volume 6 issue 6 2013

Hemphill Brothers Upstaging 33 Years of Safety+Quality Innovation From Vision for the Beyoncé Mrs. Carter Show Chaos Visual Sennheiser Productions Launches Digital 9000 Lights, Camera, Action Wireless System Strictly FX Sound Moves Making Sure Things Go Off Moving On Up With One Hell of a Bang Beyoncé

CONTENTS vol.6 issue 6 2013

Hemphill Brothers 6 33 Years of Safety and Quality Sennheiser 10 Launches Digital 9000 Wireless System Sound Moves 13 Moving On Up Upstaging 16 Innovation from Vision for the Beyoncé Mrs.Carter Show Chaos Visual 19 Lights, Camera, Action StrictlyChaos VisualFX Productions 22 Making Sure Things Go Off With One Hell of a Bang 26 Beyoncé 34 Beyoncé Crew FROM THE Publisher This month’s issue represents the efforts of our new, restructured staff. We have had a very smooth transition internally and trust the new team will continue to deliver a high-quality and interesting product to you. Lori Meadows, a long-time Production Coordinator on the road, is our new Director of Operations and also the new Tour Link Coordina- tor. Anna Cherry has been promoted to Creative Director/Content Manager. Both bring a lot of energy and excitement to their roles. My challenge, and the HOME OFFICE STAFF ph: 615.256.7006 • f: 615.256.7004 challenge of our writers, will be to keep up with them and a new operational 2961 Armory Dr • Nashville, TN • USA 37204 schedule. mobileproductionpro.com tourlinkconference.com As many of you already know, I have spent the past twenty-eight months in For advertising inquiries: a hospital bed enduring thirteen surgeries and untold hours of personal frus- [email protected] tration. The new team and our writers, especially Richard Bennett in the UK and Mike Wharton here in America, have done a great job in helping me to Publisher: Larry Smith identify and correct several problems internally and to sustain our operations. [email protected] My sincere thanks go out to all of them. No one will know how hard they have Director of Operations: Lori Meadows worked and how dedicated they have been in this period of time. [email protected] Creative Director/Content Manager: Anna Cherry In this issue, the team has really performed brilliantly. The Beyoncé tour [email protected] gave us an opportunity to profile several top-flight companies on both sides Contributing Writers: of “the pond” and we have done our best to present our readers with a very Richard Bennett comprehensive look at a big show with a big group of vendors. I think you Bill Evans will find this issue interesting, comprehensive, and fun to read. Mike Wharton

Regarding the upcoming Tour Link Conference, we have secured OSA Printing and Website Design/Maintenance: International as our Title Sponsor and are really excited to have them onboard. Warehouse Multimedia This is a quality company and we expect them to bring a lot of ideas and en- ergy to the event. We have also secured Delta Air Lines as a Title Co-Sponsor again, which helps us to better position our conference as a real global event. We are working with a couple of other companies that we hope to announce soon that will further the importance and relevancy of Tour Link, so it is time PUBLISHED BY to get serious about registering for the event and booking a hotel room. Anvil Productions, LLC ph: 615.256.7006 • f: 615.256.7004 As for me, I am recovering well, getting better each day and firmly in the saddle, growing our client base, working on the magazines, the conference, FOLLOW US and the websites. My thanks to everyone who has sent me their prayers and Tour-Guide-Publications / Tour-Link-Conference good wishes and our clients who continued their business and support of our @mobileprodpro / @TourLinkConf work while we have worked through this difficult period. …..believe me, we are just getting started!

Publisher Larry Smith

©2013 Anvil Productions, LLC. Nothing may be reproduced without written permission of the publisher. The publisher reserves the right to edit any and all editorial content included in this publication. The publisher has made every attempt to insure accuracy and consistency of this publication. However, some listings & information may be incomplete due to a lack of informa- tion provided by various companies listed. Please send any inquiries to the attention of the publisher. All advertising appears at the paid solicitation of the advertiser. Anvil Productions, LLC, can not be held liable for any errors, omissions or inaccuracies appearing in this journal in the form of editorials, listings or advertising. Member of:

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>> New Hires

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Mark Haney Joins “I first worked with Mark around 20 forward to what is already shaping CT Touring years ago.” said J. Barry Otto, Chief up as a great 2013 with this of Operations. “I am very excited dynamic company.” CT Touring welcomes longtime to be working with him again. We industry veteran and video director needed an additional sales executive CT Touring is currently supporting Mark Haney to the company. Haney to help us move forward, that has Taylor Swift, Selena Gomez, Rod has had leading roles in concert the same standards we have here Stewart and Darius Rucker with touring for over twenty years and is at CT Touring. We always aim for several additional new tours about a multiple award winning director a perfect show, with the best gear, to launch. whose roster includes Eric Clapton, every show. His personality and Kenny Chesney, Britney Spears, and work ethic will fit in perfectly with Star Wars in Concert among others. ours.” www.CTTouring.com

CT Touring President Eric Wade “I am very pleased to be working said, “As we expand our presence with Eric Wade, my old friend throughout the country, we have Barry Otto and all the CT Touring been looking for talent to help family. CT Touring is a leader in take CT Touring to the next level HD Flightpacks, LED packaging for and Mark is just that kind of tours featuring Tait frames, media guy. His years of experience and servers and the latest in projection,” acknowledged sedulous nature said Haney. “When you put great make him a perfect addition to our people together with great gear, it team.” makes us uniquely positioned to TOURING be the video company of choice for management and their artists. I look www.cttouring.com

mobile production monthly 5 >> Transportation

­­Hemphill Brothers: 33 years of safety and quality by Mike Wharton

The Hemphill Brothers, Trent longevity of Larson’s employment cater to the artists’ needs and and Joey, have been in the is remarked upon, Trent goes on to personalities. entertainment bus business for say, “We like to see our employees over 30 years. Their beginnings flourish and prosper. We’ve always These factors enable Hemphill in the business started at home, tried to take care of them and Brothers to attract and repeatedly actually, due to the fact that the they’ve always taken care of us, so service some of the biggest artists family had a gospel band. Their it works well.” on the road such as Beyoncé’, who father owned 2 buses which is currently out. transported this enterprise. He Joey Hemphill picks up the acquired several more buses over conversation at this point and Says Trent, “We’re very grateful the years and leased them to details what followed as the that we have been providing other bands on the road in the company grew. entertainment coaches for ‘70s. It became somewhat of a Beyoncé’s tours since the days of family enterprise, touring on the “We wanted to be a full service Destiny’s Child.” weekends, then during the week, company so we could Trent and Joey performed all the respond quickly to our maintenance and upkeep needed. clients’ needs.” The two brothers were well-rounded in all aspects of the business With a deep background since they had been helping with and the expertise to back conversions and in the shop as them up, the brothers soon as they were old enough to. proceeded to mold the After the family retired from the company along these gospel tour circuit, the brothers lines. Quality control approached their father about was assured with this purchasing the last two buses he business model, giving owned. Trent and Joey knew these the Hemphill’s another two buses well, as they had hands- competitive edge. “A lot of on experience in maintaining them. bus leasing companies do On September 15th 1980, Hemphill just that, lease the bus,” Brothers became a business. states Joey.

“We are equal partners in the By necessity, that will company,” says Trent, “though involve third parties, each of us tends to work mainly which creates the in the area we like best. Joey potential of whittling has always enjoyed the creative away at quality control. side, so he oversees and manages Hemphill Brothers has all of our conversions. After 33 a full paint and body years in the business, he has a department, two very good understanding of what the large parts departments market is looking for. Of course which service the he has several foremen and crew engineered parts and one America’s Leading Provider of Luxury Coaches underneath him, between the two for maintenance only. shops we operate. I deal mainly Two shifts of mechanical and Award-Winning Transportation Services with day to day operations, leasing crews operate night and day. There Joey picks up again saying, “Our contracts, client contact and driver is a service representative on 24 ‘late model’ fleet is second to none schedule. Both Joey and I have hours a day to respond to fleet in the industry. Certain clients equal legal signing privileges, and needs on the road. A conversion have multi- year contracts and have we both will sit down with the client crew is dedicated only to new specific details they request. We use during the initial development conversions while a crew of expert all Prevost brand buses. The fleet is stage. Likewise, we will both visit craftsmen performs all interior set up to do large tour entourages. tours together.” remodels and repairs as well. This There are “star model” buses, as we operation is backed up by a fully call them, which are set up to carry Hemphill Brothers VP of Leasing, staffed office well versed in the the celebrity and two or three other who works closely with Trent, is transportation industry. Hemphill people. These will also have special Mark Larson. He has been with the maintains a roster of drivers who accommodations like a shower, company since 1985. When the can respond professionally and baby crib, whatever the artist calls

6 mobile production monthly RehearsalTransportation Facility >>

America’s Leading Provider of Luxury Coaches and Award-Winning Transportation Services

mobile production monthly 7 >> Transportation

for that they want to pay for. Kind of like a rolling Ritz-Carlton on the road.”

Joey reiterates again how key the driver is. “It has got to be a good fit. Our drivers are veterans in this business with a lot of years experience behind them. Some of them have even been home grown, so to speak, here with our company. They know they need to be respectful, polite, professional, and have a great attitude.”

Trent adds, “Along with these qualities, our drivers know to keep the bus clean and in good working condition. It’s what we expect. It’s what our clients expect from us. Along with safety, having our clients happy with our service is the most important aspect of our business. That bus and that driver are representing our company. To be perfectly honest though, when it comes down to profit or safety, safety will always be first. Just before every bus goes out on tour, my brother and I will do a walk through to check everything out. The two of us started out doing conversions and maintenance for our father’s bus company back in the ‘70s and since our staff performs all that work here on the premises, we know how to keep these buses in shape. Still, we may notice something someone wouldn’t normally think of.”

“The other thing our father taught us,” says Joey, “is if it’s on the bus, it has to work.”

Trent adds finally, “Everything we’ve talked about has allowed my brother and I to build a very successful business for 33 years. And we both still have a passion for this business; in fact, passion is about the only thing that kept the business going the first 3 years. There is just nothing like it. We feel like we’re servants helping the artists achieve their goals.”

www.hemphillbrothers.com

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mobile production production mobile >> Transportation >> Sound

Sennheiser launches Digital Front and back panel of 9000 wireless system the EM 9046 receiver Recently, audio specialist has been designed for difficult Sennheiser unveiled Digital 9000, transmission environments with a digital wireless system that many sources of interference. It can transmit completely uncom- ensures maximum range with a parameters in live situations and pressed audio, artifact-free and proprietary Sennheiser digital can change settings quickly via with superb dynamics. Targeting audio codec. “This refined codec an intuitive, icon-based menu. broadcasting professionals, ensures an audio quality that One or more channels can be (musical) theatres and high- is superior to that of an FM monitored at a time via the profile live audio events, Digital system,” explained Kevin Jungk. headphone output. 9000 sets a new benchmark in “These two modes make Digital digital wireless transmission. 9000 the most versatile digital The modular EM 9046 receiver is The system, which includes the wireless system available, and a mainframe that accommodates EM 9046 receiver, SKM 9000 the best adapted to on-site up to eight receivers internally. handheld and SK 9000 bodypack requirements.” The receiver system covers the transmitters, and a comprehen- UHF range from 470 to 798 MHz sive suite of accessories, has Built-in ease of use (328 MHz band­width). To easily been meticulously designed for In addition to IR synchronization integrate the system into an the highest channel counts in between receivers and existing infrastructure, the user today’s increasingly dense fre- transmitters and a convenient can choose between transformer- quency environment. antenna loop-through for balanced analog or digital AES3 creating larger receiving audio output modules, or a mix systems, Digital 9000 offers of both. a number of groundbreaking Sennheiser’s Digital 9000 features. First and foremost, System set-up is facilitated by system: a new the system does not generate a built-in graphical spectrum benchmark in any intermodulation products – analyzer to scan the RF digital wireless the high linearity of the entire transmission landscape, and an RF level system, from transmitters to recorder for checking reception “This antennas and receivers, and and optimizing antenna positions. system is a a special transmitter design The receiver will also suggest masterpiece, both in the digital make laborious intermodulation the best transmission mode for and in the wireless realm,” said calculation a thing of the past. the environment being worked Kevin Jungk, portfolio manager Transmission frequencies can in, and will automatically set an for wireless microphones now be evenly spaced without appropriate gain to counteract at Sennheiser. “It offers generating intermodulation, RF cable losses. The system’s unprecedented sound quality and maximizing channel count in antenna boosters can be ease of use. For example, users congested RF environments. controlled via the receiver, which will no longer have to calculate is helpful for installations with and circumvent intermodulation The receiver also automatically remote antenna positions. frequencies but can conveniently measures the RF cable loss place their transmission between the receiver and the Digital 9000 also offers frequencies in an equidistant booster and adjusts the gain encrypted data transmission, grid.” accordingly. “This makes the RF with proprietary keys generated wireless system easier to operate randomly. With encryption Ideal for the most diverse for users with less RF knowledge” engaged, transmission of environments said Kevin Jungk. sensitive information can be The groundbreaking digital protected against hijacking and wireless system is fitted with Optimum control – more tapping. two transmission modes to suit information on the receiver any need and environment. The A large display with clearly laid The receiver stores up to ten High Definition (HD) mode will out controls is at the heart of complete system configurations transmit entirely uncompressed, the EM 9046 receiver. Three so that set-ups can easily be artifact-free audio, rivaling a display modes ensure that the recalled and repeated. high-quality cabled microphone. RF or sound engineer has an The Long Range (LR) mode optimum overview of important

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Powerful sound – more information it comes in a magnesium which lasts for 6.5 hours. Operation on the handheld housing that combines maximum on standard batteries is possible The SKM 9000 handheld robustness with low weight. The too. transmitter is compatible with transmitter can be used with all evolution wireless G3 and any clip-on or headset mic with The L 60 charger will recharge two 2000 Series microphone heads, a 3-pin Lemo connector and has BA 60 or BA 61 in any combination. including the Neumann capsules a line input for guitars or other It reaches 70% of charge in an hour KK 204 and KK 205. This means instruments. “As the system is able and full charge after three hours, that an artist’s favorite sound can to deliver cable-like audio, we have with the charging status being easily be transferred to the new added a three-step guitar cable indicated by three-colour LEDs. system. Besides these capsules, emulation – to round off the perfect Up to four chargers can be daisy- the handheld can be fitted with four instrument sound,” explained Kevin chained and powered via a single dedicated 9000 Series capsules. Jungk. power supply unit.

The SK 9000 is available in four Spectrum-efficient wireless different frequency ranges (88 MHz “Summing up, Digital 9000 is a switching bandwidth); a command meticulously designed wireless A wide choice of four dedicated 9000 Series switch for communication between tool,” said Kevin Jungk. “Spectrum microphone heads plus all evolution wireless crews and artists/reporters is is a scarce resource, therefore G3 and 2000 Series capsules will provide just the right sound for the SKM 9000 handheld available as an accessory. every part of the system has been transmitter designed for the highest frequency Selective and reliable – more efficiency. We have put much “The 9000 Series would not have information on boosters and effort into allocating the largest been complete without the sound antennas possible data rate to the actual of our most successful live capsule, To protect Digital 9000 against sound transmission, ensuring the and I am happy that the cardioid unwanted frequencies and unmatched audio performance of dynamic MD 9235 is part of our interference, the AB 9000 antenna Digital 9000. Because audio is what new digital system,” said Kevin booster has been fitted with eight it’s all about.” Jungk. The rock ’n’ roll sound of the highly selective filters to allow just MD 9235 is complemented by the a specific frequency window to About Sennheiser transparency of three permanently pass. Unwanted signals are thus Sennheiser is a world-leading man- polarised condenser mic heads, blocked out before the first active ufacturer of microphones, head- the ME 9002 (omni), ME 9004 component, adding to the overall phones and wireless transmission (cardioid) and ME 9005 (super- excellent reliability of the system. systems. Established in 1945 in cardioid). The condenser heads The filter can be set manually on Wedemark, Germany, Sennheiser is feature a low susceptibility to pops the booster or remotely via the now a global brand represented in and have extremely low handling antenna cable on the receiver. 60 countries around the world with noise due to snowflake-shaped U.S. headquarters in Old Lyme, rubber suspensions above and The AB 9000 provides a maximum Connecticut. Sennheiser’s pioneer- below the actual capsules. gain of 17 dB and is available as a ing excellence in technology has stand-alone booster or integrated rewarded the company with numer- The rugged SKM 9000 comes with into the A 9000 omni-directional ous awards and accolades includ- an 88 MHz switching bandwidth, antenna and the AD 9000 ing an Emmy, a Grammy, and the and is available in black and nickel. directional antenna. Two booster Scientific and Engineering Award of Command switch versions for easy versions (470 to 638 MHz and 630 the Academy of Motion Picture Arts communication between broadcast to 798 MHz) cover the receiver’s and Sciences. units or artists and their crews are UHF range. also available. As the handheld www.sennheiser.com transmits digitally, it does not Power supply – more information employ a compander and is exempt on batteries and chargers Jeff Touzeau from the associated noise, ensuring The transmitters of the 9000 Series Public Relations a cable-like purity of sound. operate on environmentally friendly Hummingbird Media, Inc. lithium-ion rechargeable battery (914) 602-2913 [email protected] Versatile and packs, with a precise remaining lightweight operating time indicated on both – more information on the transmitter and the receiver. the bodypack The SKM 9000 is powered via The SK 9000 the BA 60 rechargeable battery bodypack transmitter pack, which will provide 5.5 hours is easy to hide and of operating time. The SK 9000 easy to attach; bodypack is powered by the BA 61, The SK 9000 bodypack transmitter mobile production monthly 11 >> Freight

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- prob of aware made been have past to down comes it of lot “A >> Freight >> Freight

“One thing I think is becoming the There is no question that the distance X time. The more you biggest factor for everyone that market has changed a great deal move and the quicker you move it, moves in this business is secu- within the past decade. The ability the higher your budgets are going rity. If you think security has got- of a company to not only maintain to be and your environmental ten tight in passenger terminals, but to grow their reputation has impact. Anything anyone can do you will want to see how tight it become more difficult. For Sound to minimize those aspects is going has gotten in the cargo handling Moves, their philosophy has to be effective. We have used barg- areas. 9/11 was a game changer. seen them not only survive, but es, diverted ships to pick up gear, America has implemented very has also seen them develop and with U2 we even charted our own tight security measures and pro- enhance an already high pedigree boat because we worked out that tection to make sure that they for what they do, something that was the most cost-effective way, know what is coming in and that comes back once again to a sim- and that’s what we will also try to it is from a reputable company. ple but effective company philoso- achieve, the best quality product Certain requirements have been phy, as Corr explains. whatever the requirements and imposed on us to be more aware challenges.” of what we are doing as a com- “We will always come up with the pany. The other thing is the eco- most cost-effective solution, it will www.soundmoves.com nomic down turn which has seen also be the greenest solution, and certain governments looking for the cost of what we do is force X opportunities to increase certain charges, fees and levies that are coming in on a short term,” says Corr.

With the entertainment indus- try’s march into new, and in some cases, uncharted territory, Corr and his team have had to call upon their vast combined knowl- edge and experience to deal with a new set of challenges. Some of them are simply down to the fact that some countries’ legal require- ments are dealt with by the let- ter of the law, as opposed to the sometimes blasé attitude of some more established markets that comes with repetition. “Within South America, only Chile and Mexico will recognise carnet, if they are properly done, Russia now accepts them but they vigor- ously follow the full carnet rules. Some other countries have maybe become a little blasé with them but when a new country intro- duces them, they tend to enforce the full international agreement which has come as a bit of a shock. China and Dubai will now recognise them for certain events. Those places are a little bit more challenging, just to say you did it alright last time, it doesn’t mean it will be the same next time. Once you play these areas a few more times, it becomes a bit easier as they get used to what you need. As someone once said to me, “peo- ple don’t understand that what we do is create a new company, put together a product and then change business venues every two days around the world and then hand all the gear back and lay everyone off and make money,” laughs Corr.

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mobile production production mobile >> Sound >> Lighting Upstaging: The second was truly a vision of 700’s on the show now only Innovation from Vision Bennett’s, as the fixture had utilize the pan, tilt, and reset for the Beyoncé not been invented or built yet. channels. There are 196 “A light to move a light to move Mrs. Carter Show of these Upstaging custom MIKE WHARTON a light,” is how Paul Costa, mirror ball fixtures in the rig. Upstaging Account Rep to the The system also contains 204 Beyoncé’s Mrs. Carter Show Beyoncé tour, describes it. Clay Paky Sharpys, 94 Martin World Tour is her first outing in Mac Auras, 71 Martin Viper nearly three years. Looking at “We work really well with Roy Profiles, 28 VL-3500 Washes, the players brought in to design and demo’d several mockups, 7 Syncrolite SXL – 7s and two and support this production. It showed it to him, until he said Martin Performance IIIs. Costa is easy to see she wanted the ‘yeah that’s what I was think- continues, “The production is best of the best. ing’.” Bennett is on record as dealing with upward of 25 uni- stating that Upstaging is his verses out there. Cutting chan- Seth Conlin, Upstaging’s favorite lighting vendor, citing nels helped immensely.” Lighting Crew Chief on the tour, the company’s all out efforts to recalls that Beyoncé wanted support and help realize what The Upstaging mirror ball fix- to get away from the standard he envisions. tures line up in four columns video format which seems to of rows of eight. At the top and dominate so many stages these In essence, this is what the bottom of each column is a pair days and present a “real light- team at Upstaging finalized for of Clay Paky Sharpys. The bot- ing show.” Such a statement is Bennett’s vision of a “mirror tom row of Sharpys are focused music to a lighting designer’s ball” fixture. onto the top row of mirrors, ears. Renowned Production/ while the top row of Sharpys hit Lighting Designer Leroy Bennett The Mac 700’s have had the the bottom mirrors. This creates was contracted to bring his head removed. Upstaging made two beams per fixture that can visionary talents to light the the mirror, retrofitted it onto a move on the axis of the 700’s show. MAC 700 base and yolk. The pan and tilt. Flip the mirror to mirror is flat on one side, while the facet side and you have a Of the eight fixtures Bennett the other side has one inch myriad of beams with a Sharpy used in the design, one was just square facets and convex like as the source light. With the entering the market: the SGM a mirror ball. With the help of gobos available in the Sharpy, X-5 White LED strobe. There are Martin, new firm ware was writ- another dimension is added to 446 of these in the rig. ten for the 700’s to compact the mirror ball fixtures. the number of dmx channels. Instead of 27 channels, the

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Fax 815-899-1080 Fax

Fax 310-859-2804 Fax

815.899.9888 www.upstaging.com

Ph. 815-899-9888 Ph. Ph. 310-859-9800 Ph.

Sycamore, Illinois 60178 Illinois Sycamore, Beverly Hills, California 90210 California Hills, Beverly

821 Park Avenue Park 821 415 North Canon Dr., Suite 1 Suite Dr., Canon North 415

LOS ANGELES LOS CHICAGO

storage

service

sales

production support production

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18 mobile production monthly Video >> Chaos Visual: Lights, Camera, service, a reputation for high stan- inception. dards of equipment and individu- Action als at the top of their game, Chaos The relationship with both ven- has become the go-to supplier dors and production managers, In the technology and economi- within the visual entertainment especially in these days of strict cally driven touring industry, field. budgeting, is a vital key to main- getting your artist’s perfor- taining Chaos Visual’s reputation mance to every pair of eyes in Formed in 2008 by John Wiseman and pedigree. A point Wiseman the arena has become a key fac- and now with offices in Los will freely admit has become a big- tor within any show. With video Angles, Nashville and the UK, ger challenge as the accountants screens making up an integral Chaos Visual Productions has start to be more of a power on a part of set design, having the established itself at the forefront tour, as Wiseman explains: right equipment and crew for of the visual industry, something the job is a decision that does Wiseman puts down to his team. “The accountants have never been not allow itself towards com- on the road. They don’t know the promise. Mobile Production “Our success is down to our peo- value of bringing in an extra guy Monthly chatted to Chaos ple. That sounds so cliché but it’s for rehearsals so we can start this Visual Productions founder not. Look at the two components right and save money down the John Wiseman about the com- that go into making up a company line. All they have is a score card pany and the future of visual like ours. It’s servicing the indus- and it’s based on money only. presentation. try of high maintenance clients What that does is set you up to and schedules. Any asshole can fail and treat your people wrong. The Live Touring industry, like go out and purchase equipment, any other industry, has its fair obviously, because I can. It’s the Budgets are a thing we can’t share of interdepartmental rivalry. people and the processes that we avoid, but the production manag- The sound crews will inform the use that make the difference and ers know what it is we have to do, lighting crew that a show could sets us apart from our competi- so they will try to be efficient. One go on without lights, but never tors. We pay our people really well, example where I think the budget without sound, to which the light- as opposed to concentrating on thing is complete bullshit is the ing guys will respond in the same the bottom line. At the end of the pendulum swings one way and fashion, championing the impor- day we are professionals charg- then it swings too far the other tance of their contribution. ing professional prices. This is a way, and where it is right now has dangerous and tiring business, put us in a situation in a business While a show is greater than the and it’s a business where a lot of with budgets, where you can have sum of its part, in this modern the technology changes very rap- a guy like Kid Rock who goes out day environment of stadium and idly, and there is no excuse for a on tour and announces he is going large arena tours, the video crews show not working. It’s the people to do it for the people, and charge could justifiably claim to be the you hire that make it work. There $20 a ticket, and then he cuts the most important aspect of any is an old adage that says “if you production in half asks the crew touring production (Ok, maybe pay peanuts, you’re going to get to take pay cuts and then flies by with the exception of the guys who monkeys,”says Wiseman. fucking private jet every night. So supply the power). where is that in the sense of the It’s this straight talking “say it as right thing to do? When you have With the paying public giving up it is” attitude that runs through artists making millions of dollars, their hard earned cash for a night the whole company. Chaos Visual and they then go to their crews of entertainment, their expecta- Productions pride themselves on and ask them to take pay cuts, tions of any show have become providing the best possible service who are living that life seven days higher. Making sure the individual when it comes to specialty light- a week. I have had people in the sitting in the last seat at the back ing, LED special effects, video pro- past say to me, ‘we don’t want to gets the same experience as the jection and show programming. pay retainers.’ My answer to that one in the front row has become With an international team of is ‘well, then you’re going to lose not only a priority, but at times industry professionals, bringing the people’, to which they reply, a challenge, for any Production with them an extensive knowl- ‘well don’t hire them.’ My answer Manager. edge and level of experience to to that is, ‘then I will look for everything they do, Chaos Visual someone whose mortgage vendor With that in mind, it’s no surprise Productions and Wiseman are able will take less money when you that video rental company, Chaos to offer a very high quality of ser- decide to take a break.’ They just Visual Productions, are in great vice and creative input to any tour don’t have an answer for that,” demand. With a business strat- production which has been the laughs Wiseman. egy built on exceptional customer company’s trademark since their

mobile production monthly 19 >> Video

And it’s not only the accountants “Just take a look at iPhones, the The shift now is higher resolution. and the increased pressure of one that came out last year is Much lighter and you can include budgets that Wiseman pinpoints already obsolete, in our business in set pieces. The next advance- as contributing factors in the there was a huge change from SDI ment in LED will take a bit of time changing industry. to HS camera systems, when that because they have already made changed five years ago, you had to that quantum leap. People look at “There is a Production Manager make the change. Back then those what’s in front of them, and now who is one of the nicest guys camera systems were 2 million they see HD, light weight gear. you could ever want to meet, but dollars. Now that same system is Where that goes from here is any- when it comes to doing business $500,000. And it’s the standard one’s guess, but it will develop.” with him, he’s one of the worst. and it is not going to change for For him, it’s all about the dollar. a while. LED for many years was www.chaosvisual.com We refer to him to his face as the very labour intensive and very Tin Man, because the Tin Man heavy, it wasn’t creative. Now has no heart, and he is actually they’re making paper-light LED so proud of that nickname. You then you can create a bigger wall. have other well-known Production Managers who are fair, they are out there doing it and not afraid to try things,” says Wiseman.

With his vast experience and knowledge of the industry, Wiseman has built a company and a team that are not afraid to step up to the mark when it comes to delivering a perfect show at the highest level, despite the usual challenges any vendor faces.

“One of the biggest challenges in our business is that people think they can just buy some gear and do it. I am a technology guy, I started with Veralite at the very beginning and I have prided myself on being one step ahead of the others when it comes to spot- ting trends. I remember talking to Cindy Lauper, and she says to me “I don’t like those lights that just move around all the time.” My suggestion to her was ‘turn them off between songs, re-position them, turn them back on and you have a whole new show.’ It’s just simple things like that which can make a difference,” says Wiseman.

It’s this ability to spot trends that has helped Chaos Visual Productions stay at the top of their game, something that is a key factor in the ever-changing world of a business based around technology. Wiseman always has one eye in the present and one on the future.

20 mobile production monthly Video >>

FPFC

mobile production monthly 21 >> Special Effects Strictly FX BY RICHARD BENNETT Making Sure Things Go Off With One Hell of a Bang When Beyoncé was announced as were a couple of moments during Getting back into the touring circuit the half time entertainment for this the half-time show which were magi- in 1999, Grega found to his relief year’s Super Bowl, the expectations cal. For us, and the artists, it is a that the business of running a tour amongst fans, the media and the constant battle to keep coming up was still operating the old fashioned production industry was high, to say with something new and different. way. the least. With the biggest TV audi- Every single artist wants their show ence in the world all glued to their to stand out, to be unique, they “When we ventured back into tour- television sets, gulping down beer want it to be their show, and that’s ing, it was still all about relation- and woofing up hotdogs, Beyoncé’s where we come in” says Strictly FX ships. We did a local radio gig for ‘N set needed something special to earn Partner, Mark Grega. Sync, and their production manager, its place in the history books. Tim Miller, asked us not to do effects Formed in 1996 by Grega and Ted for other acts on that gig because As anyone who witnessed the show Maccabee, the pair found themselves ‘N Sync had only brought minimal can testify, the diva delivered and dealing primarily with sporting production resources. That opportu- then some. With a number of differ- events. nity and the relationship with Miller ent elements of production involved, turned into an invitation to join the the whole thing was greater than “When Ted and I started the com- band’s No Strings Attached tour and the sum of its parts. For US based pany, we started doing sports, which allowed Strictly to begin forming special effects company Strictly is similar to concerts-big audiences, their philosophy of creativity and FX, their contribution was not only big stages, a lot of pressure and a lot professionalism. a master class in the art of pyro- of stress, but that’s why we do this, technics, but was the first stage right? Our first Super Bowl was in “I think what helped us on that tour of a continuing relationship with 1997 and to date we have done six was that we came in with the right Beyoncé that has seen them become of them. We have also done effects mentality. We turned up with all the FX vendor of choice for her cur- for 16 out of 32 NFL teams, 10 NHL new gear and cases. We looked the rent Mrs Carter Show World Tour. teams and 15 NBA teams. Business part. It gave us enough time to hone was good because all of those sport- our trade. You have to cut your teeth “Modern day audiences are a lit- ing teams have a cycle. We found very quickly and learn how the busi- tle more sophisticated than they that we had consistent work all year ness works, and right now we are used to be. If you’re going to ask round. I went to see ‘N Sync with my out with 23 tours,” says Grega. them to part with their hard-earned oldest daughter, I was sitting there cash then you better be giving them in the audience and it was then that With his many years of road experi- something a little bit special. I realized I really missed the road ence, Grega has worked hard to not and doing concerts, so we began to only learn his trade but also to keep With Beyoncé, it was collaborative inch our way in to the live touring pushing the boundaries of pyrotech- thing, we worked very closely with scene,” adds Grega. nics, something he approaches in the artist. At the Super Bowl, there his own unique way, as he explains,

22 mobile production monthly

monthly

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mobile production production mobile >> Effects Special >> Special Effects

Almost everyone in the industry numbers, or the bottom line, has been affected by the ever it can get hard to deal with at growing pressure of the dreaded times.” tour budget, something that Grega admits can not only be try- It’s this open honesty about the ing at times, but has also affected market and more importantly a the way the industry works, as he genuine love for what they do that explains: is the main drive behind the com- pany. Working with the produc- “For us budgets are hard to deal tion managers and artists, along with. We have to supply crew, with a team that boasts most of gear and whatever effects we are the top pyro technicians in the using on the tour. You have to industry, has helped the company remember we are dealing with gain a reputation for quality and consumables every single night, professionalism, second to none. and what we have to explain to some production managers and “Things are really busy for us accountants is that if you had a right now. In fact, we are having lighting company that smashed to say no to customers which is six or seven lights a night, there tough. I can’t just throw another would be a cost associated with person on a tour because all of that. With us, whatever we do is our people are at the top of their a consumable, it is going to last game. We would never send out just one show, albeit every show. someone who was not up to a When I was 17, I worked at Walt high standard. If someone makes “I have a vivid imagination, for Disney World, and the Director a mistake with sound, the end me I can see cues visually, when of Entertainment was a gentle- result is not going to be as bad as I hear music I see visuals, mainly man called Peter Bloustein who if someone makes a mistake with within the context of pyro. When came from Broadway. At that time a piece of pyro. Our people have someone asks us to create a cue, Disney World was still running put their time in on the road. I have to listen to the songs and on Walt’s philosophy. You go to They have worked their way up see what the artist is doing, and Disney World to be entertained the ladder, through blood, sweat, then I can see it visually and and forget your troubles in this tears and bloody determination. that’s where we get our inspira- magical place and you always In the old days, if you wanted to tion from.” went back. The word budget be a sound guy, you were told was never mentioned. It was all ‘well here’s the feeder cable, and Today, Grega is the first to admit about the show, which was the in about in 15 years we may that the industry is a completely most important thing. Then when let you get behind a desk.’ We different beast, something he puts Disney got bought out, all the still live by that, every member down to the advances in technol- accountants came in and they of Strictly FX has earned their ogy. started saying ‘well do we really stripes the hard way and for us, need that or this?’ It’s hard to that is the only way to do it” says “Nowadays with the internet, if get an accountant to understand Grega. you want to get hold of a pro- when you talk about entertain- duction manager you can go on ment, or about fans. The show is www.strictlyfx.com Google and search for them, find about the fans. When you start their details and can send out talking about the show as just an email. Ten years ago you just couldn’t do that. If you didn’t know someone who knew a pro- duction manager’s number you just couldn’t get hold of him.

Technology has made it easier for people to get in, but for me and Ted it’s still all about the strength of relationships, getting into peo- ple’s faces, putting in your time, earning the respect and that’s the difference between the old school and the new players in the market. A vendor can tell you it’s going to be the greatest show you are ever going to see, but if they don’t deliver on that prom- ise, then they are only going to do one show for you. Our approach is much different and has been quite successful.”

24 mobile production monthly mobile production monthly 25 BEYONCé Mobile Production Monthly Explores The Mrs. Carter Show With Beyoncé’s current Mrs. Carter Show tour a sellout, the pressure was on the crew to deliver a spectacular show. Not only did they surpass expectations, but they even made it look easy as our very own Richard Bennett discovered when he joined the tour for its multi-show run at London’s 02 Arena.

26 mobile production monthly BPHOTOS BY ROBIN HARPER, FRANK MICELOTTA, NICK FARRELL t would be fair to say that most people will, at some time or another, suffer from a bout of “whim of the week”, that inexplicable, illogical thought process that sees you throwing yourself into some trend or whim, which you have seen on TV or read in an article. These changeable Iand usually short-lived obsessions explain why there are a num- ber of snowboards, diving suits and fishing gear sitting unused and unpacked in many a cupboard.

For award-winning and iconic set designer Le Roy Bennett, when it came to designing the stage set for Beyoncé’s Mrs. Carter Show tour, his obsession was for mirrors, lots and lots of mir- rors.

“I really wanted to do something different with a wall of lights that didn’t involve lights,” laughs Bennett.

“When I started working on this project, I had a ‘thing’ about mirrors and that was the inspiration for this show,” Bennett says. “The wall of mirrors, situated at the back of the stage, and measuring 7.3m x 18.2m, consists of 198 double-sided mirrors in a block formation of 4 x 4. One side is plain while the other is convex and finished similarly to a mirror ball. They are all mounted on Martin Professional MAC 700 fixtures with the heads removed, allowing them to move independently. The great thing about them is that we can change them to all plain, all convex, or a combination of both. Due to the size of the show, and it’s pretty big, the wall of mirrors has to be set on a daily basis very precisely. We did pre-production in an old shipbuilding warehouse in Brooklyn which was never built to hold a touring show, so we had some problems sorting out the trim. Now that we are out running with it, everything is work- ing well.”

It was while working as a technician for Zenith, located in Los Angeles, and still living in his homestate of Rhode Island, that Bennett made the move that would see him become one of the most sought-after and respected designers in the industry.

“I went to work for the LA office, and the director there knew I wanted to be more than just a technician,” says Bennett. “One day he told me, ‘in that case, the next customer who walks through the door is yours.’ The next customer was Prince, so I went out on the road with him and stayed for 14 years. Eventually, I got fed up with some of the sets I was seeing and thought that I could do better ones, so that’s when I got into set design.”

Bennett’s name is well known, and his vision and ability to think outside the box has seen him working on some of the most breathtaking stage sets to ever grace a venue in recent years. Working with Beyoncé for the first time in May 2012, gave Bennett the direction and inspiration to create something special for the Mrs. Carter Show, as he explains:

“I worked on her show at the Revel Hotel in Vegas last year. Then it was a big video show with a big video screen on the floor. For this tour, Beyoncé decided that she didn’t want to carry all that video, but she still wanted to keep the ‘wall of lights’ idea from the Revel. So basically what I did was come up with the idea of creating a wall of lights, combined with

mobile production 27 B monthly mirrors, giving the impression that there are more lights than “I would have to give a large majority of credit to Le Roy for there actually are. The biggest challenge was the B-Stage, creat- the creative input, although I had a bit of a creative influence. ing it to incorporate the VIP section and the Front of House Now that the show is out on the road and running, Le Roy has within it,” says Bennett. entrusted me to make the appropriate changes that Beyoncé Working with Beyoncé’s, or B as she is referred to by the crew, wants to make.” lighting director Whitney Hoversten, the pair were able to create an exceptional pallet of light and color. Another challenge facing Hoversten, come show time, is the calls he makes. The core lighting system is based around 446 SGM X-5LED strobes, which by the way is heading into the Guinness “On this show, I am calling 14 spot cues, in addition to all my Book of Records as the brightest show, as far as lux output goes, other manual cues, which is a large task on an arena tour. I really to ever grace a concert stage. Complementing the strobes are 71 pay attention to the spots during a show, and I have a lot of dis- Martin Professional Vipers, 94 Martin Pro Auras, and 28 Philips cussions with Beyoncé to make sure she is happy with the spots Vari-Lite 3500s. It doesn’t end there thanks to two MAC lls and from show to show,” says Hoversten 208 Clay Paky Sharpys, all run through a MA lighting grand- MA2, specked by Bennett himself. While the lighting system on the production is both practical and visually effective, it is just one component of the whole show, The overall choice of lights is a key factor visually within the which is greater than the sum of its parts. Giving the paying pub- whole production, as Hoversten explains. lic the occasional respite from the vast array of lights, is a pretty stunning set of pyrotechnics supplied by Strictly FX. “The Sharpys work well because of their intensity; it’s the perfect light to interact with the mirror. All the lights are run through “We have 180 pyrotechnic devices within the show, chosen based an MA2 at full capacity, due to it being a big show. For some of on the effect and the proximity of the cast,” says Strictly FX the songs the lighting is on timecode, but there is also a lot of the Crew Chief John Lyons. “We worked on Beyoncé’s Super Bowl show where I manually operate the half-time show earlier in the year. The challenge lights. We use timecode as a tool, not with that gig was that the Superdome in New as a means to control the whole per- Orleans has old 1974 HVAC technology, so that formance. There are so many layers restricted us on what we could shoot. For the in the show, with thousands of cues full tour, the designers wanted do something preprogrammed.” slightly different, so it came down to working with and facilitating what the management The relationship between Hoversten, wanted.” Bennett and Beyoncé herself, is another key element. Working closely Like any touring production, there have been together, they have created a stunning a lot of changes along the way since rehears- palate of color throughout the show. als started, to the point where Lyons and Pyro Technician Eddie Romack Jr. have refined the whole process to not only fit in with the other

28 mobile production monthly aspects of the show, but to also complement them. A vast arsenal With both guys using 80 to 90 channels on the boards includ- was supplied by UK firm Le Maitre. This includes a couple of ing audience mics, the sound is not only clear and crisp, but also different propane effects, four venom units upstage and a 30 foot reaches at times, an almost studio environment sound quality. wide flame bar sitting midstage, used during “Naughty Girl”, However, Curtin and Gonzales have had their challenges, in par- burning for about 20 seconds and reaching a height of two feet. ticular the microphones for the band and backing singers. Needless to say, the safety aspect of things is taken very seriously by Lyons and Romack. “The only open mics are on the drums, horns, background sing- ers and Beyoncé’s mic. There is enough separation due to the “All of our systems are third party certified. We also have safe- stage being big enough to avoid any bleed, which is also helped guards in there if we don’t have positive ignition, so the flame by the fact that the bass player and drummer don’t have cabs. bar is not going to release gas. We take our time and check that The drum riser is a thumper and the drum deck is where the everything is in place and use sniffers to check for leaks,” explains thumper is attached to the bass player who also uses a thumper,” Lyons. Gonzales continues.

A number of CO2 jets along the downstage create a nice big “When we first started rehearsals, one of the main challenges white cloud for the transition from “Crazy in Love” into “Single we had was when Beyoncé is on the B-Stage, how do we keep Ladies”. Away from the onstage area sits six floor-based confetti her to sound in time? We solved it by delaying the entire band blowers, shooting sixty pounds of gold mylar confetti per show, except for B’s vocals from monitor world. Originally I started it which is not only a lot of fun to watch, but also makes one hell all the way up on the B-Stage, but I soon discovered that she still of a mess. seemed to be out of sync. Beyoncé was still hearing herself and the band in her mic, so there was constant slap back. I finally Complementing all of this are four small blowers on the fly truss, sorted it out by splitting the delay in half, so now I run it up creating a stunning effect as Beyoncé flies from the A-Stage to to halfway between the main stage and the B-Stage,” explains the B-Stage. Using a smaller type of the gold confetti, it creates a Gonzales. trail behind the singer, giving the illusion of pixie dust. With the spotlights hitting it at just the right angle, the effect is outstand- Additional challenges that are faced by every sound crew on a ing. world tour, are the differing types of venues and the varying cli- mates which play havoc with any sound system. And just to make sure Lyons and Romack have everything cov- ered, there are four flame cannons upstage used at the top of the “Having a full house can create different challenges,” Gonzales show, shooting to about 15 to 20 feet into the air. explains. “At a recent show in Paris the temperature in the venue was so hot and humid that it changed the sound dynamics. In “I manually fire the ignition from stage right where I have a those situations, you can lose a bit of the reflections because peo- direct sightline across the stage. Romack is backstage spotting for ple absorb them, which for me is a good situation to be in. I like areas I can’t see and we have constant radio contact during the that. The temperature in a venue, for me, is the bigger X factor whole show,” says Lyons. than the amount of people per se,” says Gonzales.

Competing against the roar of the pyro within the context of the “Once it becomes humid, the air becomes so much thicker and mix, is the task of FOH Engineer Stephen Curtin and Monitor your molecules are full of moisture so your sound waves are Engineer Daniel Gonzales. With the sound system supplied by slowing down. You lose some energy as it’s not moving as quickly Cleveland based Eighth Day Sound, Curtin and Gonzales have and the room tends to shrink a little bit. It’s one of the hardest a vast array of tools at their disposal to make sure that the whole things to deal with. You almost have to flip your EQ’s and your performance comes across in a clear and crisp way. mix upside down to balance it out. Once the venue is full of people, your high frequencies don’t cut through anymore to the “I am using my favorite desk on this tour, a DiGiCo SD7. I do point where they are almost non-existent. You have to take some have some outboard stuff, but mostly it’s just a couple of effects of your low energy, get rid of some of the frequencies on either including a TC6000 processor and the Waves system, along with side, and push through what you can,” adds Curtin. a couple of analog compressors; a main and a spare one for her vocal. It’s just a habit of mine to have an EQ and a compressor Dealing with these types of challenges quickly and professionally there. I also have a smart research C2 compressor which I like to is not only down to Curtain’s and Gonzales’ vast experience and use across the left and right as a coloration kind of thing. For me, knowledge, but is also in part to their strong and solid working it’s just something I like to hear,” says Curtin. relationship.

In monitor world, Gonzales uses an Avid Profile, the only one on “The relationship between FOH and monitor world is crucial,” the sound crew; with mostly all Waves plug ins, and a couple of adds Curtain. “If we are not working on the same page during soft tunes, but no outboards. a show it can be extremely disastrous. It comes down to simple things such as mic placements. During a show, I can call Daniel “I have used the Avid for so long, it’s become natural for me to and ask him to help me out with this frequency or that frequency work with. I like having that amount of freedom with effects and and I know he will do it. If we didn’t have a good rapport, then reverb that the Waves system gives me. It avoids me using a rack he’s going to go, ‘ok whatever,’” he laughs. and patching it all in every day,” says Gonzales.

mobile production monthly 29 “Beyoncé likes to hear a clean, crisp studio mix in her ears, so mix- ing in the polished studio sounds with the live sounds has been a fun and rewarding challenge for me. The Sensaphonics really help as well. They are clean and crisp which is what Beyoncé wants,” shares Gonzales.

30 mobile production monthly “Beyoncé likes to hear a clean, crisp studio mix in her ears, so mix- ing in the polished studio sounds with the live sounds has been a fun and rewarding challenge for me. The Sensaphonics really help as well. They are clean and crisp which is what Beyoncé wants,” shares Gonzales.

mobile production monthly 31 “When I first joined the tour, I had to trust Steve a lot as he had With all the video content supplied by Beyoncé’s own Parkwood been with the production for some time, so when we were put- Entertainment, along with Creative Directors Melina Matsoukas ting the package together, we trusted and listened to each other’s and Ed Burke and their team, the imagery is projected onto the ideas,” says Gonzales. 60 x12 motion video screen, which sits mid-stage via four Barco HDF-W26s and two Christie M series HD10s all running time- Projecting the mix to every paying seat in the house is covered by code through two Hippotizer Genlock HD machines. In addition a d&b audiotechnik J-Series, comprising of 24 J8s each side with to the main screen, there are Windvision 18s on all the band ris- eight J-Subs. The main speakers are flown, and are made up of ers along with a number of Barco MiSTRIPs. The side screens 12 V12’s hanging per side with 12 B2 subs per side. There are are covered by Christie projectors for the smaller ones and Barco also eight J12s per side. 30s for the larger ones.

Everyone on stage is using Sensaphonic in-ears, with Beyoncé For Production Manager Alex Miasnikof and veteran Beyoncé using the 2MAX model, and the band and backing singers using Stage Manager Terry Cooley, the main challenge has been how the 3MAX. to keep the show to a tourable scale.

“Beyoncé likes to hear a clean, crisp studio mix in her ears, so “The biggest challenge has been finding the fine balance between mixing in the polished studio sounds with the live sounds has putting together the simple elements of the show, along with the been a fun and rewarding challenge for me. The Sensaphonics complex assembly of all the components,” Miasnikof tells us. really help as well. They are clean and crisp which is what The lights, which Miasnikof refers to as ‘the wall of inferno’ may Beyoncé wants,” shares Gonzales. be a straight forward and simple idea, but when you have to put something that vast at every venue, it becomes a bit more chal- Elsewhere in the arena, huddled stage right in the compact and lenging. designated video area, sits the Chaos Visual Productions crew and IMAX director Kevin Carswell, with enough gear to make TAIT Technologies worked closely with Beyoncé, Roy Bennett sure that no aspect of the performance is missed and not pro- and the production team to create a complete staging package jected on to the video screens. for the run. With a main stage that includes a flaggapault lift, retractable dance bars, duck blinds, and pantograph stairs, it is “On this tour we are the B-Stage that war- using five manned cam- rants some level of eras; three long glass, one praise. Constructed of hand-held and also a rail two u-shaped walkways cam designed by TAIT and connected by a cus- Technologies. It’s a track tom-built retracting stair that interlocks with the system, the whole thing stage that has a moving provides a unique per- electric rail cam on it that formance area, complete has a ten-foot telescopic with a video panel set mast. We also have two into the center deck and POV’s on the drums and a hidden fan beneath the three robot cams, one stage to give Beyoncé in the truss, one for a that all important and reverse shot on the stage and another one that is in the keyboard posi- tion. Inside the B-Stage, we have placed two long glass cameras covering the A-Stage. So when Beyoncé goes out to the B-Stage, my hand-held camera operator breaks his cable, goes out to the B-Stage and is ready to cover there, as one of my long glass operators jumps down and picks up another hand-held. My third long glass is a slash-cam in the back of the house to pick up the back area of the stage. We are using Grass Valley Kayak switchers. We are not using any effects on this show and it’s a very straightforward cut. B likes a fast, energetic cut. During the show, I make all the calls. It’s humans directing humans. We are just a good old fashioned I-Max workshop in here,” laughs Carswell.

32 mobile production monthly dramatic “wind-swept’ look on key numbers. The most interesting thing about the B-Stage set up, is that the FOH has been incorporated within it, sit- ting at the back of the layout. While separated from the VIP seating, it is still close enough for Curtin to clearly see Beyoncé, while monitoring the correct sound levels.

TAIT along with the other vendors on the tour have worked hard as a team to create a production that is greater than the sum of its parts. It is these vendor relationships that are key to a tour not only running smoothly but also staying on the road in optimum performance condition anywhere in the world.

As Curtin explains,“The vendor relationship is the key thing for me. Nowadays, you can get the gear you want from pretty much anywhere. The most important thing for me is that I need to know that if I have a problem I can get ahold of the vendor and they will fix it right away or before the next show. With the amount of back-to-back shows we are doing, you need vendors that will fully support you 24/7.”

mobilemobile production production monthly monthly 33 33 Beyoncé Crew COSTUMES Tiffany Monique Riddick Givenchy

Lee Anne Callahan-Longo-General Roberto Cavalli DANCERS Manager D Squared Ashley Everett-Dance Captain Jim Sabey-Head of Worldwide Kenzo Kimmie Gipson-Dance Captain Marketing Ralph & Russo Les Twins, Larry & Laurent Bourgeois Angela Beyince-VP of Operations Asher Levine Amandy Fernandez Yanique Thorman-Controller Tina Knowles Hannah Douglass Ed Burke-Visual Director Alon Livne Sarah Burns Scott Nylund-Design Director David Koma Hajiba Fahmy Jenke Ahmed-Tailly-Creative Rubin Singer Tanesha Cason Consultant The Blondes Kim Gingras Bill Kirstein-Video Producer Vrettos Vrettakos Sapphira Molina Hill-Marketing Pucci PRODUCTION TEAM Manager Julien Macdonald Malcolm Weldon-Production Manager Melissa Vargas-Brand Manager Alexandre Miasnikof-Production Amber Glaspie-Web/ FOOTWEAR FOR Beyoncé Manager Online Manager Guiseppe Zanotti Stephanie Duval-Production Ashlee Senser-Brand Coordinator Stuart Weitzman Coordinator Kwasi Fordjour-Creative Terry Cooley-Stage Manager Coordinator PERSONAL ASSISTANTS TO Gregory Bogart-Stage Manager Justin Law-Office and Beyoncé Jennita Russo-Theatrical Stage Personal Affairs Samantha Greenberg Manager Manuel Mendez Stephen Curtin-FOH Engineer CREATIVE DIRECTION Daniel Gonzales-Monitor Engineer Show Direction/Staging/ Executive Assstant to Tina Demetrius Moore-Band Monitor Mixer Choreography Knowles Whitney Hoversten-Lighting Board Beyoncé & Frank Gatson, Jr. Taneka McCleod Operator Kevin Carswell-Image Director PERFORMANCE ENVIRONMENT SECURITY Chad Koehler-Head Rigger DESIGNED AND ILLUMINATED BY Julius DeBoer-Head of Security Lyle Harris-Rigger Le Roy Bennett Bob Fontenot-Director of Venue Aaron Alfaro-Rigger Security Mike Ryder-Rigger MUSIC DIRECTOR Mitchell Bullock-Venue Security William Shewmake-Head Carpenter Derek Dixie Kelly Samuels-Security Kevin Levasseur-Carpenter Kerry Jay Rothenbach-Carpenter ADDITIONAL CHOREOGRAPHY WARDROBE FOR Beyoncé Emerson Shewmake-Carpenter Christian Owens Ty Hunter-Head Stylist Gilbert Castilleja-Carpenter Sean Bankhead Raquel Smith-Stylist Brian James-Carpenter Dana Foglia TK Woo-AUtomation Mishay Petronelli WARDROBE FOR TOUR Jamie Pharand-Automation Darrell Grand Moultrie Tina Knowles-Creative Consultant Russell Macias-Automation Amy Hall Garner Timothy White-Head Designer for James “McGoo” McGregor-Drum Jeffery Page Tina Knowles Tech/Crew Chief Sheryl Murakami Wendy Smith-Ambiance/ Kevin “Kwiz” Ryan-ProTools Bianca Li Dressing Rooms Programmer Larry Bourgeois Su Flesland-Carter-Wardrobe Sean O’Brien-Guitar Tech Laurent Bourgeois Hannah Kinkead-Wardrobe Cody Orrell-Keyboard Tech Michelle Robinson Cory Fitzgerald-Lighting Programmer Anthony Burrell BAND Troy Eckerman-Lighting Programmer Danee Baptiste Cora Coleman-Dunham-Drums/Band Loren Barton-Video Programmer James Alsop Leader Arno John Voortman-System Engineer JaQuel Knight-Choreographer BiBi McGill-Guitar Clinton Reynolds-RF Tech Chris Grant-Choreographer Lauren Taneil-Bass Mike George-Systems Tech Rie Tsuji-Keyboards/Assistant Christpher Fischer-Audio Tech TOUR MANAGEMENT Arranger Gregory Horning_Audio Tech Alan Floyd-Tour Manager Dani Ivory-Keyboards Jeffrey Hubbell-LX Crew Chief Marlon Bowers-Assistant Tour Crystal J. Torres-Trumpet Randy Garrett-LX Tech Manager Kat Rodriguez-Harold-Tenor/ Gabe Boltson-LX Tech Larry Beyince-2nd Assistant Tour Bari Sax Andy Cimerman-LX Tech Manager Adison Evans-Alto Sax Matt Tucker-LX Tech BACKGROUND VOCALISTS Brian Kasten-LX Tech Montina Cooper Benjamin Meserole-LX Tech Allison Faith Sulock-LX Tech Crystal A. Collins

3434 mobilemobile production productionmonthly monthly Jorge Del Angel-LX Tech John Bedell-Video Crew Chief Christpher Jones-Video Tech TOUR PROGRAM Sean Harper-LED Tech Dippin’ Sauce-Program Design & Imaging Kyle Brinkman-LED Tech David Roemer, Atelier Management Nathaniel Fountain-Projectionist Photographer Seth Sharpless-Video Engineer Aviva Klein-Behind The Scenes Photography Jayne Lies-Behind the Scenes Photography VIDEO CONTENT Berman Fenelus-Behin the Scenes Photograpahy Melina Matsoukas-Creative Director Francesca Tolot-Make up Artist For Beyoncé Ed Burke-Creative Director Neal Farina-Hari Stylist for Beyoncé Jonathan Lia-Producer Lisa Logan-Nail Artist for Beyoncé Good Company-Production Company Virginia Linzee-Make Up Artist for Band/ Ralph Miccio-Post Production Supervisor Dancers Keenan Flynn-Associate Producer Quinn Murphy-MakeUp Artist for Band/ Chaka Pilgrim-Creative Consultant Dancers Alexander Hammer-Senior Ediotor Rashad Taylor-Makeup Artist for Band/Dancers Jeremiah Shuff-Editor Eric Williams-Hair Stylist for Band/Dancers Alexandre Moors-Art Director Yukiko Tajima-Hair Stylist for Band Dancers Nathaniel Brown-Art Director Michael Duenas-Hair Stylist for Band Dancers John Perez-Cinematographer Jackson Hunt-Cinematographer BUSINESS Erdi Yao-Animator Reed Smith LLP-Legal Team Jennifer You-Chen Yang-Animator Gelfanc, Rennert & Feldman-Business Emilie Liu-Animator Management Eric Linn-Animator Daniel Kernen-Accountant Anthony Asaro-Production Designer, 11th street Momentous Insurance Brokerage-Insurance Workshop RECORD COMPANY ADDITIONAL VIDEO CONTENT Columbia Records-Sony Music Jonas Åkerlund Pär Ekberg PUBLICITY Breathe Editing Yvette Noel-Schure, Schure Media Click 3X Carl Fysh, Purple PR-United Kingdom

TOUR CONSULTANCY & PRODUCTION WIRELESS MICROPHONES Bob Ward-Safe As Milk TP Ltd Sennheiser

BOOKING AGENT VENDORS/SUPPLIERS Scott Mantell for ICM EU Trucking EST EU Busses-Beat The Street TOUR PROMOTERS EU Barricade-Mojo Belgium-Greenhouse Talent EU Spot Lights-Neg Earth Croatia-Adria Entertainment Catering Company-Sarah’s Kitchen Denmark-ICO Concerts Video Company-Chaos Visual France-Live Nation France Sound Company-8th Day Sound Germany-Music Pool Wessels GmbH&Co KG Set Builder & Motion Control System-TAIT Holland-Greenhouse Talent & Mojo Concerts Towers Ireland-Aiken Promotions Ltd. Lighting Company-Upstaging Italy-Di and Gi SRL Special Effects-StrictlyFX Norway-Live Nation Norway Ear Monitors-Sensaphonics Hearing Poland-Charmenko Conversation Serbia-Adria Entertainment Soft Goods-Rosebrand Slovakia-Vivien Agency Freight-Sound Moves Sweden-Live Nation Sweden Bus Company-Hemphill Brothers Switzerland-Good News Productions Trucking Company-Truck n’ Roll United Kingdom-SJM Concerts Walkie Talkies- Road Radios North America-Live Nation Wi-Fi System-Road Wi-Fi

VIP TICKET SERVICES SPONSORS, EUROPE & NORTH AMERICA TurnUp Group Pepsi MasterCard MERCHANDISING Coty Global Merchandisers Services, Inc.

mobile production 35 mobile productionmonthly monthly 35 ADVERTISER’S Index

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