Las Vegas, NV – 2021

LMG Touring & Entertainment Delivers Larger-Than-Life Show for Usher’s Las Vegas Residency

LMG Touring & Entertainment is proud to support Usher’s Las Vegas Residency at Caesar’s Palace through December 2021, creatively utilizing LED, lighting, disguise media servers, cameras and more to deliver a larger-than-life show featuring the eight-time Grammy winner’s greatest hits.

Simon Hammerstein and Richard Kimmel of Outside the Box developed the initial creative concept for the show: A multi-act journey through a day in the life of Usher, tracked through a list of global hits spanning the artist’s 3-decade-long career.

“Loosely, we journey from a club to the city streets, back to the pad,” says Jeremy Lechterman, Lighting Designer. “In Act IV, we are transported to outer space, because, well, everyone loves outer space!”

“Most of the audience is probably focused on Usher himself, but the storyline here is taking us on a literal space journey to another party. What a fun idea!” says Sydney Asselin from FragmentNine.

To bring this vision to life, the team created a clean and modern stage design with 12 enormous 3D tracking ROE CB8 LED columns with custom smoked fascia that could be reconfigured throughout the show to create new environments for each song. Weighing in at 1200 lb. and standing 40 ft. tall, the columns independently travel in all directions and rotate 360 degrees.

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Paul Tate dePoo - Production Designer

“TAIT Towers created and provided the structure and automation for the three systems that each carried four columns. LMG then skinned three of the four sides of each column with LED panels, which were created with a black Lexan facing. The LED panels within the columns allowed us to extend, break away and aperture the Colosseum’s mammoth video wall and the content being designed for it. The goal was to never see where the columns ended and where the video wall began. The Lexan covering the LED allowed us to create a surreal, mirror-like infinity whenever the video wasn’t used. It provided a depth for the LED that was beyond the team’s expectations. The fourth side of the columns were then used selectively to revel vertical systems of GLP X4 bars to add epic blades and points of light. This fourth side was used whenever we felt we needed an ‘analogue punch of power’ on the stage,” “TAIT Towers created and provided the structure and automation for the three systems that each carried four columns. LMG then skinned three of the four sides of each column with LED panels, which were created with a black Lexan facing. The LED panels within the columns allowed us to extend, break away and aperture the Colosseum’s mammoth video wall and the content being designed for it. The goal was to never see where the columns ended and where the video wall began. The Lexan covering the LED allowed us to create a surreal, mirror-like infinity whenever the video wasn’t used. It provided a depth for the LED that was beyond the team’s expectations. The fourth side of the columns were then used selectively to revel vertical systems of GLP X4 bars to add epic blades and points of light. This fourth side was used whenever we felt we needed an ‘analogue punch of power’ on the stage.”

To achieve an epic visual experience, LMG Touring utilized disguise GX2c media servers for real-time rendering that is responsive to its environment. This allowed the performers to interact seamlessly with the visuals, creating a captivating experience for the audience. Disguise rendering provides ultra-high resolutions and excellent frame rates as well as vivid color, clarity and complexity.

For uncompromised image quality, LMG Touring used Sony 4K YHD HDC4300L Studio Cameras to deliver an unparalleled live video production experience.

Lighting was also key in creating a high-energy experience for the show. LMG Touring provided grandMA3 full lighting consoles to control more than 500 moving lights to create an enriching visual experience for the audience. For this performance, the team pulled together a one-of-a-kind, massive lighting rig featuring Chroma Q Color Force IIs, ROBE Robin Mega Pointes, ROBE Robospots, Magicpanel-602, Impression X4 Bars, Martin VDO Sceptrons, Elation SixPar 200s, and many more. This combination along with the sheer volume of lighting on this show allows for fast re-focusing to produce a high-energy, dynamic experience.

While the Usher residency was delayed by a year due to the pandemic, the team had only a few months to design and execute the show – and for many crew members, this was their first live event since before the pandemic.

“We were contacted only about four months before opening day, so it was a truncated design process, an even shorter pre-pro process to nail down all the technical details, and then suddenly we were loading in,” says Jeremy. 

With time as the number one challenge leading up to opening day, LMG Touring was able to respond quickly to the evolving production with their extensive inventory of technology.

“Having LMG be present throughout the tech and creation process gave us the ability to endlessly try and swap out products and fixtures as the show naturally evolved with its design. Every day was a day of reinvention until we felt the show was right for opening night,” says Paul. “I couldn’t be more grateful for the willingness and ease to have LMG by our side as the show technically progressed towards our vision.”

{

Paul Tate dePoo - Production Designer

“Having LMG be present throughout the tech and creation process gave us the ability to endlessly try and swap out products and fixtures as the show naturally evolved with its design. Every day was a day of reinvention until we felt the show was right for opening night. I couldn’t be more grateful for the willingness and ease to have LMG by our side as the show technically progressed towards our vision.”

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Las Vegas, NV – 2021

LMG Touring & Entertainment Delivers Larger-Than-Life Show for Usher’s Las Vegas Residency

LMG Touring & Entertainment is proud to support Usher’s Las Vegas Residency at Caesar’s Palace through December 2021, creatively utilizing LED, lighting, disguise media servers, cameras and more to deliver a larger-than-life show featuring the eight-time Grammy winner’s greatest hits.

This livestream event was the band’s first show since April and featured their latest album, “What the Dead Men Say.”

According to Trivium’s Tour Manager Charlie Bybee, the band was about to embark on a new two-year touring cycle when the COVID-19 pandemic struck, canceling all tours and live events.

“The band was already knee deep in commitments to all-new production,” he says. “Being that they now had a bunch of new production elements as well as a brand-new record—but no shows—the band wanted to find some way to incorporate all they had been planning into a digital livestream to release the record.”

Initially, the creative concept for the show was a wooded area, which morphed into scenic carts designed by Sooner Routhier and fabricated by Gallagher Staging Nashville.

{

Paul Tate dePoo - Production Designer

“TAIT Towers created and provided the structure and automation for the three systems that each carried four columns. LMG then skinned three of the four sides of each column with LED panels, which were created with a black Lexan facing. The LED panels within the columns allowed us to extend, break away and aperture the Colosseum’s mammoth video wall and the content being designed for it. The goal was to never see where the columns ended and where the video wall began. The Lexan covering the LED allowed us to create a surreal, mirror-like infinity whenever the video wasn’t used. It provided a depth for the LED that was beyond the team’s expectations. The fourth side of the columns were then used selectively to revel vertical systems of GLP X4 bars to add epic blades and points of light. This fourth side was used whenever we felt we needed an ‘analogue punch of power’ on the stage,” “TAIT Towers created and provided the structure and automation for the three systems that each carried four columns. LMG then skinned three of the four sides of each column with LED panels, which were created with a black Lexan facing. The LED panels within the columns allowed us to extend, break away and aperture the Colosseum’s mammoth video wall and the content being designed for it. The goal was to never see where the columns ended and where the video wall began. The Lexan covering the LED allowed us to create a surreal, mirror-like infinity whenever the video wasn’t used. It provided a depth for the LED that was beyond the team’s expectations. The fourth side of the columns were then used selectively to revel vertical systems of GLP X4 bars to add epic blades and points of light. This fourth side was used whenever we felt we needed an ‘analogue punch of power’ on the stage.”

To achieve an epic visual experience, LMG Touring utilized disguise GX2c media servers for real-time rendering that is responsive to its environment. This allowed the performers to interact seamlessly with the visuals, creating a captivating experience for the audience. Disguise rendering provides ultra-high resolutions and excellent frame rates as well as vivid color, clarity and complexity.

For uncompromised image quality, LMG Touring used Sony 4K YHD HDC4300L Studio Cameras to deliver an unparalleled live video production experience.

Lighting was also key in creating a high-energy experience for the show. LMG Touring provided grandMA3 full lighting consoles to control more than 500 moving lights to create an enriching visual experience for the audience. For this performance, the team pulled together a one-of-a-kind, massive lighting rig featuring Chroma Q Color Force IIs, ROBE Robin Mega Pointes, ROBE Robospots, Magicpanel-602, Impression X4 Bars, Martin VDO Sceptrons, Elation SixPar 200s, and many more. This combination along with the sheer volume of lighting on this show allows for fast re-focusing to produce a high-energy, dynamic experience.

While the Usher residency was delayed by a year due to the pandemic, the team had only a few months to design and execute the show – and for many crew members, this was their first live event since before the pandemic.

“We were contacted only about four months before opening day, so it was a truncated design process, an even shorter pre-pro process to nail down all the technical details, and then suddenly we were loading in,” says Jeremy.

With time as the number one challenge leading up to opening day, LMG Touring was able to respond quickly to the evolving production with their extensive inventory of technology.

{

Paul Tate dePoo - Production Designer

“Having LMG be present throughout the tech and creation process gave us the ability to endlessly try and swap out products and fixtures as the show naturally evolved with its design. Every day was a day of reinvention until we felt the show was right for opening night. I couldn’t be more grateful for the willingness and ease to have LMG by our side as the show technically progressed towards our vision.”

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Los Angeles, CA – August 1, 2020 – LMG Touring livestreamed LP’s “2020 Virtual World Tour” to a global audience, providing audio, lighting, camera and streaming technology to support and deliver the production…

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