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Andrea Bocelli's Unique Christie Projection
When world renowned opera singer Andrea Bocelli appeared at the new 14,500-capacity O2 Dublin (formerly The Point) recently, locally-based vision specialists CAVS were on hand to meet the production spec with a powerful Christie projection rig.
Brought in by Ian Smith of Just Lite, who were responsible for the lighting and trussing, the CAVS team, led by Rowan McDonagh, were tasked with meeting an exacting brief by the opera singer's production.
"They were very specific in what they wanted - from the PA down to the camera lenses for the live show relay," stated Rowan. "While that's not unusual at this level, it proved quite a challenge as it had been rehearsed just once in Italy and no-one was quite sure how it would translate to the O2, which is still a new venue."
The two-day show involved a pair of Christie Roadster S+20Ks positioned atop two Christie S+16Ks, via the stacking modules built into the devices. These were then hung on the front downstage truss along with the lighting, and interfaced via Christie Twist modules with lighting.
Christie Twist is a dedicated, purpose-built hardware and software solution, designed to manage complex arrayed projectors and allowing users to create seamless images on flat, curved or cylindrical surfaces. At the O2 Dublin the Twists achieved perfect stitch with both the S+20Ks and S+16Ks, according to McDonagh.
Projection was onto a 26m x 15m ‘Tripolina' - a type of 'stringy' screen, according to Rowan McDonagh - hung at the back of centre stage. This was run from a Dataton Watchout system provided by the artist's own production (under tour manager John Gibbins). The Tripolina was flanked by a pair of 20ft x 15ft outer screens at the rear, projected onto by two of Christie DS+8Ks. All projectors used 0.8:1 fixed lens over a 15-metre throw distance onto 16:9 aspect ratio displays.
These took feeds from a five-camera (Panasonic MX70) PPU (one fixed and four manned) to relay all stage shots. One Tx was split to the Watchout processor, and then into an Edirol V4HD to the side screens, where it also displayed data during the interval.
All the signals were converted to Cat5 via Extron devices and all projectors were controlled on Cat5 by Christie Powertools. The DS+8Ks were rigged side by side and fed straight composite to negate delay.
But projecting onto the Tripolina had tested the expertise of CAVS - and the functionality of Christie's three-chip DLP projectors the maximum. As Rowan McDonagh explained: "Andrea Bocelli's production had used the Tripolina in tests in Italy and found it to be a lovely effect.
"But I must admit when I first saw it I was concerned as to how we would achieve true blend, stitch and focus on it."
However, his fears were largely unfounded and the effect was a big success. "While not an ideal surface for lining up, it looked fantastic as the slight movement throughout the show gave the imagery a shimmering effect whilst maintaining focus. Thanks to the Twist modules - and the Watchout soft-edge blend - we had a solid point map to reference to while it was moving around."
In summary, Rowan McDonagh confirmed that Christie had afforded their usual exemplary support. "As we had planned to install and train up with the Twists that weekend, once we had heard we had landed the gig, I contacted Gavin Chatfield who as usual pulled the stops out to get our techs and the projectors over at very short notice, and back to Dublin in time.
"Even though they are renowned for sharpness and colour depth, I was nervous about how the projectors would handle the Tripolina - but again I was pleasantly surprised at how they performed.
"This seems to be a constant trait of these projectors; at this level of event both the punters, who have paid big, and the artist's production expect it to be perfect - and it was."
Rowan McDonagh's team who made the production so special, included Eoin ‘Chip' Devitt, projection technician; Brian Moran, relay and data screens and Brian Judge, vision mixer/director.
18th March 2009
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