Formula 1 made history with its inaugural season launch at London’s O2 arena. Unveiling the 2025 car liveries while celebrating F1’s 75th anniversary, F1 75 Live brought together all ten teams and drivers for an evening of spectacle and high-energy entertainment. The world premiere event was brought to life by STUFISH Entertainment Architects in collaboration with production partner 1826; creative visionary, Brian Burke; design collective, DX7 Design, as well as a raft of technical and creative support teams. As the dust settled on the project, TPi’s Jacob Waite sits down – virtually – with Lumentech’s Loren Barton – to highlight the role of video surfaces on the project, the importance of cross-departmental collaboration, and theorise on evolution of sports entertainment.
What first sparked your interest in live events?
“I got my start in live events by volunteering at my local small-town theatre, running lights and sound for plays, concerts, dance recitals, and variety performances throughout my school years. That hands-on experience ignited my passion for the industry and led me to study Lighting Design at university. From there, I began my professional journey as a Media Server Product Specialist with TMB and Hippotizer, which gave me a deep understanding of media technology. After a few years, I transitioned into freelancing and had the opportunity to work on a diverse range of concerts, TV shows, and corporate events — each project shaping my expertise and love for the craft.
Tell us about Lumentech, what services do you provide?
“Lumentech is a boutique screens design and production company specialising in live music, variety television, corporate, and special events. Our role varies depending on the project — we might be part of the creative team designing the media system and programming the show, or we might take on a leadership role overseeing the entire process from concept to execution. What sets us apart is our ability to scale our pragmatic approach to fit the unique needs of each production, ensuring that every show delivers a seamless, reliable, and visually stunning experience.”
What was your role on this project?
“As Screens Producer, my role was to ensure that each brand and their creative partners had the tools and support they needed to tell their story effectively on screen during their seven-minute reveal presentations. My team and I managed the technical delivery, media systems, programming, and execution of all playback elements. We also worked closely with production and the various teams to streamline communication and ensure a cohesive creative and technical vision from concept to showtime.”
Walk us through the creative brief…
“Early in production, it became clear that our main objective was twofold: helping 11 global brands craft their 2025 storylines through livery reveals while also delivering a two-hour live broadcast celebrating 75 years of F1. To streamline this process, we developed a custom media portal and pre-vis workflow, giving each team access to their assets and enabling them to refine their presentations before rehearsals. Once on-site, we made final adjustments to ensure each reveal was polished and impactful ahead of the live show.”
Have you collaborated with any of the team in the past?
“I had the pleasure to work with a team of highly skilled friends and collaborators from the US and UK. Joe Bay, Andy Coates, Andy Briggs, and Rich Porter all worked together to make this show a success. I’ve been working with Fuse Technical Group for several years, and their attention to detail, commitment, and high-quality gear are second to none. On this project, they delivered an exceptional media server and LED system, ensuring our 42-hour load-in and show setup went smoothly. They were joined by The Next Stage, Video Design, and WICREATIONS, all under the leadership of Chris Vaughn and 1826. With such a compressed timeline, there was no room for error, and thanks to the incredible teamwork and expertise of these partners, the execution was flawless.”
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What software or technology stood out for you and why?
“We leveraged two key pieces of software that were game changers for this production. First, a cloud-based delivery portal and content database suite commissioned by Turning Point Studios. This tool allowed us to ingest, track, and update content efficiently, ensuring seamless asset management despite constant media updates. It also gave teams online review access throughout production, which was invaluable. Second, DigitalSpikeMark from Bayta Industries played a crucial role in supporting our stage management team. This iPad-controlled system enabled us to overlay digital marks onto the LED floor, guiding cars, props, and talent without the need for physical tape marks. Given our compressed rehearsal schedule, this feature saved time and enhanced precision — exactly what we needed in a high-pressure environment.”
How important is cross-collaboration among multiple creative and technical departments on a project like this?
“Collaboration isn’t just important – it’s essential. A production of this scale is only possible when every department is aligned and working toward a shared vision. Each of the seven-minute presentations had unique requirements, and the success of the show depended on close coordination across teams. We worked especially closely with Tom, James, and the DX7 Design lighting team to ensure a seamless integration of visuals and lighting. The synergy between creative and technical teams is what ultimately makes these moments come to life on stage.”
What challenges did you and the team face?
“This production had its fair share of challenges — from an intense 42-hour load-in schedule at the O2, to handling a Rec 2020 (HDR) broadcast with very little time in the room and maintaining complete secrecy between teams leading up to the show. Each of these hurdles required strategic problem-solving, and I’m grateful for the technical and creative partners who stepped up to tackle them. DX7 Design, Brian Burke Creative, 1826, and F1 Broadcast all played a critical role in overcoming these challenges, ensuring the event’s success.”
Do you have any favourite moments and why do they stand out?
“The standout moment was the grand finale — the reveal of all 10 cars and 20 drivers on stage. After weeks of preparation, seeing that moment come together in front of 15,000 fans in the arena and millions of viewers around the world was incredibly rewarding. It was a celebration of F1’s rich history and an electrifying start to the new season, and I was honoured to be part of the team that made it happen.”
What are some of your main takeaways from this project?
“This project reaffirmed just how crucial teamwork, adaptability, and meticulous planning are to pulling off large-scale productions. Every challenge we faced was met with creative solutions, and I’m incredibly proud of how the team came together to execute such a complex event. The experience reinforced that success in this industry comes from both technical expertise and the ability to collaborate seamlessly with others.”
Do you think pre and mid-game activations in the world of sports will become more commonplace?
“F1, like a lot of sports brands, are looking at broadening their fanbase and this was a fantastic way to reach out, discover new fans and provide more engagement with fans during the off season. Sports and entertainment are a natural match. Now, we’re seeing the culmination of those relationships blossom. This is another example of F1 pushing the boundaries of their sport and engaging to a wider audience.”
What’s next for you?
“I’m looking forward to what’s ahead! In the coming weeks, we’ll be kicking off the Lady Gaga and The Weeknd world tours and then Screens Producing the Robinhood Big Benefit in New York City in May. There are some exciting projects on the horizon, and I’m eager to keep pushing the boundaries of what’s possible in live visuals.”
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