PRODUCTION PROFILE
Montague to create. In total, he had five camera operators looking after a range of Blackcam Robotics tower lift cameras. “At FOH on the long lens, we have a very talented newcomer and all-rounder, Mike Flood. The standard long lens at FOH is great for him as he’s a musician in his own right, meaning he was very quick to learn the sequences and parts of each song,” commented the Director. In the pit there was Rod Williams and Gordon Davies, both on remotely operated tower lift cameras, both tracking, with Ant Barrett remotely operating the two Camera Corps Q-Balls both on separate Blackcam Robotics tracks stage left and stage right. Gareth Manicom was manning a Blackmagic URSA Broadcast camera on the upstage track and dolly tower lift. “It wouldn’t be fair to mention the camera department without mentioning Ray Gwilliams who is the disguise Systems Designer and Technical Director,” stated Montague. “Ray brings so much touring experience and expertise, problem solving and racking the live cameras during the show. Technically, he is the glue that bonds the department together and we’re lucky to have him.” Also aiding the team in the build of the LED screen were Technicians, Freddy Debaillie, Patrick Vansteelant and Daan Govaerts. The Director went on to give his opinion on the Blackcam Robotic System used during the tour. “It’s a camera system which certainly engages both sides of the operator’s brain as it allows the camera to move on multiple axis and creates visually beautiful shots,” he commented. “It’s also a system which uses less space in the pit, allowing the barrier to be slightly closer to the stage and also, without an operator physically tracking with the camera, allows for a better viewing experience for
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the prime front-row seats and for the band.” Another interesting aspect to the remote system was that for the show a bit of software had been written to allow both camera dollies on the pit track to ‘see’ each other, allowing the operators more time to concentrate on building the video cut rather than having to think about collisions – essentially creating a safe bubble around each camera. FOLLOW YOU FOLLOW ME Another of the FOH crew playing a vital role in the look of the show was Xander Ballet of WICREATIONS. Prior to the show, TPi spoke to Ballet behind the large automated video screen to discuss all the moving parts up in the sky. There were 23 moving objects in total, including 12 video screen sections, five lighting pods and six FX trusses – all of which was made possible with 56 automation hoists, with the entire stage having been pre-programmed and operated within WIMOTION software and controlled via its own control desk. “I operate the show from FOH right next to Roland,” explained Ballet. As timecode was non-existent in the Genesis camp, Roland cued the moves, which were then operated manually by Ballet. The automation specialist spoke candidly about the intimidating nature of this show, especially as the production was coming into this one after such a long time away from the road. “We had a really good rehearsal period at the end of last year and then the long load-in we had in Birmingham made it begin to feel natural again,” he reflected. This show also marked a sea change for WICREATIONS, which also provided the rolling stage for the show, rather than just automation. The stage was 18m wide by 11m deep and
was flanked by two offstage band platforms as well as an upstage light shelf. The entire stage, complete with handrails and staircases, could then be packed away in 12 bespoke set carts with the goal of creating flexibility along with a quick and easy stage setup. The entire project was a noteworthy one for WICREATIONS as it marked the first time the team could utilise the WIMOTION CLOUD COLLABORATION. In advance of coming onsite and during lockdown, the WI team collaborated in the WICLOUD with various expertise profiles, among them the video content designers and programmers, Ellie Clement and Ray Gwilliams. While looking skyward to the roof, it only seemed right to speak to Head Rigger, Stephen Armstrong about dealing with this large production. “The major issue from a rigging point of view was the flown weight of the upstage scenic elements including the video and lighting wall,” he began. With a wall that weighs 25.5 tonnes and a mother grid that housed five automated lighting pods weighing 23 tonnes, this was far from a light production. With all its elements, total flown show weight was 83 tonnes, hung from 134 rigging points – 48 of which were two-tonne SWL chain hoists. “Most large arenas in the UK, Europe and North America have a roof load limit of 50 tonnes. With the addition of other flown elements, such as audio hangs, the show weight was over some building limits and so engineers were consulted and approved rigging plans that were put into place.” For certain venues, there was no other option but to reduce the size of the mother grid and in some cases take out the automation elements of the rear wall. Aiding Armstrong out on the road were fellow riggers, Mike Fowler and Tom McKay
