Production North's Steve Levitt and Sarah Hollis (also the tour's production manager) came up with a set design which also incorporated the video screens. They wanted something a bit different, a slightly discreet and understated visual effect that would work appropriately in the venues that Lemar was playing.
The seven screens consisted of six plasmas ranging from 42 to 61" dotted asymmetrically around the set for a quirky slightly random feel, and a 6ft by 4ft panel of Barco i-Lite 6 LED screen to stage left. The plasmas were attached to various bits of set and trussing with scaffolding clamps and adaptors. All surfaces were driven by content stored on the Catalyst, which was triggered from LD Jonathan Armstrong's WholeHog II lighting console.
Lemar took an interest in the material going onto the screens, and special footage was created for the tour by Helene Spencer from The Field, including specially commissioned new material, re-cut promos and some 'wallpaper' type effects. Lighting was supplied by Bandit Lites UK and sound by Wigwam. FOH engineer was Simon Thomas and the monitors were mixed by Dan Ungaretti.
(Jim Evans)
