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Marshall and Terlecki/de Jong create hidden camera stage design

Massachusetts-based tour design company Terlecki/de Jong concealed a CV228 HD Lipstick Camera from Marshall Electronics into a 1950s Electro-Voice 664 microphone to capture intimate live visuals for indie pop artist Del Water Gap’s “Chasing the Chimera” tour.

Terlecki/de Jong Co-founder, Designer and Creative Director Maxwell Fitzgerald Terlecki and his business partner Travis Gunnar de Jong specialize in designing immersive visual environments for touring artists. For the Del Water Gap tour, Terlecki sought a way to incorporate video elements without introducing a visible camera element that might disrupt the stage aesthetic.

“I bought a Marshall CV228 Lipstick Camera because it’s incredibly small and has a very low profile on stage”, says Terlecki. “People often mount them on mic stands, but I wanted to push it further and completely hide the camera inside the housing of a microphone.”

The camera was installed inside the classic microphone, allowing it to be in plain sight while remaining virtually invisible to audiences. “From the audience perspective, all you see is what appears to be an ambient microphone on stage”, explains Terlecki. “In reality, there’s a camera hidden inside of it, capturing the shot. It’s kind of hidden in plain view.”

The live camera feed is projected onto a large canopy element above the stage, creating a dramatic visual focal point. Designed by Terlecki/De Jong and fabricated by the soft goods company Sew What?, the canopy envelops the performance area while serving as a projection surface for real-time visuals. “We have a projector at front of house that sends the image up to this canopy above the stage”, adds Terlecki. “The CV228 camera gives us an intimate shot of the performer that expands into a huge image overhead.”

For the “Chasing the Chimera” tour, the visual team processes the feed through Resolume software, stripping the color entirely to create a high-contrast black-and-white look. “We remove all saturation and then just play with a little contrast and exposure”, says Terlecki. “That’s really it.”

Terlecki first discovered Marshall’s lipstick cameras while designing visuals for punk band Amyl and the Sniffers, for whom multiple units were deployed across the stage. “We used five Marshall lipstick cameras on that tour”, he reports. “I already knew how small they were. That’s what made me start thinking about more creative ways to hide them on stage.”

For Terlecki, minimizing visible production gear is an important part of stage design. “From a design standpoint, the more you can get away from seeing equipment on stage, the better”, he says. “If you can hide cables and cameras - anything that distracts from the performance, you end up with a much cleaner and more immersive visual experience.”

(Photos: Marshall Electronics)

www.marshall-usa.com

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