Download a PDF - PLSN.com

NEWS
P R O J E C T I O N L I G H T S & S TA G I N G N E W S
Webb A/V, High Resolution Systems Support Nu Skin
Event with UDC-400 Controller, Apple iPad
SALT LAKE CITY — Jason Spencer, show
director for Webb A/V, used High Resolution
Systems’ UDC-400 Universal Device Controller
to support the AV needs for the recent
North American regional convention for Nu
Skin Enterprises at the Salt Palace Convention
Center.
The UDC-400 is a software-based control
platform designed to simplify setup
and improve control over devices using IP
(TCP/UDP) or serial (232/422/485) protocols.
Spencer used the UDC-400 to control the
output of the router from FOH so he could
view the different sources and two preview/
program feeds on his monitor.
For the Nu Skin events, which included
general sessions, breakouts and a performance
by Styx on the closing night, the AV
setup included three edge-blended screens
spanned the 200-foot width of the stage and
a fourth edge-blended screen positioned
behind the center display to act as a scenic
backdrop.
High Resolution Systems provided a
seven-frame Christie Vista Spyder system to
feed the screens and a Lightware Visual Engineering
32x32 DVI router for source management.
Sources for the screens included live
cameras, PowerPoint content and elements
from four main sync rolled Playback Pro machines,
one dedicated to each screen. The
displays were busy illustrating everything
from keynote speaker Kevin Carroll’s address
to Styx’s performance.
Drew Taylor built the controller interface
for the UDC-400, which he ran on his
computer backstage where he operated the
Spyder system on a Montage II console. He
took advantage of the UDC-400’s web server
feature to provide Spencer with an interface
on an Apple iPad.
“Jason had my iPad on a little stand on
the desk next to him in the Front of House so
when he switched his monitor he could look
at all the different sources,” Taylor said. “I customized
the interface with his company logo
that spanned four buttons not in use. That
branded the iPad as his. It was a way to impress
the client and get them excited about
UDC and my involvement on the show.”
“I loved the iPad and UDC software — it
was so valuable that I wish I had it on every
show,” said Spencer. “It simplified things dramatically.
It made it
easy for me to see
what I wanted on my
Front of House monitor
and not have to
ask anybody about
it. Through the iPad
I could control what
was displayed on
my video monitor,
whether PowerPoint,
prompter, cameras,
any source. I’d highly
recommend it for
any show director
sitting out at Front
of House.”
Taylor noted
that, from his perspective
backstage,
his intercom communications with Spencer
were also facilitated by the UDC-400. “It was
easy to talk about what source was next,
and helpful for troubleshooting and when
we were building slides, screen looks and
other elements during rehearsals. Jason
and I could show the Nu Skin client different
Styx performed for the convention’s final show.
screen looks with iPad control from the Front
of House.”
Spencer noted feedback from Nu Skin
calling the convention “their best show ever”
and commended Taylor and High Resolution
Systems for the assist they provided, calling
Taylor “extremely knowledgeable.”
XL Video Supports Doctor Who
U.K. Tour with Gear, Crew
The Monsters are Coming!
continued from page 31
other special effects igniting onstage, rear
projection was the only practical option.
The projectors are fitted with 0.8 wide
angle lenses, as distances behind the stage
are often limited.
Image warp facilities are used extensively,
both on the projectors and in the Pandora’s
Box media server to achieve the required
perspective correction and image alignment
to the screen.
All the show video content — graphics,
animations, the Doctor’s VT play ins, and so
on — is stored on the Pandora’s Box media
server and played out as real time composites
often using six or more video layers to
create the desired on screen result. Selected
video elements are timecode-triggered via
QLab to play sequences specifically cut to
the music while others are triggered manually
direct from the media server control.
Three timelines are used to provide this level
of integration.
The show’s video content was all custom-created,
featuring clips from different
eras of the show as well as specially shot
material featuring Matt Smith. The edit was
handed to XL for the final compositing and
show programming into the Pandora’s Box
by XL’s David Mulcahy.
XL is supplying two Sony D55 cameras,
one fitted with a long lens, positioned at
front of house, and the other on a spider
dolly in the pit. These are used to capture
PiP footage that’s mixed by Ray “Moose”
Shaw using a Kayak switcher/PPU — and
output to the main screen via the Pandora’s
Box, at strategic moments in the show. This
is primarily of the various monsters walking
through and interacting with the audience.
Upstage right is the Doctor’s TARDIS. This
is created from 60 panels of XL’s Pixled F11
LED screen, which bursts into life at the end
of the show, with the footage of the Doctor
appearing on its sides and finally metamorphosing
into the TARDIS itself — also via
footage from the media servers.
The mix of adventure, music and monsters
is proving popular with young and
older Doctor Who fans across the U.K., and
includes a live 16-piece orchestra playing all
the original scores written by Murray Gold.
Other technical suppliers to the tour
are Bandit Lites UK (LD Mark Cunniffe) and
Adlib Audio.
David Gallo Designs Helps Colin Quinn Cover the
History of Civilization on Broadway
NEW YORK — When you’re tasked with explaining the history of civilization to an audience
in 75 minutes, it helps to have some visual support. For Broadway’s Colin Quinn Long
Story Short, starring Colin Quinn and directed by Jerry Seinfeld at the Helen Hayes Theater,
Quinn gets it in the form of projections and scenery from scenic designer David Gallo.
In a coliseum-like surround, Quinn launches into his take on the history of civilization
accompanied by images that appear on an oversized ornate framed screen on the stage,
which helps establish context for the unveiling of man’s behavior throughout history.
Rapidly-changing images correspond to Quinn’s quick-paced overview, and 75 minutes
later, the complete history of civilization is unveiled, both visually and verbally.
As the use of projections becomes more and more prevalent in theatrical productions
around the globe, Gallo, who was once primarily a scenic designer, has honed his skills in
effectively producing electronic imagery as well.
In addition to Colin Quinn Long Story Short, Gallo also designed the scenery and projections
for Memphis on Broadway, Der Schuh Des Manitu in Berlin, The History of Invulnerability
at The Cincinnati Playhouse, The 2010 Tony Awards and Tears of Heaven, a new musical
by Frank Wildhorn that will premiere in Seoul in January 2011.
Gallo collaborated with Quinn and Seinfeld on the set and projections. “It’s not every
day that you get to be surrounded by the funniest people on the planet,” said Gallo, who
has been designing for theater, concerts, family entertainment, television, and special
events for over 20 years.
The visuals in Long Story Short keep pace with Colin Quinn’s explanations about pretty much everything
that has ever mattered to anyone.
Carol Rosegg
Colombian Fountains Feature LED Lighting, Projection, Lasers
MEDELLIN, Colombia — Georgia Fountain
Company’s Vida and Interactivas fountain projects
here relied on subcontractor MediaMation, Inc.
(MMI)’s Virtual Fountain 3D visualization software
and ShowFlow software for programming and
control.
The more elaborate Vida fountain uses
32 PLSN DECEMBER 2010
224 RGB LED fixtures to light water from more
than 850 fountain jets. The water feature also is
equipped with CO2 powered water cannons and
water-based fog systems for swaying patterns rising
up to 30 meters skyward.
Vida’s visuals also include a 15-meter-radius
“wall of water” effect with projected video from
a Barco FLM HD14, which is a 1080p HD, 14,000
lumens three-chip DLP projector, and laser-animated
logos from a 10-watt LPS RGB laser system.
Interactivas, which invites visitors to run
through the fountain jets to cool off on a hot day,
is located about a mile away. Interactivas features
395 RGB fixtures and more than 300 jets.
Vida Fountain