Production Design - Tobias Rylander

Production Manager - Mark Reuben

Tour Manager - Cameron Stewart

Lighting Director - Teddy Sosna

Video Director / Screens Director - Shelby Cude

Video Engineers - Sam Hatcher, Glenn Austin, Sean Lee

Video Crew Chief - Chris “Beef” Johnson

Camera Operators - Jeremy Miget, Phil Hesketh

Video Vendor - Creative Technologies (CT) UK

50+ show tour, filling large clubs, to theaters, to arenas, to headlining EU / US festivals such as Roskilde, Primavera Sound, Rock Werchter, Austin City Limits, & Pitchfork Festival.

When trying to describe the Robyn tour show design to folks, I’ve explained it best almost as it’s own art installation. Adorned with sheer white drapes, white inflatable set pieces, a sheer white scrim that hung in front of the bright, outdoor LED wall, and a set covered in shiny white marly flooring, visually I had a giant blank canvas to work with. What could have been an engineering nightmare from the color temperature side, using various camera systems from continent to continent and from festival to festival, we embraced, pushing the limits with analog camera effects in addition to content mixed through our Hippo media server.

At the top of the show a sheer kabuki drops, blowing and shaping the stage with the use of DMX controllable fans in the rig. The upstage video wall came to life on the fourth song in the setlist, “Indestructible.” Pushing content over a camera feed that was pulled wide and pointed directly into the screen, we created a video feedback look that set the tone for the rest of the show—something alternative that would play tricks on the minds eye. This tunneling effect was meant to pull you into Robyn’s world…

This show toured a variety of venues, from small clubs in Scandinavia with a camera system made up entirely of Robos and POV cameras, to selling out Madison Square Garden in NYC, with additional IMAG screens, handheld pit cameras and a long lens FOH camera. After MSG in April, we pushed ahead with having handheld cameras which we were able to incorporate several prism-y, trippy looks with the lens doublers, triggering them on and off for some songs. We also added a mid-stage truss robo cam, meant to represent a sort of “Big Brother” perspective as it zoomed in and out on the band members and choreographed dance moments on stage.

I made the intentional decision to not have any hard cuts for IMAG or the Upstage wall, cross-fading every shot so that everything pulled the viewer deeper into the show, creating a sense of interconnection. It was in that fade that the viewer could feel apart of the past and future at once.

Being that the video wall onstage was used in some cases as a light-source and that we didn’t have any spotlights on the show, I maintained an open comm line with our Lighting Director, Teddy Sosna, so we wouldn’t fight each other on the brightness of the screens and the iris of the camera during the feedback loop moments.