UK - A performer and songwriter of consistently fresh ideas, Craig David’s polished melodies and thoughtful lyrics gently insinuate themselves into your mind and then take up permanent residence. After 25 years he’s still doing it as he takes his anniversary tour around UK arenas, performing hits such as 7 Days and Rendezvous for his loyal fans.
Oli Metcalfe, the show’s designer and a man with a reputation for challenging himself, took the opportunity to reflect David’s innovative song cycle with some new tech and a fresh idea of his own. “For arenas it's a bijou design with some real-time video elements,” he says. “It’s cool stuff. I’m using Unreal Engine (Epic Games), console driven via NDisplay for workflow, effectively working 3D scenes with a virtual camera embedded.”
Figuratively placing your artist within the three-dimensional context of their own video content live on stage is not to be taken lightly. “As I often do, I bought the real-time equipment myself,” Metcalfe continues. “Oz (James Ross), head of tech ops at Video Design gave me just the experimental time in their warehouse I needed. The level of tech support they offer brought confidence in the process for us all ahead of going into production rehearsals. The key to this is working in real-time, being able to do this without re-rendering makes the workflow pipeline much more fluid. I can make ultra rapid changes in response to the show. The reality is, what used to be render time is now creative time; that has to be a plus.”
Having gained an enthusiastic go-ahead from Craig David and his manager Colin Lester, Metcalfe also sought the backing of production manager ‘Wob’ Roberts. “I’ve done a fair bit with Oli and with Video Design over the years. I’m very comfortable with what Oli is doing,” he says. “Video Design is a lovely company and though the passing of Alex Leinster leaves a big hole, Oz seems to have nimbly picked up the reins in his place which is doubly reassuring. As usual their kit is first class.”
Metcalfe agrees: “I was always close to Alex, he was an amazing person and a close friend; he would have been all for what I’m doing. Oz and the rest of the people here know that and honour him with the same enthusiasm.”
LED modules of ROE CB5 populate the back screen and surfaces all across the stage set. Next Stage built a custom CB5 clad console for David, and supplied the two keyboard risers. “This is the newest version of risers Alex Leinster developed with Next Stage for Chris Vaughan,” adds Roberts. “It’s their first outing, they are just a dream and take CB5 really nicely. It's a touring package you don't have to nurse-maid.”
Metcalfe uses BlackTrax and Stage Precision to control a number of Video Design’s Panasonic UE150s automatically, following all the band members with cameras as well as lights, this ties into Notch.
“What Oli produces looks absolutely great,” concludes Roberts. “So good in fact that after just one show we felt we just had to go out and replace the stage floor with a brand new hi-gloss finish one. It just demanded that extra sparkle. Luckily I have a great rapport with Myke Millward at Harlequin, I made the call and it was with us the next day.”
Tastefully, Metcalfe resists the temptation to use the creative possibilities he’s given himself continuously. “Craig gave me the inspiration for the concept, telling his career retrospectively. That narrative overlay brings out his ups and downs. That in turn, presents the opportunity to apply the 3D world when most appropriate. The stage-set we have with all the various video surfaces gives extension to the seen environment. Without any loss of impact I can do more conventional stuff within the show as well, cued and programmed standard content using things like Notch. But I keep coming back to it. Not having that render time is just amazing.”
Audio for the tour was supplied by Major Tom, while Neg Earth providing the lighting equipment.
