The “Ultimate Thrill Ride”
On April 2, more than 75,000 fans converged at Camping World Stadium in Orlando, Florida to cheer on their favorite wrestling Superstars in the “Showcase of the Immortals” known as WrestleMania.
“The greatest spectacle in modern sports entertainment,” booms the announcer as the aerial shot takes in the four U.S. Navy F-18 fighter jets flying in formation, then pans over the vast human crowd, as Strictly FX pyro explodes over the stadium. Even from this high perspective, the incredible amount of video surface is immediately evident, displaying the Stars and Stripes in all its pixilated beauty. The announcement, taken in from this viewpoint, almost seems an understatement for what will take place over the next four hours.
The numbers are staggering. Broadcast to 62 countries with 2 million households, the day of the show generates 5.19 million interactions on Facebook and 2.8 million tweets during the broadcast. The WWE App alone pulls in 1.9 million subscriptions.
The set, a closely guarded secret each year, attracts fan websites trying to sneak a peek or discover its details. This year’s reveal, the Friday before the broadcast, garnered 1.2 million views on YouTube.
Production designer Jason Robinson has been with WWE for 21 years. In that capacity he is in charge of set and lighting design for the two weekly televised shows, monthly pay per views, all special events and of course, WrestleMania, which moved to Orlando from the 2016 spectacle at the stadium home for the Dallas Cowboys.
“WrestleMania is the Super Bowl for WWE fans, says Robinson, “The show sells out before the first match is even announced. The fans know they are going to be part of a spectacle. They are there to see the storylines play out on the grandest stage of them all.”
The stadium in Orlando, home to college football’s Citrus Bowl, has once before hosted the event, for WrestleMania 24 in 2008, but had undergone significant structural changes since then. This necessitated a site survey early on by Robinson, site coordinator Jeremy Shand and Kevin Dunn, WWE’s executive vice-president of television production. They did this in June of 2016 to determine the feasibility and logistics of utilizing the updated stadium before WWE announced the location of WrestleMania 33.
In the fall of 2016, Dunn and Robinson returned to the site for creative brainstorming. “This was the ‘how do we use this stadium to make this different from every other WrestleMania ‘ visit, and my opportunity to pitch the amusement park theme to Kevin.”
A 135 foot tall “Roller Coaster” ride and Free Fall ride towers would flank a World Globe a la Universal Studios with the WrestleMania logo. (See “Rigging Focus,” this issue, page 44, for more details on this structure.)
“Shortly after executive producer Kevin Dunn returned to Connecticut, the Television Creative/Promo Department presented their tag line, “The Ultimate Thrill Ride.” With that A-ha! moment in hand, renderings were signed off in January by WWE chairman, Vince McMahon, chairman of WWE, which is based in Stamford, CT.
“At that point, we’re off and running, all vendors working full tilt turning paper into reality,” says Robinson. In February, a site survey/walk through at the stadium with all vendors took place, “which, in all honesty, was a bit tighter than usual, as it was only two months out from our install.”
Robinson credits site coordinator Jeremy Shand for playing a key role in the overall planning process. “I cannot do this without him. For two months, he and I collaborate and figure out how we are going to put everything up. He is the nuts and bolts side of this equation.”
Although the creative aspect of production design falls squarely on Robinson shoulders, a natural byproduct is that he will get involved in the technical aspect as well. “But Jeremy is the guy that looks at me and says, ‘You want to do what!?’ Then he figures out how we’re going to do this. He is fantastic.”
Shand, whose official title is director of television production for World Wrestling Entertainment, worked with Stageco for 18 years before joining WWE. “I’m a facilitator,” he says of his job, “The first one in and the last one out.”
The team of vendors supporting the WWE team includes Upstaging, Stageco, NEP/Screenworks, Atlanta Rigging Systems, Atomic, Strictly FX and All Access. Between them, it took 100 53-foot tractor/trailers to transport WrestleMania’s many parts to the stadium.
Says Shand of the vendors, “These are the people we know, these are the people we trust. They always manage to pull off the amazing, which is why we keep working with this team. They did not even bat an eyelash; they just took it in and got to work.”
Robinson points out, “All of these vendors work on our two weekly live shows 52 weeks a year, our 19 pay-per-views (PPV), and all of our special events.”
The two weekly WWE shows are every Monday and Tuesday, with the PPVs happening on a fairly-regular every-other-Sunday basis. The three-day sprints on PPV weeks have led to the following Wednesday being dubbed “Zombie Day” by some of the crew members. For a closer view from the trenches, see “1000 Words With…”, this issue, page 45).
In addition to all this, during the three months leading up to WrestleMania 33, WWE produced an additional stadium show at the Alamo Dome in January and premiered a redesigned structural set piece called the Elimination Chamber at the February Pay-Per-View. WWE, apparently, never stops.
Television Entertainment
“Our product is a television product,” says Robinson. “The primary goal is to light for the camera. The basis for us starts with lighting around the ring and the audience, which traditionally is tungsten. Our executive producer, Kevin Dunn, the video engineer, Sid Drexler and I all like that look.” The 40 by 40 ring and barricade area are covered by 72 par 64 fixtures. An additional 40 6-lamp bars light the audience.
With the WrestleMania pre-show beginning in daylight hours, Robinson backs up the pars with 72 Vari-Lite VL3500’s, which are multi-purposed. “We need daylight horsepower for the ring focus, he adds, “then at night, the VL’s provide color for the audience lighting.”
Above the ring itself, Stageco built a duplicate mockup of the wrestling ring to create a “roof” for weather protection. Trusses mimicking the ring posts hold the lighting, audio and video over the ring. All Access added steel “ropes” and corner pads to complete the look. Transparent tubing with internal LEDs helped complete the “rope” look.
Robinson’s attention to such minor details as this transforms the entire stadium into a canvas reflecting the color themes of the Superstars as they appear. VL4000s, which provide longer throw, attach to the overhead ring structure for audience light in the next level of the stadium.
Through coordination with Atlanta Rigging, Robinson specified 12 40-foot trusses to hang from the stadium field lighting towers. A combination of Claypaky Sharpy Wash, Martin MAC Viper AirFX, SGM X5 LED Strobes and Martin MAC 101’s on these trusses provides additional coverage and eye candy to the audience lighting effects.
Eight 4K Lycian Spotlights are paired in the four corners of the stadium. “Again, it is about horsepower compensating for throw distance, and the color correction drop down to tungsten,” Robinson says. This setup also allows for coverage should pairs of Superstars spread out walking down the ramp, he adds. “I approached lighting the set as separate areas in order to match fixture counts with Upstaging’s inventory. We needed 300 LED pars, but not all of the same types were available, so I matched fixture type with fixture counts for the interior of the Globe, the entranceway and the Free Fall towers. Sharpys, on the other hand, were readily available, and I like them because they are bulletproof.”
Video
Traditionally, before the WWE Superstars take to the ring for their matches, they appear at the entrance, behind which the set stands. This year’s thrill ride theme included the amusement park Roller Coaster constructed by Atlanta Rigging and Stageco, which was positioned on the plaza level at the north end of the stadium. A 266-foot ramp, at a seven-degree incline, extends from the second level of the stadium to the 40-yard line of the field, where the ring sits. Robinson chose Sharpys and Ayrton MagicBlade fixtures to line the outer edges on the ramp surface.
Each Superstar has a unique theme, such as perennial favorite “The Undertaker.” Each theme gets underscored by making the ramp floor a total video palette, which is a centerpiece of Robinson’s design.
Screenworks/NEP has worked on WWE for 13 years and provides the video product for all WWE events. Video surfaces abounded throughout the ring, set, stadium and ramp. One index of the scale is total pixel count — topping out at close to 16 million for the show. Screenworks provided a wide assortment of various sized video products that were straight walls, ramps, curved entrances, round structures and more, relying heavily on LED video display products from ROE Creative Display.
To create what Screenworks vice president Kevin Hoyle describes as “possibly the longest video ramp floor ever attempted,” Hoyle tapped sister company Creative Technologies in Europe for additional product. “Nobody in the U.S. owns that much floor tile,” he notes.
Hoyle’s team also worked closely with Stageco in planning ramp construction to overcome the challenges it proposed. 7mm LED makes up the center three meters that run top to bottom. On the outside edges, 12mm tiles completed the pixel frame.
“The X7 (7mm) product eats up pixels and video rasters very quickly,” says Hoyle, so Screenworks pixel-mapped every tile before sending it to the site. With this forethought, any tile could be placed anywhere within the floor. This required fewer processors, making blending and timing easier. Additionally, in each tile the programmers could access all pixels.
Even with those efficiencies, there was a lot of processing to be done, and nine Green Hippo V4 Boreals were chosen for the task. “The thought and vision we put into the Hippo control system is matched only by the time and energy we put into building the Hippo racks,” points out Upstaging’s John Huddleston. “That is something that has to be perfect, as there is not any time on site for error.”
Tony Thompson and John Weston both work in Upstaging’s Hippo media server department. Thompson designs the Hippo control systems for WrestleMania and all WWE projects. Weston, charged with the care of all the FOH lighting and Hippo control, is the guy on site who takes Thompson’s design and brings it to life. “Our goal is to give the programmers something very simple to manipulate to create content,” says Weston. “On the front end of that, we do our best to advance the show by building racks that provide programmers a system that just works.”
“In the Hippos, we take care of all of the complex rotation of matching two different video products with different pixel pitches and different physical size of tiles,” Weston adds. “We take care of the math ahead of time so the WWE programmers and content creators simply have a big 15-foot-wide-by-265-foot-long rectangle to work with.”
Ultimately, all four outputs on each of the four designated Hippo Boreal V4’s were required to blend one seamless image for the 265-foot ramp. The other five Boreals on the show handled the rest of the WrestleMania show. Between the five other WWE events ongoing the weekend of WrestleMania 33 in Orlando, an additional 16 Hippos were active. “Every Hippo Upstaging owns was in Orlando that weekend,” says Thompson.
Green Hippo media servers have been on WWE for over 10 years. WrestleMania 33 represents the culmination of the production’s conversion to the latest software. It is the largest event to utilize Green-Hippo’s latest software (V4.2), according to Nigel Sadler, chief technical officer for Green-Hippo.
“The biggest upgrade in this version occurred with the quality of our video mapper feature,” says Sadler. Largely driven by the needs discovered on WrestleMania 32 in Dallas, the massive upgrade gives added flexibility to WWE’s media server team. “Every time we do a WrestleMania, there are more screens and more outputs,” he notes.
The Hippo Boreals on the show have four discrete outputs each, set to full HD (1920 x 1080). WWE chose to upgrade to the native SDI output versions. This allowed them to monitor and route the signals accordingly.
Scott Swim is the dedicated media management person for WWE. As such, he is the interface between the creative team, the content creators and the programmers. With v4, all the programmers can continue to program while he is updating all the clips in real time as the show is running.
“The unique aspect to WWE, unlike any other production we deal with, is the sheer volume of Superstars they need to create content for,” says Sadler.” Literally hundreds of these Superstars have their own colors, their own screen looks, compounded by a unique walk and walkout state. This information needs to be accessible at a moment’s notice. The advantage of Hippotizer is the ability to update looks without having to completely reprogram the whole show.”
The Show
As with any event the size of WrestleMania, the show itself is constantly evolving, with changes right up and on into the live broadcast.
Robinson is listening to multiple channels of intercom during the show, including TV producer, Kevin Dunn, who is calling the overall show, the match producer calling the live action on the matches, and the director, calling cameras. Robinson, in turn, is calling cues to his lighting board operators, scenic cues and props moves as well as conversing with the truck. “I am like the floor producer,” he says, “an extension of our television producer, calling all technical cues, if you will.”
A graphics coordinator and two graphic designers onsite, as well as a host of 18 more graphics team members back in Stamford coordinate back and forth up loading and updating content for the video programmers throughout the event. “It’s like playing in a jam band,” says Robinson. “You know where to start and where you’re headed, but you don’t necessarily know when that song is gonna happen. We know what superstar is coming up next, but what follows is in flux, because this is never a cue-to-cue scenario.”
Control
Upstaging lighting crew chief Mark Powell spends a full month before the pay-per-view detailing all lighting, cable and distribution needs. Of primary concern is the layout of the control network over such a massive area. “I can’t say enough about Mark,” says Huddleston. “He makes sure we are well represented out there by being as prepared as possible before we go into the show. The rest of the guys on the crew are all top people, too. There are rock stars all over that crew, which is what you need to make an event of this scope work”
The Hippo servers run on two separate grandMA2s. Lighting control is broken down into three separate zones. The ring and main audience lighting comprise one zone, while a second console solely handles the stadium lighting. A third grandMA controls the Roller Coaster, Free Fall towers, Globe and all aspects of the entranceway superstructure.
The nine Hippo racks are processing so much information; an oxygen tent like structure encases them to keep cool air circulating around the racks. From these racks, 20 fiber optic lines transmit to the NEP trucks.
The Set
“We pretty much bought out Atomic Scenery during the first three months of the year leading up to WrestleMania,” laughs Robinson. WWE revealed a redesigned Elimination Chamber at the February PPV. Once Atomic started the build for the new Chamber and then got into the WrestleMania set, all resources were allocated to WWE.
“Between Zach Keller, who deals with the construction, and Doug Frawley’s many years of experience as a rigger and our client rep,” says Robinson, “Atomic brings my vision to life.”
“We always look forward to hearing from WWE,” says Frawley, “then we get really scared for a minute, and then we end up enjoying the project so much that when it is over we miss it! The Globe for WrestleMania is the biggest piece we have ever built in one place.”
During the three-week period Atomic had to build the new Elimination Chamber, “we dove into WrestleMania whenever the opportunity presented itself. As soon as Jason comes up with an ‘I have a minute to talk about something,’ you kind of pounce on it, because he is so very busy with the two live shows WWE does 52 weeks a year and their pay-per-views,” says Frawley.
Immediately, Atomic made calls to Atlanta Rigging and Stageco, who were equally eager to jump on the information. “ARS [Atlanta Rigging] and Stageco are pretty much the linchpins of our little endeavor every year,” remarks Shand. John Hawkins is the project manager from Stageco that handles WWE, while Jim Ramacus is the onsite crew chief. Ramacus, who has been with Stageco since 1993, is “about the best there is out there when it comes to structural crew chiefs,” says Shand.
Stageco managed the engineering side of things applicable to the environmental factors of the site in Florida. Given the very high structure with a huge surface area, high winds and prevalent lightning in the area, there were a few delays. Gear from the company totaled 25 trucks and four containers.
The build of the Globe required a very integrated approach between Atomic, Atlanta Rigging and Stageco. “In all my years of doing structural for shows,” says Shand, “the Globe presented the most involved effort I’ve required between multiple vendors. Its execution and build took all three companies constantly on the phone, working together, figuring out what piece went in at what time and who was handling it.”
Four Stageco towers provided the base attachment points for the series of ribbed circles from Atlanta Rigging. While this assembly was taking place, Atomic simultaneously constructed the WrestleMania sign on the field, made possible by a mockup structure by Stageco of the cantilever setup in the Globe.
“WWE coordinated this build really well,” says Keller. “During the three days it took us to build the sign on the field, Atlanta Rigging got to the point in their build where we could have the crane to lift the sign in two separate pieces and placed onto the cantilever Stageco supplied.”
Though Stageco and Atomic created a complete mockup in their Lititz compound to make sure all elements aligned, “It was kind of like two parts of the space station meeting for the first time in space,” says Frawley. “Aligning the two pieces with a crane ninety feet in the air took a couple attempts but the math all worked out.”
The Globe is made of 184 unique panels, totaling roughly 36,643 square feet. Between it and the “layer cake” that sat above the Entrance Way, seven trucks were required for transport.
Twenty “orange peels,” as the crew called them, made of blue twin wall polycarbonate translucent material, created the skin. Each is 43 feet long. A UV flatbed press printed the shapes of continental images onto the skin. Atomic inserted 300 LED nodes representing city centers in the Americas in the twin wall. The WrestleMania logo is lit by 280 individually controlled Chroma-Q RGBA Color Force II fixtures.
“We were a bit skeptical when Jason first presented his idea to us; it’s in our nature,” says Zeller. “But, Jason proves again and again he really knows what he is doing.”
Jeremy Shand agrees. “I can’t say enough about Jason. The fact that he comes from a technical background as a lighting guy, and grew up with the rest of us, shows in his eye for detail. When he is sketching, he is not just wishing and tossing something off and saying good luck. He is thinking about the truss he is using, he is thinking about what the winds might do to the Stageco gear. “
Shoring
A unique challenge to this show was what Robinson refers to, with a chuckle, as “shoring.” The area beneath the plaza level was hollow underneath, a breezeway. Building engineers determined the need for additional support towers wherever load bearings occurred higher than 150 psf. The estimated force applied to the plaza from the set, wind factor included, was one million pounds.
WWE called in an industrial shoring company that installed more than 100 columns to spread the load of the amusement park set. The process took almost as long to complete as the set build. “We wound up playing an intricate shell game with the shoring engineers,” says Shand. “As they put up a column, we could start to build over top of it.”
EFX
The pyro team for the last three years has been Strictly FX, one of the largest special effects company in the world. While always present on the main touring system, they bring in even more product for this yearly spectacle. Fireworks that dwarf the Disney castle are evident behind the large entrance structure. Giant balls of propane flames emulate from all over the Roller Coaster as well as the deck. Rockets, gerbs and just about every imaginable pyro product gets utilized by this team. Strictly FX now provides the Sparkular as well, an indoor effect pyro fountain simulator that is safe to touch.
The Hardest Working Crew in Show Biz
“I spent 18 years doing stadium rock and roll tours,” says Shand, “and I have never seen anything like what WWE does. In total, we have about 500 live event shows in 2017. That is an inordinate amount of work. It is an impressive freight train running down the track, which makes planning a stadium show a daunting task. You have to grab time whenever it presents itself.”
Eric Wade, who Robinson brought in to be lighting director for the WWE Hall of Fame event, jokes that Orlando literally became “Upstaging South.”
“We sent 12 trucks of just lighting power distribution and cable down there, since ARS does all the truss and motors,” says Upstaging’s John Huddleston, “as well as our six trucks which carry the weekly touring show to do the Hall of Fame event.” In addition to his crew on WrestleMania, Huddleston had about 30 technicians at the five WWE events taking place around the city.
This was because WrestleMania was not the only event WWE produced that weekend. Events take place at the J.W. Marriott, the Orange County Convention Center and the Amway Center.
Upstaging, Screenworks, Atlanta Rigging and Clair Brothers provide gear for all the additional shows throughout the weekend. The touring system was utilized at the Amway Center for Friday Night’s WWE Hall of Fame, Saturday Night’s NXT Live Special, Monday Night Raw and Tuesday night’s Smackdown Live! television shows.
At the Orange County Convention Center, the company presented WWE Axxess, a fan experience. The ring production equipment is provided from three live event-touring trucks that carry all the non-televised production equipment owned by WWE. Fans get to meet superstars and Hall of Famers for photo ops, autographs and memorabilia. The four-hour sessions begin Thursday night and repeat Friday night, three times Saturday and a final event Sunday morning before WrestleMania begins.
In addition, at every WrestleMania, WWE presents the company’s strategic plans at its annual “Business Partners Summit.” “This year’s event was held Saturday morning at the J.W. Marriott. WWE invited 350 partners to attend and enjoy the WrestleMania weekend,” says Robinson.
“For most people, the WrestleMania show would be a logistical nightmare due to so much equipment, people, and an outdoor venue with the weather issues,” says Huddleston. “Between Jason Shaw, Jeremy Shand and Jason Robinson’s team, they are the consummate professionals. These guys are the hardest working people in this business.”
“At Upstaging,” he says, “we do hundreds of shows every year. I tell you, nobody works harder than the WWE design staff. They are amazing, all the way from Jason to his staff of programmers and operators to Kevin Dunn, the executive producer.”
Huddleston believes, “Jason is probably one of the top SketchUp people in the world. I would put him up there with anybody in the world as far as quickly laying out his thoughts and being able to transmit them to his staff and vendors.”
Shand points out that, “I would never blaspheme and say Jason is a Mark Fisher, but boy, he is right up there. He doesn’t get a lot of bandwidth like Mark and Spike and that strata, but look at what he has done the last ten to 15 years, and you can see he belongs up there with them.”
In praise of the WWE organization as a whole, Huddleston adds, finally, “You can only work that hard if you have great people with the right attitude and a great system in place. Overall, I am in awe of that organization. It is quite the machine. We are joined at the hip with the WWE design folks to make sure we realize their vision. They push us to do that every year.”
WrestleMania 33
Crew
Production Companies:
- Lighting Co: Upstaging
- Video Co: Screenworks/NEP
- Sets/Staging/Rigging: Atlanta Rigging, Atomic, Stageco, All Access
- Pyro: Strictly FX
WrestleMania Design Team
- Production Designer: Jason Robinson
- Director of Television Production: Jeremy Shand
- Senior Manager Lighting Logistics: Jason Shaw
- Lighting Director: Charles Perry
- Main Rig Programmer: Jeffrey Wilkin
- Entrance Way Programmer: Joe Cabrera
- Audience Programmer: Keith Hoagland
- Video Media Coordinator: Scott Swim
- Video Programmers: Aron Altmark, Cat West
- Hall of Fame Lighting Director: Eric Wade
- Hall of Fame Programmer: Warren Flynn
- Hall of Fame Video Programmer: Chris Keene
- Hall of Fame/WrestleMania Gaffers: Alyx Jacobs, Tyler Roach
- WWE Props Master: Mark Shilstone
- Site Coordinator: Bri Ancia
- Pyro Designer: Eddie Romack/Strictly FX
- Lighting Crew Chief/WrestleMania: Mark Powell/Upstaging
- Lighting Crew Chief/Business Partners Summit: Dan Curley/Upstaging
- Gaffer, WrestleMania Pre-Show: Dan Curley/Upstaging
- Lighting/Video Programmer, Business Partners Summit: Matt Bialek
- Lead Rigger: Alan Jamnick/Atlanta Rigging
- Stageco Lead: Jim Ramacus
- Upstaging Lighting Crews
WrestleMania:
- Mark Powell (Crew Chief), Daniel Benavides, Jason Blaylock, John Chiodo, Andy Cordova, Wade Cotton, David George, Joshua Harvey, Jim Michaelis, Jeffery Mosher, Brandon Randall, Matthew Rodewald, Stephan Schumi, Alex Seiler, Yoshiki Shinohara, John Weston, Drew Winston
Axxess:
- Hailey Featherstone, Brian Kuehne, Mark Wilke
Global Business Partners Summit:
- Daniel Curley, Matthew Bialek, Lisa Calabrese
- Elliott Harney
Hall of Fame/Touring Crew:
- Nicholas Becker, Michael Jacobi, Austin Kenney, Matthew Massoth, Brendan Murphy, Andrea Patterson, Jonathan Schneider, Mark Sielig,
NXT Takeover:
- Christopher Baldwin, Christopher Barclay, Jonathan Montoya,
Screenworks Video Crew
- Account Manager: Kevin Hoyle
- Project Manager: Neil Broome
- Crew Chief: Jeff Hoyle
- Engineer in Charge: Ritesh Patel
- LED Techs: James Wiley, Corey Neal, Andre Nolan, Eric Nicloy, Chaim Chaverria, Jason Keyes, Bryan Keyes, Nick Faubion, Kim Hampton, Spencer King, Denny Relf, Sam Dicarlo, Demetrio Duran, AJ Dicarlo, Jason Green
- Projection Tech: Jason Lowe
All Access Staging & Productions Crew
- Manufacturing Design: Erik Eastland
- Project Manager: Tommy Rose
- Lead Staging Technician: Roger Cabot
- Staging Supervisor: Tristan Rossi
- Staging Electrician: Logan Gibson
Atomic Crew
- Account Manager: Doug Frawley
- Project Managers: Zak Keller, Keith Reilly, Matt Anastasio
- Road Carpenter: Jared Forsythe, Kate Wallace, Jeremy Yunkin
- Atlanta Rigging Systems Crew
- Head Rigger: Alan Jamnik
- Control and Automation: Mike Shields
- Coaster Lead: Lee Jon Taylor
- Coaster: Jay Martin, Tom Talbot
- Globe Lead: Wayne Parmley
- Globe: Eric Keeble, Bob Lannon, Jamie Rowell, Morgan Prine, Kunta Grier, Tim Middaugh, Alan Genser
- Fabrication/Engineering/Drafting: Brad Hossler, Bill Watson, Jeff Reder, Fran Obrero
- Stageco Crew
- Project Manager: John Hawkins
- Lead: Jim Ramacus
Gear
Lighting (from Upstaging):
- 305 Claypaky Sharpys
- 38 Claypaky Mythos 2 fixtures
- 28 Claypaky Alpha Beam 700s
- 136 Martin MAC Viper AFX
- 104 Martin MAC 101s
- 100 Martin MAC Auras
- 24 Martin MAC Quantum Wash
- 88 Vari-Lite VL3500 Wash FX
- 88 Vari-Lite VLX fixtures
- 40 Vari-Lite VL4000 BeamWash
- 19 Vari-Lite VL6000 Beams
- 2 Vari-Lite VL3000 Spots
- 12 Robe BMFL WashBeams
- 96 Robe CycFX 8 fixtures
- 72 Ayrton MagicPanel 602s
- 50 Ayrton MagicBlade-Rs
- 20 Ayrton MagicPanel-Rs
- 12 Ayrton MagicRings
- 316 Upstaging Video LED Saber 1000s
- 70 Elation Arena Par Zooms
- 48 Elation CuePix Tri LEDs
- 24 Elation Rayzor Q7
- 108 Chauvet COLORado Quad Tour Pars
- 75 Chauvet COLORado Batten 72s
- 220 SGM X-5 LED Strobes
- 94 SGM Q-7 LED Strobes
- 102 LED Euro Lights
- 24 Solaris LED Flare JRs
- 9 4000W Xenon Spot Lights
- 12 MDG Hazer/DF-50 combo of both
- 12 High power fans
- 7 grandMA2 consoles
- 22 grandMA NPUs for lights
- 5 grandMA NPUs for video
- 4 FOH Support Racks/fiber snakes
- 11 Green-Hippo V4 Boreal media servers
- 14 Folsum Pro HD
Video Gear from Screenworks:
- 180 ROE Vanish X25 tiles (Entrance)
- 520 X12 T4 tiles (Entrance)
- 175 X5C tiles (Entrance Burst)
- 71 X5C tiles (Entrance Tunnel Back Wall)
- 208 X7V F tiles (Entrance Floor)
- 960 X7V F tiles (Ramp Center Floor)
- 536 X12 T4 tiles (Ramp Outside)
- 75 low-res tiles (Ramp Sides)
- 480 X7W tiles (Ring Screen Circle)
- 60 X7C tiles (Ring Post)
- 48 X4C tiles (Ring Skirts)
- 450 37mm tiles (Ring Legs)
- 32 X7B tiles
- 20 cameras
- 15.9m Total pixels used
