Compered by Top Gear's Jeremy Clarkson and James May, along with Fifth Gear TV presenter Tiff Needell, each of the 23 x 75-minute shows was reinforced by a high level of production - from the pyrotechnics that accompanied the stunts, to the highest powered state-of-the-art DLP projection available to service company XL Video.
Project manager Lee Spencer commandeered the latest additions to XL Video's hire-fleet, the supercharged Christie S+20K SXGA+ Roadsters, fitted with polarising lens to deliver a stunning 3D effect during two animated aerial sequences. Driven by a powerful 3-chip engine designed to deliver 20,000 ANSI lumens, the S+20K offers a competitive combination of superior image quality and increased brightness levels from a small footprint, say Christie. "Given the size of the arena and the large quantity of smoke, pyro and lighting in use, we needed a high performance projector to match that of the cars," said Spencer.
A pair of ceiling-supended Roadsters hung above the action in each of the £1m arenas. Simon Aldridge of PMI, who co-produced the show with Top Gear producer Andy Willman, reports that the two projectors performed flawlessly throughout a show which would ordinarily carry an inherent high risk. "However, we had 10 days of rehearsal; the show is closely choreographed and these are precision drivers," he points out.
Vision engineer Dean Ruffy and projectionist Darren Montague were both delighted with the performance of the Roadsters, which took live feeds from a three-camera (Sony E10) PPU, and graphics feeds from two Doremi hard drives and PRG Lighting's media server, the Xbox Extreme. "We used a DVI source on each of the two projectors which were doubled up," said Ruffy, who was vision mixing in XL Video's fully-equipped, six camera OB truck. "As we were using the polarising filters it was essential that we had a punchy projector."
Although he was well aware of Christie's reputation, this was Dean's first outing with the new projectors. "I noticed immediately that the blacks are really black, and that the S+20K seems a lot lighter than its competitors - a two-man lift instead of four, but at the same time offering twice the brightness.
"Also it provides some useful test patterns before you can pass a signal which is great for doing line ups and checking that its outputting what it should be."
SDI signals were sent over ethernet by the Doremi hard drives with RCV2 control. The output data passed through a Folsom ImagePRO scan converter, dropping the 800 x 600 SVGA resolution to 768 x 576 50Hz interlaced PAL. Vision mixing was performed on a Grass Valley Model 1200. This combination, says Ruffy, produced optimum picture quality.
Content triggered from the G5 computers included the Volvo 'clouds' advert and James Bond sequence, as well as ad loops which ran pre-show, while the Mbox output the Vauxhall Meriva and gladiatorial buggy finale involving Top Gear's resident racing driver, The Stig.
Other companies involved in the production included Cloud One Group, who handled the sound using the Adamson Y10 line array, Unusual Rigging, who built the arena and Le Maitre, who provided the pyro and smoke; the lighting designer was Steve Sinclair.
The event was jointly promoted by Clarion Events and Brand Events, with Bas Bungish as show director. Three events are scheduled to take place next year, with the show returning to the NEC and Earls Court - as well as visiting the Coca Cola Dome in Johannesburg, in February.
(Lee Baldock)
