This spring, the Hog family from ETC played a fundamental role in what promises to be one of the biggest live events and concert productions of the year.
When K-Pop band BTS took the stage for their first show in four years, The Comeback: ARIRANG, in Seoul, Tour Hog and Hog OS were responsible for controlling the lights that illuminated the band and dancers throughout the performance.
The Hog setup was crucial in ensuring that every cue and every scene remained perfectly synchronized both for the approximately 100,000 fans in attendance and for Netflix’s worldwide broadcast of the concert.
Tour Hog is a compact all-in-one console designed for demanding live environments. It delivers professional performance on the move, featuring 64 output universes as standard. The console includes RGB-backlit keys, motorized faders, and five high-quality encoders with assignable wheel buttons. It also offers user keys and functions for console customization, dual multitouch dashboard displays, and an articulating high-resolution 24-inch multitouch display. This design provides programmers with the control and flexibility required for complex productions.
Speaking about his experience with the new generation of Hog consoles, Lighting Director Ross Williams commented:
Tour Hog played an essential role in enhancing the concert’s lighting experience. It was my second time using Tour Hog, as I had previously only worked with the legacy Hog 4 hardware. Fortunately, the transition was smooth, and having access to 64 universes directly from the console was a game changer. We used most of that capacity during the concert, and it was a fantastic experience.
With more than 230 fixtures controlled from Tour Hog, this production once again demonstrated how Hog supports major live events thanks to its flexibility, familiar workflow, and capability for touring and broadcast environments.
Hog family consoles combine a powerful operating system with road-tested hardware, making them a perfect choice for events where there is no margin for error.
Photography: Ross Williams; Netflix
