After three weeks, three cities and 64 shows, the new Range Rover Evoque has been well and truly launched to the public.

Starting in Earl's Court, London, then to the NEC in Birmingham and finishing at the GMEX in Manchester, the show was designed to cause hysteria amongst the invited guests with fast paced music, energetic dancers and attractive models.

The show was produced by Doll Events and managed by Paul Devine who  called upon Delta to provide the surround sound system, ELP to supply lighting, ERP to install the laser system, Stage One to implement the automation and XL Video to realise the complex video requirements.

From a technical standpoint alone, this has to be one of the most impressive car launches to date:

The guests enter what appears to be an enclosed cinema area with raked seating and a large projection screen with the words "Evoque LIVE" on, all surrounded by blue set panels.

Once seated and the big green button is pushed, the lights dim and mechanical and atmospheric noises are heard all around. The message on the large projection screen disappears and the raked seating starts to rotate to the left. As the guests are rotated, video images of flocking birds follow round on what are now realised as 18 more projection screens.

When the audience is facing 180 degrees from where they started, a stunning cityscape appears with wireframe images of the Evoque driving through. The city scape is then covered with rain and as it is, some of the screens begin to move away from the crowd revealing men in black striking poses in silhouette.

Following this dramatic introduction there are three sections to interpret each of the three specifications available:

"Pure" is shown with the screens all fully retreated in white forming a background for the first wave of models, all dressed in white.

"Dynamic" starts with the crowd rotating left to reveal three men in red, backed by a sunset. After a change in music they break pose and perform a variety of impressive free running moves around the stage area with the audience rotating to follow. The performance is then handed over to the dancers who perform an energetic routine to a fast paced and catchy track with the screens showing 18 different video clips of the car driving around a city. This culminates in the dancers grouping together centre stage and lowering down to the floor.

"Prestige" is represented by a ballet dancer who is revealed as the dynamic dancers reach the floor who then glide away across the stage. She performs a solo piece and then interacts with the two male dancers either side of stage. The ballet is backed by images of the dancer herself surrounded by smoke with only 6 of the screens retreated. This is followed by another show from the models, now in evening attire.

The show finishes with the dancers returning to the stage to more energetic music backed by a medley of images from the previous sections. They are then joined by the models and free runners who all run round either side of the audience to where the larges projection screen was. As the audience is rotated back to their start position it becomes apparent that the screen has gone and behind it are two Range Rover Evoques, back lit with intense white and surrounded by the performers.

Basic Monkey provided two of the four Catalyst media servers required to drive the 19x projectors, the content for which was created by Colin Rozee in collaboration with Nigel Catmur who designed the slick and impressive lighting.

James was on site to manage the video team of Jim Fisher (Projectionist) and Alex Roberts (Assistant Projectionist) for Tim Riley at XL Video. James was also tasked with taking the content from Colin and 'pixel bashing' it to work across the 4x Catalyst machines.

The show was run using timecode, meaning that the sound, lighting, video, lasers and automation would always remain in sync and be the same for each show.

Hopefully we'll get the chance to work on the next big Land Rover launch.

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This week sees James in Earls Court for the first leg of a three week tour to release the new Range Rover 'Evoque'.

The launch will be one of the most adventurous ever seen with a huge amount of video, lighting and automation.

James is looking after the video aspects of the event for Tim Riley at XL Video, utilising 4x Catalyst media servers including two of Basic Monkey's own and a huge rack of processing gear to drive the 20x Barco projectors.

We can't give away too much at this time but if you get the opportunity to see the show and the car, please do, you will be far from disappointed.

Please stay tuned for more updates and photos after the run comes to an end.

Today was the second part of Standard Life's new "LifeLens" product launch produced by Jack Morton Worldwide.

Replicating last month's event, James installed and operated XL Video's equipment along with Alex Roberts.

For this event, Basic Monkey supplied one of the two Catalyst systems required along with 2x Matrox TripleHead2Go boxes to feed the multiple LCD and plasma displays.

www.youtube.com/watch?v=4

Some photos of the setup.

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Following on from the Milan Fashion Week Launch, Jack Morton Worldwide were asked to travel to Seoul with the same team that created the holographic experience in Milan. Lighting, sound, set, staging and side screen video would be provided locally by Yonhanaro. XL Video provided the 16 Barco FLM HD 18 projectors, 2x Catalyst systems and processing, also bringing in James from Basic Monkey and Nev Bull of Pixels Plus to program and run the show. Basic Monkey provided a Jands Vista S3 lighting console, a high-spec Catalyst media server with suite of video software and network gear for content distribution.

Learning from the challenges encountered at Milan, James was involved from an early stage to design the pixel specification and consult with the rest of the team regarding Catalyst capabilities and methods. JMW also decided to help on three fronts to reduce workload and the chance of issues from Milan reoccurring: 1) Bring in a second Catalyst operator, Nev Bull 2) Supply a software producer (and body guard), Sharon Stansfield and 3) Ship the team out well in advance of the event and program offsite at the offices of D'strict (the graphics and content team).

The team worked really well. James would, as before, program and operate the show, with Nev acting as Catalyst technician, handling hardware issues and setting up the complex video input system. Sharon acted as intermediary between the team at D'strict and James and Nev, this meant that any content alterations wouldn't impact too much on programming and ensured a common schedule to work to. James was also responsible for processing the video files provided by D'strict and provided 'pixel crunching' and technical support to the local video team in charge of the side screen content.

For those that don't know, the holograms are created by projecting images onto the floor which then reflected using a very high-tech plastic stretched at 45 degrees along each side of the catwalk. This is provided my Musion, based in the UK and rigged by Steve from Nippy Industries. The technology is amazing and is best appreciated in person, please check out the YouTube videos.

All this technology is nothing without the amazing videos created by D'strict, along with their incredible 'Gesture' system that tracks the presenter's hand movements and also 'Vision Blob' which tracks dancers' movements along the catwalk and maps graphics which appear above or infront of them.

The team on the ground was as follows:

Rob Oliver - Senior Production Manager (JMW)
Jeavon Smith - Producer (JMW)
Tim Riley - Video HOD (XL)
Warren Galt - Projectionist (XL)
Sharon Stansfield - Software Producer
Nev Bull - Catalyst Technician (PP)
James Cooksey - Catalyst Operator (BM)

Photos and Video

The phone, named "Corby" in Europe and "Genio Touch" in the UK is being pitched with the line "What colour is your life?". Jack Morton Worldwide produced the show with XL Video providing projection, Barco Encore, Catalyst and crew.

Catalyst was used to drive two independent four projector edge blends either side of the catwalk. These were projected from above onto the floor to show on the Musion screen flanking the catwalk. Musion gives the impression of a hologram on stage using the Pepper's Ghost principal. Four Catalyst machines were used to drive a pair of projectors each, with a fifth as backup and audio machine. These were controlled using Basic Monkey's Jands Vista S3 which James finds to be the best console to trigger Catalyst from, allowing quick alterations using the unique timeline editing.

The screens were used to play four intro videos, each demonstrating a different colour through virtual characters interacting with real dancers. Added to this was 'Vision Blob' where a calibrated camera was used to track a dancer's position on stage and use this information to let the dancers interact with balloons or produce a glow around them.

In the main show, Catalyst was used to play a series of video intros for each section which then became backgrounds for the presentation. Clips highlighting each section, including animated text and phone graphics were cued in line with the script. These Catalyst clips were intermixed with live 'Gesture' content.

For product demonstrations, the presenters were able to interact with the content using the 'Gesture' system designed and implemented by D'strict. Using infra-red sensors in the stage, the presenters could use hand movements to trigger and manipulate the phone images in front of them. This 'Gesture' interaction was generated from four computers, each fed into a DVI matrix, converted to HDSDI and then split into the Catalyst machines. James mixed the video cues and backgrounds with the 'Gesture' content live to allow for changes in show pace.

Due to the late sign off of the content, James only had access to the converted and sized video files the day before show. This meant rapid programming during the rehearsals and a rather late finish! Completion of programming in time is testament to the flexibility of the Catalyst and Jands Vista combination.

The vastly complex signal path was designed by Jonathan Bond of Vision Mill and implemented/adapted by James to meet the ever changing requirements of D'strict.

It was a pleasure to work on the event, despite the highly demanding show, content and time constraints. The show was well received by the press, prompting a standing ovation and an invitation from Samsung to repeat the show in Korea in November. Rob and the team from Jack Morton Worldwide have asked James to run Catalyst again in Korea.

For the technical among you:

5x Mac Pro G2, 3.0 GHz 4 dual 4 core
8x Folsom ImagePro
1x Barco MatrixPro
3x Dell HD Monitors
2x Sony HD Monitors
2x Sony SD Monitors
4x Fibre Systems