Transition Video, based in Aylesbury, specialises in concert touring, festivals and TV broadcast equipment, while 4Wall UK offers an extensive lighting and video fleet across its two locations in London and Blackburn, supported of course by the broader 4Wall offering across 11 locations throughout the USA.


The alliance will see both providers extend their capabilities to service the largest, most ambitious shows, giving both of their client bases access to a vast fleet of LED, lighting, projection and more, as well as a growing team of experienced technicians across the country. The two companies will be perfectly positioned to collaborate on future projects throughout 2021, providing a turnkey solution from both a Video and Lighting perspective.


Rhodri Shaw, Director of Transition Video, said: "We are really excited to announce our partnership with 4Wall Entertainment. We can now offer clients access to a huge inventory of video, lighting and rigging equipment, not only in the UK and Europe, but also in the US. We look forward to joining forces with the 4Wall team and can't wait to get back on site this summer"



Darren Poultney, Director of Global Client Strategy at 4Wall, said of the partnership: "Our Blackburn location has worked alongside Transition Video for many years and already work with their high-quality kit and understand their service offering. We are excited to be able to work even more closely with the team at Transition to further extend our offering to our client bases. This alliance will also enable us to increase our capability as a one-stop-shop in the UK for the festival, concerts and touring sector."




Wes Bailey, CEO of 4Wall Entertainment Inc., also said: "Creating a partnership with Rhodri Shaw and the Transition team allows us to offer an even broader range of video services as the live entertainment world returns to normalcy. Rhodri shares our commitment to quality equipment and customer service, and I know our teams are well prepared to take on exciting projects this summer and in the future."







Liam Gallagher - Why Me Why Not - Arena Tour


In early 2019, Transition were approached by Liam Gallaghers production manager, Ben Pomphrett to come on board as video supplier for the upcoming festival and arena tours.


Show designers Cassius Creative had a clear vision of what they wanted to achieve from the outset. Having worked with Cassius on numerous occasions, Transition were able discuss what was required and what was feasible. The main criteria was that the upstage wall had transparency, yet still bright enough and high enough resolution to display the content in detail.


Transition were the first company in Europe to take delivery of the ROE Vanish 8, 60% transparent LED, the ideal product for the job. Leading the LED charge was Transition Video Technician and Camera Operator, Carl Stage, who was brought on board to oversee the maintenance of three centre-hung ROE Visual CB5, 5.9mm pixel pitch, IMAG screens, spanning 4.8m by 3.6m.

“We are 100% a ROE Visual LED house,” he confirmed. A video wall, spanning 17m by 9m, comprised of ROE Visual Vanish 8mm LED panels were housed on the upstage wall, along with the IMAGs in ROE Visual’s T4 frame touring system.


The bespoke PPU was built and put together at Transition Video’s HQ in May. “It’s our second PPU, featuring our latest purchase of Sony HXC-FB80 HD camera system, which is nice and lightweight. Initially, I didn’t realise how much of a benefit that was until I came out and quickly learned that I was going to be doing handheld camerawork all the way through,” he laughed. “I typically handle cameras on sticks, but an hour and 45 minutes every night on my shoulder with a lightweight camera makes all the difference.” A senior member in the Transition Video setup, Stage was pleased to roll up his sleeves and get back into the ground floor of live touring. “You get a level after a decade in this industry, where your technical knowledge is really vast so the past few years has been fewer gigs and more excel spreadsheets,” he continued. “I got into this industry because I like playing with toys and, to me,” he gestured to video screen, “that’s my big telly!” Stage’s only challenge was fitting the screen into all of the venues. “We had to trim the video down during the first show in Motorpoint Arena Cardiff, cutting the three centre-hung video screens, instead hanging two traditional left and right IMAGs instead. Aside from that, the only other challenge is flying pints of beer and keeping everything dry,” he chuckled.


A video director station was custom built specifically for this tour, in which the VD operated from at FOH. “We’re used to getting multiple HD signals to and from FOH, however, this year we’ve found a good rental house that has provided us with an Ereca Stage Racer 12-way system.” Stage explained that with 12 lines of fibre, he was able to set it up as a transmitter and receiver at each end. “The benefit in the smaller venues is having all your racks and processing backstage.”









Jess Glynne - Always in Between - Arena Tour

Transition were approached by production manager Ian Martin to come on board as the video supplier for Jess Glynne's - Always in between tour.


The outline of the brief by show designers, Cassius Creative was to supply a large curved upstage wall with a portrait IMAG Screen to the left and right. Curved screens can be time consuming to build so it was imperative that the right product was used for the job.


Transition opted for the lightweight ROE CB5 in factory frames which enabled them to use the ROE curving camps. The 25m 4K screen used a 15 degree curve every 1200mm which gave the perfect concave effect with a flat portrait IMAG either side.


The video content was created by Fray Studios and was programmed and run on Transitions Hippotizer Karst V4 media servers outputting 4K.


Director Paul ‘Eggy’ Egerton was at the helm cutting cameras, utilising Transitions Ikegami camera channels and PPU with 2 cameras in the pit on track and dollies, along with a hand held on stage and a long lens at front of house. Eggy also utilised 2 Panasonic AWUE70 4K PTZ cameras which were operated by the engineer Tom Bassford. Tom wrote a custom program on the road that could recall presets and tallies for each camera offering a further selection of shots for use during the show.


The final outcome of the show looked incredible and toured arenas in the  UK and Ireland.