To complete the audio visual experience, it is important to consider what media it is going to be communicated on and the format sizes for said technologies. This entails how the final design is to be delivered and distributed on a commercial scale.
Resultantly, investigating how screens can be build and obtained with modern technologies is important for gaging a general scale to fit the designs to.
How companies advertise their screens; it is apparent that the screens are in place to 'add value to a fans experience' 'enhancing their enjoyment'.
Technologies and costs
U2’s 360° tour started in the summer of 2009 and eventually finished in the autumn of 2011, taking in North America, South America, Russia, Europe, Australia and most points in between. It was not only the biggest ever staged by a rock band, not only the most technologically innovative and the most expensive; it also featured the largest stage and the loudest sound system ever assembled for a rock ’n’ roll tour. It made Pink Floyd’s The Wall look like a village fete.
For each of the 110 dates, Bono, The Edge, Adam Clayton and Larry Mullen Jr played inside a 200-ton arachnid, a nomadic behemoth nicknamed ‘The Claw'
‘I’ve always been obsessed with the things that separate you from the audience. I’ve been in small clubs seeing bands and I’ve felt a million miles away as there is no connection, no relationship, so it’s not always about the size of the venue.' - Bono
'It’s about how you communicate. That was the breakthrough, realising that. It’s about trying to get in the face of your audience.’
Architect Mark Fisher, who has designed elaborate sets for the Rolling Stones, Elton John and Pink Floyd, came up with the extraordinary template for the stage, an enormous structure meant to sit in the middle of a stadium and which allowed everyone in the audience a view of the band. The whole point of The Claw was to create something so huge it dwarfed the stadia it would sit in, thus creating a more intimate environment.
The next challenge was wrapping it with video, allowing it to become a screen onto which the band could be projected.
‘On PopMart I asked if we could do a screen that would be a pop art installation, and we used LEDs – not in clusters, but across the stage so you got this huge screen. And now everyone uses an LED screen.’
Cylinders, flat surfaces and various other options were tried before the final design was reached: an expandable structure using ‘free-form pixels’. ‘We had to manufacture half a million separate hexagonal LED pixels,’ says the Belgian Frederic Opsomer, who has been instrumental in designing many of U2’s groundbreaking video displays.
‘They cost about €10 apiece.’
The tour's overheads were in the region of $750,000 a day
The result looked like a vast shaving mirror.
Weighing in at 54 tons, it was made up of over one million pieces, including 888 miniature LED panels containing the 500,000 weather-resistant pixels, and which opened out to an area of 14,000 sq ft at its largest. A cable pulley system enabled the construction to be moved up and down.
It took the crew eight hours to set up the video screen and six to break it down after a show.
The central section looked like a submarine full of lights and was assembled in situ.
The cylindrical screen was then suspended from The Claw, itself 213ft wide, 161ft deep and 89ft tall, with a central pylon that reached 151ft.
The stage was required to support a further 250 tons of mechanical and technological wizardry, including 250 speakers, the screen and lights.
Full article: http://www.dailymail.co.uk/home/moslive/article-2212936/U2s-450-million-tour-Behind-groups-gigantic-360-degrees-concerts.html
Creatively configured LEDs for your design
LED technologies include several options for creative use of scenic and set design elements. F-LED Ultra Lightweight 11mmG-LUX Mesh 15mm G-LUX Mesh 37.5mmSoft Curtain LED 18mm Versa TUBESMiStrips LED Video Spheres 10mm are among the products available to enhance a set, embellish a stage, or add decor to a presentation area. Decorative and artistic possibilities are extensive, and components can even be arrayed to form creative screen surfaces. Interlocking LED modules are light and portable. Time, cost, and power efficient, they require no convergence and offer flexible colour balance. Modules are rugged and adaptable to every production situation, using either ground supported or flown rigging systems. The modular design, together with the natural advantages of LED technology, enables quick and efficient set-up and installation.
Projection and Large Screen Monitors
Some events need large screen images, but most are suited to projection. Some shows need multiple formats or camera systems and broadcast packages. LSV provides general video and audio equipment, including video projection packages, large format LCD displays in extreme sizes, source equipment, broadcast camera packages, web feeds, microwave paths and satellite links offer multiple application uses. Add audio equipment to complement any system requirements or work with any LED display.
For the type and scale of design already investigated for Mild High Club, it seems the desired screen is 1 portrait and 2 landscape 1920x1080p, where size can vary depending on said stage.
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