The Lightengine was specified by video and projection specialist Dick Straker of Mesmer (pictured), working with photographer Marcus Tate. Producer Joe Talbot wanted a theatrical mood to the show, and he, Tate and Straker, opted for a large, abstract image, constantly changing on camera. Lightengine seemed an ideal solution, as Straker needed some visual tools to make the set adaptable and changeable - the antithesis of more conventional plasma screen studio looks.
Talbot says: "Every new television show needs its own unique, visual look . . . Dick Straker and Marcus Tate have produced a series of visual loops which form a flickering backdrop of startling simplicity which punctuates the show with an entirely new visual abstraction."
He spoke to XL Video who were just in the process of negotiating a deal with Lightengine at the time. Patch comes in modular 1200 x 750 mm sections that join together to make any size and shape, whilst retaining precise pixel alignment. It's bright, flexible, weatherproof and even submersible. Lightengine's Display Manager runs high quality graphics and full video on Patch, which is DMX compatible. Following extensive camera tests, Straker and Tate produced custom video content to run through the Lightengine Display Manager via a Catalyst digital media server.
The Lightengine Patch forms a 6m wide by 1.8m high widescreen effect with a 1:3.3 aspect ratio at one end of Studio 7 of the South Bank TV Studios. The overall set-up has two presenter areas, with the Lightengine Patch running on a series of loops backing the 'active' area, featuring bands, entrances and exits and off the cuff interviews and comments.
Content includes a lively collage of flags, face-painted football fans, crowd scenes, football action, etc. This runs constantly, also reflecting off the windows and bouncing ambiently around the studios when not directly in shot.Straker says: "Lightengine were interested in the application and ensured that any modifications - like colouring the LED backing black or adding software tweaks and doubling the LEDs - were immediately implemented for us." This reassured Straker and Tate that they could continue to develop new ideas during the series with the full support of the manufacturer. "This is absolutely invaluable as a designer," concludes Straker.
The project was managed on behalf of XL Video by Malcolm Mellows.
