At TPi, we often explain to readers how we split our focus between all three major segments of the live production machine – touring crew, rental houses, and manufacturers. However, recently, we had the opportunity to bring some of these segments together, as we gathered three notable voices from the world of video, to get their thoughts on the growing developments in the sector, and some of the changes we’re likely to see.
Joining the conversation were; ROE Visual’s Marketing Manager, Marina Prak, Universal Pixels’ Head of Technical, Gareth Manicom, and Brompton Technology’s UK Technical Sales Manager, Patrick Goodden.
All three companies are likely to be more than familiar to TPi readers, with Brompton’s processing driving some of the most impressive LED shows in the world, ROE Visual’s screens adorning some of the biggest stages, including the record-breaking Adele in Munich, and UK-based rental house, Universal Pixels, providing video crew and equipment for a broad range of music acts including Massive Attack, The Chemical Brothers and Robbie Williams for the best part of a decade.
To get the ball rolling, we asked each of our guests to highlight some of their favourite shows from the past few years, which they believe demonstrated the most innovative use of video in the live events space.
“I always like it when LED is incorporated into the show rather than simply being a screen at the back of the stage,” began Goodden, using Taylor Swift’s famed ‘swimming gag’ during the Era’s Tour, where the singer appeared to dive into the stage and then the content on the LED floor showed her swimming back to the stage.
“Enter Shikari did something similar during their Wembley show when their singer ‘fell’ into the LED wall and then appeared to be swimming inside the screen,” he recalled. “I really enjoy those moments when LED is thought of as creative tool.”
Manicom concurred: “Video being used within choreography always makes a huge difference,” he said, citing a P!nk performance back in 2019. “In terms of a more modern
examples, we worked on Snow Patrol’s latest tour where we had ROE Visual Vanish V4ST upstage as well as projection onto gauze, which gave an almost 3D effect that looked fantastic.” Prak was keen to highlight the use of ROE Visual screens at last year’s ADE (Amsterdam Dance Event) – especially when ROE Strips were used to line the structure of a building to create some mesmerising effects.
“Hozier’s latest show where his team used a combination of LED and a scenic design cloth on the panels to create some amazing looks was also one that comes to mind,” she stated, sharing another of her highlights.
EVOLUTION
A common thread that all the video experts shared was their admiration for creatives that push the functionality of what an LED screen can be in a live show, with all three marvelling at the strides that had been made in a relatively short time.
“Recently, I was watching some archive footage of previous Eurovision Song Contest’s and compared to this year it was stark how video has evolved,” commented Manicom.
“These days it’s almost like shows are designed around video rather than the other way round.” Prak agreed. “I think the best shows are those where there’s complete integration with content and lighting.”
She pinpointed to innovations such as ROE Visual Vanish LED and its transparent nature, which has opened multiple design options for integration between lighting and video departments. “When we started to see transparent LED, I thought it was a bit of a gimmick,” admitted Manicom. “But the way people are using it now is fantastic. Some of the latest transparent technology can create almost a hologram effect.”
The round table also pointed to other LED innovations that have made waves in the industry, including curved LED as well as the overall trend of products getting much lighter.
“From ROE’s perspective, we like to listen to input from our clients and users to hear what they are trying to achieve and put that into our products,” stated Prak. “Curved LED is a great example of this as the demand has grown and it’s so gratifying to see what people do with it.”
Communication was also something that Goodden stated was key for Brompton’s customers. “Our main objective is to ensure that what the content creators produce gets on screens, accurately. That is why we’ve developed a huge range of calibration tools to make sure the colours being sent appear on the LED properly.”
He went on to explain how at an outdoor live event, LED was generally running at full brightness, and why Brompton has now got options such as thermal compensation or Thermacal as it’s known. This mean that as the panels heat up, users can bring in the inverse thermal patterning, removing any heat related artifacts on the LED.
“We are trying to build the bridge between us and the creatives,” stated Prak. “Rental houses are invaluable as they are always between manufacturers and end users and can voice requests well. That said, we like to be involved in the conversation because users might be thinking of solutions from ready-made products whereas we have a whole roster of other solutions we could produce.”
THE MOVE TO 2110
Along with the development of the physical hardware, one undeniable change in the world of video is the data requirement for live productions and the overall adaptation to more complex networks on the road. “Networking is nothing new to the video world, but even our control networks have now become very complex,” reflected Manicom. “These days I push all my team at Universal Pixels to take a networking course.”
When it comes to the innovations, Manicom and the rest of the roundtable pointed to the adoption of ST 2110. “We are mostly still using traditional SDI or HDMI systems in the rental market but over the next few years we will start seeing a move over to 2110,” he continued. ST 2110 refers to the system in which data – in this case video data – can be transported over IP networks, compared to the current standard SDI [Serial Digital Interface] connectivity.
Manicom continued to explain the advantages that 2110 will bring to the video market, such as the ability to send multiple signals down one cable.
“We’ll also be able to work with higher resolutions and frame rates,” he added, stating how there was already a show coming up later this year that was struggling to get that number of inputs needed for the media server. A possible solution came by looking into the option of 2110 meaning that multiple signals can be routed and transported within a single connector. He also noted that the move to 2110 would also give production true redundancy – a clear benefit for the live events environment. Both representatives from Brompton and ROE Visual expressed how each of their companies were preparing for the inevitable move to 2110.
“At Brompton, we are completely focussed on getting our 2110 integration out, ensuring that those boxes are ready for shows of all scales,” stated Goodden, giving a nod to the company’s upcoming Tessera SQ200. The new LED video processor, capable of capacities up to 8K provides support for ST 2110 and IPMX protocols, including ST 2022-7 network redundancy, with maximum interoperability across broadcast and pro-AV applications.
“At ROE, we are 2110 ready and already for shows such as The Eurovision Song Contest, where our screens were used. 2110 has now become the standard,” stated Prak. “People really must be aware of this overall change and the whole world that exists behind the content and LED screens.”
Prak also noted how this move to a protocol that can handle more data also helps futureproof touring productions to the growing demands of artists. She elaborated: “Many artists wish to stream their live concerts, which puts a real demand on the entire system to be very stable.”
VIRTUAL STUDIOS
Away from the live stage, our panellists shared their thoughts on virtual studio. During 2020 and 2021, this side of the industry moved in leaps and bounds as the need to create alternative performance spaces became essential. “At ROE, we treat virtual studios very much as its own vertical, with separate account managers that deal with those sales contacts,” stated Prak. “That said, it is still very much integrated in everything we do – especially as we find a lot of rental houses are also engaged in building studios or setting up temporary screens for virtual productions.”
Prak went on to explain that it was noteworthy how compared to the film industry, it was the live sector that made enormous strides in the development of virtual studios in the lockdown years.
“You speak to DOPs or producers for the film world, and they are only really now learning about virtual productions and in some cases, we’re still convincing them that they are a good alternative to making films.”
LOOK TO THE FUTURE
To close, we gave each of the three interviewees a chance to highlight some of the projects that TPi readers should be looking out for. One of the highlights that all three commented on was Robbie Williams’ latest production, which was said to be visually impressive. “The production put a big focus on colours and the look of the camera, so we recalibrated the IMAG screens with the Brompton Hydra system,” explained Manicom – outlining some of the work Universal Pixels had done on the tour. Prak was also keen to highlight the recent production from Dutch rock band, DI-RECT. “They are doing some really creative work with our Visual Black Quartz BQ4 and automation.”
Away from working examples, Prak also highlighted some of the areas in which ROE was looking to improve. “We’re looking for more ways to reduce power consumption and to be more sustainable,” she said, stating the importance of creating a product that lasts.
“We also want make sure our processors are future proof,” chipped in Goodden. “We want to be sure the same processors can deal with the demands customers might have both now and in five years’ time across all verticals.”
“Another consideration that we’ve been focussing on at Universal Pixels has been how we can secure outdoor screens,” stated Manicom. “Everyone wants lighter and bigger screens, but that’s not ideal in the outdoor environment. We are now experimenting with being able to build a framework that could be erected then screens could be secured to it, making it safer in windy conditions.”
Manicom revealed news of the company’s busy summer which included some large stadium shows including Oasis in the UK, which Gooden also noted would be featuring Brompton Technology processors.
Suffice to say, we can expect to see many more innovations from the video world in the coming months that no doubt will lead to some stunning productions that continue to push those working in this corner of the industry.
