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house and the stage itself. “We had to link between all three areas, had to have the signals going from the stage back to Video World to front of house, etc. Carrying that many signals without going over budget was a big challenge.” The team deployed Disguise GX 3 media servers to do the job. The video feeds then populated the band’s 360° screen design, made up of 12 Roe Visual Vanish V8 LED panels for a meshy, transparent look that wouldn’t obstruct any sightlines. “When the show starts, the screen is on the deck,” notes Patel, “and the band appears behind the screen before it’s lifted. The screens were fully automated – they’d go up and down and rotate on their own axes,” creating a continuously shifting visual playground. The lighting team had to consider the staging, set and video design, working around the dynamic LED panels as well as the audio arrays. Developed by Baskerville, they installed 136 moving lights that could execute 12m flight animations both inside and outside the 360° performance area. Kinetic Lights provided 60 Winch XL systems – both single and clustered units – plus 60 KL Gyro motion stabilisers. The team synced and controlled equipment in real time via Kinetic Lights’ KLC software. “From our point of view,” Patel reiterates, “this was the most complex system that we’ve ever put together. Universal Pixels is eight years old now,
The show was mixed on the Yamaha Rivage PM10 with the DSP-RX due to sonic quality and onboard effects
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