Chameleon Touring Systems provided lighting designer Mark Hammer with a rig that included over 350 intelligent lighting fixtures. The rig, predominantly Martin Pro, included MAC 2000 washlights, MAC 2000 profiles, MAC 2000 Performances, MAC 600 washlights, MAC 300s and Atomic Strobes; this was also one of the first ever events for the new MAC 550. The 2000s did the main work on the stadium floor, from a height of up to 46m, while the 550s were used on the performance stage. Other fixtures included 56 VL2402 washlights from Vari-Lite, 24 Studio Due fixtures (City Color and Mini City), 24 Syncrolite washlights (7k and 3k), a single 4k Griven Kolorjet and followspots from Robert Juliat. Lighting control was from two MA Lighting grandMA consoles (eight streams each) networked via an Ethernet switch and then going directly into Martin's ShowDesigner using the ArtNet driver. The Martin and MA equipment was sourced by Chameleon from distributor Show Technology, whose Vince Haddad also provided techical support for the production.
The sound system, supplied by Norwest Productions and specified by designer Scott Willsallen, had a DiGiCo D5 Live digital console running V2.0 software and a 112-channel DiGiCo/Opticore network as its backbone (a second D5 was also provided for back-up), while DiGiCo's new DiGiTRACS show recorder was also in operation. The PA was based around EAW's KF Series cabinets and SB1000 subs, with amplification from Crown and QSC Audio. All in-ear monitoring for the performance stage, and all microphones, including radio systems, lectern mics and headsets, were Shure. Engineer George Gorga mixed at front-of-house.
