Wild Turkey & iHeartRadio “101 Bold Nights”

A stage manager we had worked with before moved over to Red Fish Productions and called us when they had a strange projection job in Nashville.

The venue came with its own video team, so they needed content from us, but they also wanted someone who understood enough about playback to make sure the idea would survive the room.

It was our first job with Aaron at Red Fish Productions. That first job turned into several years of work with Red Fish.

Six projectors blended across twelve feet of wood, window casings and blinds.

That sounds fun until you start asking what those projectors can actually do. The room stays bright, because the event is a party for most of its length, and the content still has to read through it. The server was not ours. Neither was the operator. So before we made anything, we needed to know what the real limits were.

We built the room before we built the content.

Steve rebuilt the wall from the building’s architectural plans. From there we could simulate the projectors, the ambient light and the ugly parts of the surface, instead of pretending everything was a perfect white rectangle. We also used it to work out which media server would actually run an event like this on show night.

Organizers could see what they were really getting before anyone traveled, while the decisions were still cheap to change.

We flew in to oversee. We helped the in-house operator with the blends in Resolume and stayed available for questions about the plan.

The room usually takes content shone flat against the wall. This was the first time it was built to the architecture.

The show went on to other markets and the loops were rebuilt for each one - Nashville scenics for Nashville, Austin for Austin, and so on. Custom motion graphics carrying the brand, and editorial loops cut from royalty-free stock. We were tasked with both.

Multiple markets, multiple years. The in-house team in that Nashville room is also how Gainbridge found us.