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♦🎤How did the team behind the critically acclaimed Rebel Diamonds tour, celebrating The Killers’ 20th anniversary, overcome a plethora of unique lighting, audio and staging challenges for the band’s casino-inspired rock show? In the latest issue of LSi (available to read online now), Rob Speight meets the production team and goes behind the scenes at London’s O2 Arena . . . 💎Diamond stage The unique stage features a diamond thrust with flown digital marquees high above the deck. Ensuring adequate sound coverage was a major challenge for the team, who constructed a “wall of sound” behind frontman Brandon Flowers, as broadcast and monitor engineer Marty Beath reflects: “Brandon doesn’t use in-ears, so we’ve got a billion wedges everywhere. It’s about keeping even coverage . . . it’s the compromise we have to come to in order to cover this diamond point. That was a challenge.” 🎤 Striking the balance The show featured a huge, full-width video wall upstage. “Like most shows, we’re competing with video nowadays. But, I think we strike the balance pretty well. There are some ‘non-video’ songs. But we also have to remember that, while from here it might look great if somebody on stage is standing in one single light, we have to make sure an audience member on the 400th level in row X is still getting a similar show . . .” explains Steven Douglas, lighting and stage production designer. ⚡ The iconic ‘K’, revamped The Killer’s signature K-shaped keyboard stand underwent a lighting overhaul, with the new version, built by Largent Studios, being fully pixel controllable and mapped to run bitmap effects in addition to regular DMX effects. “In total, it’s around 5,200 attributes spread over 11 DMX universes,” reveals Douglas. 📖 Somebody Told Me you can go in-depth on pages 26-32 of LSi September, out now! #thekillers #brandonflowers #rebeldiamonds #livemusic #behindthescenes #lightingdesign #stagedesign

Full case study video coming soon that will showcase the specific products that were used and highlight how the team came together to make this a successful project. In the meantime, check out the portion of the video that explains why you should choose A+ Lighting as a partner on your next lighting project.

Do you still have any of those old '3.5 x 3.5' floppy disks that have important documents or photos on them and you want to get rid of these disks? Or you also don't have a way to get them transferred. Zartman Studios Production can transfer these out-dated discs to a digital file. Reduce the chance of the plastic breaking or the floppy discs failing suddenly without warning! Zartman Studios Production can help you save these important photos and documents for you! For more information, please contact me or head to my website: www.zartmanstudios.com. #zartmanmedia #mediatransfer #oldtonewmedia #familymemories #digitaltransfers #openforbusiness

Using LED wall virtual production can help with lighting. This is because the walls provide a blend of both traditional and digital lighting. Consequently, filmmakers have more control over the look and feel of their scenes. This can be done by adjusting the colors, brightness, contrast and shadows that come from a digital source.  Additionally, filmmakers can easily create different lighting scenarios faster than with traditional methods or natural light sources. This helps to save time and make sure that each scene looks exactly how it was intended to be seen.

Master the art of lighting in video production with this course. Learn various techniques and take your videos to the next level. #videos #production #lighting https://loom.ly/DRnsHRM

How do you choose the right LED volume size for your next virtual production project?? It all comes down to 3 factors: THE SIZE OF YOUR SPACE Of course this will determine how wide and tall your volume can be, but it also determines the amount of shooting space you’ll have (which impacts the LED wall specifications you need to consider, such as pixel pitch). THE PRODUCTIONS YOU PLAN TO SHOOT If you’re planning to shoot commercials, you probably don’t need a giant 80ft volume. Similarly, if you want to shoot Tier-A, Hollywood films, you’ll want something much bigger than 20 ft. It’s all about finding that sweet Goldilocks range for you. YOUR BUDGET Bigger walls will inevitably be more expensive with more modules, processors, connectivity etc., plus you’ll also need to consider the installation and day-to-day operation costs. With LED volumes ranging from 20ft to over 100ft, choosing the right size can quickly become overwhelming. Read our full LED wall sizes guide here: https://lnkd.in/gS5cX4m5 Need help choosing the right size for your studio or organization? Let’s chat: [email protected]

The soothing sounds of IDS, from design to production. Part 1! What sound was your favorite? What do you want to hear more of? #ASMR #ArtStudio #ASMRVideo #ASMRtist #RelaxAndUnwind #OddlySatisfying

REAGAN Shot and Posted Using Blackmagic Design https://lnkd.in/exHuPCVc

So during the time that we won't mention, a.k.a., the pandemic, TONEHAUS expanded solidly into live video production in response to client needs. Just like we did with audio, we over-engineered the video. Our cameras and audio are truly synchronized - something you may have not heard people talk about, because it is rarely done for production in this budget level. But thanks to this effort on the front end, our easy to deploy system saves our clients thousands in production and post costs throughout the season. Another benefit of our system is that we have a TriCaster - an incredibly powerful video switching machine that is basically an all in one TV studio. Performing artist Bryce Clifford - who splits time between Texas and Ontario - needed a livestream while on an Austin to keep his international fans up to date. Leaning into the TriCaster for the heavy lifting, it was easy to produce an online concert which included a raffle. The camera work was done by TONEHAUS A-Lister Tony Lopez-Cepero. I spearheaded audio and video engineering. Equipment in play was two cameras, TriCaster, a boom mic (out of frame), a hidden wireless lav, placed invisibly as shown in the reel below, and lighting. Some of the features of the live program were:  - picture in picture - retro wipes between cameras - graphics / lower thirds for each song - graphics for giveaway (thank you Brad Clifford & Clifford Brewing Company) - pre-recorded video playback - countdown before live - direct livestreaming to facebook  - in camera and program recordings If you are looking for a professional solution to reach audiences around the world, TONEHAUS has options from a single video feed to eight camera production. Fill out this survey to get started https://lnkd.in/gqkNrRPp #performingarts #singersongwriter #concertvideo #concertlivestream #choir #ensemble #orchestra #texas #colorado #newmexico

Lighting setup: Bounced top light in small studios