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“Though the challenge was clearly sizeable, it has been met with such vigour and enthusiasm that it seems inappropriate to call it a challenge. For example, Peter Wilms faced an arduous task in sourcing visual content for
the show, yet his response was: ‘It was a lot of work, but I’d happily press delete and do it all again tomorrow’.”
Four Barco FLM HD20 projectors, each offering 20,000 lumens light output, are patched together to create 1080 HD over the 48 metres wide projection area. Again, low noise levels, achieved by liquid cooling, are an attractive attribute. The FLM features a sealed optical engine that prevents dust, smoke or other environmental contamina- tion to its image quality.
Paul Hutton explained why the Barco projectors were chosen: “If we stay with the beach scene, that was a huge image - 48 metres. We deemed that they were going to have to have projectors which were at least 20k projectors.
“Because these projectors needed to work constantly every single day, and we are essentially a staging and rental company, that’s what we do in the UK, we said, ‘if we give you projectors that we know and trust, and that we have a fleet of here, if there are any issues or problems we can easily swap them out’. We can maintain the con- sistency without going to another projector that is a different make, which if there was a problem with we’d have to send back to the manufacturers and try and rent one in from somebody else. “Firstly, we had to be able to support those projectors from our own fleet. Secondly, we know they are reliable because they’re on our fleet, we’ve used them in various live event situations and we are very happy with them. And thirdly, we knew they would do the job and that they are up to it.”
All of the projectors are controlled by a Dataton WATCHOUT system. A total of 10 displays are linked to one control PC, with a back-up PC at the ready. Though Peter Wilms has worked with other control systems in the past, he was sure about what was needed for Soldier of Orange.
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“I was pretty much decided on the video projectors that I wanted to use, given the size and the scope,” said Peter. “The thing that I did choose, was to use Dataton WATCHOUT for the media and the content playback. Now, a lot of people say you should use Catalyst, you should use Green Hippo, you should use this that and the other. But I wanted to be able to think of the two surfaces as one continu- ous canvas, and thought WATCHOUT would be the right tool. I had a few people trying to dissuade me from that because different systems could also do HD playback, but I knew that most decisions were going to be made onsite, rather than in an edit suite. I wanted something that I could really compose and create everything with, accurately, actually there onsite, and WATCHOUT gave me that. I have no regrets at all. I’m now planning to use WATCHOUT for the next show as well.”
The visual spectacle was enhanced by a lighting concept designed by Gerhard Fisher and supplied by EML Productions. EML’s Henk Langeveld oversaw the installation and programmed the High End Systems Wholehog 3 lighting desk. Fixtures at the show’s disposal included 12 Vari-Lite VL3500Q Spots and two Vari-Lite VL3000 Spots on the doughnut and a selection of par cans and ETC Source 4 fixtures.
Such a unique show concept required an equally bespoke audio solu- tion. Jeroen ten Brinke is one of The Netherlands’ most experienced theatre sound designers, and it was he who was asked to specify the audio configuration for Soldier of Orange. Despite working on high profile productions like ‘Les Misérables Ciske de Rat’ and ‘Beauty and the Beast’, this project presented some new technical chal- lenges.
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