XL Video is supplying a full range of cameras, PPU, LED surfaces, media servers, and projection solutions for Pink on the US leg of her hi-energy Funhouse world tour, a tour which has firmly established her as one of the most spectacular live music performers of the moment.
With a striking set designed by Mark Fisher and show direction/lighting by Baz Halpin, the show is packed with visual elements from start to finish. Video was always going to be an integral design component, for which the designers wanted the contrast of both high- and low-resolution surfaces.
Making its global debut on the Funhouse tour is the upstage 7mm F-LED, flanked by two Barco MiTrix panels, all masked by a scenic interface that brings the edgy and carnival-esque visuals to life and creating an approximately 40’- wide by 15’deep six-part surface.
Specially modified by XL Video for the tours, the MiTrix sections are built as 6’x4’ panel frames to suit the shape of the fascia, complete with a custom cable management system devised to minimize the run distances.
In addition to the onstage screen, XL is supplying four side screens. The two 16’x12’ downstage screen are flown at about 60’-high on their own trusses to cover the upper tiers of the arenas. The other two sit side stage at 90, covering the ends of the 270˚ format. Each is fed with a Barco R12+ projector.
The live content is mixed by Richy Parkin, primarily sent to the four side screens, but also appears across the onstage LED surfaces. Prior to the tour starting, Larn Poland joined Halpin and Goulet as video consultant, and along with the artist herself, worked on developing camera treatments for the show.
The XL crew keeps busy on cameras, as well. The tight choreography means there are numerous cues and keeping up with Pink’s non-stop movements is probably the biggest challenge. "Every show tests me and keeps me totally on my toes,” says Parkin. “It’s an extremely invigorating and satisfying way to work.”
XL Video’s project coordinators on the tour are Jo Beirne and new managing director Phil Mercer, who comments, “It was a very brave decision by Baz Halpin and production manager Richard Young to specify a brand new screen without even seeing the 7mm beforehand, particularly with a schedule as rigorous as this one. Not only does it look right for the show, but it’s also been bombproof!”