Catfish and the Bottlemen - UK Arena Tour

Transition were approached by production manager Ian Martin to come on board as the video supplier for Catfish and the Bottlemen for their UK Arena Tour.

Now in their third year working with the band, November 2019 saw the Transition team hit the road for their Arena tour. The band wanted a very video heavy show concentrating on camera feeds with a stylised black and white look with no integrated Graphics.

Transition brought in video director Jools Hogg who specified the Blackmagic ATEM 4k 2m/e switcher which allowed him to cut a different camera mix on the upstage screen to the IMAG screen to great effect. They implemented the ROE Carbon series CB5 5mm LED for both the upstage and IMAG LED screens along with their broadcast Ikegami camera system.

As the whole show was based on different camera cuts, they decided to add a couple of Panasonic PTZ cameras to get interesting shots of the band that you couldn’t get to with a manned camera, they also brought in camera specialist Polecam to road test their new Polecam Skyjib. The skyjib is a remote operated jimmy jib which is operated from side of stage, the jib was mounted on the front truss and gave those lovely jimmy-jib boom shots over the crowd without having a massive jib on the ground obstructing the crowds view of the stage.

Bruce Selkirk set up and operated the skyjib system and the results were fantastic. It was great working with Nite Lites on this project. Video, lighting and sound all worked well together as a team, which isn’t always the case on an arena tour.

Jamiroquai - Automaton Tour

When Jamiroquai announced their come back arena tour in 2018, Transition were keen to get involved. After a lengthy tender process, Transition got the news that they'd be supplying the tour.

Transition supplied an upstage screen measuring in at 14.4m x 4.8m, made up of ROE MC-7H 7mm tiles. Beneath the upstage screen were 5 LED pods, the outer 2 pods were 3m x 1.8m and the central pod was 2.4m x 1.8m, again using the same 7mm. On either side of the upstage screen were 2 portrait IMAG screens, 3m wide x 4.8m high. The cameras specified were 4 Ikegami HDK 79 EX III Broadcast HD Camera Channels, 2 of which on Canon XJ95 Box Lenses at FOH, and a further 2 Canon HJ11’s in the pit on Transition’s IDS track and dolly system. There were also 4 Panasonic AW-UE70 4K Hot-Head cameras positioned around the band on stage, for the key moments in the live cuts.

The PPU was based around a Blackmagic ATEM 2M/E 4k Switcher with Blackmagic 1M/E panel. Content playback and the effects engine was powered by the Photon media servers which layer effects over the camera feeds in real time, as well as playing back the content to the LED.

Jay Kay’s head piece, as you’ll see on the photos, was quite a statement piece and, interestingly, also part of the set. “Jay’s been wearing his promotional, motorised LED hat - which he controls with his gloves - for all of his promotional appearances and throughout festivals, so we wanted to incorporate it into the show, significantly,” mentioned Nick Clark-Lowes (Content Creator). “Andy made the hat in the shape of the camera pictures. We’re using animated content with animated Alpha channels to reveal both the hat pictures and the camera pictures,” he concluded.

Updated: Apr 24, 2020

Before the Gold Rush...

On the cusp of its 50th anniversary, Glastonbury Festival has morphed from ‘folk and pop’ event for some 1,500 people to core cultural ingredient in the calendar for 140 times that number. The production effort has taken similar strides, accelerated since the turn of the century.

Providing LED screens and Video equipment to Glastonbury for the last eight years, Transition Video was on the Other Stage for the first time in 2019 with 8.4m x 8.4m ROE CB5 iMAGs stage right and stage left and a 15m CB5 upstage LED screen, each with a 14m horizontal truss brace to counter the wind load. Transition also supplied Barco E2 image processors for artists using the screens and to allow different images on each through a performance.

Tame Impala, The Chemical Brothers and Christine and The Queens headlined the Other Stage with Two Door Cinema Club, Johnny Marr, Billie Eilish and Loyle Carner among the other acts.

The new IICON stage at Block 9 was another first for Transition. Inspired by French composer Messiaen’s Quartet for the End of Time, the structure, a massive head on its side wearing a VR headset, required a 9m x 6m LED screen tilted forward on a 45° angle.

“It wasn’t the usual, ‘build it from the ground up and fly it off a truss’, we had to fix touring frames to this structure then hoist each panel up individually,” Transition Video Director, Rhodri Shaw, says.

In the south east corner of the site, at the Temple on The Common, which Transition has been providing for since 2016, the company mapped five Panasonic PTDZ 21k projectors on a Mayan temple-style structure.

“We have been working for the festival since Transition started, growing gradually across the map as new opportunities come up but this was the best Glastonbury for us,” Shaw says.

Glastonbury 2020 takes place from June 24 to 28. The 210,00 tickets went in 61 minutes.