The powerful trio of Enrique Iglesias, Ricky Martin and Pitbull went out on the road this spring for The Trilogy Tour – a series of concerts with two large diamond IMAG screens and a LED wall dominating the stage, which for Igelsias was driven by tvONE’s Green Hippo brand of Hippotizer Media Servers.
The shows proved so successful in the last quarter of 2023 that 18 more shows were played around the US in 2024, with each artist performing with a striking identity conveyed through visuals and light. JMT Concepts has been working for Iglesias’s Ei Productions for more than a decade and was brought in by Iglesias as Video Director. JMT Concepts supplied two Hippotizer Boreal+ MK2 Media Servers to the tour, with one as main and one backup. The design and creative was realised by Travis Shirley, who also created the content for the show.
“All the screens were controlled through the Hippotizers, because we had during the whole show a mix of Notch, content and cameras,” says JMT’s Jorge Toro. “The whole performance was great. We’ve been using Hippotizers with this artist for the past four years because of the great reliability and power they provide. The performance of the MK2 Media Servers is awesome. I couldn’t believe everything that we can accomplish with no delay, frame drops, or performance lost.”
Screenworks and NEP Live Events supplied a video package for the tour, including the LED screens with processors and live cameras. All the screens were made up of ROE Visual Carbon CB8 panels, with the centre video/LED wall 70′ 10” wide by 27′, 6 ¾” high. The total pixel count was 3,744 wide by 1,456 high. For the diamond-shaped stage left and right screens, the pixel count was 1,352 wide by 1,456 high. The LED fascia on the band riser featured a pixel count of 1,976 wide by 312 high.
Peter Marschalek of Power of Kind was brought in as Media Server Operator and Screen Management Operator for the tour. “We had two 4K signals, one for the main LED wall, stage fascia and roof fascia, and one for the diamond-shaped LED screens and the main LED wall stage riser,” he says. “We used Notch with the Boreal+ MK2 and operated via two laptops running ZooKeeper, as well as a fader wing for layer control. Once it was set up, the entire visuals kit worked flawlessly.”
Iglesias’s Lighting Programmer, Director and Designer, Drew Gnagey, used a grandMA2 for lighting control but also for pixel map effects across GLP Impression X4 Bar 20s, using the Boreal+ MK2 Media Servers. Jorge Toro oversaw the visual aspects, working with Spencer Pokorski and Richard Cullen at BLINK, who created the pre-made visuals for Iglesias.
