Harth has been working in live entertainment for around ten years and was introduced to the industry at an early age through his family background in lighting technology. Around two years ago, he switched from his previous media server environment to PIXERA and describes this step as a logical development of his working methods, as he was looking for a system that was more modern, clearer, and more flexible than the tools he had previously worked with.

For the arena production, the team had just under eight weeks of preparation — a very short timeframe for a show of this size, which usually takes a year to plan. In order to be able to work efficiently, Harth prepared large parts of the programming in advance at the office and at home. Screens, setups, and content tests were simulated offline so that only final adjustments were necessary on site. Flexible use and adaptability were crucial factors, especially for the arena tour, where the setup changed daily due to different venues.

The show itself placed high demands on live camera work, as the artistic focus was strongly on direct interaction with the camera. Harth explains: “ It was important to us that what she performed in front of the camera was also shown on a large scale and that the emotions she conveyed with her gestures and facial expressions were also transmitted to the back row.”

These requirements led to an intensive testing process in advance. The team arrived with an extensive package of visual concepts but in the first large overall scene, they realized that some ideas had a different effect than expected on an arena scale. “We basically turned the entire show upside down — PIXERA was extremely helpful here because it was quick to implement and didn't take any more time to program,” explains Harth.

Technically, the setup included two PIXERA four RS servers, one of them as backup. Since the final size and complexity of the show were not clear at the beginning, this setup provided sufficient reserves for live camera signals, content, and spontaneous adjustments. Due to different hall sizes and viewing angles, the setups had to be adjusted daily – a workflow that remained particularly efficient thanks to PIXERA. Nina Chuba's previous open-air season already demonstrated how robust PIXERA is under changing conditions—different stages, various LED setups, and constantly changing requirements. Harth emphasizes how helpful it was to be able to set up and test many scenarios remotely in advance.

Particularly valuable for the PIXERA operator was the direct and fast communication with the technical support team, who accompanied him through the tightly scheduled preparation phase and were available at any time for questions: “I could call anytime and always got quick, reliable answers. The support was definitely top-notch!”

With the Arena Tour now completed, preparations for the 2026 tour are already underway. Jonas Harth will once again be relying on PIXERA, as it offers him maximum flexibility and freedom in both pre-production and daily tour operations, allowing him to implement creative ideas precisely and efficiently under live conditions.