Roger Waters ‘This is Not A Drill’ Tour
Universal Pixels (UP) has supplied screens, servers, cameras, a backline monitoring package and crew for global prog rock artist Roger Waters’ 360-degree This Is Not A Drill tour, which travelled across North America until late 2022 and resumes in Europe this March.
The tour features a cross-shaped stage mirrored by a 12-surface LED cross suspended above it, creating a striking visual spectacle. This well-thought-out configuration also ensures audiences have uncompromising views.
“With the screen, audio, and lighting all suspended from the roof, this heavy rig required a lot of advance planning,” notes Jeremy Lloyd, co-director of technical production practice, Wonder Works. “UP provided the screen for the last tour in 2017/18, so it was a pleasure to work with the team again to find a solution for this unique in-the-round show. The huge 650sqm Leyard LED screen was chosen because it is lightweight enough to reduce the overall rigging load, while still staying true to the overall design concept. The result is a truly immersive 360-degree canvas for Roger Waters' outspoken storytelling.”
LED was driven by Colorlight Z6 Pro 4k Processing, which the content and camera effects fed via four disguise GX2c media servers.
Video Director Icarus Wilson-Wright adds: “It’s not just a rock ‘n’ roll show with big video screens; this is unlike anything I’ve ever had the pleasure to work on. I describe it as an integrated piece of art for a musical artist, and it truly is an incredible show to look at.”
As well as the screens and servers, UP has provided a camera package consisting of 4k 2ME Ross Carbonite Ultra with four Sony HDC4300’s (three XJ90 lenses and one HJ14), and two Panasonic AWUE150KPJ PTZ cameras with Ereca Topas 4k Optical Transmission Modules on custom automated masts by Kinetic Lights.
Finally, UP provided a 10-station custom-built backline monitoring package and 14 crew-members, project-managed by Mark Strange.
Wilson-Right continues: “It’s always reassuring to have UP around to help with some of the more technically challenging moments that can crop up on a complex project of this scale. They really are very good at problem-solving and finding a solution to whatever’s happening with the video. On top of that, they’re a great supplier who always ensure that the equipment you’re receiving is perfectly prepped and maintained.”
Photos by Kate Izor
