“We wanted to have a look that was straightforward, crisp and—very importantly—we wanted to have a look that was smokeless,” pointed out Dickinson. “We didn't depend on shafts of light to create the visual environment.” Dickinson instead worked with color as a primary tool for the evening. Different colors reflected the different genres being honored. He and Bass used VersaTUBEsâ„¢ to internally light scenic elements. “We used screens and lighting to identify the television viewer with the area,” explained Dickinson. “We assigned colors appropriately to different areas of production. It was a really interesting way to approach a show; to help visually communicate the evening to the viewer at home.”
Dickinson worked with Lighting Director/Programmer Andy O'Reilly who programmed the show on PRG's new V676â„¢ console. “This is the third show that I have done with the V676 and it is working very, very well,” stated Dickinson. “I had used the Virtuoso since its inception, on projects like the Academy Awards, the Olympics and the Grammy Awards and had come to trust it. The V676 has taken the Virtuoso characteristics and added a lot of features that the operators have been requesting. Without question, it is an ideal console for television work.”
O'Reilly agreed. “The V676 did great; it was rock-solid. We ran the show synchronized with our backup console in tracking backup, and it was flawless. The console felt really good, especially for a live televised event. It is extremely fast to make changes, which is just what television is all about. The V676 lets you make those changes and have them track through your show really, really quickly. Television is all about time so you need a console that is not only fast to use, but is fast to edit and the V676 is really built for that.”
The PRG Series 400â„¢ Power and Data Distribution System was used on the Emmy Awards, adding to the ease of using the overall system. "We got the system up quickly,” noted O'Reilly. “We were able to stay within those eight hour days and stay on budget.” Dickinson was also pleased. “PRG does most of my large projects and they were—as usual—completely professional. There were no hitches with their performance.” Dickinson's team, from his firm Full Flood, included Lighting Directors Jon Kusner and Travis Hagenbuch and Associate Lighting Designer Dave Thibodeau.
PRG also provided the automation for the two large moving LED screens. Two 60 ft. overhead tracks supported the two 3,000 lb. LED screens, allowing them to precisely move back and forth. PRG's new Mini Commanderâ„¢ automation control console was also used. Mini Commander provides the same reliability and repeatability as the PRG's Commanderâ„¢ console, but in a smaller package. The Mini Commander's full acceleration and deceleration feature managed the inertia of the screens. Simple control such as chain hoists would not have provided the same fluid movement and it would have been difficult to keep the screens still when brought to a â€˜hard' stop.
This year's Emmy Awards broadcast, helmed by Executive Producer Don Mischer and Director Glenn Weiss, was among the highest rated and best reviewed; a credit to the efforts of the entire production and creative team.
For more information on PRG, please visit www.prg.com.
About Production Resource Group—Production Resource Group, LLC (PRG) is the world's leading supplier of entertainment technology solutions, including lighting, audio, video, scenery, and automation systems. PRG serves a wide range of markets, including theatre, concert tours, trade shows, corporate and special events, television and film, and themed environments. PRG provides its services worldwide through more than 17 offices in North America, Europe, and Asia.