CREAMFIELDS
network connectivity to FOH in every stage . Macca went on to explain the advantage of having PRG handle both video, lighting and rigging across several of the festival stages. “Having a PRG package across the main two stages and the Steel Yard means we can have discussion in house,” he explained. “The Steel Yard for example was a huge logistical effort on its own with 17 trucks.” The combined expertise across the different disciplines , really shone through with the build schedule in Steel Yard reduced due to the high winds earlier in the build. Everyone came together and we added shifts to work round the clock to get back on track.” For the Steel Yard, PRG provided a Movecat automated system that spanned the length of the structure. “We have up to 900 blades on each of the trusses,” enthused Macca, explaining that despite the logistical effort the final look for Eric Prydz performance this year. Discussing the other side of the visual coin was Rob Watson, Lighting Account Manager for CF01 and CF02 who worked alongside fellow Account Manager, Yvonne Donnelly Smith who oversaw the Steel Yard. “We have a lot of touring acts on CF01, with the likes of deadmau5, Calvin Harris and Swedish House Mafia,” stated Watson. “Thankfully, we are involved with all three acts as we supply deadmau5’s production, Calvin who is on tour with us and Swedish House Mafia which is a mixture of us and another supplier. This made it a lot easier logistically.” To aid the logistical task, the PRG team enlisted the aid of Ben Holdsworth. His sole role was to handle logistics on site not to mentioned the team from Ginger Owl Productions who looked after crew welfare to look after the 130 PRG handling everything from meal tickets, accreditation and any other day to day admin, leaving each member the opportunity to focus on the task at hand. On the main stages PRG opted to replicate last year’s wing design,
despite having to factor Swedish House Mafia’s large format video wall. “We’ve ensured that all the fixtures on the wings would attach to the ROE CB5 touring frames,” stated Watson. “This included Vari-Lite Showline SL NITROs, Claypaky Sharpys and generic moles.” On the top of the wings were GLP impression X4 Bars and Icon Beams which were for Swedish House Mafia only. “There are just so many visiting artists that we didn’t need to put in a huge lighting rig of our own,” explained Watson. “For example, Swedish House Mafia are bringing in an extra 130 PRG Icon Beams onstage. All we need to do is supplement their touring packages. During the day, we can’t use their touring package but our house rig is more than sufficient to provide a good-looking show.” The rig in question consisted of TMB Solaris Flares, Claypaky Sharpys, Martin by Harman MAC Quantum Washes and PRG Best Boys. All of which were driven by a MA Lighting grandMA2 with PRG Super Node. On CF02, one of the biggest changes to the design was the wings. On the lighting front a total of 94 Claypaky Sharpys were hung in a staggered formation to give both the house LD and those traveling with artists plenty of creative options. “Credit really has to be given to Chris Scott and Luke Jackson who designed CF01 and CF02 respectively,” stated Watson. Both stages had PRGs custom festival racks that have certainly done the rounds this season, all designed with plug-and-play in mind. With so many touring acts visiting each stage, producing a simplistic busking page for Operator, Adam Power, at CF02. “The layout was simple for anyone to jump onto the system and start working,” enthused Watson. “The same can be said for Mark Jones’ pages who oversaw the Steel Yard throughout the weekend.” PRG’s pre-visualisation suite, overseen by Erica Frost, was also available for touring productions and artists. “We have Barco E2s and Resolume media servers for touring productions to come and check their content 46
