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28/06/2007

XL Video Breaks Touring Pixel World Record On Genesis

XL Video UK – via Blink TV - is supplying 15,089 Barco 510 O-Lite panels with 270 control boxes, plus 102 panels of Mitsubishi 16:8 high resolution screen in a record breaking 9 million pixel LED surface for the acclaimed Genesis 'Turn It On Again' world tour.
The O-lite makes up a spectacular 13 metre high 55 metre wide set back wall and is surrounded by seven lighting towers ('ribs') reaching heights of up to 28 metres, which together resemble a giant conch shell. This was designed by Mark Fisher/Stufish.
The screen provides an elegant 3D curved wall and an elegant architectural back drop immediately behind the performance area. It is an interactive canvass for video playback, graphics images and IMAG which are integrated with lighting (designed by Patrick Woodroffe) effects, helping to create the show’s unique visual identity.
The O-lite pixels are fitted into customised touring frames designed by XL Video and made by Brilliant Stages populated at different pitches to give multiple resolutions across the whole surface. The screen ends at either side of stage with the two elliptical Mitsubishis which seamlessly ‘flow’ into the main screen.
The O-lite screen is by far the most complicated that’s ever been created in terms of engineering and processing according to Stufish’s project executive designer Jeremy Lloyd. It presented a real challenge to the video boffins, namely Richard Turner, who took care of the processing, mapping and programming of the hard drives that feed it with provocative and engaging images.
Custom playback material produced by Sam Pattinson from Onedotzero ia stored on four GV Profile hard drives including a dynamic array of graphics and animations. This is operated live by playback director Bryan Myles using Barco’s Events Manager, which drives the Barco Encore system providing the show’s overall video control.
MacPhie’s mix is coming from five Sony D50 cameras, two with long lenses at FOH, one in the pit on (a specially curved) track & dolly with wide angle lens, one hand-held onstage and a hot-head on the ‘roofette’ above the band performance area centre stage.
MacPhie is using one of XL’s Kayak mixer/switchers. He is running it with a separate Out for the side screens coming from its Aux bus, with one sub-cut, and the side screens run individually on the Programme Bus plus ME1. This allows him to put any band member onto any screen anytime, and using the Aux Bus allows him to take any source to the main screen from the Kayak. MacPhie’s mix is also fed into the Encore system, with some of the IMAG multi-screen effects pre-ordained and programmed into the Events Manager by Richard Turner.
MacPhie’s starting point is to get good coverage across all screens. He added a second camera at FOH to enable him to put the other four cameras on the sides while leaving one up on the centre, thus giving specific and unique IMAG images for the centre.
The show also incorporates a few interesting video special effects, one of which is a head shot during the song 'Mama' for which the band wanted to replicate an image from the track’s original 1980’s promotional material. This is done live by Collins activating (via foot pedal) a small redhead light positioned at his feet while his face is framed with a tight camera shot – giving a ghostly shimmering halo of light around his face. The XL crew has rigged up a little camera in the pit so Collins can see the image this is producing and tweak it to his liking by moving his head in relation to the light.
Involving five steel crews and two advanced systems, 90 trucks and over 250 crew, Genesis tours Europe, arriving in the UK in July before going to the US till the end of the year.
(DS)
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