging supporters to spend more time in the stadium prior to kick-off, or for the screening of away games. This is integral both in terms of building the pre-match atmosphere, as well as from a business perspective, with matchday income making up a significant proportion of the club’s revenue.
Of particular importance is the club’s standard 3pm Saturday kick-offs, with many supporters often wishing to watch the earlier televised match prior to Wyc
UK - disguise has announced that it is receiving research and development funding from Innovate UK to expand its work in virtual production. Innovate UK is part of the United Kingdom Research and Innovation organisation whose purpose is to accelerate UK economic growth by stimulating and supporting business-led innovation.
With the grant, disguise will focus on pure research, outside its usual engineering innovation work, while maintaining a competitive development timeline within the technology sector.
The disguiseVP R&D project focuses on scalability and flexibility as key improvements to the current disguise workflow. Addressing mainly virtual production, disguiseVP is targeted to a totally immersive virtual production environment where extensive control and fast calibration lead to more informed decisions on set, improved collaboration and absolutely uncompromising results.
“The funding from InnovateUK enables us to have a team focussed on our long term R&D roadmap which maintains our ability to push beyond the boundaries of the present state of the art. disguiseVP is specifically focussed on making improvements to the calibration, rendering efficiency and image quality of the disguise virtual production solution,” says Abi Bowman, chief of staff at disguise, who oversees the project. “When integrated into our product, these advancements will be game changing.”
China - Installed for China’s Consumer Rights Day gala, a 1,000sq.m LED wall dazzled viewers with graphics, all powered by Pixotope.
Broadcast live on 15 March, the two-hour slot was dedicated to “informing consumers of consumer habits and business practices from major brands”. Great Wheel, a production company working within China Central Television (CCTV), designed and implemented the live graphics using Pixtope’s engine.
Since early 2020, China Central Television has been rapidly expanding its virtual production capabilities for its programme delivery, with Pixotope becoming the station’s primary virtual production solution for a range of AR projects.
Traditionally, CCTV opted to build real-world sets for its Consumer Day television broadcast, but the studio found it could significantly improve both the quality and flexibility of its productions after choosing to install an LED wall. The variation of content and mood in the Consumer Rights Day’s show means physical sets restrict the TV station’s options when conducting a live broadcast. But with Pixtope driving live graphics on an LED wall, the range of diverse content could be catered for effectively, and in real-time, with appropriate imagery and graphics.
Pixotope has established a strong working relationship with CCTV and the production companies it engages with. The company’s team of experts assisted in the setup every step of the way.
David Stroud, chief product officer from Pixotope, comments: “We’re continually developing Pixotope’s features, but seei
UK - Channel 4’s Lucy, the Human Chimp documentary aired this month with a mix of archive footage and newly filmed ‘jungle’ reconstructions, with the latter made possible by Bristol-based virtual production studio Vero.
The film, which tells the real-life story of chimp Lucy’s return to the wild after being raised in human surroundings, required cutting edge technology to re-enact scenes of Lucy’s carer, Janis Carter, living on an uninhabited island off the coast of The Gambia.
Production was scheduled to take place in the real-world jungle surroundings but, due to the COVID pandemic, had stalled. With no international travel permitted, and flights grounded, the team were searching for a new solution.
Multi-award-winning production company KEO Films approached VERO on behalf of Channel 4, with a view to using Vero’s pioneering studio space. This was fitted out with more than 47sq. m of 2.6mm pitch Desay X2i LED screen, with Desay M6 6mm LED screen for the Ceiling Spine LED.
Serving as a hi-res backdrop, configured as a 10m x 3.5m curve with a 3.5m x 3.5m flat section joining the curve, the team recreated a jungle film set within which the actor playing Cater performed. Behind her, island jungle footage was displayed, providing realistic lighting via the screen’s considerable brightness and an immersive, enveloping background.
“This was a fantastic production for us to work on,” says 3D animation and motion graphics expert Robert Tyler, from Vero. “The collaboration involved three-months of conversation, technic
Russia - As part of the 17th CPS-2021 International Cinema Production Service Trade Show, Russia’s biggest and most high-tech XR studio facility was opened in a grand ceremony at the AMEDIA production company. The facility is named Pavilion 7.
TDS and Spektr Video initiated the project. The companies fitted the studio facility with the most advanced equipment, including a Pixotope virtual studio, a Mo-Sys camera tracking system, high-resolution LED screens, NVIDIA Quadro RTX 8000 graphics stations, Xsens and Dynamixyz motion capture and facial animation systems, among others.
Pavilion 7 has all the capabilities and resources to meet the toughest production challenges with VR and AR technologies, such as live virtual studio broadcasting of events and TV shows, in-studio filming of vehicles passing remote locations, in-studio filming of remote acting areas, hosting of special events for private clients, and so on.
Filming real-life objects in a virtual space without chroma keying is the central feature of XR technology. High-resolution LED screens help to maximize the effect of blending real objects or people into a virtual space.
Pavilion 7 has three main filming floors, each radically distinct in their design, geometry, and conceptual use: Cube, Wall, and Radius Screen. Every visitor to the event had an opportunity to dive into an XR world and even interacting with it. Around 4,000 visitors attended the grand opening.
USA - SPH Engineering, a multiproduct drone software company, has released a Drone Show software update which allows users to run a drone swarm show with up to 1,000 UVify IFO light show drones. The technology was upgraded in partnership with UVify and is only available with UVify IFO swarm light show drones.
The software was developed from managing from 500 to 1,000 UVify IFO swarm light show drones, with performance being upgraded to improve the ability to control large scale fleets. While scaling a fleet, the software allows preflight checks to guarantee safety during the show based on a dual geofence principle.
“2020 was a turning point in outdoor entertainment history as drone light shows were almost the only activity that could be safely enjoyed by the public from a distance,” says Alexey Dobrovolskiy, CTO at SPH Engineering. “Options varied from small 20-50 drone shows performed by SMEs, 100-500 drone shows used mainly for marketing in the sky, and large-scale shows of thousands of drones organised by governments around the world to thank pandemic frontliners. The Drone Show Software team has been developing technology to meet growing customer demands, and is now proud to offer a solution that makes it possible to light the sky with up to 1,000 drones,”
Hyon Lim, CEO at UVify, comments, “Humanity has always looked towards the wide open sky to deliver and receive messages. With the help of 21st century satellite and drone technology drone light shows are introduced and the idea that we can utilize unused space in the sky for someth
UK - Green Hippo has expanded its international sales network with two new distribution appointments in Northern Europe.
In Estonia, Green Hippo has appointed Frequency OÜ, a live event specialist offering expertise in video engineering and equipment for live concerts, conferences, expos and more, founded in 2017 by Matt Villis, a video professional with over 15 years’ experience in the event production industry.
“Hippotizer Media Servers provide a great range of products for all aspects of the market,” says Villis. “With events and installations beginning to move again, clients are mindful of their spending. But with Green Hippo’s diverse range, we’re able to offer clients a specific product to match their exact needs, and with expandability when it’s required.”
He adds, “We need media servers that can handle anything, whether it’s projection mapping on the side of a building, visualising the next e-sports event, or providing live, real-time generated visuals for live concerts. Green Hippo has always managed to provide all of that and more.”
In Finland, Green Hippo continues its long association with Johan West with the appointment of Amepa Oy as its new representative. Run by Ari Kivelä, Amepa has for many years worked ‘deep behind the scenes’ as a specialist in network and power distribution system design for the live industry. The company was recently joined by West, who has been associated with the Green Hippo brand in Finland since 2003.
“The Green Hippo product range has followed me since the early
UAE - On Saturday 27 March, the 25th edition of the Dubai World Cup took place at Meydan Racecourse, bringing racers from all over the world to Dubai.
Following His Highness Sheikh Hamdan bin Rashid Al Maktoum's untimely passing, the original closing ceremony was changed to a tribute in honour of the late Deputy Ruler of Dubai and UAE Minister of Finance
Creative Technology (CT) were commissioned by HQ Worldwide Shows and Dubai Racing Club, to deliver a complete camera package, video playback solutions, communications and audio transport infrastructure for the event.
Due to the main grandstand and track area's size, CT utilised the venue’s in house fibre, SMPTE patch for all cameras, and network connectivity. CT’s team of network professionals cleaned and proved all the lines before they were used in advance of the event.
For the communications, CT used a Riedel artist 64 frame as its matrix, Bolero wireless belt packs for the event's remote users and Clearcom Helixnet was deployed throughout the venue through Luminex 14r and 26i switches, which also carried the data for the Riedel DSP-2312 user panels. 60 Motorola hand portable radio system was used and 8 of the SLR5500 repeaters to interface into the communications system.
Rob Turner, CT's integrated network Technical manager, explained, "Our newly purchased Glensound Dark88ii units enabled us to transport the audio and timecode signals to various parts of the venue from the audio control position."
Video playback was controlled through a 5k pixel base Dataton Watchout pla
USA - Mo-Sys Engineering has appointed Tanner Woodward as sales director, West Coast US. Woodward joins from RED Digital Cinema, where he spent five years managing existing channel partners and establishing new dealer networks, as well as creating the corporate creative vertical.
“I am extremely grateful and excited for this opportunity with Mo-Sys,” says Woodward. “The one thing I’ve learned in my time working with creatives, is that the most valuable tools are those built to empower creativity while making life easier and more efficient. Mo-Sys creates such innovative tools and solutions, and I couldn’t be more honoured to be part of this team.”
This news follows the earlier appointing of Mike Grieve as commercial director and is part of an expansion plan on the US West Coast. Woodward’s appointment reflects an ongoing investment in the LA sales and support team, which has doubled in recent months, and precedes the imminent announcement of the opening of the Mo-Sys LA office.
Michael Geissler, CEO Mo-Sys, comments: “We welcome Tanner and Mike to Mo-Sys when we are seeing significant expansion, directly related to the increase in demand for virtual and remote production technologies. We are expanding our amazing team for the future and, with pros like Tanner and Mike onboard, I know we are in safe hands.”
Australia - Working as the creative directors and producers of the 2021 Parrtjima Festival, AGB Events, produced and delivered a travelling installation on The Ghan for NT Tourism.
The official opening night was on 9 April, but the celebrations actually began earlier that week, with the famed locomotive The Ghan - a 900m luxury train that travels the 2,797km (1,846 miles) stretch between Darwin and Adelaide.
Three of the train's carriages were wrapped in Aboriginal artist Chantelle Mulladad’s work Crossroads. The artwork was used in the external and internal dressing of The Ghan carriages, and features in the Merging Kultcha installation at Parrtjima.
Turning a whole carriage into a travelling Parrtjima light installation, AGB Events utilised digital imagery from the 2019 Ranges Show, a light and sound spectacular projected onto 2km of the MacDonnell Ranges. This was projected onto a wall the entire width of the Ghan carriage measuring 2.7m x 1.6m high with interior printed graphics measuring 16.7m x 17.15m each side, and was enriched by an epic musical composition and narration.
The 10-minute show included a welcome from AGB First Nation’s Advisor and Parrtjima Curator, Rhoda Robert AO and was narrated by Australian actor Aaron Pederson and Benedict Kngwarraye Stevens. The lighting designer was Richard Neville and was supplied by MPH Australia and Mandylights. Musical composition and sound design was delivered by Damian Robinson and supplied by the Central Australia Aboriginal Media Association (CAAMA).
AGB Events worked
UK - Nearly a year after Katy Perry’s virtual performance at the American Idol Season 18 Finale, disguise has announced the public release of its Extended Reality (xR) solution as part of its r18 software launch.
The xR workflow utilised by XR Studios to power Perry’s performance has opened up a new world of opportunities in immersive real-time production in the past year, offering a safe and innovative alternative for shows and live events, allowing these to resume virtually, says the company.
Backed by the Carlyle Group and Epic Games, disguise has powered over 230 productions across live entertainment, film and episodic TV, corporate events, and TV and sports broadcast to date. Over 165 disguise xR stages have been built in 35 countries to support the growing demand.
First introduced at the IBC Show in 2018, disguise xR has since undergone intensive field testing and refining as disguise collaborated with a select group of its creative and technical partners to turn xR into ‘a robust, reliable and flexible solution for productions of any scale or complexity’.
“The xR workflow is making complex things a lot easier. We can implement xR and AR into our disguise workflow and programme complete shows including content and live inputs,” says Pim Elberse, light & video programmer at i!-Studio and disguise xR insider. “We see a lot of future in xR - this will change our work in the future.”
“After more than three years in the making, we are incredibly proud to be bringing our ground-breaking xR solution to the
China - Christie has announced that its 1DLP laser projectors are delivering highly immersive visuals in a new digital experience pavilion at the new Beijing Daxing International Airport, the world’s largest single-building airport terminal.
Featured works by Van Gogh and Monet are projected on the walls in the main gallery using Christie DWU850-GS laser projectors.
Located on the second level of the sprawling terminal building nicknamed “the Starfish” due to its star-shaped design, the Journey of Light and Shadow digital experience pavilion provides visitors with an immersive and interactive space to appreciate and experience art through the use of cutting-edge projection, audio, and interactive technologies. The venue consists of a preface hall and main gallery lit by 15 Christie DWU850-GS 1DLP laser projectors supplied, installed and commissioned by Christie’s long-standing partner, Wincomn Technology.
Themed The Four Seasons by Masters of Art, visitors can enjoy stunning digital projections of eight art masterpieces on the walls and floor of the pavilion covering an area of 130 square metres. They include Vincent van Gogh’s Almond Blossoms, Green Wheat Field with Cypress, Starry Night, Sunflowers, The Harvest, and Wild Roses, as well as Monet’s Water Lilies and Floes at Bennecourt, which highlight nature’s beauty and the ever-changing world around us.
“The Journey of Light and Shadow digital experience pavilion is an innovative cultural space that