UNIVERSAL PIXELS

UNIVERSAL PIXELS

TPi’s Stew Hume pays a visit to Universal Pixels’ HQ in Tring to talk about the history of the award-winning video specialist and discover what’s in store for the future.

The impact of video on the live touring sector is undeniable. Be it projection or LED, it’s rare for an arena or stadium tour not to present visuals that go beyond a traditional IMAG or rear screen setup. Nowadays, show designers are finding even more intricate ways of incorporating dynamic visual elements into live performances. Not to mention the ever-growing sophistication of visual software. Backed by years of industry experience, Universal Pixels’ (UP) founders saw a gap in the market for a bespoke video company that delivers what designers want, not just what suits the rental company. Now, three years into business and with a fully spec’d warehouse, the UP team is ready to turn the page on its next chapter, which not only includes an extensive touring schedule and new equipment, but also ventures into new markets. Able to service shows with huge LED requirements and smaller, academy-sized gigs alike, the TPi Award-winning company currently has a sizeable amount of gear out on the road, much to the delight of artists like Vampire Weekend, Björk, The Chemical Brothers and Christina Aguilera. Despite a busy schedule, the team found time to take TPi on a tour of its headquarters to discover UP’s doctrine of video. As soon as you enter the warehouse space, it’s clear that identity and functionality are at the forefront of the company’s psyche. Not only is the office and warehouse coded with the company’s orange colour scheme, the entire space has been designed with efficiency in mind – a deliberate attempt to re-evaluate bad practices within the world of video. Discussing the history of the company was Commercial Director and Co-Founder, Phil Mercer. A familiar name within the live events industry, Mercer has operated at the forefront of the video sector for almost two decades, including a 14-year stint at XL Video – spent living on both sides of the Atlantic. His fellow UP founders – Technical Director, Gareth Jeanne and Operations Director, Oliver Luff – also share significant knowledge of the industry. “It was the collective effort of the three of us that got Universal Pixels off the ground,” reflected Mercer, recalling the early days of the company, which was officially formed back in October 2016. “The idea behind the company came from what we felt was a market need for bespoke solutions. It’s not just about being a company with a lot of gear in the warehouse, it’s having an active interest in what designers are trying to produce and working out how to achieve their end vision.” Mercer was quick to highlight how the company differs to a selection of rental houses in the market, which offer video alongside audio and/or lighting solutions. For UP, its only – and all – about video. “You just have to look at the shows we’ve been involved in over the past few years,” said Roly Oliver, UP’s Head of Business Development. “From Massive Attack, to Roger Waters, Swedish House Mafia and The Chemical Brothers; these are all acts where video is integral to their show.” The size and calibre of clients has never dipped from the company’s first gig – supplying the Robbie Williams NYE 2017 show, broadcast live on BBC. “There’s nothing quite like the pressure of a live TV broadcast,” reminisced Mercer. “At that stage, we didn’t even have stock in a warehouse, but his production had faith in us as we had worked with them in the past.” When it came to building its equipment inventory, Mercer and the team had a definitive investment goal in mind. “We pride ourselves on specialising in products from leftfield manufacturers for our marketplace,” he explained. “We d idn’t want to invest in the same gear as other rental houses to avoid being involved in competitive price matching and instead offer an alternative solution. Some of the companies we’ve brought on have never even really sold into this market before.” Two brands that UP has especially invested in are Epson and Leyard LED screens. “You could say it was somewhat of a leap of faith for both those companies, as they weren’t particularly active in the live events market,” said Mercer. “Although the touring sector is a small market for both LED and projector companies, manufacturers like to be involved as it’s a good showcase for them.” He explained that each purchase feeds into a ‘Lego ethos’, whereby UP provides the pieces that productions can build in a variety of combinations, rather than forcing creatives down a certain path. Other notable investments have been within the world of media servers, investing heavily in disguise hardware and software. The UP team was also keen to point out that starting from nothing meant its delivery was not hampered by redundant gear or bad practices. “It’s an issue we see in our industry when a company buys another. They are also purchasing their equipment, systems and standards. Simple practicalities such as having flight cases that fit on a truck is an issue.” But starting from scratch meant the UP team could put the right procedures and equipment in place to ensure its tour offering is as efficient as possible. “One area we really focussed on was our procedures for checking incoming gear,” explained Operations Director, Oliver Luff. “We are confident that our kit is maintained to the best standard.” Mercer added: “Video, in many ways, has been behind the times compared to lighting and audio when it comes to prep and discipline for no good reason. For us, it’s been all about being reliable rather than necessarily getting all stock out the door as fast as possible. “No two show designers are the same. Some opt to give quite exact schematics, whereas others will give more of a sketch.” He explained that often, the most rewarding shows involve a creative director who has a vision that can be realised in collaboration with the company. “This means, for example, that we can make suggestions about whether it would be better to go down the LED or projection route.” Reflecting on the past few years, Mercer talked about some of the trends he has witnessed in the market. “There is the old saying, ‘you don’t go home humming the lights’. But, nowadays, the look of the show is its signature and the images or video an audience member will share via social media is often how it’s judged.” From Instagram to YouTube, audiences are may experiencing the show from one region and then expect to see it when it comes to their town. “The influence of social media has really affected our side of the industry and is constantly at the back of our minds when we are putting together the packages for these shows,” Mercer explained. With the year drawing to a close, the UP team still had a number of projects on its plate, including shows with McFly and Robbie Williams. “It’s been a successful three years,” concluded Mercer. “We’ve expanded each year, with a strong staff base of 12 full-time employees. It’s been steady growth, as we are constantly thinking about what path we are taking and ensuring it’s the right decision.” What is for sure is that Mercer regards UP as an entertainment company. He told TPi: “Be it theatre or touring, we know the sector in which Universal Pixels exists. TV and film production is currently a very interesting market, with production companies often opting for LED or projection over traditional green screen techniques.” Wh atever lies ahead, it will be exciting to see what the Universal Pixels team tackles next.

TPi

Photos: Universal Pixels

www.unipix.tv