Unusually, two additional screens were configured and flown above the side stage monitor positions at right angles pointing away from the front of stage and directly at the restricted view seats around the back - to ensure that everyone in the stadium got an equally good view of the action. These were also made up from Lighthouse R16 in a 5 x 4 panel format.
Onstage, XL supplied six 10m high by 4m wide Barco MiTrix columns on a tracking system, that formed three pairs of 'doors' for stage entrances and exits and also tracked into different positions to create variations in the set (designed by Peter Bingeman) look for different artists. The tracking system was supplied by The Rigging Partnership.
For IMAG, XL supplied five of its GV LDK 8000 HD cameras. Two were positioned at FOH with 100:1 lenses, two in the pit with 20:1 lenses and the fifth was a hand-held on the satellite stage, off to stage left of the main stage.
Video director Blue Leach cut the mix using a GV Kayak HD mixer/switcher. He also had access to an additional eight HD camera mixes supplied by the host broadcasters CTV (for the BBC). XL set up its 'tally' system to the broadcaster's cameras, so they could be aware when their cameras were being output to screen.
Four Doremi HD hard drives were used for storing logos and general announcement info. Special Playback content was commissioned and supplied by Onedotzero and programmed into four of XL's Catalyst V4 digital media servers by Simon Pugsley who also operated via a Hog iPC lighting console. All the Catalyst outputs were fed into a Barco Encore system which split and distributed the various signal to the MiTrix columns and a rear onstage screen.
(Jim Evans)
