Production Reviews

“…for the most part, especially with the amazing backdrop and scenic pieces to light, it was about creating varying colourful worlds for the songs to live within.”

The screen that WOOHAH supplied and built was an incredible 40.2 metres wide and 19.2 metres high, running approximately 23.5 million pixels and weighing in at a whopping 33 tonnes.

The stripped back design employed 21 Ayrton laser-sourced Cobra fixtures – Warren’s only moving lights – in what Warren terms an “extremely considered and precise” show.

“Our main goal in choosing L-ISA was to enhance the festival performances by displaying the genre’s sense of emotion and atmosphere through a live immersive audio experience,

Robe is a powerful, reliable and weatherproof choice for outdoor events needing quality production lighting.

Nathan wanted to do both front and rear projection; the front could be doing backgrounds, and then the rear could be doing punchy overlays. And sometimes we could take away the screens completely and just blast the architecture of the room with projection.

Apart from breaking new and experimental ground on multiple levels, the sheer scale of the stage design and scenography and the integration of all the technical elements to deliver this truly world-class show to so many people was mind-boggling!

“The main technical issue you have to be careful of when filming LED screens is moiré. We chose ROE Visual LED CB3 LED panels with 3.75mm pixel pitch, processed with Brompton processing. After testing colour, balance, and brightness, the ABC loved the look.”

-750+ wheels to get the stage and production on and off
-300+ crew for the move on and off 200 dancers on field
-Staging and production delivered in 25 semi trailers
-40+ tons of production

“The design is theatrical and cinematic instead of crazy flashing lights,” he added. “It’s designed to fit in with the screen content, so it was a visual show. I would emphasize that with lighting to make it seem bigger than it is.”