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Adlib supplies full production for ‘DreamWorks Animation in Concert’

Adlib supplied sound, lighting, rigging and large format video projection for a special one-off event at the SSE Wembley Arena in London, ‘DreamWorks Animation in Concert’ which was presented by DreamWorks Animation, CineConcerts, and The MJR Group. It featured music and memorable moments from DreamWorks Animation’s films with music performed live by The Royal Philharmonic Concert Orchestra.

Adlib’s project managers Dave Eldridge and Richard Nicholson co-ordinated all the technical elements, working closely with tour manager Barry Jepson, MJR’s production manager Leanne Powell, technical manager Curtis King and creative director Nathan Stone.

Video was at the core of the technical production and a starting point for the entire concept. Adlib’s Charlie Rushton and John Haggart looked after the video system, starting with the 40 ft wide x 22.5 deep Stumpfl Vario 64 projection screen as specified by the production.

The front projection system consisted of a double-stacked pair of Panasonic DZ21Ks. The content was fed via the production’s CineMuse system servers and playback set-up running over Adlib’s fibre signal network. One feed was routed to the projectors and another to conductor Benjamin Pope’s stage monitor.

PA techs Otto Kroyman and Jethro Hall looked after the audio system, with Terry Smith and Chris Snow co-ordinating everything at the stage end. They worked alongside the production’s FOH engineer Sylvain Denis and CineMuse’s Marko Ambachtsheer.

An L-Acoustics K1 system was specified - a combination of L-Acoustics K1, K2 and Kara loudspeakers. The main hangs were 12 x L-Acoustics K1 a side, with 4 x Kara-downs and the side hangs were 8 x K2 a side, with Kara also used for infills and outfills. The low end of the spectrum was covered by L-Acoustics KS28 subs, six a side which were ground stacked in front of the stage.

The whole system was driven by L-Acoustics LA12X and LA8 amps and one of Adlib’s standard Lake LM44 control racks was used for zone control, EQ and signal distribution. With over 80 inputs, a DiGiCo fibre loop system was installed in conjunction with 2 x SD racks at stage end and a mini rack at FOH to accommodate the large channel-count. Sylvain Denis’ console of choice was a DiGiCo SD5 positioned at FOH.

Monitors were controlled from FOH. Ben Pope had a shout system to help with cues and other instructions. A mix of DPA 4011 and 4099 mics covered the large string sections, with Neumann, Sennheiser and Shure covering the rest of the orchestra.

Dave Eldridge and Adlib’s lighting specialist Tom Webber created a lighting design based on the requirements from DreamWorks and Barry Jepson. Webber worked on site with Jon Barlow who tech’d both lighting and video and dedicated lighting tech Ash Dawson.

Four trusses were utilised, the most upstage made up from Prolyte H40V for flying the screen and some drapes immediately behind. The back lighting truss was Prolyte S36 pre-rig, with 10 x Martin Mac Viper washes positioned on it for covering the orchestra, plus two Mac Viper Profiles providing the return light on the conductor.

The front truss was also made of S36 pre-rig, containing eight Mac Viper washes giving a general stage wash, plus four Viper Profiles for additional conductor key light. Finally the projector truss was flown just upstage of the front truss. A GrandMA2 light was used for lighting control.

Photos above: Sylvain Denis (FOH engineer), and Adlib touring crew.

(All photos by Steve Sroka)

www.adlib.co.uk

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