Thrust SSC, the fastest car on earth, has been purchased by the Museum of British Road Transport (Coventry) and is to be displayed in a specially designed ‘Mach 1 Show’ open to the public from 9th September 2001. Thrust SSC, powered by two Rolls Royce Spey 205 turbojet engines, became the first car to achieve the Supersonic World Land Speed Record on 15 October 1997 by achieving a speed of 763.035 mph. It now takes its place in the museum alongside Thrust 2, its land speed record predecessor, which has been on display since 1992.
The car was purchased with the help of a major grant from the Heritage Lottery Fund and this included a sum of money for use in mounting an imaginative presentation of the vehicle using a variety of audio-visual techniques. The museum awarded a contract for overall design and project management to JSP Design Associates Ltd. of Northampton to create a unique exhibition space and an imaginative presentation of the car. JSP Design sub-contracted AC Lighting to resolve the audio-visual and show control aspects of the presentation and to introduce a tactile element to the display. The AV presentation, which runs for just over four minutes, utilizes two Phillips, cBright SV1 multi-media projectors fed from two Phillips PRO170 DVD players. Projecting onto screens above the car, these show video footage taken during the record-breaking run from a camera mounted inside the cockpit of Thrust SSC and a view from a camera mounted in the tail wing fin. Show control is provided by a Common-Sense interface unit from Artistic Licence, and this is use
The Avesco Group has responded to the slowing European economy and the aftermath of the recent atrocities in the USA by accelerating the announcement of a restructuring plan. The initiative sees Dave Crump, managing director of giant screen specialists, Screenco, assume the newly-created role of Group business development director. He will take up the new position at Avesco headquarters in Chessington with immediate effect. Crump will focus on development of relationships and business opportunities across the Group’s entire range of AV service companies including Screenco, Creative Technology, Dimension Audio and the recently launched MCL.
Avesco Group CEO, David Nicholson, commented: "We have been planning this change for some time, but the recent events in the USA - and the consequential effects on our businesses - have led us to bring forward the announcement by several weeks. At times like this it is more important than ever to focus on sales development, when the natural reaction is to retrench."
In parallel with this announcement Screenco will become part of the Avesco AV Service Division under Graham Andrews. The day-to-day running of the business will be in the hands of Graham Filmer, following his recent appointment as director and general manager. He has been with the company since 1987 and has experience of every area of Screenco's activity.
Paul Highfield has joined large format projection specialists E/T/C UK. Paul was previously technical manager at Fourth Phase Production Arts (formally Production Arts Europe) for five-and-a-half years, joining the company when it first set up the London office in 1996. He joins E/T/C’s Ross Ashton, bringing a wealth of experience and knowledge of this specialist area to the Hounslow-based company.
Highfield’s arrival is also in line with current plans to expand E/T/C into new markets and offer a greater range of equipment and resources. E/T/C UK is sister company of the Paris-based E/T/C Audiovisuel, manufacturers of the renowned PIGI projectors and scrolling systems. Recent projects include a large son et lumière at Chiswick House, West London, the opening of the Dubai Shopping Festival, Sultans of the Dance - a large dance extravaganza staged at Mydonose Showground in Istanbul and now on a national tour of Turkey - and the Thames Festival, where the company projected moving patterns onto the LWT building, part of London’s South Bank arts complex.
Barco LED displays were selected by Coca Cola to revolutionize its famous digital billboard at the heart of Piccadilly Circus in London. Coca-Cola Great Britain wanted to ensure that the sign was capable of continuously displaying dynamic images 24 hours a day and therefore the decision was taken to replace the previous projector installation with a highly advanced LED daylight display. As a result, over 52sq.m of DLite 10 has been used to replace the old installation. Barco’s Dual Pixel Technology offers a visual resolution of 10mm, allowing for a smoother picture, shorter viewing distance and enhanced performance. The system features built-in intelligence that enables auto-configuration and allows hot swapping of tiles without interrupting the display of the pictures.
Commissioned by event production company Aztech Productions, Screenco provided LED screens and crew for V2001 in both Chelmsford and Shropshire recently. At Chelmsford, two 32sq.m 25mm LED screens were used stage left and right, whilst two 32sqm JTS17 Jumbotron screens were used stage left and right at Weston Park. As an additional enhancement, a 21.5sqm Lighthouse 20mm daylight screen was used upstage centre as a backdrop for the Red Hot Chilli Peppers set.
In addition to live footage supplied by Mission TV and XL Video, pre-recorded programming for intervals was supplied by Blink TV. Blink also commissioned Screenco to provide LED screens at both the Reading and Leeds festivals this summer. Two 17.5sqm 15mm LED screens were used stage left and right for both venues, whilst an 8.5sqm 15mm LED was also situated FOH at Reading with pre-recorded footage again produced by Blink.
Screenco also provided Jumbotron screens and crew at both Creamfields and Gig on the Green. Commissioned by event management company Polar Arts, the screens were utilized as additional visual conduit for the Radio 1 stage at Creamfields and for the main stage at Gig on the Green. As well as live feeds, the screens were also used to output BT Cellnet’s SMS service, displaying text messages from audience members.
UK-based Navigator Systems has added a low-cost rental management software package called RentalDesk to their product range. Launched at PLASA, RentalDesk has been designed for the Small Business Enterprise which requires asset tracking but cannot justify the expense of larger and costlier systems. Commenting on RentalDesk’s debut at PLASA, Navigator’s David Rose told us: "The response to RentalDesk at PLASA was overwhelming. We had more serious enquiries on the first day than at the whole show last year."
Rose continued: "This is by no means a replacement for our larger systems, but a move to address the needs of smaller businesses which are looking to improve their operations, but don’t have the large amount of capital needed for new systems. During tougher economic times, those companies that have cut costs and become more efficient have a better chance of surviving. RentalDesk will give them a software package for less than £400.00, which contains many of the features that are in our larger systems."
RentalDesk includes equipment tracking and equipment scheduling. It allows for packaging of equipment and includes an interface to standard serial barcode readers. Other features include an interface to Microsoft Word for quote generation, and an easy to use report designer for modifying printed forms. In addition, RentalDesk will include new skinning features, which allows the user to design their own look and feel. The system will be limited to three simultaneous users.
Greg Smith, president of Navigator Systems USA, commented:
The recently expanded Creative Technology has quickly gained official IT and AV supplier status on a number of high profile exhibitions, including the recent Total Publishing 2001 show at Olympia in London. Contracted by organizers Quantum Business Media, Creative Technology supplied a semi-permanent network of PC hardware and iMacs for the Technology Theatre, which was used by numerous exhibitors for training workshops aimed at visitors to the show. Extensive use of sound equipment and IT data presentations were also incorporated for assisted product demonstrations.
Additionally, Creative Technology has gained official show status for numerous ongoing events, spearheaded by CT’s Exhibition Organiser’s account manager Beth Hathaway, recruited earlier this year. Based at CT’s NEC office, Beth covers the whole country and since joining has secured a number of exhibition contracts with preferred supplier status including BBC Good Food 2001, Interbuild 2002, Hotelympia and Sports Industry 2002, Trident Exhibitions, Dive Show, Sound Broadcasting Equipment and Speciality and Fine Food amongst others. Also secured with official status - by the CT London office - is TMA Ventures 2001, which takes place in Brighton on October 29-31. TMA Ventures is the commercial subsidiary of the CMA (Communications Management Association) - the business user association for communications professionals. TMAV provides a range of leading media and information services within the Telecoms and IT arena.
The LDI Show will go ahead as planned from November 2-4 in Orlando. In response to a number of enquiries following the events in New York and Washington, the organizers are keen to reassure people, through a statement posted on their website, that the exhibition will go ahead as usual. "We at LDI would like to express our deepest sympathy to all who are affected by the tragic events of September 11, 2001. Our thoughts are with you. We cannot let terrorists bring world business to a halt and we at LDI and Primedia Business Exhibitions feel it is very important that all businesses show their resilience. At this time, we do not foresee major disruptions for a smooth and successful show floor opening on Friday, November 2, at the Orange County Convention Center in Orlando, Florida. LDInstitute is still scheduled to open on Monday, October 29."
If any exhibitors or visitors have any questions or concerns about the Show, they should contact any of the following people: Paul Stratton, LDI Show Director Tel: + 1 720-489-3118 firstname.lastname@example.org
Ellen Lampert-Gréaux, LDI Conference Director Tel: +1 212-229-2965 x 830 email@example.com
Jacqueline Tien, Publisher, Lighting Dimensions, Entertainment Design Tel: +1 212-229-2965 x 815 firstname.lastname@example.org
You can also look at PLASA Media’s LDI Factsheet at www
PLASA 2001, the Professional Lighting and Sound Association’s annual entertainment technology showcase, held at Earls Court from 9-12 September, received an overwhelming thumbs up from exhibitors and visitors alike.
Understandably, the horrific events in New York and Washington cast a shadow over the Show, not least because of the large number of American exhibitors and visitors who always support the event. The shock of the news was felt widely across the show floor, but it quickly turned to a resolve to keep the Show open and a determination that business should go ahead as usual.
Attendance figures were boosted 4.5% on last year’s event as 13,373 visitors (subject to ABC audit) attended the spectacular four-day show to witness the unveiling of the industry’s latest innovations. Of these visitors, an amazing 25% were international. Results of an exit survey showed that over 80% of visitors to this year’s Show felt that PLASA was the Show to view leading edge entertainment technology and new product launches. Highly respected as the international entertainment and technology exhibition, PLASA provided a platform for nearly 350 manufacturers, suppliers and distributors to present their very latest products, innovations and designs and to strike valuable business deals. From state-of-the-art sound systems, spectacular lighting effects, staging concepts and fog machines to audio-visual equipment, trussing and the very latest in DJ decks, PLASA 2001 featured something for everyone.
It represented more than just a place to see the latest entertainm
Apologies to the Stereophonics, but this is going to be an unsung heroes review. Unlike other shows, I’m going to concentrate attention on the peripherals, everything other than light and sound.
Following the appalling tragedy at Roskilde, crowd management has ridden to the top of all festival organiser’s agendas. This was the first big show at Donnington since the demise of the annual Monsters of Rock five years ago, and security arrangements were uppermost in many minds. Showsec, the contracted party, has much experience of Donnington, not least from Monsters, so in many ways choosing them was a given. Company founder Mick Upton managed a team of 250 Showsec staff from the control room, which he shared with local emergency services and licensing officials, monitoring events by radio and CCTV. Mike Harding, group operations director, was at the sharp end of crowd control, with responsibility for some 40,000 individuals. "As it happened, the event was very good-natured. The crowd tended to be younger and less intoxicated than the old Monsters crowds, and presented no major challenges, even back at the campsite after the show."
Harding’s low-key post show report belies the planning that led to this benign state of affairs. One of the key areas of concern was the front of the crowd and pit area. Following the commitment made by SFX director Stuart Galbraith at the International Live Music Conference (ILMC) this year, where he said that SFX would "proactively discourage crowd surfing," plans were drawn up. A primary D barrier system (f
The Internationale Funfausstellung, which takes place every two years in Berlin, traditionally opens with a live television transmission (alternating between German national TV networks, ARD or ZDF). ARD was responsible for this year’s opening spectacular on August 25, and while the location in recent years has been the ICC, which is situated close to the fair, this time ARD opted to use the Convention Center at Europe’s biggest hotel - the 1000-bed Hotel Estrel.
Set designer Peter Roth, the man responsible for a number of ARD shows in Germany, wanted to create something original for the network other than traditional projection and cube systems, and the show title Tele Visionen also implied the need for a modern set. Besides centre stage - where the acts performed - there needed to be projection screens in the wings, where the main interviews and presentations would take place. However, the centre stage also required a creative approach, with a 1-2 minute change around, and the ability to project different images and colours - and he knew that only an LED screen would deliver this result.
Having decided on the design concept, the second problem was that in the Convention Center the ground load was restricted to 750kg/m2 - thus it would have been impossible to use a LED system with a weight in excess of 70kg/m2. The Screen Visons/Screenco 25mm LED screen overcame this problem, thanks to its module weight of just 50kg/m2. Yet even this lightweight system required staging and tracking company, Stage Kinetik from Cologne, to support the ground rig with additi
Hear’Say are currently part way through their highly successful UK arena tour. The set and lighting was designed by Pete Barnes, with the lighting operated on tour by Graham Feast. In an unusual move, all the lighting gear was supplied by French Company Cote Scene. The audio elements of the tour were provided by Wigwam with rigging by OTT.
The tour’s live video requirements are supplied by XL Video. The 32 square metre central screens - which open like curtains at the start of the show to allow the band to enter - are constructed from Barco DeLite 7 LED systems. Two left and right screens are fed by Barco ELM G10 projectors mounted on the truss, and are predominantly used for the live relay images. PCM was commissioned by Mark Wade from OTT Rigging to build the customised movement system for the video screens. The resulting system, an amalgamation of a Gis tracking system, Beta electric wire winches and a motion control system, is a combination of PCM’s industrial expertise brought into a more theatrical context. The wall is hung on the PCM track, controlled by the Beta Winch that’s rigged through a series of pulleys - allowing the videowall to be opened and closed at a controlled rate. The system is designed with in-built encoders so the PLC (programmable logic controller) can detect the position of each portion of screen. A frequency inverter ensures that the speed, ‘soft start’ and ‘soft stop’ functions can also be closely controlled. A ‘Teach Me’ button enables the settling of the screen in the correct posi
Cork-based lighting, technical design and production specialists LDPS has further expanded its team with the addition of two new project consultants - Joe Stockdale and Michael Hurley. Their specialist areas are stage technologies and mixed/multi-media respectively. Stockdale and Hurley join LDPS founder Grant Collie and will be based in the company’s new premises in central Cork. The appointments will strengthen LDPS’s position as a market leader in the field of creating practical technical solutions based on hands-on experience.
Stockdale’s role will include venue technical design, specialising in stage systems, site installation supervision, special projects, client liaison, training and recruitment. His diverse background includes the teaching of theatre studies, set design and construction and event production. For the last nine years, he worked as technical stage Manager at Cork Opera House, a demanding multi-purpose venue. Stockdale is also a master boat builder and a master of lateral thinking!
Michael Hurley will be LDPS’s multi-media project consultant, and his work on venue technical design, specification and installations will include the exacting areas of sound/AV systems and acoustics. His previous experience includes working as chief electrician at the Cork Opera House and running his own successful AV business. Hurley has extensive experience in the fast-moving worlds of computer graphics, video editing and projection systems, making him ideal to oversee this aspect of LDPS.
Collie comments, "I’m delighted that Joe an
The 56 products nominated for this year’s PLASA Awards for Product Excellence are currently available for visitors to view on the Top Deck of Earls Court, in the Lighting&Sound International-sponsored New Technology Gallery (pictured). The Gallery allows a one-stop view of all the latest product innovations in the categories of Lighitng, Sound, Stage Engineering and Audio-Visual. Judging for the Awards will take place during the show, by a panel of experts from each respective field. The winners will be announced at a special ceremony at 9.30 on Wednesday morning, at which time PLASA will also present the money raised from the Awards entries to a number of charities.
To view the complete list of products entered for the PLASA Awards for product Excellence, visit the web address below:
The doors have opened at Earls Court for Day 1 of the 24th PLASA Show, and the first visitors are now filling the show floor, where over 370 exhibitors are displaying their latest innovations to the industry. Over 400 products are making their first appearance at a PLASA Show, with the cream of the crop entered into the PLASA Awards for Product Excellence, and displayed in the New Technology Gallery on the Top Deck of Earls Court, which is this year sponsored by Lighting&Sound International magazine.
Throughout today, and for the duration of the show, the team from PLASA Media will be bringing you all the latest news and pictures from the show floor. To follow events as they unfold at PLASA 2001, visit our dedicated news section at the address below:
PLASA is now just two days away and it looks like this year’s event will be the best ever. PLASA is where you get to find out what over 400 of the industry’s leading players have been doing in the past few months. It’s got to be better than leafing through hundreds of product brochures or trawling the internet for information. Aside from the exhibition, there are plenty of things to catch the eye, including the DJ Competition on the Sunday, the newly-introduced iDJ Talk Zone offering advice to DJs, a comprehensive seminar and workshop programme, the PLASA Awards for Product Excellence, the various Feature Areas, and the many events, press launches and on-stand receptions organized by exhibitors. If you still haven’t registered for the event, don’t worry, you can register on the day. All you need to do is turn up at Earls Court 1 and register on the door. See you there.
One of the community highlights for visitors to the recent Edinburgh Festival was the opportunity to attend a free festival in the beautifully-raked 2,000-seat bowl in Princes Street Gardens. The event, which ran daily through to 9pm, gave appearing Festival fringe acts the chance to preview their work in a series of short showcase ‘tasters’ on the main stage. This was interspersed with Worldart Media’s own productions and concerts. The 22-day event was manned by volunteer students looking to learn all aspects of staging a show, under the auspices of event producer, Richard Hamer, and event stage manager, Claire Palmer.
In the case of Screenco, who lent its support for the fourth consecutive year with a 4 x 4 Saco 15mm pixel pitch display, it gave its screen and camera engineer, Jon Baverstock, the chance to give hands-on experience to would-be technicians - many of them photographers looking to progress beyond the ‘stills’ domain.
The initiative was directed by Ian Murray, whose company Festival Revue 2001 Ltd, rent the bandstand from Edinburgh Council. With support from major sponsors, Telewest and BT Broadcast Services, this is now the largest arts broadcast in the world, and next year will feature on the net and broadband TV (as well as Telewest). In addition to the i-mag display, Screenco provided a four-camera PPU (broadcast-quality, industry-standard DW-30s) with widescreen capability, and additional feeds were provided by three video players - and a camera mounted on a balloon. BBC Radio 3 and the local Radio Forth also took feeds.
Metro Broadcast led the UK by providing state-of-the-art High-Definition multicamera equipment into Europe, on Saturday 11th August 2001. Produced by Done and Dusted and staged at the Mungersdorf stadium in Cologne, Germany, the Robbie Williams concert was captured using 15 Sony High-Definition cameras following Metro’s success in supplying the UK’s first ever multi-camera High-Definition shoot to an S Club 7 concert earlier this summer. Metro sourced six of the camcorders from the Continent using its global agency, Eurocrew Worldwide, whilst obtaining the other nine from various hire companies in the UK. Having managed the first multicamera High-Definition shoot, the main challenges were logistical. "10 camcorders from one country was exciting in itself, but 15 spread over four was certainly a challenge," reveals Mark Cox, facilities director at Metro. "There were also a few extra toys on this shoot, including an Akela crane and 300’ cherry picker to add to the excitement of the rig," adds Cox.
This highly mobile and compact 2.2 million pixel acquisition and recording solution offers superb picture quality efficiently packed onto a half inch tape. "As an alternative medium to film, High-Definition is a very strong competitor to 16mm at the moment and certainly more flexible," states Celia Blaker, producer at Done and Dusted. The concert will be post-produced by The Farm for release on DVD and video at a later date.
Firepower is the new Royal Artillery Experience, set in the historic buildings of the Royal Arsenal on the River Thames at Woolwich.
The attraction was designed by Event Communications, whose main challenge was to overcome people’s discomfort with the reality of war. They tackled this by highlighting the role in the fight for democracy and freedom played by the armed forces, especially the Royal Artillery, which has been present at all major theatres of war involving the British Army over the last 300 years.
The centrepiece of Firepower is the ‘ground-shaking’ Field of Fire - a spectacular multimedia presentation that recreates what it feels like to be in the middle of a real battle. On entering, visitors are surrounded by various pieces of artillery. Suspended above these are four 5m wide front projection screens. Projecting onto each screen is a Barco 6300 LCD Video Projector with the video sourced from an Electrosonic MPEG2 Server. Overall show control is from an Electrosonic ESLINX show control system, and there are 36 channels of dimming using Celco Fusion dimmers. The audio system, designed by Peter Key, uses Crown amplifiers and EAW loudspeakers with a Bose Acoustic Wave Cannon, Bose 402C controller and 2600 V1 Amplifier.
The historic site is being opened up to the public for the first time since the Regiment’s establishment in the early 18th century. Four listed buildings are being renovated in order to house the collection, including Europe’s oldest Military Academy.
The jewel in the British Film Industry’s crown, the National Film Theatre is generally acknowledged as one of the world’s greatest cinemas, offering the biggest and best choice of films dating back to the origins of the industry (it is the only public cinema that can still show inflammable nitrate film).
With three screens showing over 2,000 films, head of technical services, Richard Boyd knows that while they face a critical audience of purists, technologically times also move forward. The principal auditorium already boasted digital sound and recently the NFT decided to review its projection equipment. The 450-seat NFT1 boasts a 12.5ft high screen, and when it came to researching the market for the new generation of DLP digital video projection Boyd scrutinized the market closely before opting for a fully-featured, three-chip DLP Christie Digital Roadster X4, fitted with a 4-7:1 lens.
The NFT project manager, Ed Mauger and independent software programmer Tony Hay, along with control and display solutions specialists Planet Communications and Christie Digital support teams, designed a complex system that allowed for fast switching, cueing and parameter changing of the X4. This has been achieved via a Crestron CNMSXAV control processor and LC1600L 6" passive matrix colour LCD rackmount touchpanel, which has been integrated into an Ed Mauger-designed custom panel with faders. This takes care of the remote cueing and switching of all the theatre’s playback sources - DVD, VHS, S-VHS, Betacam and U-matic hi- and lo-band - as well as satellite, TV and
On the 28th August, PSL will be moving all of its London rental divisions (except for PSL Central) into new customised 70,000sq.ft premises in Potters Bar. The new facility has six loading docks, specialist-handling facilities, a customer demonstration area and purpose-built offices. The companies amalgamating under this one roof will be Presentation Services Limited, including Exhibitions and Concert Touring, PSL Multimedia, PSL Lighting, PSL Set & Stage, PSL On-Screen Creations, PSL Proquip and PSL LED Screen.
It is PSL’s intention to create a true rental and staging company offering customers a wide range of presentation staging services from one building. All of the individual divisions will continue to trade in their own right and be staffed with people trained in their own disciplines. The front-end project management team will have full access to all of the services supplied out of Potters Bar. The new address is The Heights, Cranborne Industrial EstatePotters Bar, Hertfordshire, EN6 3JN, UK. Tel: +44 (0)1707 648 120
The Illuminated Video Workshop, the Screenco-led consortium that presented two days of innovative show magic at Three Mills Island studios last winter, is set to stage the successful workshop again at the PLASA Show. Situated in the ‘AV Gallery’ of Earl’s Court’s Top Deck, Screenco’s Mike Walker has pulled together the same top-flight technical support teams from the premier event. WAlker explained: "Judging from the number of calls from people who had been unable to attend the January event, the reputation of that two-day spectacular had really spread further than we could ever have imagined. We have been inundated with calls from people, who realising that they had missed out on something special, asking whether we would ever be running it again."
Walker’s first calls were to Edwin Shirley Staging, who agreed to provide their lozenge-shaped Orbit stage - with the dome at each end - and to Chris Beale at SSE Hire, whose provision of the Out Board TiMax sound spatialising system had been one of the highlights of the event. He also contacted Simon Whittaker at Stage One Creative Services - who will again be providing their Q-Motion system to track the 15mm and 25mm Screenco modules on vertical excursions and spinning rotations - and technical director Adam Wildi. Both instantly pledged their support. Peripheral AV equipment will be provided by Screenco’s sister company, Creative Technology, who will supply plasma screens, Electrosonic Vector image processing and Doremi digital video disk recorders.
The PLASA event will
Screenco Holland installed an exploded screen at the recent Festival Beachrock in Belgium, at the request of one of their clients. TCC (The Concert Company) had asked for nine 25mm LED modules to be scattered randomly around a 3 x 3 high resolution 15mm LED screen as part of the production for the band, K’s Choiche. TCC’s Willem Loos and Rene Zelders masterminded the overall production while Screenco Holland were responsible for all technical production - including the live camera feeds - and the PC from which the graphics were produced. The effects were generated through a MIDI keyboard and VJ software, provided by Screenco. Screenco’s Jeroen Jongenelen said: "This was the first time a band has used LED modules in such a creative way during a festival in Holland. This is a completely new way of using screens and one which we can expect to be adopted increasingly in the future."
For those of you not ornithologically minded, the Audubon Society describes eagles as ‘magnificent predators of the air, one of the most exciting birds to witness in action’ - but frankly, this particular Californian sub-species was rather dull to witness in action.
Have you ever seen a crocodile in a zoo? It sits there - an armoured monster so highly developed it hasn’t evolved for 60 million years - and doesn’t move. Something similar was going on in Manchester in late June. The performance, in terms of execution, was without imperfection, apart that is, from the interminable changes. Every time the show approached anything like the critical velocity so essential for momentum, they threw it away with a trip to make-up. The singing was crystal, even if Joe Walsh did look like a man recovering from a severe stroke when he sang, and the playing was note perfect. But it was lifeless. Tough job for the production then?
As video director Kate Ferris said, "this is strictly I’mag presentation." Kate is a veteran of concert video, though her work is infrequently seen in the UK. She regularly directs for Michael Jackson, Gloria Estefan and Cher to name but three, and it was apparent that in terms of demand, this was fairly low key for her. The two screens (four when they play in-the-round), and all other video kit comes from Nocturne in the US. The projectors are probably of most interest, being DLP 10kWs from Digital Projection in Atlanta, which I’m assured are the brightest for their rating, and very straightforward and reliable.