Everyone loves Dolly Parton, which is in their best interest, because it would be nearly impossible to avoid her if you wanted to. The singer-songwriter has been making hits since the 1960s and has devoted her life to charity work, from Imagination Library to Dollywood Foundation to her recent $1 million donation to help fund a coronavirus vaccine. Ever present as a music and cultural icon, Dolly’s coffee table book, Songteller, was recently No. 3 on The New York Times Bestseller List while the audiobook version held onto No. 1, and her Christmas album, A Holly Dolly Christmas, debuted at #1 on the Billboard country chart.
Dolly kicked off her holiday album promotion on Nov. 13 with an Amazon special, Dolly Parton’s Comin’ Home for Christmas. She followed that up with a performance for the Rockefeller Christmas Tree lighting ceremony and an hour-long CBS special A Holly Dolly Christmas, which first aired Sunday, Dec. 6 on CBS and is available for on demand streaming on CBS All Access. The network special features both original and classic Christmas songs from the new record, with a mix of hymns and lighthearted holiday songs. The star also shares intimate stories from her life. The production was supported with audio, lighting, camera, and video services by PRG — which included more than 70 lights and a curved LED wall.
Support from NOZ Studios
While many artists are slowing down during the pandemic, Parton had well over a dozen performances scheduled over the holiday season, made possible by her own dedicated production studio in Nashville. Parton’s longtime manager, Danny Nozell, is a marketing visionary. Back in 2007, he strategically targeted a younger generation of fans through television, viral marketing and European tours, which elevated Parton to the kind of act that could sell out large venues at the drop of a hat. Always ahead of the curve, Nozell was planning to create a full production facility before the pandemic hit.
With the onset of studio shutdowns, Nozell was determined to work quickly. He purchased a 15,000 square foot commercial property with a 10,000 square foot warehouse out back, just outside Nashville. He had two studios built on the property, soundproofed both rooms and installed steel in the ceiling so arena productions could be hung within the space. NOZ Studios became a single stop where a creative team could film, edit, and score everything under one roof.
NOZ Studios also established technology provider PRG as their preferred production vendor for the space, by way of account executive David Bennett. Because PRG provides audio, lighting, camera, rigging, video, LED and scenic technologies, the NOZ team was able to do one-stop shopping with them, which is more valuable now than ever. “When you’re working with multiple vendors, things can get lost in communication,” said Nozell. “Having one provider in PRG and one contact with David means none of that happens. I respect the knowledge and experience — David is a 40-year industry veteran, which is what I wanted. PRG stepped up to the plate and worked with us to adapt and overcome any problems, which made us successful.”
Once he realized the pandemic wasn’t going away any time soon, Nozell focused his efforts on pitching Dolly Parton performances with digital providers. “Content is king, and I knew it would be on hold unless we took control of our own circumstances by creating a safe production space,” he said.
After five months of building and a seven-figure investment, NOZ Studios was up and running, with deals for 18 Dolly Parton performances and a rigorous schedule ahead of them, all supported by PRG’s gear. Parton’s goal is to bring light, love, peace, and unity to the world with this Christmas album — especially during such a dark time. “You’re going to see Dolly everywhere over the holiday season bringing positivity to the world,” said Nozell.
A HOLLY DOLLY CHRISTMAS – SPECIAL CREDITS
- Produced by: Dolly Parton
- Produced by: Danny Nozell
- Director: Jim Yockey
- Assistant Director: Cindy Brewer
- Director of Photography: Matt Coale
- Director of Photography: Louis Chanatry
- Creative Director: Steve Summers
- Editor: JB Rowland
Production:
- Production Manager: Paul Scodova
- Production Manager: Olly Rowland
- PRG Producer: David Bennett
- PRG Production Manager: Josh Swart
- Audio Engineer: Paul Scodova
- Audio Engineer: Michael Davis
- Audio Engineer: Bryan ‘Opie’ Baxley
- Mix Engineer: Michael Davis
- Audio tech: Chris Diener
- Engineer in charge: Scott Tucker
- Engineer in charge: Andy Bell
- Engineer 2: Chris Payne
- Rigging Consultant/PRG: Eric Anthony Chabira
- Lead Rigger: Trey Merritt
- Rigger: Chris Cadet
- Lighting Director/Video content designer: Jeff Matthews
- Lighting Designer/PRG: Luke Pritchard
- Lighting Designer: Christian Hall
- Lighting tech: Terry Smith
- Lighting tech: Thomas Dubas
- Lighting tech: Brandon Quisberg
- Lighting tech: Breanna Rae Stone
- Lead backline tech: Raymond Hardy
- Drum tech/stage audio: Andrew Hujdich
- Production Runner: Randy ‘Stripes’ Sappo
- Production Runner: Charlotte Scalise
- Floor Director: Kristi Smith
- President TNDV: Nic Dugger
- Video truck engineer: Andy Bell
- Jimmy Jib operator: Mike Breece
- Jimmy Jib Tech: Brandon Tait
- Camera op: David Lewis
- Camera op: Matt Coale
- Camera op: Amanda Cotanza
- Assistant camera: CK Cates
- Assistant camera: Jarrett Rawlings
- Assistant camera: Preston Phillips
- Video Shader: David Wright
- Broadcast Engineer/PRG: Tim Ivancic
- Camera Consultant/PRG Brandon Sesenton
- Lead LED tech: Colton Carrell
- LED Tech/PRG: Luke Lewis
- Generators supplied by: United Rentals
- Trailers/Support facilities: Adventure Coast Rentals
- Stagehands supplied by: Crew One Productions Nashville
- Filmed and recorded at NOZ Entertainment in Nashville
