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Biffy Clyro sets festival stage benchmark · Clyro Megadeth havent we all? Last year was an...

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23/12/2016, 15*25 Biffy Clyro sets festival stage benchmark - 6 September 2016 - Daily Online News - LSi Online Page 1 of 2 http://www.lsionline.co.uk/news/story/Biffy%2DClyro%2Dsets%2Dfestival%2Dstage%2Dbenchmark/-8TJPKK ENTERTAINMENT • PRESENTATION • INSTALLATION Tweet 0 Biy Clyro's headlining appearances at Reading (photo: Andy Willsher) Tag Cloud Biy Clyro sets festival stage benchmark set portals LED screen back video Misty work great get look portal content d3 camera Video Design shows trusses hung Kinesys provided hoists lifted Video Banks I've eects allowing able cues cameras show Luke Leinster Related Stories from LSi Online Related Stories from LSi Magazine September 2015 Page 48: managed Enter Shikari Biy Clyro Megadeth havent we all? Last year was an interesting one doing some July 2015 Page 48: Skan a lot for the other acts he looks after Muse and Biy Clyro in particular And of course Im well Page 51: That Ive serviced the Gary Biy Clyro sets festival stage benchmark 6 September 2016 UK - For Biy Clyro's headlining appearances at Leeds and Reading this Bank Holiday weekend, set designer Misty Buckley established a new benchmark to what is possible with transformative stage sets on festival stages. "The stage is a square walled tunnel, a series of four portals of LED that enclose the full stage, each smaller than the next as you move upstage, and with a large landscape LED screen across the back," was how video director Jack Banks described it. "Looking at what Misty has come up with you can't just put at pictures behind the band. This is something entirely dierent to work with, it was great to get away from the classic 'big slab of telly' look. The portal screens introduce an amazing perspective to the video element and it was a chance to really think about how I could make content travel in and out of the set." The portals, rear screen, d3 servers, and an extensive camera package are supplied by Video Design. "The portals required some close attention if they were to be a practical proposition for back-to-back festival shows," explained production manager Paddy Hocken. "Alex Leinster at Video Design worked with Brilliant Stages to have the portal support trusses, onto which the LED panels are attached, made in such a way that all the LED and power supplies could remain permanently mounted for these shows. Portals 1-3 are hung on Litec D.S.T. 52 'track' truss (66m in total) to allow the vertical portals to be tracked ostage during the day using a Kinesys driven tracking system provided by Neg Earth. "The D.S.T. trusses are also hanging on 1 ton Liftket Kinesys hoists so that the 'tracks' can be lifted but kept level. Portal 4 (the smallest) is hung on standard 30.5cm Supertruss also lifted by 1 Ton Liftket Kinesys. All of the portal hoists as well as the back LED screen hoists have Kinesys Libra Loadcells provided by Rigorous Technologies." Video content was produced by Nathan Prince at Silent Studios and by Banks himself. "I've been thinking about and working on content over the summer. I've been using the new Notch plug-in for d3: looking at eects, seeing if they work as I want. It adds a great dynamic to content allowing live adjustment of eects. I was able for example, to hand certain parameters of the 'Particle' eects to Richard Larkum our LD, so rather than awkwardly trying to hit cues while directing cameras we could tie lighting and video cues together giving the show a much tighter look." Video Design contracted Luke Collins, a d3 specialist, to assist Banks, "Luke took all the pressure ome in terms of technical management; he set up my project and managed it for me throughout allowing me to focus on the creative elements of the show." Leinster also invested in a couple of the new Bradley Robocams with x30 lenses. "With these new cameras I was able to get shots I wouldn't normally have been able to without the addition of extra camera operators on stage. I still have a lot of ideas to explore for the tour in the autumn, but this was a great start." (Jim Evans) LSI Online Like Like Sha Sha Latest News Business People Product Audio Lighting Video & AV Rigging & Staging Events News Archive NEWS VIDEO MAGAZINE DIGITAL ADVERTISE JOBS MARKETPLACE BOOKS EVENTS ABOUT US
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Page 1: Biffy Clyro sets festival stage benchmark · Clyro Megadeth havent we all? Last year was an interesting one doing some Page 48: Skan a lot for the other acts he looks after Muse

23/12/2016, 15*25Biffy Clyro sets festival stage benchmark - 6 September 2016 - Daily Online News - LSi Online

Page 1 of 2http://www.lsionline.co.uk/news/story/Biffy%2DClyro%2Dsets%2Dfestival%2Dstage%2Dbenchmark/-8TJPKK

ENTERTAINMENT • PRESENTATION • INSTALLATION

Tweet 0

Biffy Clyro's headlining appearances at Reading(photo: Andy Willsher)

Tag Cloud

Biffy Clyro sets festival stage benchmark set portals LED

screen back video Misty work great get look portal content d3

camera Video Design shows trusses hung Kinesys provided

hoists lifted Video Banks I've effects allowing able cues

cameras show Luke Leinster

Related Stories from LSi Online

Related Stories from LSi Magazine

September 2015Page 48: managed Enter Shikari BiffyClyro Megadeth havent we all? Last yearwas an interesting one doing some

July 2015Page 48: Skan a lot for the other acts helooks after Muse and Biffy Clyro inparticular And of course Im well

Page 51: That Ive serviced the Gary

Biffy Clyro sets festival stage benchmark

6 September 2016

UK - For Biffy Clyro's headlining appearances at Leeds andReading this Bank Holiday weekend, set designer MistyBuckley established a new benchmark to what is possiblewith transformative stage sets on festival stages.

"The stage is a square walled tunnel, a series of four portalsof LED that enclose the full stage, each smaller than the nextas you move upstage, and with a large landscape LED screenacross the back," was how video director Jack Banksdescribed it.

"Looking at what Misty has come up with you can't just putflat pictures behind the band. This is something entirelydifferent to work with, it was great to get away from theclassic 'big slab of telly' look. The portal screens introduce anamazing perspective to the video element and it was achance to really think about how I could make content travelin and out of the set."

The portals, rear screen, d3 servers, and an extensive camera package are supplied by Video Design. "The portals requiredsome close attention if they were to be a practical proposition for back-to-back festival shows," explained productionmanager Paddy Hocken.

"Alex Leinster at Video Design worked with Brilliant Stages to have the portal support trusses, onto which the LED panelsare attached, made in such a way that all the LED and power supplies could remain permanently mounted for these shows.Portals 1-3 are hung on Litec D.S.T. 52 'track' truss (66m in total) to allow the vertical portals to be tracked offstage duringthe day using a Kinesys driven tracking system provided by Neg Earth.

"The D.S.T. trusses are also hanging on 1 ton Liftket Kinesys hoists so that the 'tracks' can be lifted but kept level. Portal 4(the smallest) is hung on standard 30.5cm Supertruss also lifted by 1 Ton Liftket Kinesys. All of the portal hoists as well asthe back LED screen hoists have Kinesys Libra Loadcells provided by Rigorous Technologies."

Video content was produced by Nathan Prince at Silent Studios and by Banks himself. "I've been thinking about andworking on content over the summer. I've been using the new Notch plug-in for d3: looking at effects, seeing if they work asI want. It adds a great dynamic to content allowing live adjustment of effects. I was able for example, to hand certainparameters of the 'Particle' effects to Richard Larkum our LD, so rather than awkwardly trying to hit cues while directingcameras we could tie lighting and video cues together giving the show a much tighter look."

Video Design contracted Luke Collins, a d3 specialist, to assist Banks, "Luke took all the pressure off me in terms of technicalmanagement; he set up my project and managed it for me throughout allowing me to focus on the creative elements of theshow."

Leinster also invested in a couple of the new Bradley Robocams with x30 lenses. "With these new cameras I was able to getshots I wouldn't normally have been able to without the addition of extra camera operators on stage. I still have a lot ofideas to explore for the tour in the autumn, but this was a great start."

( Jim Evans)

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Latest News Business People Product Audio Lighting Video & AV Rigging & Staging Events News ArchiveNEWS VIDEO MAGAZINE DIGITAL ADVERTISE JOBS MARKETPLACE BOOKS EVENTS ABOUT US

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