TOTAL PRODUCTION INTERNATIONAL
www.tpiawards.com
TOTAL PRODUCTION INTERNATIONAL
WWW.TPiMAGAZINE.COM JANUARY 2015
ISSUE 185
LIVE EVENT DESIGN & TECHNOLOGY • JANUARY 2015 • ISSUE 185
LADY GAGA OBSESSIVELY OPPOSED TO THE TYPICAL
INSIDE THE GLOBAL ICON’S ARTRAVE EXTRAVAGANZA
IN THE SPOTLIGHT: EAW’S ANYA • ON THE ROAD: DENMARK • UK FESTIVAL AWARDS • KASABIAN IN PROFILE: L-ACOUSTICS • CELEBRATING THE FALL OF THE BERLIN WALL • LINKIN PARK • PSA
PRODUCTION PROFILE: Kasabian
KASABIAN’S 48:13 LIVE RENOWNED FOR THEIR ROLLERCOASTER ANTHEMIC BUILDS AND GUT TINGLING DROPS, KASABIAN AND THEIR CREATIVE TEAM WORK THEIR AUDIENCE HARD AND FAST FROM THE MOMENT THE FIRST NOTE IS STRUCK TO THE FINAL FADE TO BLACK. SARAH RUSHTON-READ CAUGHT UP WITH THE BRITISH BAND’S EYEBALL TREMBLING UK TOUR. Pumped up and hedonistic, Kasabian’s atmospherically designed, psychedelic show is peppered with a twist of digital rave and packed with stroboscopic sci-fi visuals. This optical banquet serves up a compelling backdrop to the bands sometimes melodic, often banging but invariably euphoric catalogue of songs. Phew! Celebrating the release of their fifth Album, 48:13, Kasabian’s show is as much of an artistic departure for the design team as Kasabian’s latest album is musically for the band. Show Designer Nick Gray of Renegade Design brings a sense of visual purpose to the mix, skillfully grafting throbbing strobes and piercing lasers to layer upon layer of dazzling, dynamic, fast paced, flickering light. The looks morph from murky to super bright and effortlessly sync with eye popping 3D visuals that bloom from the stage wide video screen. Despite such visceral imagery, at no point is the band’s relationship with its audience upstaged or compromised. Instead the super48
real, 3D mindbender skillfully crystalises what Kasabian does best live on stage and transposes it, in various states of intoxicating distortion, to the screen behind. Gray has worked with Kasabian for eight years; his creative relationship with singer and lead guitarist, Sergio Pizzorno, is longstanding. The men share similar artistic tastes, which has enabled them to make a ‘brave’ departure when it comes to the look of the bands most recent UK and European tour. For boundary pushing Gray, creative departures are part for the course: “We wanted to build the design around the video element,” explained Gray. “Our aspiration was to create visuals that had a tangible connection to the band, the music they play and how they behave on stage.” VISUAL CREATIVITY To that end the video content is constructed around live action in real time. Gray assembled a creative team that included Sam Pattinson
from visual design and production specialists Treatment; creative technologist Matt Swoboda, who recently developed a new stand alone software called Demolition that can plug in to the D3 Media Server and Damian Hale, creative content designer and developer. Between them they capture the live action on stage, transform it graphically and transfer it to the big screen. Swoboda explained: “I used software previously applied in gaming technology and created a live rendering plugin, which can work with the d3 Technologies media server. At a basic level Demolition enables designers to create effects around real time video content captured by any kind of camera. Previously the option was to statically build a look in After Effects and then render that video out. That took time and was obviously impossible to change on the fly.” Content Designer Hale continued: “I worked alongside Nick Gray to create the content layers and effects parameters, which we used in conjunction with Xbox Kinect 3D Cameras to
PRODUCTION PROFILE: Kasabian
Opposite and Below: The tour’s spectacular visual design was a blend of work from the great minds behind Renegade and Treatment Studios.
distort the live filmed image.” Inspired by the 2009 Gaspar Noé film Enter The Void, the imagery reflects and echoes the sound, mood and atmosphere of Kasabian’s music in a 3D graphic style, sometimes sharp, other times gritty and abstract. “Our aim was to encapsulate raw performance, and emulate the sound of the music graphically,” explained Gray. “The video is textural, it’s certainly not about telling a four minute story for each song on an oversized telly!” This was initially challenging for Hale: “As an illustrator and filmmaker the Demolition and live action approach was out of my comfort zone. My method is generally more traditional and linear. I’d worked with Matt (Swoboda) on Ed Sheeran in the summer, and we’d used Demolition then. It certainly got the creative juices flowing.” As far as Treatment’s Sam Pattinson is concerned the exodus from the content he’s used to commissioning was really exciting.
“There will always be a need for linear content. We’ve worked with a lot of artists on many unique productions and we’re constantly inviting new people to work with us, so our output is varied. Having this new tool has opened up numerous possibilities. Ed (Sheeran) and Kasabian are the first taste of that. It’s exhilarating to see designers question the accepted format of shows and the relationship bands have with audiences. We need to encourage that, try new things and keep our work fresh and interesting.” And there are many benefits as Swoboda details: “The real time aspect is good for the show and for the production process. It gives us much more scope to react quickly and we can make edits very late in the day. We don’t have to wait 12 hours for everything to be rerendered or to transfer files.” The team uses eight unmanned, Xbox infrared Kinect cameras strategically positioned on the stage filming the band. The range of each camera is minimal and the depth of field
limited. “It took time to make it a foolproof,” explains Gray. “If the band don’t stand in front of the right camera at the right time then there will be nothing meaningful on the screen! Obviously we have a choice of eight cameras so we can cut between them.” For Hale and the rest of the team, watching Kasabian see themselves for the first time on screen and play up to it was immensely satisfying. “That was a great feeling and actually it’s those unpredictable moments, especially in the first few shows that help fine-tune the ideas. As the tour progressed everyone worked out how to get the best out of it.” Of course someone has to make all this happen on the night so in a dark corner behind the huge 22.2-metre by nine-metre high WinVision 9mm pitch screen sits a relaxed Gilbert Roper. “I’m in charge of the d3 Technologies media server. My job is to cut from one camera to the other to ensure we always have the best shots on screen. The Demolition DFX template layer is basically
visit us at the Panasonic stand. 1-P20, ISE, 10-12 Feb, RAI Amsterdam. www.d3technologies.com
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PRODUCTION PROFILE: Kasabian
Below: A DiGiCo SD7 console was the desk of choice for FOH; Kasabian toured in support of their fifth studio album; Renegade and Chaos Visual supplied the tour’s visual equipment.
another content layer but instead of using a bit map or video its source is a DFX file. This has key farmable parameters from which we can create the output image. This means we can adjust things like the resolution, rotate and change parameters.” Content is triggered using a mix of timecode from the band and Roper cutting between the Kinect cameras live. The whole video package including a d3, four camera four channel PPU and screens plus the full stage width WinVision 9mm screen was supplied by Chaos Visual Productions, which is now part of the PRG Group. But it doesn’t end there; either side of the stage there is a dynamic I-MAG output. In charge video director Paul Eggerton (Eggy): “We have four manned Sony HXC-100’s cameras, two in the pit - on track and dolly - and two long lenses at FOH. It’s pretty lively and there are a lot of cuts from camera to camera to keep lead singer Tom (Meighan) in shot. We also have a number of unmanned Bradley Engineering robo cameras for drums, a reverse view of Serge and 50
the string quartet. Screen projection is provided by two 26k Barco projectors.” All this visual wizardry is expertly supported by Nick Gray’s hip hop / rave style lighting and laser design, which intertwines with the images, helping them to pop right out of the screen. Gray is renowned for his precision programmed lighting, which can feature up to 150 cues in a single song. Lighting runs to time code in beat-perfect synchronicity with the musical builds and drops. Like the band Gray often leaves you wanting more... and then wham bam thank you mam, gives it to you, smack in the face, when you least expect it! LIGHTING AND LASERS Central to Nick’s creative team was Lighting Operator Rob Gawler who programmed and ran everything from a High End Systems Hog 4 console. “I cannot pretend that I could have done any of this without Rob,” said Gray. “He spent hours programming and fine tuning this show - he’s a very patient and talented man!”
Although the lighting budget had to be paired back to accommodate the interactive video it didn’t stop Gray including 25 ER Productions RGB BEAMBURST Lasers along with three TRIPAN RGB OPSL systems - one positioned on the upstage centre lighting pod and two flown upstage for downstage looks. “I wanted a multi-layered effect, everything had to balance out. It’s about careful choice of fixtures. I work with Julian Lavender at Neg Earth and always include Clay Paky in my rig. This time Sharpys and Shapy Washes. They’re compact, robust but at the same time they pack a punch and offer plenty of tools for effects plus lots of strong colours. In particular I used the Sharpy Wash 330’s stunning texturising effects to add 3D effect to the overall look.” Gray’s rig comprises three 10ft trusses upstage carrying Clay Paky Sharpy Beams and Sharpy Washes and vertically mounted to each are three scaff pipes with Atomic Colors and 2-lite Moles. Two side towers loaded with Martin Professional MAC Viper Wash DXs were used for punchy low-level cross light and packed
PRODUCTION PROFILE: Kasabian
Below: Adam Smith of Britannia Row; Paul ‘Eggy’ Eggerton.
with even more blinders and strobes. On the advance truss 12 Viper Wash DXs provided key lighting - chosen for their crisp optics and smooth shuttering system - alongside Martin Atomic Colors, generic 2-lites and Sharpys. Overhead three trusses were rigged with MAC Quantum LED washes, Sharpys and Sharpy Washes, more Atomic Colors plus an array of of 2-lites. A total of nine ER Productions’ RGB Beamburst were positioned on the top of each of the upstage truss pods and 12 on the
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upstage truss with four on the downstage left and right towers. For the flown units ER Productions manufactured Chrome Plates positioned on the downstage edge for a bounce reflection. The result was a parallel structure of laser beams that encapsulated the band. Operator Nick Ross used a High End Systems Road Hog 4 to control the BEAMBURST: “The main Laser track of the show was ‘Treat’ and Nick wanted maximum impact from the lasers so he dropped back on lighting levels. We’re using Pangolin Beyond for control, which
offers flexibility when it comes to programming palettes. Of course this would all be wasted if the right atmospherics were not generated so we have four Viper delux units plus two Unique Hazers.” THE SOUND DIMENSION The atmosphere adds dimension to the addictive catalogue of Kasabian songs, which deftly unite electro-synth, string quartets, pounding guitar and roaring vocals with a string of unearthly transitional tracks. Keeping the sound big with a
PRODUCTION PROFILE: Kasabian
Below: Paul Ramsay, FOH Engineer; Monitor Engineer, yogi; Damien Hale Content Designer; Kasabian frontman, Tom Meighan with his Shure Beta 58A vocal microphone; The band’s Sergio Pizzorno enjoying the show.
banging heartbeat, is FOH Engineer Paul Ramsay who has toured with Kasabian for three years. “They’re a great live act musically to mix and the crowd is the best I’ve experienced anywhere,” he said. Ramsay’s console of choice is a DiGiCo SD7, which spends most of its time protected under its own beer resistant mackintosh. Ramsay says the band give him the freedom to mix the show as he sees fit. “I’m running 56 channels from stage. The drummer has a regular five-piece kit with an electronic pad, there’s a bass player, two guitarists, keyboardist and Tom singing with most of the rest of band doing backing vocals. There’s also a trumpet player and a string quartet for certain songs.” Ramsay is a long time DiGiCo user and said: “I choose to use the console for its fantastic sound, the most user-friendly surface of all digital consoles, plus the backup support is phenomenal. It’s common for beer to get thrown around during the show and one night a full pint hit the console. The next day the guys at DiGiCo had a new fader bank sent out to us with Keith from Britannia Row at the venue to fit and then clean the console. We were back on track before we knew we were off it!” In preparation for this tour Ramsay says his first port of call is to listen to the album over and over identifying the effects used for each 54
song. “I speak to Serge and ask him if there’s anything extra he wants me to add on top of what’s on the album and then I spend a lot of time with virtual soundcheck setting up snapshots for each song. Ramsay uses virtually no external outboard: “I’m using the full waves package with a pair of Soundgrid Extreme servers on the SD7. The only external outboard is an Avalon VT737SP on the vocal. I’ve been really happy using the Waves plug ins to emulate the much larger external outboard package that I previously carried, which comprised fragile valve gear and high end reverbs.” To replicate the effects on the albums Ramsay wanted to get some particular distortions on key phrases on the vocals, telephone effects, extreme modulation and delays. “I’ve been using the Waves REDD .17 to get a nice subtle distortion on the vocal when required and this, blended with the Q10 EQ for telephone effect, works well. Then using the macros on the desk I drop these effects in and out as required with snapshots changing the parameters song to song. “My choice of PA is the fantastic L-Acoustics K1 from Britannia Row Productions. Today we have 14 K1 on the main hang with three K2 as downfill. Side hangs comprise 10 K1 and five K2, and there are also eight K2 for the 240-degree
hangs. Flown behind the main hang are eight K1SB subwoofer, which gives us a really nice punchy sub. On the ground we’ve got 24 SB28 subs and eight Kara for lip fills plus ten Arcs for in and out fills used as required depending on the venue. We’re using LA Network Manager and Lake LM44 for system EQ and delay running at 96K AES from the SD7 desk to L-Acoustics’ LA8 amplifiers”. Ramsay’s microphones of choice include a number of Shure, AKG, Royer, Heil, AudioTechnica and Sennheiser models. Singer Tom Meighan uses a Shure Beta 58A vocal microphone. Ramsay’s long time System Tech is Adam Smith from Britannia Row who looks after the prediction for the L-Acoustics system each day. “He does an amazing job with K1 and it always sounds stunning, with myself having to do very little EQ each day.” A loud stage is part of the course for Monitor Engineer Yogi, who is a Kasabian veteran. Relaxed and comfortably positioned on the side of stage he uses the Midas PRO2C for the band and a PRO1 for the string section. “The PRO2 is basically full up with mixes for the band, explained Yogi. “Because the strings aren’t always with us I put them on a separate package. Excluding the strings there are seven in the band. Most are on stereo in ear monitoring
PRODUCTION PROFILE: Kasabian
Below: As the visual content would suggest, all of the band members like their live mix loud and rock ‘n’ roll heavy.
but we also have wedges and side fills so there’s a lot going on.” Yogi says he often knows what each member of the band wants before they do themselves! “They all like it loud and rock ‘n’ roll. They have the choice of IEMs or using the wedges and they tend to use both. We have 10 d&b audiotechnik M2’s along the front of the stage and everyone knows they aren’t quiet!
launched: “I make good use of the POP Groups and the VCAs. To me, the Midas sound is still the best. Both consoles are tiny yet offer an impressive 56 inputs and 27 outputs, I couldn’t ask for much more beyond some more inputs for the strings. The graphic feed set up is great and I can grab it regardless of what I am looking at, I don’t have to go through layer upon layer to find it. For example if I select a mix then the
“I make good use of the POP Groups and the VCAs. To me, the Midas sound is still the best.”
That’s what the band like so that’s what we do.” Past keeping the artists happy and being able to hear himself think Yogi says his biggest challenge is “not getting vibrated off the riser by the sub that’s coming from out front. “Beyond that there aren’t many challenges that remain unresolved when you’ve been working with a band for so long,” he laughed. Yogi has used the Midas PRO Series since it 56
graphic will follow and if I select a wedge feed then the graphic will follow that - fantastic, nothing more to say really!” SMOOTH PRODUCTION COGS Overseeing the whole tour is Production Manager Tyrone Brunton who keeps the cogs of the touring machine well oiled and finely tuned, managing the day-to-day logistics and ensuring
that all the necessary pre-planning is taken care of. However it is clear he trusts his team implicitly to get on with their jobs, in particular head rigger Phil Broad. The band and touring team are kept well fed by Eat to the Beat and are transported from venue to venue by Phoenix Bussing. Production logistics and trucking came via Fly By Nite. 2014 saw Kasabian pack arenas and festivals the world over, motivating its highly charged audiences to remain firmly on their springy toes, hurling beer and keeping the mosh pit boiling throughout. Having staggered out of one of the best nights of the year, my eyballs still pulsating with stroboscopic memories, TPi wonders what next year could possibly bring... TPi Photos: Sarah Rushton-Read http://thefifthestate.co.uk www.kasabian.co.uk www.er-productions.com www.negearth.com www.chaosvisual.com www.prg.com www.britanniarow.com www.renegadedesign.co.uk www.treatmentstudio.com www.flybynite.co.uk www.phoenix-bussing.co.uk www.eattothebeat.com