The set was originally conceived for a one-off at the Coachella Valley Music Festival, where it was such a success that they decided to tour the design involving four separate but linked layers of video.
The pyramid is the show's main visual device, and is reliant on all the video technologies working in unison with the lighting cues. LD Martin Phillips is looking after the general visual aesthetics, and he suggested that the tour needed a dedicated video partner, hence XL Video UK's involvement in the project. Project manager Phil Mercer says: "We are really pleased to be working on a show as creative and innovative as Daft Punk."
XL Video was initially contacted by production manager Aaron Chawla after Phillips spoke to XL Inc in the US about their needs. They came highly recommended from a number of sources. In turn, the US office directed the band to XL UK to service Europe - as it made sense to have a Europe-based supplier - and for continuity - to service the high profile Japanese dates that follow. XL is also supplying engineer Paul Maddock-Jones (PJ ) for the tour.
In Daft Punk tradition, the duo remain completely anonymous, wearing their trademark visors through the entire show; leaving the various video elements to provide the visual centrepiece. The pyramid shaped set - measuring 16 ft wide across the bottom is constructed from over 1600 Barco O-Lite blocks, which have been custom pixel mapped to create a 3-dimensional video screen surface.
Moving images and video effects are played onto the bottom two thirds of the front fascia of the set and onto a small section at the top - above the band's platform. Flanking both sides of the main pyramid are customised frames holding an 18ft x 18ft geometric network of criss-crossing hexagonal shapes, made up from a total of 170 Element Labs' VersaTubes.
Behind the pyramid and VersaTubes, effectively wrapping the whole stage set, is a special 75mm resolution 48 ft wide by 16 ft high 'Pixel' curtain. This is a bespoke creation made from Element Labs components and the result of a joint project between them and Daft Art - the band's own production company.
The video content was produced by LA film effects producer Baptiste Andrieux and Martin Phillips, working in close conjunction with the band who are extremely visually literate. The content runs for 95 per cent of the show and is stored on and played back via two dual output V4 Catalyst digital media servers, with two running as 'hot' backup. These are triggered by Phillips' Hog iPC lighting console, in turn receiving SMPTE from the band.
The dual outputs from Catalyst number one feed the Pixel curtain and the VersaTubes - each output offering five layers which are assigned to each of these two elements.
The Catalyst running the Pyramid has 10 layers available, of which Phillips is using five, leaving three additional layers onto which he can programme the additional 'buskable' content, used if they divert from the standard show.
XL's Mercer says: "The challenge is in ensuring that the intricate design - which was not initially built to tour - is replicated successfully every time; particularly with back to back shows and the tight turnarounds between acts on the busy summer festival circuit."
"XL have been brilliant" says Phillips, "They are informed and knowledgeable, run an efficient operation and are extremely pleasant and accessible people to deal with."
(Chris Henry)
