Techs on the Decks

TECHS ON THE DECKS

Gordon Torrington and the team at Liteup put on a unique event, with industry professionals offering their services for a 24-hour show, all streamed live on Facebook, YouTube and Twitch. TPi finds out more…

Let’s be honest – there are more than a few roadies, technicians and people behind some of the biggest bands in the live events industry, who were musicians in a previous life. Perhaps the world wasn’t ready for their talent and they swapped the guitar and drums for a walkie-talkie and a crew T-shirt… And as it turns out, there are just as many crew professionals who are also fairly handy on the DJ decks.

For those who missed the livestreamed event in early July, the concept was simple: A 24-hour stream with individuals from across the live events spectrum putting in hour-long shifts, all in aid of Backup – the technical entertainment charity which provides financial support to industry technical professionals working in live events, theatre, TV and film.

“O bviously, in the past few months, we have not been working on any live events,” stated Gordon Torrington, as he was on route to make the final preparations for the 24-hour stream. He explained to TPi that the company had to diversify into some rather different realms, including utilising staging elements for the infrastructure of a temporary mortuary. “While this other work kept us going, we were interested in some of the streaming projects that were popping up online. It sparked the idea that we could use Liteup’s warehouse to create our own streaming studio for clients.”

Th e result was a two-stage streaming solution on the Liteup premises. The smaller – Studio 2 – is a more compact setup, ideal for DJ sets and corporate events, with a second that could accommodate a live band. The Studio 1 lighting setup is modelled on a festival main stage, although scaled back somewhat to fit in the confines of a warehouse. The lighting setup for the Techs on the Decks livestream included 16 Robe ESPRITES – seven in the front truss, four on the mid for both back and front key lights plus effects, chosen for their “power, optics versatility and great on-camera look,” explained LD Warren Hutchison, who was brought in for the event.

A total of 24 Robe Spiiders were also utilised, while seven LEDBeam 150s and 12 Pointes across the back and mid trusses completed the moving light count. Added to that were four upstage truss towers, each fitted with 10 pixel-controllable LED battens – programmed and running via the lighting console – and some Flare strobes with the choice of a ChamSys MagicQ or an Avolites Arena console.

At the core of the video system in Studio 1 was a Grass Valley Korona, which received inputs from three GV LDX 86 4K cameras fitted with a variety of Fujinon lenses and two 4K Panasonic robo-cams. This was all coordinated by Paul ‘Macca’ McCauley for Solotech UK. “We were incredibly thankful for Solotech’s involvement,” stated Torrington. “The cameras and switcher form part of a larger fully 4K system that will support Solotech work here in the UK and the Global touring market when it returns.” Torrington also commented on the advantage of the Robo camera setup, which avoided the need for cameramen in the space, with just one operator capturing the shots from a distance.

St udio 2, on the other hand, featured eight Robe MegaPointes on a goalpost truss above the DJ booth, a number of Magic Blades, some

Liteup’s Senior Account Manager, Gordon Torrington.

LED washes and more Flare strobes, all controlled from an MA Lighting grandMA2 light. A back wall of Liteup’s 5.9 mm INFiLED screen was great for displaying eye-popping visuals and the complete length of the front of the DJ booth was clad with the same surface, bringing depth and dimension that maximised the space.

Th e camera system was one GV LDX 86 and four Panasonic robo-cams. Playback graphics and visuals were running on one of Liteup’s Resolume media servers, operated live by a rota of VJs together with the robo-cams, ensuring stunning, different, and individual looks for every artist.

Al though happy with the setup, Torrington explained that it had been challenging to get the studios in working order – especially when it came to the health and safety protocols.

“We completed an incredibly detailed COVID-19 risk assessment to ensure the safety of everyone in the building,” he explained, adding that once everything was in place, the team managed to create a good workflow in the end.

To rrington was happy to report the diverse departments and job roles that were on the line up for the project. “A number of the DJs are freelancers from all the disciplines, but we also have representatives from some of the UK’s major rental houses and manufacturers, including Jim Liddiard from Creative Technology and Dom Harter from Martin Audio.”

Al ong with the army of DJs, the show also featured a live performance from Zone Fluffy. “I’ve known Al Ashford [one of the three members of the band] since my early theatre days,” stated Torrington. “We went our separate ways and he’s currently in backline tech and FOH Engineer for Bill Bailey. But he got the band back together for us.”

Wi th the event going off without a hitch, Torrington gave his final thoughts: “I am absolutely delighted with everything – from the music, the camaraderie here in the studios, the viewing figures and, of course, the money raised. It has been an incredible and highly rewarding experience.” Liteup’s MD, Marc Callaghan, also commented: “It’s been a tough few months for everyone in our industry and no doubt there is more of that to come, but it’s amazing to see people volunteering and uniting in the same place and headspace to do so enthusiastically what they love and do best. It’s that spirit, collaboration and energy that makes this industry so great.” TPi Photos: Louise Stickland www.liteup.co.uk