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width, it required two Christie Roadster HD18Ks and one Christie Solaria CP2230 digital projector. Two coolux Pandoras Box media servers supplied the imagery. The Liver Building’s 48 metres by 50 metres surface (or 2048 x 2160 resolution) needed two Christie Solaria CP2230 digital cinema projectors. Outputting 32,000 lumens, this is the brightest digital cinema projector for screens nearly 100 feet wide, and without its dedicated pedestal, this DCI-compliant device can be installed nearly anywhere. This show was powered by powerful PCs, running Resolume VJ software that triggered the effects. The Christie projectors - all of which are owned by AV MEDIA Group - were fitted with either 1.1-1.4:1 or 1.8.-2.6:1 HD zoom lens. Tomato Production’s Producer, Martin Posta, explained that they were given parameters detailing where their projections would appear, but what would appear would be up to them. “There was no specific task,” revealed Martin. “So the content was fully up to us.” dbn Lighting provided a Green Hippo Hippotizer media server, linked in to the projection system, so block colour could be applied. This was mapped exactly to the projection surface area and filled that space for the warm up period before the video show started, thus avoiding a visual void. Talking about the marriage of lighting and projection during the Liver Building show, Martin explained: “This was the first time we incorporated extra lights into our show. Previously we have used only projectors for the mapping, but this time we decided to use lights to add a bit of depth to the mapping and extend the show to another level. The dbn Lighting guys were of great help in this, as
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they experimented with us to get a perfect result.” The adjacent Cunard Building was also illuminated for the occasion by dbn. They used a combination of Studio Due CityColors, i-Pix BB4’s, Studio Due ArchiLEDs and StudioLED 600’s, the new Studio Due LED CityColor replacement - a colour changing wash light with a zoom. There were also additional Clay Paky Alpha Wash THs and Alpha Beam 700’s, topped off with some SGM PALCO colour changing LEDs to ensure that all elements of the structure were well lit, again accentuating the form and features of the building. All the architectural lighting was controlled using a Jands Vista T2 console operated by Pete Isherwood, running the new generation Vista v2 software, with another T2 console running in full tracking backup. The stage was positioned at the opposite end of the Pier Head to the buildings, and featured live performances from Connie Lush, The Royal Liverpool Philharmonic Orchestra and blues band 6ix Toys on Sunday. The stage lighting was designed to produce plenty of flexible looks for the different types of show and for good overall coverage. Eight Chroma-Q Color Force 72 LED battens up-lit a cyc at the back, and overhead, rigged in the roof, were a selection of Clay Paky Alpha Spot 1200 HPEs, Alpha Beam 700s and Alpha Wash 575 TH moving heads, together with 2-lite and 4-lite Moles and 12 x 2K fresnels. These were all controlled from an Avolites Pearl Expert desk, programmed and operated by Chris Philips.
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