PRODUCTION PROFILE20s, eight impression X4 Bar 10s, 15 Robert Juliat Dalis 862, 20 Robe BMFL
Blades, 12 SGM P-10s, 16 Chroma-Q Color Force II 12, four Color Force II 48s,
20 Claypaky Aleda K25 HY B-EYEs and 23 Chauvet Professional COLORado
Solo Battens.
For spots, Routledge utilised three rear Robe BMFL Spots, working in
conjunction with the in-house Follow-Me remote spots system and front
Robert Juliat spots. The LD spent the show calling spots and balancing the
lights for television, with the main show being operated by Programmer,
James Scott via an MA Lighting grandMA2.
Adding to the visual onslaught was Quantum Special Effects, who
provided two of its own FL Flames. The fixture, which had been designed
for Stormzy’s Wireless headline show back in 2018, was used to create an
iconic ‘wow moment’ to open his set – a selection of 100ft pyro shooting
from 10 stage positions and four display positions on scissor lifts out the
back behind the IMAG screens. Video Design also provided additional LED
required for Stormzy’s set.
On the subject of Video, TPi managed to grab a word with Creative
Technology’s Will Harkin, the night after Stormzy’s set, to speak about the
video demands for the Pyramid Stage. “It was certainly a challenge,” he
laughed, recalling the process from the night before, which involved taking
apart half of the upstage screen to get the stage in.
Although CT has been involved with Glastonbur y for a number of years,
this was the first time the company provided a complete video package,
including LED screens, camera package and a backend control system. The
IMAG screens chosen for this year were ROE Visuals CB5s with a Barco E2
processor handling the switching of sources.
Harkin himself actually has a familial connection to Glastonbur y, with
his father, Bill Harkin, designing the first Glastonbur y pyramid stage in 1971.
“My main goal was to create a system that you could shoot holes in and it
will still run,” he started, while describing the sheer level of redundancies
in place for the video package. “The other goal was to give productions as
many options as possible. We’ve developed a system where you can plug-in
at various points around the mainstage including FOH and the ever-popular
stage right. The demands from touring artists get greater each year, with
more acts using their own camera setup or wishing to take camera feeds
for their media ser vers. It’s all about having a system that is flexible to deal
with the demands.”
One such company that made use of the CT’s visual setup, was Really
Creative Media (RCM). Directors Nick Dew and Jack James were on site to
support the bands’ production teams at the Pyramid, John Peel, and The
Other Stage.
Having supplied Bastille with projection equipment on the road, RCM
recently started designing new live content updates for the band’s summer
tour dates, including new material specifically for the all-important festival
slot on the Pyramid stage. The company also created a series of animations
revolving around the album artwork for Vampire Weekend’s set on the
Pyramid Stage, which centred around a giant globe suspended in the
centre of stage.
Another familiar name on the main stage and providing the audio
backbone for the Pyramid was RG Jones. The PA system deployed was
impressive in ever y respect – designed to maximise SPL levels and even
coverage for the 150,000-strong audience while respecting offsite limits.
A total of 72 MLA comprised the four main hangs with a further four
MLA Compact arrays for infill flown from the proscenium arch. Eight delay
positions in an inner and out ring consisted of MLA and MLA Compact
arrays to optimise coverage across the expansive field. A massive broadside
cardioid array of 38 MLX subwoofers stretched across the entire width of
the stage to provide sub-bass support and control to the entire system.
Despite the glorious sunshine, the site is always susceptible to windy
conditions and this year was no different, with the wind changing from all
points of the compass. But again, this was something the PA system was
able to confine with ease.
As is the annual tradition, the Pyramid’s FOH hosted a revolving door
of some of the industr y’s most respected engineers to each take the reins