Last month, Creative Production & Design (CPD) created a lighting and video show for CRUSH Dallas 2017 at the South Side Ballroom, featuring PVP X6IP LED video panels from CHAUVET Professional.
The high-octane rig was able to adapt to the styles of different performers at the event, like Yellow Claw and Keys N Krates.
“My business partner Justin Jenkins and I always try to make our show designs flexible and well rounded,” said Dan Wyatt of Creative Production & Design, who served as the production manager and designer on the project. “This event was no different. Not only did we have DJs like Yellow Claw that just need a table full of CDJs and a front video wall, we also had artists like Keys N Krates that perform with keyboards, drum kits, and more on a separate riser setup. We put everything on rolling risers and casters so it could be moved around to accommodate what each artist needed to make the best fan experience.”
The setup included a PVP X6IP video wall, which was set behind a gigantic heart-shaped truss structure, as well as a video wall on the DJ booth, which consisted of 16 PVP X3 panels.
“Our lead video operator, Kendall Clark, used a heart-shaped mask in Resolume to clean up the edges and keep all the video content within the heart structure,” said Wyatt. “This heart shape was not just used in Dallas, but at other Insomniac CRUSH shows this year. It’s an important aspect of their show branding for CRUSH, letting have a similar visual experience at shows in different cities.”
In the setup, Clark used a heart-shaped outline and different types of feedback loops to create evolving animations on the PVP X6IP tiles. Images in video displayed on the rig’s video canvas were coordinated with the stage’s lightshow, which included 12 Legend moving fixtures.
“The coordination and support from Dan Wyatt and Justin Jenkins is also pretty incredible,” continued Clark. “Once you start working this level of show — where there may be an LD, VJ, and laser operator — you really have to work together, just like a band, to create an evolving show. No one wants to listen to a 35-minute guitar solo. The same goes for the FOH team. You have to come together to create a constant flow of interesting looks.”
