The provocatively visual, adrenalised, energy-pumping show is currently taking the UK and Europe by storm, with video an integral element of the production design created by Baz Halpin and Mark Fisher, which is also linked closely to the lighting.
The live performance is every inch a contemporary mixed media fusion of technology and human emotion, ending with Pink treating fans to a stunning high level aerial display of silk acrobatics.
Video is divided into a two components - playback and IMAG. The playback sources are all run from a customised Catalyst digital media server triggered by a WholeHog II console (operated by Craig Allnutt), and the 3-camera IMAG is run through one of XL's standard PPU systems, with the fast-cut live mix directed by Larne Poland.
The account is being handled for XL by Phil Mercer, who says: "Working together, Baz and Larne have produced a very dynamic and visual show, using what's considered 'a very standard touring video package'. It's great to work with a young designer and director clearly at the top of the their game."
Fisher's initial set design ideas revealed a timelessly classic staircase, giving the whole stage an epic feel, to which Halpin started adding the Mi-Pix surface - 48sq.ft of which is inbuilt into the set. This is configured in a panoramic format, 14 panels wide by 2 high.
Up above, Halpin wanted a screen surface that could be both horizontal and vertical to enhance the sense of depth within the performance area, and so he designed three 4 by 3 metre pods of the transparent Komaden Image Mesh into the masterplan - supplied by Le Grandi Immagini. Each pod is suspended on motors and travels between the two positions throughout the show.
The Image Mesh panels show both playback and IMAG material, while the MiPix utilises solely playback. The main IMAG mix is beamed onto two 16 x 12 ft Fast Fold side screens, fed by rear-projected Barco R12s.
Pink had many specific ideas for video content at certain points, specially for songs like the hard-hitting, politically-charged "Dear Mr President", and Halpin worked closely with Sam Pattinson and Anthony Willis from OneDotZero to create all the Catalyst footage. This also includes a wide variety of effects from literal images to breezy, colourful kaleidoscopic graphics sequences.
XL was instrumental in getting the special Catalyst system set up for the tour and supplied Simon Pugsley to configure the system, which enables three separate live camera sources from Poland's PPU to be routed to any of the three Image Mesh pods anytime throughout the show.
They are running two outputs from the Catalyst (to Mi-Pix and Image Mesh surfaces) and 12 active layers. Most of the playback cues are manually triggered as opposed to time-coded, making it a very busy show for Catalyst, hence the decision to use a dedicated operator. This leaves lighting director Trent O'Conor free to concentrate on running the equally busy lightshow.
XL's cameras - Sony D50s - are positioned at FOH with two hand-held in the pit which also sometimes go onstage. Operators Richie Flannigan and Stuart Merser have an extremely hectic show trying to keep up with Pink who is never still for more than a few seconds at a time, except during the acoustic section of the show. The XL team of four is completed with engineer Jeroen Marain.
Larne Poland is cutting the mix using a GV1200 mixer/switcher and a Magic DVE for effects like black and white and black/white/pink - he very much follows the style and pace of the show with his mix.
Baz Halpin says: "As always it's great working with XL - the pre-production period was very intense and their support has been excellent in every way."
(Chris Henry)
