2019 Dude Perfect Pound It Noggin Tour

Fort Studios built the complete visual world for the 2019 Dude Perfect Pound It Noggin Tour — 35 deliverables spanning creative direction, 3D development, LED wall content, brand identity, tour bus design, and audio post-production. All of it built for live arena audiences.

The Project

Dude Perfect isn't a band. They're a sports entertainment phenomenon — five guys from Texas with hundreds of millions of subscribers and a fanbase that skews young, loud, and extremely online. When they decided to take that energy on the road, they needed a visual identity built for the scale of an arena tour. Not repurposed social content. Not a logo slapped on a backdrop. A full production built from scratch.

That's what the Pound It Noggin Tour required. The kind of show where the screen is as much a part of the experience as the performers. Where the visuals have to carry a room of thousands.

The Brief

The project came through 46 Entertainment, the production company managing the tour. The ask was comprehensive: develop the complete visual system for a live touring production. Logo to LED wall. Merch concepts to motion content. Tour bus to title sequences.

About 35 deliverables in total. Full videos and individual graphic assets, all designed to live on LED walls in arenas across the country. Everything had to work together — same voice, same energy, same visual language running through all of it.

That's not a freelance job. That's a production partnership.

The Work

Tour Intro Video — The show opener. This is the piece that sets the temperature for the whole night — it has to hit hard, tell the audience exactly what kind of show they're in for, and land right as the lights drop. The intro was built to do all of that. High energy, tight pacing, designed for the specific dimensions and brightness of LED walls in a live venue.

LED Wall Content — The bulk of the deliverables were content pieces designed specifically for the LED walls — not repurposed web graphics, not broadcast assets rescaled to fit. Everything was designed with the wall in mind. Scale, contrast, motion timing, legibility at a distance. This type of content requires a different way of thinking about what reads in a room versus what looks good on a monitor.

Pound It Noggin Logo — The tour needed its own mark. The Pound It Noggin logo was developed as part of the broader identity work — built to function across multiple applications, from stage to screen to merchandise. Something that could hold up at 40 feet tall and still work small.

3D Graphics — Will led the 3D development on the project — motion graphics and visual elements built in 3D to give the content depth and presence that flat design can't match on a large format wall. When the screen is that big, dimensionality matters.

Bus Design Concepts — The tour bus is moving advertising. Development sketches and design concepts for the bus were part of the package, extending the tour's visual identity off-stage and out into the world.

The Team

A project this size doesn't run solo, but it runs lean. The Fort Studios core team on this one:

Will Fortanbary — Creative direction, design, animation, 3D development

Michael Stidham — Design

Chris Fake — Animation

Reid Greven — Audio and post-production

Four people. Thirty-five deliverables. One cohesive visual system across all of it.

The Process

A boutique studio executing a project at touring production scale means you don't have the luxury of siloed departments and long approval chains. Everything moves faster. Decisions get made closer to the work.

The advantage is creative cohesion. When the same small team is touching the logo, the motion graphics, the 3D, and the intro video, you don't get visual drift between deliverables. The identity stays tight because the same instincts are running across all of it.

The tradeoff is that everyone has to carry more. Will was doing creative direction, design, animation, and 3D simultaneously — not sequentially. That's how boutique productions stay on schedule without ballooning headcount.

It works because the people on it are versatile and the communication is short. No game of telephone between a creative director, an art director, a designer, and a motion team. The person making the decisions is the person making the work.

The Result

The content ran live in arenas. LED walls, arena crowds, a tour that actually happened.

Seeing work at that scale — not on a monitor, not in a preview window, but on a 30-foot wall in front of thousands of people — is its own kind of proof of concept. The intro hits. The content reads. The logo holds up.

That's the job.

What This Kind of Project Takes

Touring productions need a creative partner who understands live environments. The work isn't just about looking good — it has to function under stage lighting, at scale, on hardware you don't control, in front of an audience that doesn't wait for load times.

That requires experience with large format content, real competency in motion and 3D, and someone who can think about a visual system holistically — not just deliver individual assets. Fort Studios has done this work. The Pound It Noggin Tour is one example. It won't be the last.