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When global star, American singer / songwriter, actress, producer and director, Beyonc Knowles plans a tour, she is in the incredible position to be able to do so with her own multi-faceted company, Parkwood Entertainment. Not only servicing her various projects and branding for TV audiences and her record buying public, Parkwood Entertainment also has staff well-versed in the world of live production. The close team of technical experts and creatives who lead the way in terms of getting the artists idea made into a packageable show is lead by Production Mangers Alex Miasnikof and Malcolm Weldon.

PRODUCTIONBefore landing the prestigious role of Production Manager for Beyonc, Alex Miasnikof previously worked for Montreal-based Solotech, touring with various artists including Celine Dion before becoming a Cirque du Soleil Production Manger / Technical Director. After three years with the circus, Celine Dions team asked him to return as a Stage Manager and then as a Production Manager. Miasnikof furthered: Ken Ehrilch - Director of Celines show - refered me to Beyoncs camp when they where looking for a Production Manager so Ive only been working with her for the past year. I was hired for her Back To

Business show for the opening of the Revel Casino. That led to a pretty full year between the Superbowl, the tour and promo events. The rehearsals were held in the New York area and lasted for six weeks. Miasnikof explained that finding a building which could accommodate the shows needs for a month and a half was quite a challenge: We spent the first month in a building at a shipyard we adapted by bringing in a Stageco roof and from there, we moved to the Izod Center for the final rehearsals. The tour is a huge production, with the sheer amount of equipment from each department needing to fit together in harmony. Were

THE HIGHLY ANTICIPATED MRS. CARTER SHOW WORLD TOUR BEGAN IN BELGRADE, SERBIA, IN APRIL WITH BEYONC DELIVERING YET ANOTHER HIGHLY CREATIVE AND TECHNICALLY DEMANDING TOURING VISION. SET DESIGNER, LEROY BENNETT, WAS AT THE HELM OF THE SHOWS MASTERFUL VISUAL DISPLAYS, WHICH INCLUDED A RECORD BREAKING LIGHTING DESIGN. TPiS KELLY MURRAY SAW PARKWOOD ENTERTAINMENTS INCREDIBLE PRODUCTION.

ON THE ROAD: Beyonc

BEYONC : THE MRS CARTER SHOW

dealing with a complex assembly of simple elements. What we affectionately call the wall of Inferno [the wall of lights] is a good example of that. The concept is pretty simple, a few Sharpys, strobes and moving mirrors creating a full back wall of lights seems simple, but when you factor in all the parameters it becomes an interesting puzzle! The initial design was based on the Back To Business show, which was really video driven with a 100ft wide by 40ft high video wall and a 100ft wide by 20ft high mid stage moving wall. Once we started designing the show, Beyonc

slowly moved away from the video element and decided to go with more of a lighting driven show, noted Miasnikof. Choosing the tours suppliers was therefore a tricky task, as the look of the show changed along the way, so did the technical elements. The vendor selection was a long process. The show had a certain level of complexity and a lot of products are either custom-built or were brand new products. Therefore we needed to be sure that the selected vendors were able to support our needs, he confirmed. Perhaps one of the biggest achievements was using the

recently launched 446 SGM X-5 strobes, which were supplied by Upstaging. Being the new person on such a huge tour was no problem for the PM who stated: I always work with the if its not broken dont fix it mentality. Therefore Ive hired a lot of the crew who have worked with Beyonc on past tours - some of them were with her pre Destinys Child - and built my team from there. We have an incredible team of people who have made the impossible possible. It was quite an ambitious show to build and travel with, but everybody rolled their sleeves up and managed

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ON THE ROAD: Beyonc

Opposite: Beyoncs tour has become one of the brightest shows on record. Below: Production Manager, Alex Miasnikof; Monitor Engineer, Daniel Gonzalez with his Avid Profile; System Tech Arno Forno chose d&b for the PA.

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to build this show into a tourable package, he confirmed. There were quite a few challenges but I believe the biggest challenge was to keep this show to a tourable scale. The reduced version [it gets even bigger Stateside] has 129,000 lbs of equipment that has to be rigged. Keeping the artistic integrity of the show in a tourable package was definitely a challenge but I want to thank our head rigger - Chad Koeler - who worked miracles and still does on a daily basis! concluded Miasnikof. Production Stage Manager, Terry Cooley, has worked with Beyonc since her career-catapulting Destinys Child days (alongside one time band mates Kelly Rowland and Michelle Williams). Having worked with Beyonc for some time, Cooleys role has changed over time, as he explained: As the years have gone on, shes become very involved in the show, where as in the early days I would talk more with the choreographers, making sure all the gags were running safely and independently away from the backing dancers for example. Now I work specifically with the band and production, I know the music and show in detail which enables the flexibility needed from a production stage manager. With Beyonc in particular, I keep an eye on her movements so

that she always has a go-to person during the show. If she needs anything production related, Im the direct contact for her performance, said Cooley. Before the show starts each night Cooley can be found doing various tasks which enables the gig to run smoothly. This includes allocating labour, helping with logistics, dealing with each venue and any language barriers that may entail. In particular I work closely with Beyonc and her show directors. We have to get the show in and out on time and right every day, he concluded.

AUDIO8th Day Sounds Stephen Curtin started working with Beyonc in 2011 as her bands monitor engineer before the opportunity to move to FOH came up and has retained the same desk throughout. He told TPi: I work with a DiGiCo SD7. Its my favourite desk and the one that Im the most comfortable with, I like the way it sounds, and the flexibility of it. There are things I can do on this desk that I cant do easily on others. The way this desk is set up is very user-friendly. I use a lot of the internal effects; reverbs and delays and I also use Waves with the console too, for summing. For vocals, Beyonc uses her signature

custom-made chrome-finish Sennheiser SKM 5200-II handheld transmitter, with an MD 5235 dynamic capsule on top. Shes got a great voice, a very powerful voice and this Sennheiser combination is the right choice for her, Curtin stated. The backing singers use the 5005e capsules, making Sennheiser the mic of choice all around. In total, four 3732s, nine SKM 5200s, six ME 5005e capsules and three ME 5235 capsules are used on stage. Beyonc really likes to make sure that the live performance sounds like the record, Curtin continued. So everything that makes the song sound like the record is here because she gives her all in her performances. On the side of the stage in monitor world, freelance engineer Daniel Gonzalez is now manning Beyoncs mix. Like at FOH, the bands monitor engineer is using a DiGiCo SD7 but for Gonzalez, an Avid Profile is the desk for the job. He said: Ive been on this console for so long, its natural to me. Theres always something else you can do on a different desk, and Im the only one not using a SD7 but its because the Profile works for me. The tour is going great. The UK has been exciting and Manchester has been the loudest crowd by far which can really affect the mix because of the loud screams. I actually have to

ON THE ROAD: Beyonc

Below: The automation team: Jamie Pharand, TK Woo and Russell Macias; The video crew with IMAG Director, Kevin Carswell; Production Stage Manager, Terry Cooley, with TPis Hannah Eakins; The moving LED video wall from Chaos Visual Productions comprised 198 tiles of Everbrighten BR15mm, 22 tiles wide by nine tiles high.

change what Im working on to compensate for the crowd noise! But at the same time, Beyonc really thrives off that interaction which is what we want. For in-ears, everyone uses Sensaphonics which has been Beyoncs choice for quite a while now. She knows what she likes and she prefers them. Their staff have been awesome and have even brought us new cables through the night! Its important to know that you can rely on someone when youre on such a big tour like this, so were really happy with Sensaphonics, Gonzalez said. Beyonc wears the 2Max model alongside her backing vocalists and the band and techs wear the 3Max. For Gonzalez though, being able to hear as closely as possible what Beyonc does, is important. I use the 2Max because I specifically mix Beyonc and her back up singers. Its very different mixing in an arena environment compared to mixing in a studio but we have to make the sound as accurate as possible. She has a very even mix and shes a really fun artist to work for because this is a really creative show. And as I have a great relationship with 8th Day, theyve been incredible too. Anything that you could want from an outside touring company, you get with them. They do

whatever they need to get the job done and their crew are great, concluded Gonzalez. System Tech and Audio Crew Chief, Arno Forno, a Belgium-based 8th Day Sound employee, is very clear on his gear preference. He highlighted: Were rigging a d&b audiotechnik J-Series. Its a very consistent system, its very easy to manipulate and I always get good, fast results from it. The system comprises 24 J8s per side, eight J subs per side, four J12s per side and the primary speaker clusters are flown at a 270 angle (12 V12s per side hang) with 12 B-2 subs per side. Everything is smooth and easy with d&b, continued Forno. Were finished setting up on a daily basis by 2pm because to physically put the PA together it takes less than 30 minutes, which is another bonus for the time constraints you can face on a big arena tour like this. One of the most positive things about d&b is that if I need anything done, it will be done in less than 24 hours. Theyre on the ball! he smiled.

LIGHTINGThe introduction of Peter Johanssons SGM X-5 LED strobes helped to inspire multi-award winning Production Designer, LeRoy Bennett, who specified 446 pieces, making it the brightest show ever measured (in lux output) on

a concert stage. The low profile, lightweight X-5 is designed to deliver the same output as conventional strobes from one fifth of the power. Housing 2,970 LEDs, power consumption of 360W with lamp life of 50,000 hours, contained in a slim aluminium chassis, it is designed into three cells - to boost creativity. These attributes had been brought to Bennetts attention by one of his partners, programmer Cory FitzGerald, and Randy Wade, who heads up SGM, in Houston, Texas. I was impressed by the combination of power consumption, brightness and rugged design, LeRoy explained. But I was particularly impressed by the fact that each strobe breaks down to three individual cells, enabling me to project very low res graphics as well a bright blasts of light and strobing, he said. Most of them are in a 4 by 4 block formation. Once Bennett had completed the final look of the show, he handed the reigns over to Lighting Director, Whitney Hulverston, to operate the mammoth design. Hoversten commented: LeRoy is brilliant to say the least. Shows nowadays are like going to see a movie - with all the video - but Beyonc wanted a big lighting show this time which lit LeRoys face up! Its very bold and a lot of fun to play with.

ON THE ROAD: Beyonc

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Below: Lighting Director, Whitney Hoversten; Beyonc decided she wanted her tour to be lighting driven; The lighting rig comprised almost 1,000 fixtures, some of which were brand new and some of which were customised by lighting vendor, Upstaging.

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LeRoy is very into mirrors right now so we have some Martin Professional MAC 700 fixtures that have been customised by our lighting vendor, Upstaging. The light has been removed and replaced with a mirror so that the Sharpys point up towards the mirror fixtures [which are hung on a circular truss] and redirect the light in another direction, which looks really different, Hoversten explained.

The Sharpy is by no means new or customised but it still continues to impress me because you can get some really amazing looks from it. The SGM strobes and the Martin Professional MAC 700 mirrors are also very cool and the support from all the manufacturers has been really good, especially with SGM because its product is so new. It has been very quick and responsive, stated the LD. For control, Hoversten uses an MA Lighting grandMA2. He highlighted: I didnt spec the desk, LeRoy did, but I would have chosen the same one. I like the grandMA2s reliability. The hard drive is Solid State Logic and the processing is also extremely fast, so it has a lot of good attributes. What this desk is capable of, I dont honestly think theres anything else like it in the industry. Its so customisable; it really helps you to see exactly how you would like your design to look, concluded the LD.

The huge lighting rig comprises two MA Lighting grandMA2s, 198 customised Martin Professional MAC 700 mirrors, 71 Martin Professional Vipers, 94 Martin Professional Auras, 28 Philips Vari-Lite 3500s, two Martin Professional MAC IIIs, 208 Clay Paky Sharpys, a whopping 446 SGM X-5 strobes and seven Syncolites. The lighting crew has a dozen people in its road team.

Hoversten concluded: Its the first time Ive worked with Upstaging and theyve been really great. A sentiment that Bennett also echoed: They have the best back-up and are always more than 150% supportive of every project, he said.

VIDEOThe show really does have to be seen for the magnitude of technical elements to be appreciated. Not only is the production very creatively lit, but is also still fairly heavy with video content. As one of the most visually engaging shows TPi has ever seen, the multi-layered show design is relentless and faultless. Kevin Carswell, The Mrs.Carter Shows IMAG Director has worked in the industry for over two decades and has worked with artists as varying as Metallica to Michael Buble. He stated: Its an honour to be working with an artist such

as Beyonc. I worked with her on a comeback show in Atlantic City, and very much enjoyed it. She also enjoyed my work, so here I am today! Parkwood Entertainment produced the content for the tour collaborating with several video artists and directors. Ed Burke, Visual Director, for Parkwood Entertainment was overseeing the content production. Supplied by Chaos Visual Productions in LA, the chosen video and projection inventory includes two Hippotizer Genlock HD machines with Dual HDSDI capture and Timecode readerfour Barco HDFW26 projectors and two HD10K-M Christie projectors used on the side screens. Content was synched to show ltc timecode using a timecode control patch for software version 3.1 sp1 (now available in version 3.2) Two IMAG feeds were piped through the Hippo for several songs allowing for the live images to be displayed on the mid-stage LED wall. There is also a moving video piece which features a 721-inch wide by 149-inch high LED wall that consists of 198 tiles of Everbrighten BR15mm, 22 tiles wide by 9 tiles high. Two Everbrighten processors and two Folsom Image Pros are used for the LED wall. Carswell cuts the show with a Grass Valley Kayak 2.0 video switcher which he always chooses. With specifically directed music video quality content on the side screens appearing between the raw live footage, the arena crowd is really drawn into Beyoncs world of entertainment. Theres no real theme to the show, but Beyonc is certainly iconic for her girl power themes and thats just evident throughout this show. The interesting thing about Beyonc is

ON THE ROAD: Beyonc

Below: TAIT created a bespoke stage for the tour; The tour carried a lot of pyro and gags, including 180 Le Maitre pieces, supplied by Strictly FX; Lead Rigger, Chad Koehler; during the show; The tours visual concepts were the work of renowned Production Designer and Lighting Designer, LeRoy Bennett; The crew had six weeks of full production rehearsals in New York.

She gives 110% every night without fail and we do a good job at capturing that...

ON THE ROAD: Beyonc

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that no two songs are ever the same, enthused Carswell. We dont do any effects, its a straight forward cut of the show with five manned Sony HTX cameras. Its a pleasure to work with an artist like Beyonc. She gives 110% every night without fail and we do a good job at capturing that with cameras placed strategically around the stage. We have six people from Chaos out here with us and theyre just a joy to work with! With so much occurring on the stage at any one time, the design inevitably posed some challenges at the start. I was worried about the B Stage at first, but its actually turned out to be one of my favourite times of the night, he revealed. We take a long lens camera operator and put him on a handheld in the B stage with another handheld in the pit. Its fun to cover that because she interacts with the fans so much. You can see her face and theirs just light up!

PYROPyro, confetti, fire, CO2 and laser effects company, Chicago based Strictly FX supplied many visual elements to the tour. Beyonc is

very hands on with every aspect of her production and was an intricate part of the design process. She knows what she wants and knows what she doesnt like. It was a truly collaborative effort that naturally included her Creative Director Frank Gaston Jr. who helped us bring her production to another level, stated Strictly FX Partner and Effects Designer Mark Grega. Strictly FX Crew Chief and Operator, John Lyons and Pyro Technician, Eddie Romack Jr., are both on the road ensuring Beyonc fans dont have to wait long to see the first example of the many effects that Grega and his team artistically weave throughout the production. John Lyons added: We did the Superbowl half-time show [with Beyonc], so we started with that design and made it fit as a touring piece. Theres a lot of dancers and the band on stage, so keeping in mind what theyre doing over two hours, we figured a lot of our designs out with the choreography team during production rehearsals.The first time that the audience sees Beyonc live on stage on this tour, she appears in a dramatic burst of flames and pyro. There

Below: Beyonc was flown to the B Stage using a TAIT / Fisher Navigator so that she could interact with fans at the far end of the arena.

are four of our proprietary MKII Venom flame cannons that spew flame upstage on a custom platform, as well as 30 silver gerbs, explained Grega. Effects are scattered throughout Beyoncs set list. There were explosive comets in Run the World (Girls), an awe inspiring in 40 silver waterfall in End of Time, and flame effects in Naughty Girl (a midstage flame bar) and Diva (four MK2 flame cannons, as well as silver gerbs that erupt during the drum solo.) Theres also a

custom pyro guitar gag from Bibi McGill during Freakum Dress. Four confetti blowers are housed in a truss over the crowd. At the end of the song 1 + 1, Beyonc flies over the crowd from the main stage to the satellite stage. As she flies, she leaves a trail of gold confetti - by Mylar - behind to give a pixie dust look. Grega explained: The pixie dust gag is a delicate and beautiful effect. Its a brand new device and is being used for the first time on this tour. In rehearsals, it was one of the effects that were really unexpected and made Beyonc smile the first time she saw it. The confetti canons are controlled wirelessly

with the W-DMX BlackBox F-1, making the installation fast, easy and reliable. Due to the location, it just makes sense to go with wireless DMX, and 120VAC is supplied for us in the truss. Two Booster B-1000 2.45GHz antenna boosters from W-DMX are also utilised for a confetti sequence. Strictly FX is always on the leading edge of special effects technology, said Niclas Arvidsson, CEO of Wireless Solution, We worked with them on Coldplays recent world

tour as well and have always enjoyed helping them make these shows fantastic. Also used to various degrees throughout the concert is propane, low lying fog and 180 pyro pieces from Le Matre which comprise 20 six-inch Stage Gerbs, a 35-inch Stage Gerbs, 12-ich Stage Gerbs, 25ft Red Comets with Tails, 25ft Silver Comets, Silver Cascades (20 x 20) and blue and silver Falling Stars. Another significant special effects moment happens during the hit Single Ladies. The song begins with 10 CO2 units downstage on the apron and ends with 64 light comet hits. Its very forceful and very powerful, commented Grega.

The production features effects during the introduction; it also ends with a significant effects moment. At the very end of the Halo - the set finale - there are 18 white snow ball falling stars with tails and then there are 18 blue falling stars with tails at the very end, Grega noted. Lyons continued: Were the fluff or the icing on the cake if you like. We work with the creative team in order to turn Beyoncs vision into reality. Its all about facilitating whatever her vision is. Beyonc is very involved in what we do, she watches the video recorded during the show, every night, and makes very thorough notes. She knows exactly what she wants which really makes it fun because were doing all this for a reason. Shes striving for perfection, so there are high expectations but thats what makes it a great job every night, concluded Lyons.

STAGING & AUTOMATIONWorking closely with Alex Miasnikof and Malcolm Weldon, Production Managers for the tour, TAIT combined optimised rental assets with custom elements to deliver a complete staging solution. Following opening night, Miasnikof stated: No matter how complicated or crazy the project, TAIT will come up with a solution. They have a team of great people that will support your efforts in all aspects, from paper to show; no matter where in the world it might be. The rolling mainstage includes a flaggapault

ON THE ROAD: Beyonc

Below: The shows special effects were designed around the choreography throughout.

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We have an incredible team of people who have made the impossible, possible.

lift, retractable dance bar, band risers, duck blinds, propane bars, pantograph stairs, Austrians, Kabukis, Sniffers and fanzone decking with custom handrails. TAITs patented Mag Deck system provides efficiency and ease of assembly. Unique in its function, a polished, aluminum dance bar was integrated into the set and rises up onto the stage for performer use. Adding to the array of effects, five propane bar decks, with grating on the top, ignite in flames for the song Naughty Girl. TAIT also crafted the framework for one of the key main stage elements; the strobe / mirror

structure which measures 7.3m x 18.2m and is made up of five alternating columns of strobes and automated mirrors intermixed with six light ladders. TAIT faced and met several design challenges in creating the frame assemblies, which required meticulous engineering and precise alignment to ensure that each light would reflect on its corresponding mirror within the column. Operating many of the moving stage pieces is TK Woo, Head of Automation. The three-man automation crew - completed by Russell Macias and Jamie Pharand - has several responsibilities

during the show including operating the moving downstage trusses controlled by 13 Camloc motion control Vari-Lifts. The moving video wall runs off nine Vari-Lifts and when Beyonc flies across the audience, Woo controls the winches that move her from the A to B stages and back. Woo commented: Tait are a great support because theyre such a big manufacturer that they can reproduce another piece of kit if you need it pretty much straight away because its all made on site. Theres no waiting around for another vendor, so its really convenient too if we needed to adapt the design.

ON THE ROAD: Beyonc

Below: FOH Engineer Stephen Curtin specd a DiGiCo SD7; The technical team had to consider the choreography routines when designing the show.

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Providing one of the most thrilling moments of the show, TAIT uses a flying rig, made up of three T-Winches with two axes of motion, to elevate Beyonc from the mainstage to the B-stage. The element is controlled by TAIT/FTSIs renowned Navigator Control System and features a custom foot plate for performer comfort and safety. The B-Stage includes two u-shaped walkways, measuring 1.2m and 1.8m, respectively, in height. The walkways are connected by custom retracting stairs, which provide a unique performance area and wide range of motion for the artist. TAIT incorporated a radial panel of video into the centre deck.

RIGGINGLighting vendor Upstaging Inc also provides a lot of the motors and steel used by the rigging department. Tait supplies the automated motors that TK Woo and his team use and 8th Day Sound also provides its own motors but Chad Koehler, Lead Rigger, is working with TomCat truss and 150 Columbus McKinnon motors to secure the rest of the set. I start at 4am, and make it look the same every day regardless

of what building were in, he said. We have to be very vigilant about the position of absolutely everything. The elements move in some instances, so the distance between the stages has to be the same, every day. Although there are just four riggers on the road - completed by Kyle Harris, Aaron Alfaro and Mike Ryder - the precise art of arena rigging for a production this big can take up to 40 local riggers per day, supplied by each venue promoter. Koehler continued: Were using Upstagings new stock of CM Double Brake Loadstars which are great. For every motor, theres a duplicate, including 30 Chain Master Vario Lifts. Weve got enough to rig this show in any building anywhere in the world, so whether we need it or not, we still have to have it travelling with us. It is a lot of work but it really is an amazing show.TPi Photos: Parkwood Entertainment

Frank Micelotta& Kelly Murray

www.Beyonc.comwww.upstaging.com

www.chaosvisual.comwww.8thdaysound.com

www.taittowers.comwww.strictlyfx.com

Below: ; The singer had a custom stage built at Tait Towers in Pensylvania, USA; Beyoncs chrome-finish Sennheiser SKM 5200-II handheld transmitter, with an MD 5235 dynamic capsule on top.

ON THE ROAD: Beyonc

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