Izzard, who spent a memorable chunk of his schooldays at two different establishments in Eastbourne, wanted to return to his roots for the DVD recording. XL supplied a 26.5ft wide by 15ft high projection screen - 16:9 ratio - that was fed by a flown pair of doubled Barco R18 projectors. Projections were effectively 'the set', with the space dressed with camouflage netting, so video and lighting were essential for creating mood.
XL's project manager Malcolm Mellows was approached by the show's producer Mick Perrin of Perrin Productions, having been recommended by the DVD shoot's lighting director Steve Nolan, to supply the kit. Perrin, lighting designer Alex Saad, sound designer George Glossop and Izzard himself all collaborated closely to create the show. Saad produced all the video footage using a High End Catalyst digital media server. There were no strong narrative or literal images, it was subtle, abstract and at times - a surreal videoscape of patterns and suggestions running throughout the show, punctuated by dramatic, up-tempo entrance and exit scenes.
The Catalyst was operated by Saad via his Wholehog II lighting console which also controlled over 60 Vari*Lites. Nolan controlled all the additional audience, ambient and room lighting from an Avolites Pearl, and Michael Hayes operated sound. Lighting supplier for the DVD shoot was VLPS, sound was from Capital Sound and cameras and recording equipment was by Visions.
(Sarah Rushton-Read)
