Page 57 - Lighting & Sound America (December 2019) Magazine

Opposite: The icon. “Each arm is 60', covered in distressed acrylic, which is wrapped with a dichroic material from 3M and edged by
LED tape,” Risueño says. Above: Effects include C02 jets for the high-energy dance moments.

theme; in our brainstorm process, we came across these thrust controlled by Navigator. Once Drew is on the flying
guys called the Urias [Family Daredevils’] Globe of Death. thrust at the end of the arena, the platform angles and rises
They are a third-generation family. We partnered with them, to an approximate height of 40'. He can get out there and
and they are an amazing group.” address all the people at the back of the arena who
He adds, “The globe is 60 or 70 years old. We reengi- thought they would not have an opportunity to see the
neered and built it, so it was able to be flown. It flies in the artist from this close.”
center, just shy of the Jumbotron, then lands on the B stage.
Then the motorcycles come out and we have this moment.” Video
“We choreographed the motorcycles to appear twice in Located upstage are three ROE Visual CB8 eight-millimeter
the show; both happen during musical transition moments LED screens, which, Risueño says, “are angled in two
where the tension rises,” Risueño notes. “After the song axes, similar to what you would get if you cut a funnel in
called ‘Hope’ ends and its remix starts, the motorcycles two. Originally, they were designed to reach an extreme
come in for the first time. They do burnouts, spitting col- rotation angle of 17°, but some technical difficulties pushed
ored smoke while interacting and bullying the band. They back. Finally, [production manager] Wob Roberts found a
wear all-black costumes and represent the dark side of sweet spot, balancing build time and aesthetics.” Video
World War Joy. The next time they appear represents the and lighting gear are provided by PRG.
bright side of World War Joy, after the song ‘Something Video content was created by Production Club, led by
Just Like This.’ That’s when the Globe of Death comes art directors deployed in three locations: Max Nicklas
down, the motorcycles go in, and do a 360 in it.” McGuire (United States), Hugo Bermudez (aka Sadgas)/Fran
adds, “During ‘Something Just Like This,’ the production Zurita/Juan Civera (Spain), and Kadavre Exquis (France).
really pushes its limits; the icon is moving via automation, Risueño notes, “It is a very video-heavy show. We were a
the globe is being lowered, multiple special effects cues team of 12 artists, working on everything from storyboard-
happen, and lighting and video are going full throttle. It’s ing to renders. This time, the approach to the content was
very immersive. There’s something so satisfying seeing a more environmental than in previous shows. We created
massive, 5,000lb ball being lowered while a 60' megastruc- responsive environments inspired by the emotions we
ture is moving at the same time.” wanted to trigger in the audience. It’s more like a theatre
Out in the house, Risueño says, “We have a 32' flying play, where the environment in the background sets the

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