Page 182 - Protec PR Book Volume 2

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TECH PROFILE
fitted with blinder lamps. This was all controlled from MA Lighting grandMA2 Full Size desks.
The separate audience rig included 24 Vari-Lite VL3000 Spots, 46 SGM P5’s to wash the VIP platforms on both sides. To illuminate the bar areas, Protec specified 24 TMB Nuri*Lites LED Hurricanes, 52 Claypaky Sharpy Profiles, and 28 Sharpy Washes.
VIDEO
The video kit on site in Dubai consisted of 3
screens – 1 main upstage screen made up of 176 panels of 9mm Mambo LED (measuring 12.3m x 8.5m) with back-up, and 2 IMAG screens, consisting of 40 panels of 6mm Mambo LED (measuring 6.1m x 3.8m). The main screen was configured and controlled by Novastar Vx4S LED processors. The IMAG screens were used to show live
feeds from all around the world during the broadcast. At the back end, Protec fielded an Apple Mac Mini running Playback Pro, with two
Analog Way Saphyr switchers. The VJ used MacPro and a MacBook Pro, both running Resolume Arena software, to provide graphical effects to the screens.
The satellite link-up from the main event in Belgium, and every country transmitting to and receiving from that location, was handled by SNG, which provided 4 HDSDI feeds with embedded audio from Belgium. The audio was then extracted from the video signal using de-embedders and sent on XLR cable to the main screen, while the video signal was sent through Protec’s Connex HDSDI to fibre converters and relayed to FOH via Neutrik opticalCON quad core fibre.
The secondary signal, featuring content from around the world, was sent to the IMAG screens while Protec was responsible for switching between all of the incoming feeds.
Video Engineer Ben Connor explained the fibre set-up: “We had Lightware 220 pro fibre to DVI units at either end of the fibre to send and
receive our video signals. We also used a Neutrik OpticalCON Duo dual core fibre along with Startech Ethernet over fibre units so that we could have Ethernet control of our LED processors over long distance from FOH. We used Lightware and Extron matrices to distribute HDSDI and DVI signals.”
Further feeds were supplied by 6 cameras, courtesy of Prime Vision, 5 for centre screen and the other to record footage for the client.
He explained that changes during the initial planning were forced as the set size had to be adapted to the limited dimension of the indoor venue; therefore, the screen sizes had to be adapted accordingly.
He concluded: “We were very happy with the show. The screens looked great, especially when displaying the VJ content. We went to a lot of trouble to colour-match and set a uniform brightness across all screens, as well as work with lighting to agree on a brightness that worked
ME