XL purchased 125sq.m of new Mitsubishi OD8 LED screen for the tour, and is the first company to bring this particular resolution technology into Europe. The Mitsubishi is configured as three portrait-shaped screens - two 11 x 5 panel surfaces either side of the stage used primarily for IMAG, and one 9 x 5 panel centre-stage screen.
Embedded into the bellies of the tusks and Scorpion Tails set-pieces (designed by Ray Winkler of Studio Fish) are 6500 Barco O-lite blocks. These impressive set pieces wrap the stage in a horseshoe shape, providing a 'live' 3D backdrop. Every surface facing the audience, apart from the floor and ramps, is video. XL is supplying one of its OB trucks for the PPU, and the 6 camera IMAG mix is directed by Ruary MacPhie, one of the UK's most talented live video directors, using a Sony 7250mixer/switcher. Employing the OB truck in this way is an extremely quick and efficient way to set up the PPU.
The live mix feeds into an Encore system that is the hub of the video output operation. This controls the whole stage/set in terms of video and was programmed by artistic director Lodge and video programming guru Richard Turner for the show. The 'windows' for when the live mix appears on whichever surface are all pre-programmed, along with the slots for playback, all of which is run via Barco's Event Manager software.
Mostly the camera mix appears on the side screens via TX direct from the truck. When it appears on the centre screen it's via manual cues, output from a switchable Aux button.The show's playback material was specially produced by design teams from Colonel Blimp, Intro and Hello Charlie, overseen and co-ordinated by Lee Lodge. It runs for 90% of the show and is stored on two GV Turbo high-definition hard drivs, running complete with 'hot' backups. It's sent exclusively to the O-Lite panels and the centre LED screen, occasionally sharing the latter with IMAG images or a combination of the two.
There's also a large 'Video City' backstage separate to the OB/PPU area to deal with all the screen processing and control and the Encore system. The signal between processors and screen surfaces is distributed via a fibre network, and three crew are dedicated exclusively to looking after the LED surfaces.
In the majority of venues a 48 plasma screen system is installed throughout the stadium concourse areas - co-ordinated with David Llewellyn of Blink TV - and complete with two dedicated XL crew. Each station consists of a plug-and-go 42" plasma, DVD player and a Bluetooth box, complete with regionalised custom content the audience show-related downloads - both free and paid for - to their mobile phones. XL is touring an edit suite and DVD burner rack to produce the DVDs for each venue. For the open air sites that have no concourse two of XL's brand new Barco B10 LED trailers are bought in for displaying the interactive content.
Phil Mercer says: "This is the most advanced screen configuration of any show we're currently working on. It's great to see a show where visuals - set [Ray Winkler of Studio Fisher], lighting [LD Al Gurdon] and video - have all been developed as one integrated medium rather than separate departments. The fact that this approach really works is seen in the stunning results."
(Lee Baldock)
