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NG1 Media Servers

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Lighting director Phil White and show projectionist Chris Gadd were instrumental in getting RADlite specified for the tour, having used the system before and knowing that lighting and video supplier Entec has also invested in RADlite systems. They knew that it would make life infinitely easier on a number of levels for the video department, including with resizing the projections and masking as they swapped between different venues.

Visuals are looked after during the show by Gadd, along with White and video aficionado Richard Hutton. These three are joined by super-tech Simon “Boff Howarth, another Entec regular, and the 2007 Total Production Awards “Rigger of the Year, Danny Spratt.

Lighting has again been designed by Dave Hill, who stepped the production values up yet another level this time around with the addition of the upstage arch, echoing one of the classic structural fundamentals from Pink Floyd's seminal “Pulse tour (1994/5).

All video content for the Australian Pink Floyd's three hour show is produced by Damian Darlington and Bryan Kolupski. This is streamed into the RADlite via a capture card, and then edge-blended in the system to create the 60 ft wide image needed to fill the arch shaped screen with projections from two Christie LX100 projectors. “There's no other cost-effective product on the market that can touch RADlite on this function says Hutton.

The longer term plan is also to move storage of all the video content and sources over to the RADlite, to allow control from the lighting console, as the time allows in their hectic touring schedule.

Video is also projected onto the middle of the Trussing circle. When circle-only images are required, Gadd manually drops in the RADlite mask that blacks out anything running across the arch.

The arched projection surface is made up of in three sections, the centre strip of which can be removed, shrinking the whole thing by 8 ft for smaller stages, and there's other situations where they might use only one projector. When this happens, all they have to do is change the screen resolution size in RADlite, and the images will automatically fit the different size and throw distances, “One click and it's done enthuses Gadd.

The masks were created using a simple picture editor. There are 6 different arch configurations in total, all reflecting slightly different variations of the show and stage layout.

White, Hutton and Gadd are all impressed with the support they have received from Radical Lighting's technical director Simon Carter, who was actively involved during their short rehearsal period in ensuring the system delivered everything they specifically needed.

This marks the third Pink Floyd association for Radical Lighting. They have also supplied a PixelDrive system for another highly credible tribute band, Off The Wall, and their PixelDrive product again featured heavily during the real Pink Floyd's Live8 performance in London.

Radical Lighting Media Servers

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Auxiliary Input - A signal path that goes back to the sound console for line lever signals sent to a seperate outboard piece of equipment such as an EQ, Delay, Effect Processor, etc, via an Auxiliary Send.. Used . . Used . ...

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Media Servers

Media servers are a type of software application or computer hardware which are primarily used to store, share and process media files. Media servers can be specialist enterprise class machines that are capable of providing video on demand, or they can just be a simple PC or even attached storage device, although dedicated software and/or machines is used for professional applications. The video processing server, as media servers are often labeled, is becoming steadily more popular in theater, concerts, corporate events, exhibitions and night clubs due to the increasing usage of motion graphics in such events. For this purposes, the image processing system is likely to be a high-spec PC, with a boosted hard drive, graphics system and RAM, together with something like a solid-state hard drive or a RAID system. These media servers serve as a high performance video engine, as they will run software which allows technicians to control and manipulate the media content, such as controlling the playback of the content. In order to do so, media servers will usually included a MIDI or DMX512-A input. A media processing engine is usually able to capture media, using specialist hardware like tuner cards, which can capture broadcasted media from analog signals. Once this media is digitally encoded, it can then be saved onto media servers and then manipulated according to the desires of the technician.