Jonathan Bell has written for Wallpaper* magazine since 1999, covering everything from architecture and transport design to books, tech and graphic design. He is now the magazine’s Transport and Technology Editor. Jonathan has written and edited 15 books, including Concept Car Design, 21st Century House, and The New Modern House.
Who would have thought that one of the most advanced entertainment spectacles on the planet would have originated with four septuagenarian Swedes?Walsh has been immersed in the music industry for most of his career, directing videos for Massive Attack, Kylie, New Order, Spiritualized and Oasis, among others, in addition to campaigns for brands like Cartier, YSL, Thierry Mugler, Sony, and Versace.
The four members of ABBA drew up a setlist, effectively creating the ‘screenplay’. ‘It moved around a bit – we added and dropped a few songs,’ Walsh admits, ‘but finally I had a structure to work with.’ There then followed two motion capture shoots, including five weeks with Benny, Björn, Ana-Frid and Agnetha in Sweden, running through the performances again and again, rehearsing moves and interactions, not just during the songs themselves, but in the moments in between.
ROE’s original innovation was to create a modular display system, Magic Cube, that was designed to be demounted for easy touring, and it has also moved into the new generation of ‘virtual production’ studios that are gaining traction in Hollywood and beyond. Today’s ultra-high resolutions mean that digital backdrops can be used for live action, creating lighting and reflections that are consistent and believable.
Behind the scenes are a tech team of 17, ensuring that the screens and lighting systems dovetail perfectly. ‘You don’t know where the digital world ends and the real world begins – it’s about blending the two,’ says Walsh. ‘All that work was decided two years ago.’ Other visual tricks have been deployed to maximise the realism. Walsh planned it so the ‘stage’ never goes completely dark. Between songs, and in some routines, the characters can be seen moving about in the half light of ‘backstage’, their sequins still sparkling. ‘These were important moments to keep up the belief that it was a stage, not a screen,’ he says. ‘It was a very conscious decision not to let the tech take over.
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