P!NK
LDX86N handheld cameras partnered three long-lens cameras with 107x and 99x Fujinon 4K lenses. A Ross Furio Robotic camera track, dolly system, plus a jib located on stage right, as well as a pit camera at the front of the B-Stage, helped keep pace with the non-stop action of the show. Jones said: “It’s always an evolving capture process depending on what is happening within the audience. It’s the nature of the live show; things change.” An additional RF Link GoPro was mounted in the chandelier that P!nk began the show hanging from. “The camera shots have to match the high energy of the show, adding cameras to key acrobatic apparatus such as the chandelier helps us capture that energy and excitement,” Jones added. “The RF GoPro allows us to capture P!nk flying up towards the camera just as the pyro is going off.” Video Director, Larn Poland brings the show to the big screens through a Grass Valley K-Frame with Korona Switcher Panel. “Larn and P!nk have worked together on pretty much every tour since the beginning,” Jones explained. “We have eight operated cameras, which is not the norm for a lot of shows. You would struggle to achieve the same quality of visual story that we are aiming for if you replaced manned cameras with robocams. With such a fast paced show you need the eight sets of eyes out there in the audience and onstage reacting and finding the best shots to bring the show to life on big screens.” A mainstay of the two-year tour, Solotech’s support was crucial to the visual delivery of the show. Jones explained: “Solotech’s commitment to the tour doesn’t just stop with the guys on the road. Having the support and depth of expertise of the guys (back in the US) who build and service this gear makes a huge difference. If something breaks, being able to get a replacement piece of gear, technical advice or information, the support from the Solotech technical staff is gold standard.” Jones commended Solotech systems as “well built and rock solid” for the touring environment. “They’re modular so we can add extra pieces of equipment if needed,” he said. “As soon as we made the jump from arena to stadium-sized shows, we were able to up-scale the equipment very easily
and with minimal time needed to re-prep”. Video Engineer Richard Parkin agreed: “This tour has kept up with the technology; as the show has progressed, so has the technology.” JUST LIKE FIRE Pyrotek was brought in for pyrotechnic, flame, atmospheric and confetti looks, as well as manning the technical, safety and logistics factors in order to create the looks on stage. Pyrotek Project Manager and Designer, Reid Derne commented: “We worked closely with Halpin and P!nk to put the technical pieces in place to bring on-stage moments to life.” Pyrotek deployed 12 Salamander Quad Pro DMX-controlled flame units, two Silent Storm confetti machines to blow leaf confetti during the singer’s powerful forest scene; a 30 x 30 gold gerb waterfall; close to 100 comets, mines and flashes; and low smoke generators. Derne explained: “One of the biggest reasons we chose to use Salamander Quad Pros, which run on liquid fuel, was to avoid any kind fuel regulations that would have prohibited us from using propane.” The kit was set up by two touring pyrotechnicians throughout the tour, ensuring that all equipment was inspected, placed and executed correctly. Adjustments were made to the gear as it travelled European venues. Stage Operations Manager, Kenn MacDonald commented: “Our crews also work with local officials on site to ensure all equipment is operating within a safe distance of audiences and performers, while also conforming to any codes or regulations required by the venue or location.” Derne said working with P!nk on a tour of this magnitude was incredibly rewarding: “We are thrilled to be helping her tell her stories all over the globe. It’s a one of a kind tour and sets a precedent for those looking to create something that is theatrical at its core.” P!NK NOISE For control, FOH Engineer David Bracey relied on a trusty DiGiCo SD7. “I’ve used nothing else but this mixing desk since it launched in 2007.” He explained his keen interest in exploiting automating functions traces 30
