An overview of the design, concepts and ideas that went into creating Gerry Cinnamon’s sold out arena tour that spanned the UK and Ireland in November & December of 2019
In Winter 2019, Illumination Creative Design provided production to Gerry Cinnamon on his sell-out UK arena tour. This was a huge undertaking, both in production and capacity. Included in this cycle was the largest indoor show in Scottish history at the newly opened AECC in Aberdeen with a capacity audience of over 15,000 people.
We designed the full show from lighting, to video and pyrotechnics, as well as the programming and operation. Additionally, we also undertook the production management of the full tour; advancing the dates and running the show in its entirety. Each individual aspect was intensive and a tremendous responsibility as well as a vast task to undertake. The end result, we believe, spoke for itself with a seamless show and an audience fully immersed every night.
When we started work on this show, Gerry asked for something that would have a massive impact but also a design that looked different and almost alien in nature. The process involved many sketches and concepts, before finally settling on the overall theme of the hexagon. The hexagonal shape and it’s sides make up many different parts of the design including the custom built hexagons that sit above him.
Another idea we wanted to encompass in the design was the reflection of the songs very nature. We therefore decided to incorporate Kinesys, using the system to bring the hexagonal trusses right down over Gerry’s head and then have them move and grow as the music built. This created a visually unique look and an effect that caught the audience off guard and added a new dimension to the show.
For lighting and video we turned to Adlib Sound & Lighting with whom we have a very strong and long standing relationship. They provided us with a compliment of the new Ayrton Khamsin-S profiles and Bora-S washes. We decided upon them due to their high powered led engine, as well as their identical output and colour temperature. They provided a punchy and sharp light that easily shone through the high output of the large LED wall.
We also used a quantity of Martin Mac Aura XB’s as a feature light to add coloured accents to the stage as well as creating a sharp wall of light in front of the artist. For some audience blinding in wilder songs, we turned to the very popular GLP JDC-1. This fixture was great fun to work with, not just for it’s high output in it’s strobe module, but the additional colour saturation it added to the stage in its pixel sections. Overall the lighting used provided deep saturated colours, and the Khamsin’s in particular impressed us with their ability to add strokes of colour and shape across an already high output stage.
For the visual elements of the show we turned to Roe Products and Adlib supplied their brand new Vanish 8 led panels. One of the biggest draws to this screen was it’s light weight nature due to it being a glow through product, we however kept the blanking panels in to keep them solid. The Vanish 8 produced sharp images with a very high output, as well as having a very fast assembly time every day.
Visuals and camera shots are very important to the show, making up the vast backdrop behind Gerry. We needed a media server that could handle pre-created visuals, notch elements and several camera feeds. Our logical choice was the Disguise GXC2 that Adlib have recently purchased. This server provided next to no latency in handling the cameras and was easy to programme our Notch elements into for augmenting the live visual feed. The server was very intuitive to programme on and worked well with our Grand MA control system allowing for FOH to have overall control with the stage end cutting cameras.
The whole show was programmed and run on MA Lighting’s new Grand MA 3 consoles running the MA2 software. We used 1 full size for overall show control, 1 lite for backup, 1 lite for video control over the Disguise Server and a final lite for SFX. This was run over 1 session with 4 users. The MA System remains our go to for show control as it handles such a vast workload with ease.
We worked closely with BPM SFX to design the Pyrotechnic elements of the show. They provided us with a package of Stadium Shots, G-Flames, CO2 Power Jets and pyro boards loaded with Comets and duration gerbs. This was also controlled through our MA Network on an MA Console they provided. Pyrotechnics make up a crucial part of Gerry’s show and this package did not disappoint in unleashing a whirlwind of stunning visual effects and crowd pleasing moments.
All Photography by Anthony Mooney