Critics who have seen previews of the upcoming remake of Alfred Zinnemann’s classic 1973 political thriller Day of the Jackal have universally praised it for its suspenseful tautness. According to them, viewers who tune in to this globally broadcast television series, which begins in November, will be on the edge of their seats throughout the entire show.
The team at Milton Keynes-based Impact Productions Services (IPS) had no such nail-biting experience when they set up the production for the London Premiere of the reimagined classic at Queen Elizabeth Hall (formerly Royal Festival Hall) at the Southbank Centre in the British capital. Everything went according to plan for them on October 22, as they put up the lighting rig and video wall for this Limited Edition Event Design project, which was designed by Richard Godin.
Helping to ensure smooth sailing for the event were REM 3IP LED Screen panels from CHAUVET Professional installed on the premier’s two screen structures. IPS’ onsite screen tech Dan Ainsley and the entire team were not surprised that the REM 3IP created “no surprises;’ they’ve been using the bright 4500 NITs indoor/outdoor video panel for almost one year now.
“Our install team has been using the REM 3IP quite often since we first acquired it, so they are familiar with the quick rigging and power/data connections, as well as the software configuration,” said Ainsley. “However, this was one of the first projects that featured the newly expanded hire inventory, as IPS have now doubled their REM 3IP screen stockholding to 700 units.”
The screen structure install for the premiere was a 5m wide by 3m high screen on a edifice above an interview stage platform. The second was a 11m wide by 2m high screen that was incorporated into a media wall. Custom masking panels fitted in front of the structure, allowed content to be revealed in two circular cutouts as well as a text cutout.
Although the premiere site on the south bank outside the festival hall provided an enchanting backdrop form the event, it did come with some challenges. “All equipment needs to be either carried up a series of stairs or moved into position using telehandlers at this location,” said Ainsley. “We also had to remove all equipment and structures staring as soon as this show ended, but it all worked out very well.”
As for the panels themselves, Ainsley gave them a rave review. “The IP rating was reassuring in the outdoor location,” he said. “As a premiere located next to the river Thames in late Autum in the UK always brings with it the likelihood of rain – although it stayed clear for this one.
“However, the standout feature for this is the wide colour gamut of the REM 3IP, which ensured that the colour reproduction was rich and accurate,” continued Ainsley. “This is something that broadcast cameras and directors are very quick to pick up on; and it’s very important when the display screen is set directly above the interview stage and screen backdrop.”
For these broadcast pros, like the IPS team, the best thing about this premiere was that (unlike the thriller movie itself), there was no suspense – everything worked out as well as everyone expected.