The screen was used to deliver the crucially important Teenage Cancer Trust films and messages
UK - Bristol-based lighting and video rental specialist Fineline was the LED screen supplier for the 2018 Teenage Cancer Trust (TCT) shows at the Royal Albert Hall, which has seen another series of show-stopping performances and collaborations which help raise awareness and funds for the charity.
This year’s line-up included Kasabian, The Courteeners, Def Leppard, Ali Campbell, Astro and Mickey Virtue from UB40 who appeared as a trio, Nile Rogers and Chic, comedy from Russell Howard as well as The Who’s Roger Daltry, who has been instrumental in driving the annual RAH concert week since it started in 2000. This year he curated an evening of special guests including Muse frontman Matt Bellamy leading a super group including Graham Coxon who performed some of the Beatles’ greatest hits.
Says Fineline’s Rob Sangwell, “It has been a fantastic experience all round being part of these incredible shows. The atmosphere has been very inspirational! TCT is a great cause and the organisation is dedicated to providing a top-quality production and an equally impressive array of talent and entertainment for everyone to enjoy.”
Fineline supplied 153 panels of their Martin VDO Face 5, a 5.2mm pitch LED screen surface which was configured throughout the week as a flown upstage surface measuring 8.5m wide with a drop of 5.1m.
It was used to deliver the crucially important Teenage Cancer Trust films and messages as well as by all the artists who played.
Fineline was asked to supply the screen as part of Harman Professional Solutions’ decision to support the Teenage Cancer Trust shows.
The event’s lighting and video was designed by Gordon Torrington of PRG who has been involved in TCT at the RAH for many years.
Video content was co-ordinated by Chris Farrants who was located in ‘video world’ under the stage, and he managed all the various sources via his Grass Valley Karrera PPU, including cutting the three-camera mix and receiving feeds of all the playback and ambient footage from a Catalyst media server.
Some individual artists also brought their own content which was integrated into the ‘house’ system and output to the screen.
(Jim Evans)

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