XL's account handler Des Fallon comments: "This is a great example of video elements being brought into the show as 'digital lighting'. It's good to be working with them - Nelly Furtado is an exciting and hugely talented artist and there is a real buzz about her, the show and its presentation."
Toronto-based Wagg has used video in clubs and on corporate events before, but this is the first time he has fully integrated the medium into a live show like this one. It is also his first European tour and the first time he has worked with XL Video, who came onboard through Bob Ward's new company, Safe as Milk.
The screen is in 16:9 format and is a powerful visual reinforcement for the show which features a large 'extravaganza' style atmosphere, complete with a layered stage set (also designed by Wagg with active input from Furtado) and elaborate architectural feel. The screen tracks on two axes - up and down height wise, and also up and downstage on a Kinesys automation system. It is currently used for playback footage and to show some low-level camera work. As the tour progresses throughout the year, it is intended to increase the camera/IMAG elements of the show.
Wagg worked on creating the show's video playback content with his colleague Jason Gardash (who operates the Kinesys system during the show). This is stored on a 24-layer Brash media server and triggered via his Compulite Vector lighting console. They are using a combination of material from the Brash onboard library, reworked samples from some of Furtado's music videos and various 3D objects including the Furtado logo. XL is also providing William Crombez to look after the MiTRIX.
(Jim Evans)
