With the arena in landscape format, and the audience placed along one of the long sides, the visual requirement was to create a dramatic 250ft wide backdrop that changed scenes and locations opposite the seating stands. Screens for XL's live video camera shoot also had to be located in optimum positions for public viewing.
PMi suggested large format projection as the most cost effective route to provide a sufficiently bright background of that much surface area that would 'surround' XL's three 20 x 15 IMAG video screens. PMi then approached E//T//C UK with this projection concept.
E//T//C UK supplied three PIGI 6 projectors with single scrollers, rigged on a roof truss, for the project. They worked with PMi to create the artwork for the eye-catching backgrounds, including snow scenes, waves, mountains, fireworks, historical montages, etc. The PIGI's were controlled by a PC running PIGI 6 software, operated and overseen by Andy Joyce. A different backdrop scene was used for each section of the show presented by Jo Guest and Paul Musselle.
XL Video ran a four-camera live shoot, relayed onto the three screens incorporated in the backdrop via Barco G10 ELM projectors. This was directed by Phil Woodhead, an aficionado in the fast moving world of autosports video direction. Chief engineer was Richard Burford. The mix was crafted and produced from XL's busy OB truck stationed just behind the backdrop.
In addition to the four standard, ground-based, operated cameras, XL supplied an in-car single chip cameras, complete with new high-speed microwave receivers from Link Research. Lighting gear was supplied by LSD and sound was from SSE.
(Lee Baldock)
