Text:/ Matt Caton

(above) While 5000 real pyrotechnics were bursting around the Moscow State University building, at the end of the 30-minute video segment of the show, the mapped video extended the look with projected pyro effects. Photo: Meredith Whitford

FOLLOW THE MASTER

Accompanying the 30 minutes of video content was an audio and effects track created by musical director David Pierce. The audio track actually drove the entire sequence, as the event’s production editor and senior replay operator Steve Logan explains: “The replay systems supplied the music and sound effects as well as the timecode tracks. Timecode was sent from the replay system to video, lighting, pyrotechnics, flames, automation, stage management and broadcast. The replay followed the call from the Stage Manager and started and stopped the show as required.” Twelve L-Acoustics Kudo line arrays were used for main coverage and delay stacks, which ensured that all spectators from Moscow University to the various viewing points were able to see and hear the show in all its splendour!

The playback facility consisted of three ProTools systems, two of which provided the dual-redundant replay, while the third was used for production editing and for fill loops during replay. The main and backup systems were equipped with Euphonix MC controllers supplied by Auditoria, while a 24 x 8 mixer was used to bring everything together. Timecode was sent via distribution amplifiers to the required destinations, while network-distributed timecode was supplied to the readers used by stage management and anyone else who needed a visual reference.

THE FOURTH DIMENSION

Impressive as it was, the video content was only part of a spectacular that included live performances accompanied by lighting, pyrotechnics, bubble and snow machines, which provided the rationale for claiming the ‘4D’ aspect to the production. All of these elements were triggered to match and marry with the visual effects. Live performances included French free-climber Alain Robert, known as the French Spiderman, who scaled the constantly-changing facade of the building, as well as Russian opera diva Anna Polovinkina who sang excerpts from Borodin’s Prince Igor Suite.

Lighting was in the trusted hands of lighting designer Trudy Dalgleish. Having to balance the lighting with the projection, while also lighting the audience for the TV coverage and enhancing the snow and rain effects and the 50,000 balloons that were in the air; all without hitting or washing out any of the projections, were just some of the challenges to the design. Trudy explains: “The other and harder part of my job was to light the large portico building that led directly to the main building and was in the centre bottom of all the projection shots. For some reason this could not be projection-mapped, so my brief was to meld this building into the projection during the show. I ended up with over 200 lighting cues over the 30 minutes that were timecode-locked to the projection. Every time the images changed, so did the lighting on the portico building. It was a challenge, as matching the colour was sometimes almost impossible, so I used textured gobos to help meld it in.”

Trudy programmed and operated the GrandMA1 console herself. The lighting crew were from PRG Belgium, while the Russian crew in charge of all production infrastructure were Kometa Productions. The portico was lit using DTS Delta 7 RGB wash fixtures, Martin Mac 2000 XB washes, PRG Bad Boys and 40 Ireos 7kW searchlights. The stage itself was lit with a mix of VariLite 3000 profiles, Martin Mac 2000 XB washes and two Lycian long-throw followspots. All lighting equipment was supplied by PRG.

Pyrotechnics and special effects were supplied by Orion Art, with more than 5000 condensed explosive charges and fireworks effects lighting up the night sky and 50,000 balloons released to celebrate Moscow’s 864th birthday.

A MOSCOW & SEE

As well as the estimated 300,000 live viewers, a 14-camera coverage of the event was broadcast live in HD right across Russia. Robbie Klaesi ended up having an event-time role as an IMAG director in the broadcast OB truck, and found the experience quite unique. “Being in a Russian OB felt very much like being in a crowded German Beer Hall. There were people screaming and swearing. The place was as close to full as you could imagine and people were smoking up the back all the way through.”

It really is difficult to convey just how spectacular this 30-minute visual feast really was, and it’s for that reason that I recommend to anybody who has made it this far into the story, to check out the event on YouTube (search for ‘Alfa 4D Moscow’), where you’ll find the full broadcast, and several edited highlights packages. You’ll quickly see why it was awarded a Guinness World Record, and why this event is being spoken of in such high regard in the world’s live production circles.