PSL Stages Management Buyout
- Details
The project, which involved several months of in-depth research, in collaboration with the Victory’s curators and crew, led to the installation of a shore-based ‘mood theatre’, which takes a personal view of the battle of Trafalgar in October 1805 - Nelson’s greatest, and final, triumph.
Using Alcorn McBride control and playback systems, Sarner’s David Dempsey, Ross Magri and John Griffin devised a four-scene experience, with an independently-controlled waiting area and several interactive elements. David Dempsey explained that in the case of the Victory Gallery, technology was used to make the story of Trafalgar more accessible, without trivialising this pivotal piece of naval history. "There was
PRG ant
Situated within the Prince Pierre Theatre, the event provided the opportunity to introduce enabling technologies and methodology in a unique fashion. The organisation briefed production company Project Worldwide to design an adventurous set on a grand scale. They conceived a massive, rear-projected 17-metre screen as the entire backdrop, with the aim of turning the theatre into a giant internet site.
To help them, they asked Creative Technology to devise a projection system based on the new Dataton Watchout soft-edge system. The keynote room and stage thus became the website page, with the proscenium arch as the web page header, enabling them to present streaming video alongside flash animation and basic Powerpoint and video
Barco Digital Cinema is one of only three licensees of Texas Instruments’ DLP Cinema technology. TI developed DLP Cinema technology in close co-operation with key players in the film industry, and will continue to work closely with Barco to develop commercial products based on this technology. "One of the most frequently asked questions about digital cinema is: Where are the engineers and technicians going to come from, to install and service equipment in this new technology?" said Harry Mathias, Barco’s director of Digital Cine
While Westlife are a well-voiced, but ultimately plastic facsimile of pop stardom (see feature this issue), Craig David has it all. Last time I made such an assertion was for Baby Bird, who promptly migrated South, so I’ll temper my predictions for David. He is a skilled songwriter - consecutive hits have established that - and he has a rich, round voice, but it was seeing him live that convinced me. He prowls the stage with the leonine grace of a caged animal. He’s compelling, urging the crowd like a Gladiator holding his sword to the neck of his vanquished foe: Thumbs up? Thumbs down? Who cares, this man is dangerous. He may not be playing as many arena shows as Westlife, but they’re sell-outs, and get this
In California, an even closer association is taking place with the opening of a new XL Video office in LA, also specializing in live video production. The US operation is headed up by Bob Higgins and Barbara Riedling, both of whom have a long-standing history in, and vast knowledge of, the US concert touring market. This name-change and US office launch follows a successful 12 months for the St Albans-based company. Over the past year it has worked with artists such as Oasis, Madonna, Eric Clapton, Craig David, the Corrs, Robb
MCL will offer a complete inventory of audio, lighting, staging and AV equipment. Mike Bell told us: "We are intent on changing current conceptions about AV staging - often referred to as ‘One Stop Shops’.
Atlanta's Hartsfield International Airport, only one of the 30 airports managed by Atlanta TRACON, is the busiest airport in the world, having surpassed the traffic of Chicago’s O’Hare airport in 1999. It has 78 million passengers a year, and a daily airport average traffic count of 2,600 flights. Key to the system are 20 Barco MP50 video display systems. Its digital processors allow the FAA to show all sources in their native resolution and create the ability to quickly
Although the established end of Creative Technology, based in Wandsworth, has
Another regular, Vari-Lite Europe provided the complete lighting system - featuring more than 500 luminaires - as well as providing the rig for the After Show Party. Lighting designer for the event was Al Gurdon. With the ceremony designed to look spectacular both for the live audience and a massive worldwide broadcast audience, the lighting design encompassed the entire space within Earl’s Court 2, both on and around the huge stage and the specially-constructed auditorium.
The large-scale lighting rig included 40 VL2416s, 54 VL5 Arcs, 81 VL5Bs, 76 VL5s, 24 VL6 wash luminaires, 38 VL6Cs, six VL7s and 130 VL2C spot luminaires, with control from two Virtuoso consol