The touring team is completed by Jerry Rogers as the Lead Camera Op. Nathan Barnier is Crew Chief, and Al Wright and Tim Bolland are Lead LED Techs. With the two-year COVID-enforced delay and many hours of advancing across Zoom, the final result of how this video-centric show looks is just phenomenal.”Īside from Wilson-Wright, Charlie Woods serves as Camera Switcher, Ellie Clement is the disguise Programmer and Oli Derynck and Matt Vassallo are on duty as Engineers. We go through our days confident that the product will produce what we need to deliver and at the highest production level.”Īs well as the screens and servers UP have provided a camera package consisting of 4k 2ME Ross Carbonite Ultra with four Sony HDC4300s (three XJ90 lenses and one HJ14), and two Panasonic AWUE150KPJ PTZ cameras with Ereca Topas 4k Optical Transmission Modules on custom automated masts by Kinetic Lights.įinally, UP provided a 10-station custom-built backline monitoring package and 14 crew members, project-managed by Mark Strange, who comments: “It was really rewarding to finally see this tour come to fruition. Production Manager Chris Kansy comments: “We are loving the build speed, resilience, and performance of the Leyard LED product, which has been custom built by UP. I describe it as an integrated piece of art for a musical artist, and it truly is an incredible show to look at.” “It’s not just a rock ‘n’ roll show with big video screens this is unlike anything I’ve ever had the pleasure to work on. “Everything aligned when this opportunity came up,” he notes. His expert wide-shot video direction, perfect for impactful narratives, has seen him work with other political activists, such as Massive Attack. Video Director Icarus Wilson-Wright, who first worked with Pink Floyd legend Roger Waters in 2008, came back on board for this tour. LED was driven by Colorlight Z6 Pro 4k Processing, in which the content and camera effects were fed via four disguised GX2c media servers. The result is a truly immersive 360-degree canvas for Roger Waters’ outspoken storytelling.” The huge 650sqm Leyard LED screen was chosen because it is lightweight enough to reduce the overall rigging load, while still staying true to the overall design concept. “UP provided the screen for the last tour in 2017/18 so it was a pleasure to work with the team again to find a solution for this unique in-the-round show. “With the screen, audio, and lighting all suspended from the roof, this heavy rig required a lot of advance planning,” says Jeremy Lloyd, co-director of technical production practice at Wonder Works. As well as creating a striking visual spectacle, this configuration ensures that the audiences in US, Canadian and Mexican arenas have a great view of the video content wherever they are seated. Instead of the circular stage shape traditionally associated with in-the-round shows, the This Is Not A Drill tour features a cross-shaped stage, which is mirrored by a 12-surface LED cross suspended above it. Universal Pixels (UP) has supplied screens, servers, cameras, a backline monitoring package and a crew for global prog rock artist Roger Waters’ 360-degree This Is Not A Drill tour, which is traveling across North America until October 2022.
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