“We have taken on two roles for Say Hello, Wave Goodbye,” explained Dew. “First is producing the visual content for the show. Second is the camera package and media servers used on the night.” James continued: “The content was really driven by Mark Langthorne who had a clear vision of what he wanted to achieve with the project. What we have produced is very much a modern imagination of the aesthetic that made Soft Cell so famous in the ‘80s.”
Alongside the content streamed on the LED surfaces, we also incorporated several IMAG shots. For our pit and FOH cameras we utilised Black Magic URSA Broadcast cameras along with a selection of Agile Remote Camera pan and tilt robo cams, to get those close-up shots without being too much of a distraction for the performance on stage.
For control, we deployed a pair of Catalyst V6 media servers with an MA Lighting grandMA2 Light and OnPC Wing for control. These were tamed by programmer Jake Whittingham. “It’s certainly one of our go-to setups as it’s very flexible,” stated Dew. “Practically on these one-off shows where it’s very ‘run and gun’, you don’t have time to learn a new technology and you need to be comfortable with the system.” James agreed: “The Catalyst is very adaptable and deals with issues as they pop up. So, for a show with no rehearsal time, it was a no brainer. It’s a very similar package to that which we created for the Liam Gallagher tour which was a great success.” All the camera feeds were sent to a Panasonic Touring PPU system which was overseen on the day by Video Director Phil Jennings and engineered by Bjorn Parry for us.