DJ SNAKE
High Scream’s Romain Pissenem; WIcreations’ Geert Stockmans; S Group’s CEO, Léon Van Empel.
THE DESIGN A great deal of the design for this project was done under the High Scream roof. “We had Ian Tomlinson for High Scream working on Light Design alongside programmer, Rob Lister,” stated Pissenem. “We also created a lot of the content for the show as well as commissioning Ombra, Eyespop and Sugodesigntv to aid in the creation.” The High Scream team also worked closely with DJ Snake’s personal touring crew, which was essential as due to the nature of the show. Although there was a set list, everyone on the crew was aware that the artist may deviate depending on the crowd’s reaction. “In total, we created 45 different looks, which varied from the Arc de Triomphe, to clouds, to a massive TV,” stated Pissenem. “The show used a mixture a preprogramed looks designed specifically for certain tracks, but we were always ready in case there were any changes. All the crew had to
be incredibly focused. Thankfully, we had the help of DJ Snake’s Lighting Director, Rob Lister, along with VJ, Lorenzo De Pascalis of Ombra, both of whom were more than up for the challenge.” THE EFFECTS Having worked with High Scream for over eight years, BPM SFX has built a great working relationship with the show creators. “We were approached for this evet in late December 2019,” reflected BPM’s Managing Director, Adam Murray. “Romain and the High Scream team had a cool concept from the off and we already knew what kind of SFX and laser package proposal would fit the design after the first round of conversations.” Although both High Scream and the artist’s management presented ideas, Murray commended the production for allowing the conversation to be left open for BPM to give its input. “Romain is always happy to hear ideas
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