UK - Newry Town Hall in Ireland has undergone a dramatic refurbishment to make the venue more usable for the entertainment industry. Newry District and Mourne Council brought consultant John Gallagher from Lumiere Productions on board to specify the technical facilities in the venue, with Doughty Engineering's Irish and Northern Irish distributor Production Services Ireland (PSI) being awarded the specialist theatrical install.
Brian Reilly, director, PSI said: "As part of this prestigious project to transform this historic venue into a space that works well for hosting entertainment events, we were enlisted to supply Newry Town Hall with all its theatrical requirements including lighting, dimming and flying system as well as IWBs and facility panels from Doughty. Working with Peter Tweed, PSI's service and install manager, we took the outline from the consultant and the dimmer count and designed some facility panels with the Doughty team and produced technical drawings for the design."
Dan Phillips, project sales co-ordinator, Doughty added: "Brian supplied us with the design for the system which we then used to produce some technical drawings to enable PSI to get sign off from their client. Virtually all the kit we supplied to PSI for this job was bespoke. In fact, with the facility panels, Brian asked if we could pre-wire these in the warehouse to reduce the time on site with the termination teams as time-scales for the project were tight."
The result of the refurbishment is a slick-looking venue which has been brought up to future standards f
Sweden - LD Fredrik Stormby has been making prolific use of GLP’s new JDC1 hybrid strobe on tour with Gothenburg-based heavy metal band, In Flames, on their European arena tour with co-headliners, 5-Finger Death Punch (FFDP).
Having been operating lightshows for the Gothenburg-based In Flames since 2011 (and been designing their sets since 2014) Stormby wanted to focus on the artwork that the band had been developing for the current European tour.
“I wanted to use a lot of video and set elements,” he said. “There is a lot of artwork and figures/elements to look at and my idea was to create an atmosphere and style that really represents the band; you should be able to see a picture and immediately tell that this is an In Flames show.”
No fewer than 65 JDC1 hybrid strobes have been helping him in his quest, with Soundforce supplying all the In Flames gear, while Black Box was responsible for the overall shared package with FFDP, whose LD John Santos co-designed the flown rig with Fredrik Stormby.
The rig itself is dominated by 65 JDC1 hybrid strobes. Admitting he had little experience of GLP solutions until recently, Stormby states, “Like so many others I found the X4 Bar series to be an extremely useful fixture - and then I heard about the JDC1, and had the opportunity to try one out.” He was soon test driving around 36 of the heads at a private party in Cannes.
“This gave me the confidence to specify them for In Flames,” he admits. “We needed a bright LED strobe that we could pixel-map but also get a ‘clean’ whit
UK - CPL, working for event producers Bright, supplied lighting, sound and video equipment for Bristol Vision 2017, a networking event held at the University of Bristol Students’ Union building and organised by Bristol Media for individuals and companies engaged in media and communications sectors.
Mike Radford project-managed for CPL, working with a crew of four and closely with Bright’s production manager Fleur Saynor. The team covered several different areas including a main plenary space, associated break-out rooms in the Pegg Theatre and AR Bar, reception / check-in and a café / open / meeting space complete with a number of exhibition display booths.
It was a busy day for the 200 delegates who could catch 18 keynote speakers and engage in a range of digital and media-related commercial and business activities.
In the main plenary room, CPL rigged a central 16ft x 9ft screen at the back of the stage which was flown on the house trussing, and either side of that was a pair of portrait format projection screens. These two portrait screens made use of Rigtec’s handy portrait flying frames and single point truss adaptors.
Screen content was delivered from a range of Dell and MacBook laptops provided as part of the production brief, with many speakers also providing their own machines which had to be hooked into the system.
All of the sources were fed through one of CPL’s Barco S3 processors running Event Manager software which was the central hub for all inputs which were then routed to multiple destinations. To ensure
UK - Lighting and rigging provider TSL has announced that Colin Paxton will now be managing its dry hire department.
Colin brings considerable experience and technical knowledge having previously worked in similar roles in rental companies, including a senior position as hire manager.
Colin will be supported by hire coordinator Ryan Abrahams who has been with the company since May 2017.
Colin comments, "I have admired TSL for a long time for their strong focus on quality equipment, maintained to the highest standard and backed up by knowledgeable staff who have a passion for what they are doing. I'm looking forward to getting back to building relationships with hire customers. It's a really exciting time to join the company as with the addition of Blinding Light there are a huge range of opportunities for customers."
Alongside Colin's appointment, John Beer, TSL's previous hire manager, will progress into the role of operation manager. John now be concentrating on improving and expanding all areas of the business. John also takes overall responsibility for the hire and warehouse teams with support from Colin and Stephen Beresford, TSL's warehouse manager.
UK - S+H Technical, specialists for LED visual effects, drapes and starcloths, supplied an array of high profile television shows including Strictly Come Dancing, Children in Need and the final of X Factor UK 2017.
S+H’s Terry Murtha comments: “It was great to be working again with many of our regular clients like Strictly and Children In Need, and also with some exciting new ones – it was the first time we have supplied anything to X-Factor, so we were delighted to be offered the opportunity”.
S+H again supplied starcloth for the main hub of the BBC’s 2017 Children in Need live telethon at Elstree Studios in Hertfordshire. The broadcast was directed by John L Spencer and was the culmination of an action-packed year of fundraising activities.
Production designer Alex Craig utilised 350sq.m of S+H animation cloth and 450sq.m of its RGB Starcloth product, which were an essential element of his eye-catching scenography.
Alex’s studio set was based around a huge main performance stage and catwalk, with several large-scale LED screens, each surrounded by an impressive four-layered pros arch. Dramatic curves and metallic finishes were used throughout the set, and giant flown spheres completed the design.
Alex comments, “As always, Terry did us a fantastic deal on the animation and star cloth and sent an amazing crew to Elstree to rig it all beautifully”.
S+H has supported the massively successful Strictly Come Dancing for the last decade.
This year, specifie
Belgium - Entertainment engineering specialists WIcreations supplied flying - both people and objects – and stage automation equipment, expertise and crew to the recent Marmalade production of Disney’s The Little Mermaid, staged in Halls 7 and 8 of the Ghent Expo in Belgium, which ran from 17 December until 7 January.
Directed by Frank van Laecke, this eye-catching original production with a detailed and intricate set design by Stefan Haudenhuyse was based on the 1989 animated musical fantasy film from Walt Disney Features, in turn inspired by the Danish fairy tale by Hans Christian Andersen, first published in 1837.
Hans Willems project-managed for WIcreations, who were asked to design and co-ordinate flying systems and stage automation having provided similar services for Marmalade’s 2016 production of another Disney musical, Beauty and the Beast.
Says Hans, “It was great to be asked back by Marmalade for the second year and to work with technical manager Bart de Coensel and his team again. Marmalade is a client that fully understands the benefits of investing in the production to deliver the best possible live experiences to their audiences, and we were happy to offer our knowledge, reputation for safety and also contribute our own ideas on potential staging solutions.”
WI supplied all the equipment needed for the lifting and flying tasks from its rental stock, also making it cost-efficient and safe.
Centre stage, one of WI’s TP02 lifts was positioned below the stage and used to bring Ursula, the main antago
USA - NAMM 2018 marks the introduction of GigaCore 10, the first truss-adaptable switch in the GigaCore family. The 19-inch half unit can be mounted in truss, on a wall or in a single or double rack.
In addition to the GigaCore 10 introduction, Luminex will be presenting the new GigaCore v2.6.1 firmware bringing some major improvements on PTP, PoE management and network monitoring. With the constant growth of Audio over IP solutions, Luminex has enhanced the performance of the Precision Time Protocol handling, especially with applications running AES67. PoE handling now offers advanced power management settings allowing users to select between class-based consumption and class based allocation providing even more flexibility when connecting PoE devices such as cameras or PoE loudspeakers.
“The recent expansion of Winter NAMM gives us the perfect venue to introduce some of our latest developments,” remarks Hugo Larin, director of Luminex America. “The release of GigaCore 10 has been much anticipated, it’s the perfect form factor for our many production and entertainment-based customers. Couple that with our new firmware and offline editor tool and we’re looking forward to a very busy show.”
Belgium - Luc Peumans of Painting With Light created the lighting and stage design for the 30th anniversary tour by rock band Clouseau.
The visual concept of Clouseau 30 tour - an extensive itinerary visiting 500 2000-capacity venues across Belgium - is based around a lounge-style environment with carpets on the floor, standard lamps dotted around and an upright piano onstage.
Charismatic lead singer Koen enthusiastically engages with the audience as he tells assorted stories related to each song. The set list can also change - with no warning - depending on this audience interaction, as they will often shout out requests for specific songs the band might decide to play. This improvisation keeps Luc and the crew on their toes and is an exciting and invigorating way to work ‘live’.
Luc is celebrating his own anniversary, being back behind the lighting console and pushing buttons day-to-day as a touring LD / operator for the first time in at least 10 years.
The specified console for this tour is a Hog 4, supplied by AED. The last time Luc programmed and ran a Clouseau touring show himself - although he’s designed several shows and tours for them since then - he used a legendary WholeHog II, so to keep continuity and take advantage of the user-friendly architecture of the Hog OS, Luc stayed with the brand which is now manufactured by High End Systems.
Luc and Painting with Light’s Paco Mispelters programmed the 30 show together and are splitting the console operating duties between them, ensuring the band has one or t
UK - Automation manufacturer Kinesys has launched a new website at www.kinesys.co.uk and www.kinesysusa.com.
This highly visual and contemporary environment reflects the brand’s identity and reputation for excellence, innovation and imagination, says the company. It will be a key communications hub for Kinesys clients, end-users, technicians and anyone wanting to discover more about the company and its products and services.
Several important new features include Live Chat, Support Tickets, Social Wall and Newsletter sign ups, together with articles, opinions, news and other sources of valuable information and technical detail.
This new platform was created due to the growing interest and trend for automation as a visual component of shows, events, installations, venues and many other applications.
Kinesys MD Dave Weatherhead states: “Many of our customers are embracing automation for the first time, an area where there is a massive amount of information to take in plus many safety elements and standards of which to be aware. There are also plenty of rumours, hearsay and ‘perceived wisdom’ out there which is often wide of the mark!
“To address this, we wanted to find a way of demystifying automation and motion control and provide a forum where end users and customers can find facts and quality information to help them understand the reality - and the potential - of using automation.”
UK - It’s panto season again and as innuendos fly, slapstick humour is trowelled on and extravagant costumes and characters abound, entertaining thousands of people up and down the UK. Lighting and visuals rental and production specialist HSL supplied equipment to a record 31 premium UK pantomime productions for the 2017-18 season for leading pantomime producers, Qdos.
That is 11 more shows than last year’s schedule of 20, which are taking place all over England, Wales, Scotland and Northern Ireland, as far north as Aberdeen, Glasgow and Edinburgh and as far west as Plymouth and Llandudno, as far south as Southampton and also including Belfast, Cardiff and London.
The equipment has included lighting – conventional and intelligent fixtures (LEDs / moving heads), rigging and a raft of special effects like smoke, fog and atmosphere, together with humungous amounts of custom gobos and assorted rigging, including a Kinesys automation system for Glasgow.
Impressive statistics include over 2600 intelligent lighting fixtures deployed, around 900 generics, a staggering 3000+ custom gobos, over 100 miles (160 Km) of cabling (socapex, single and three phase power) and a similar quantity in data, as well as over 1400 Doughty boom arms of assorted sizes.
All of which had to be tested and prepped to cover a period from the first get-in on 19 November to the last out at the end of January.
Spearheading the project and juggling the intense logistics is HSL’s Jordan Hanson, working alongside Emma Turner, with Joy Brown and Alex Allen brought on-b
UK - Really Creative Media was entrusted to design the stage content for British pop group Steps’ Party on the Dance Floor arena tour, a vibrant celebration of 20 years since their formation.
Fresh off the back of working with Rudimental and Dua Lipa, Really Creative Media’s lead creative Jack James and head of video James Adkins were brought on board by the tour’s production manager Steve Reeve from Pull The Pin Out to deliver the tour’s live visual content.
Working with creative director Frank Strachan, Really Creative Media first captured footage during a one-day shoot with the band and dancers, destined to populate five LED square hero screens flown above the stage on a Kinesys system and two LED IMAG side-of-stage screens, helping to give the show a larger than life feel for the audience. LED continued to be used on stage with a 18m wide back wall and LED clad tiered risers.
A week-long rehearsal process took place in Fly By Nite’s Redditch studio, allowing the team to put the finishing touches to the pre-set, timecoded content loaded in Really Creative Media’s Catalyst V6 media servers. Control was all run from MA2 consoles both front of house and backstage.
The shows’ opening three-song medley sequence utilised the company’s newest product investment into Panasonic’s latest 20,000 and 30,000 lumen projectors. Two Panasonic PT-RZ31K 30,000 lumen projectors were chosen to create a theatrical visual spectacular behind the band. A 3D world depicting winter forests and Romanesque arches was projected onto a gauze bac
Spain - This year, GUIL turns 35 and the company is celebrating with customers, distributors and partners by acknowledging their contribution to the growth and consolidation of the brand in the market.
GUIL is one of the leading companies in the field of equipment for the entertainment industry, specialising in the design and manufacturing of lifting towers, stages, stands and structures for sound and light, as well as stands and accessories for musical instruments and A/V equipment.
During these 35 years, GUIL has experienced a fast and constant evolution, adapting to the ever changing needs and requirements of the entertainment industry. For this, it has a team of highly qualified professionals, with an R&D&I department that designs and manufactures high quality, innovative and exceptionally engineered products.
The CEO and founder of the company shows his appreciation for the trust put in GUIL over these years: “The loyalty of our customers and friends has made it possible for the whole GUIL team to achieve their aspirations. It’s been 35 years of determination, dedication and hard work; 35 years of learning and great enthusiasm for what we do.”
The founder adds, “We have always strived to reach excellence in our work, concentrating our efforts on manufacturing high quality products to satisfy the needs and expectations of professionals in our field.”
The first events GUIL plans to celebrate their birthday at will be: AFIAL in Madrid, Spain (27 February to 1 March) and Prolight+Sound, in Frankfurt, Germany (10-13 Apr
UK - In December, specialist lighting and rigging provider TSL successfully met the large-scale production requirements and tight deadlines for a festive event with a difference - the UK's largest carol service, staged at the SSE Wembley Arena, London.
Continuing a long-standing client relationship with international Christian church organisation Hillsong, TSL provided rigging and lighting services for London Carols, which saw three back-to-back performances on 17 December, reaching a total live audience of 30,000.
Arena-scale show production always places huge demands on suppliers and crew, and the requirements for London Carols were no different, says Sam Tamplin, managing director of TSL. "We supplied the rigging equipment for all departments, so it was imperative we didn't hold anything up. The load-in schedule was meticulously planned by Hillsong down to 15-minute slots, and we were kept accountable to that."
According to Tamplin, TSL's solution to these demands was great crew, and great preparation. "Crew Chief Karl Lawton and Marcus Brown looked after the rigging, using our moving pre-rig for every lighting truss. We also had a full four days of prep in our warehouse, which saved hours of time on-site."
Hillsong called on the services of lighting designer Tim Routledge - more commonly associated with the likes of Take That and Jeff Lynne's ELO - to create a suitably awe-inspiring set and lighting for its 2016 carols. For 2017, Andrew Bruce and Joe Lott of Quantum Creative were called on to reprogramme and expand on Routled
Europe - GearSource has added Jeroen Knol to its business development team. Jeroen is based in Europe and well networked in the European markets, having worked the last 12 years with two of the world’s largest industry-related companies. He will bring his network and relationship management skills to GearSource Europe.
Along with Jeroen in Europe, the company’s US-based business development and operations teams will support everything from listings to orders, logistics and more.
GearSourceEurope.com now operates as a fully integrated and secure e-commerce platform, built on the company’s redeveloped engine, G-Suite offering users even more power than ever before.
“In developing G-Suite, our technology team has once again raised the bar. G-Suite will help us remain the largest name in used gear – globally,” says Marcel Fairbairn, CEO of GearSource.
PLASA has announced changes to its elected board including the appointment of Adam Blaxill as the new chair.
Blaxill joined the PLASA Board as the Professional Services Representative in 2012 and was elected as vice-chair in 2014. He has been voted as the new chair of PLASA through a simple majority vote.
Blaxill takes over from Ed Pagett who has served as chair for an extended seven years. During this time Pagett oversaw the de-merger with ESTA with the support of an executive committee which included Blaxill as vice-chair and Martin Hawthorn as treasurer. This valuable work enabled the survival and growth of PLASA.
Pagett will continue to serve as a non-executive director, contributing his extensive knowledge and expertise to advise and support the association as it continues its work in the industry.
As a director of Stage Electrics - one of the UK’s leading integrators and suppliers for entertainment technology - Blaxill’s far-reaching expertise includes hire, sales, events, and installation, as well as testing and servicing operations at regional and national levels.
Peter Heath, managing director of PLASA, says: “We are very much looking forward to having Adam as our Chair and have faith in his knowledge and guidance. I would like to extend my thanks to Ed, who has been an extremely valuable Chair since 2011 - we are delighted he will continue to work with us in his new role as non-executive director.
“PLASA has gone from strength to strength in recent years. We have made internal changes to ensure teams are all working fr
UK - Dubai-based Protec has acquired Birmingham-based Aventeq.
The UK company, which offers a comprehensive suite of services, including creative & technical design, production, lighting, audio, video, staging, rigging and venue support services, will be renamed to Protec European Events and continue to be lead by its founder Chris Bramwell.
Stephen Lakin, Protec’s founder and CEO, says: “I have a lot of time for Chris Bramwell and the team. They have built up a strong business and I’m thrilled to welcome them into the Protec family. I am looking forward to the opportunity to introduce their customers to a wider global reach and more exciting tools & technology to create unique and memorable event experiences.”
Bramwell adds: "Aventeq, which of course I’m thrilled to say, is now Protec European Events, has a similar passion to Protec. We are very excited to be a part of one of the world’s most respected industry leaders and now be able to offer our clients a more creative and technological palette with a wider market reach.”
Lakin concludes: “Protec European Events shares our passion and I’m looking forward to extending this commitment across the UK and Europe,” Lakin concludes.
USA - Tomcat and JTE racked up another successful show at LDI that not only featured their current line of products, but also the products they had each manufactured over the years that allowed them to experience the success they both enjoy today.
The walk-through time was to celebrate the 30th anniversary of Tomcat and the 40th anniversary of James Thomas Engineering in truss manufacturing, but the main thrust of the show was to highlight their current line of truss products and new innovations.
This year’s LDI show was also the introduction of Carmen Savarese as the new sales & marketing director for the Tomcat and JTE teams.
The star of Tomcat’s presentation was its new Nemesis pre-rig truss that comes in standard and touring formats. Its single person side loading system allows you to easily rig moving lights to the aluminium bar, slide into the truss from either end and lock it in place. With 4” spaced holes, even spacing is easily and consistently achieved. It comes with an adjustable caster assembly and different fixture bracket options are available.
JTE featured its Galaxy 300 pre-rig truss with Tomcat’s Edge rotating spigot. This 6061-T6 aluminium and stainless steel constructed truss features adjustable mounting bars for conventional and moving lights, a removable stacking cup, a range of gates for increased flexibility, and a space saving 15” design.
The Tomcat and JTE sales teams were on hand during the exhibition to give visitors the lowdown on their leading truss and support structure products, as well infor
UK - The newly opened Darlington Hippodrome, formerly known as Darlington Civic Theatre, has been restored to its former glory and transformed with 21st century technical facilities that include new stage lighting, audio and video systems.
Featuring leading brands including Chroma-Q, Allen & Heath, Panasonic and many more, most loose equipment was supplied by A.C. Entertainment Technologies (AC-ET).
The theatre received a £5m grant from the Heritage Lottery Fund (HLF) towards the ambitious £13.7m project to regenerate and upgrade the venue, which also included restoring the exterior of the distinctive Grade II listed building and the beautiful Edwardian auditorium inside. In addition, seating capacity has been increased to enable larger shows to be accommodated as part of an expanded artistic programme.
Darlington Hippodrome is also managing the newly-built Theatre Hullabaloo, a separate £2.9m project to create an adjacent flagship children's theatre venue. This was made possible in part by the venue receiving a £1.5m grant from the Arts Council England (ACE) in partnership with Darlington Borough Council, who committed £800,000.
When Darlington Hippodrome's technical manager, Steve Sanderson needed to equip both venues' facilities, having previously purchased from AC-ET, he approached them to tender for the supply of various entertainment technologies.
Sales executive Ben Steppenbeck of AC-ET's specialist lighting division recommended some options that would best meet the venues' technical requirements. In addition, the compa
UK - Adlib supplied full production, including sound, lighting, rigging and large format video projection, for a special one-off event at the SSE Wembley Arena in London, DreamWorks Animation in Concert which was presented by DreamWorks Animation, CineConcerts, and The MJR Group. It featured music and many memorable moments from DreamWorks Animation’s numerous hit films like Shrek, Kung Fu Panda, How to Train Your Dragon and more with music performed live by The Royal Philharmonic Concert Orchestra.
Adlib project managers Dave Eldridge and Richard Nicholson co-ordinated all the technical elements working closely with tour manager Barry Jepson, MJR’s production manager Leanne Powell, technical manager Curtis King and creative director Nathan Stone.
It completes a hattrick of recent noteworthy orchestral works serviced by Adlib including the Harry Potter Film Concert Series and La La Land UK tours.
Video was right at the core of the technical production and a starting point for the entire concept.
Adlib’s Charlie Rushton and John Haggart ensured that this all ran smoothly, starting with the large 40ft wide x 22.5 deep projection screen as specified by the production. Adlib has a number of Stumpfl screens and this one – a 40ft wide Vario 64 – was chosen for its quality and precision as well as the modular construction which ensures a nice rigid surface.
The powerful front projection system consisted of a double-stacked pair of Panasonic DZ21Ks.
The content was fed via the production
UAE - Event technical production specialist Maestra’s UEA based operation, delivered rigging, staging, sound, lighting and video / AV for Blend Abu Dhabi, a special event to relaunch the YAS Marina Formula One circuit meeting space.
Attended by event organisers, production companies, suppliers, social influencers, media and other organizations and individuals from across the event spectrum, all with different interests in the world of live events, the pressure was on for Maestra’s team on site, led by project manager Aaron Merchant, to deliver something unique.
They co-ordinated technical production for four different areas, the main conference space, the pit garages, the reception area and entrance and the afterparty staged in the chic, rooftop Luna Lounge.
A stunning sculptural set design for the conference session’s stage was conceived by the YAS Event Centre team and augmented by Maestra, who suggested the lighting scheme which really energized the idea.
The set comprised 28 geometric structures made from semi translucent white sheer material which was stretched over a series of wooden frames in different shapes and various sizes with the largest around 2 metres wide. All were internally lit with a single LED PAR.
The colours and intensities could be changed and chased to great effect creating a fantastic ‘living, breathing’ ambience to the room.
The PARS were all controlled via the ChamSys MQ 60 console which was running the other stage and room lighting which comprised Martin MAC Aura LED Washes and MAC 700
Australia - Mojo Barriers Australia recently undertook one of Australia’s largest stadium field cover installations, with over 15,000 sq.m. being installed for Sensation at Spotless Stadium, Sydney Showground, in November.
Sensation, the biggest open-air festival in Australia this year, was a great success, and protecting the valuable sports surface was of critical importance as Spotless Stadium is the home of Sydney’s professional cricket team Sydney Thunder and the Greater Western Sydney (GWS) Giants, part of the Australian Football League.
Mojo installed a complete Supatrac system to ensure the best possible pitch protection. It took 34 truck movements to freight the equipment in and out of the stadium and over 850 man-hours to install and remove.
The Mojo team installed over 15,000 sq.m. of 100% white Supatrac, along with over 500m of aluminium Mojo Barrier in a ‘D’ configuration. Since launching as a supplier of Supatrac in January of this year, Mojo Barriers is now able to provide both barrier and stadium floor covering as a combined offering. To further protect the stadium pitch at Sydney Showground, the team installed a layer of Enkamat under the flooring to provide additional protection at the areas with the highest footfall and crowd density.
As well as being on-site during the event, the Mojo team managed the daily installation and removal of the aluminium ground protection products during the stage build, and worked closely with the festival organisers and stadium groundskeeper to ensure optimum crowd barrie
UK - The Band is a new musical written by Tim Firth, featuring the music of Take That. Cast through the 2017 BBC reality television show Let It Shine, it is produced by David Pugh and is currently touring the UK through until July 2018, with more dates being added.
With so many theatrical venues playing host to the production, Kate West, production manager has brought Unusual Rigging on board for the duration of the tour to provide motors, truss and rigging for LX and sound positions and for some scenic items, as well as supplying staff for the get-in and get-out at each tour move.
While The Band is not a particularly complex show in terms of rigging, as with the nature of touring productions, some venues are more challenging than others and Kate needed peace of mind that the points could be installed relatively quickly in each venue to enable the fit up to be completed on time. The team also had to be quite conscious of how much truck space was used to transport equipment as space was limited.
Kate explains: “I have worked on many productions with Unusual Rigging and they have always been very helpful right from the start of the process – making suggestions on how things can be achieved, which is why we brought them on board for this particular tour which sees us visit lots of different venues across the UK.
“Unusual provides us with a person who is a point of contact for the show, which means you have one person who is completely on top of the job, which makes it a lot easier and ensures things are less likely to
UK - The stages used for Adele’s 2017 stadium tour in the round became the first events industry designs to win a coveted Structural Award.
Designed by OPS Structures for Star Events, the VerTech Ultra stages claimed the Best Small Projects (of between £1-3m) gong at the annual Structural Awards organised by the Institution of Structural Engineers. The stages were developed, built, tested and shipped to Australia in just four months and suspended 90t of production equipment at 25m above the ground. The judges praised the structures’ design, which allowed easy transportation and erection, minimised work at height and enabled unobstructed views by negating traditional bracing.
A spokesperson for the judges said: “The Adele 25 Stage engineering took account of the vast constraints and design drivers to produce a safe, efficient, elegant and reusable structure. The adaptability in its design allows it to be used in different countries, taking account of change in environments, multiple design code requirements and variable foundation and support conditions. It is also designed to be easily transportable and reusable, and easy and fast to construct, which allows for repeat use and therefore minimises costs.”
Roger Barrett, Star Events’ special projects director, comments: “It is a brilliant achievement for the whole Star team in conjunction with our structural engineers, OPS Structures, to have our temporary structure engineering recognised, on a truly global level, by a team of eminent judges who have no connection with the events industry
UK - Technical production specialist Central Presentations (CPL) and producers Constructive Communications delivered full technical production for Construction’s Got Talent, a team-building / gala dinner conference event with a difference for leading independent construction and property services company Wilmot Dixon.
This was staged in the Noble Suite at the Pullman Hotel on Euston Road, London, with tailor made format partly inspired by TV talent show competitions on a quest to discover the company’s own undiscovered talent, which was interspersed with presentations and speeches.
Lee Gruszeckyj led the CPL team who worked with Constructive Communications’ project manager Ken D’Souza.
A 10 metre-wide stage with free-standing printed graphic wrap set / backdrop including the event’s own Got Talent logo was installed, complete with small thrust for the competitors and presentations. Meanwhile, at the back of the room, a Judges’ Stage with its own graphic wrap was built at 800mm high, so just raised above the dinner tables.
All the staging was also designed and built by CPL specifically for the event.
The four judges each had an iPad for which CPL created a custom touch screen interface featuring a big red digital buzzer.
Five LED screens were rigged on a scaffolding goal post structure above the stage, each with a judge’s names displayed, and each iPad was linked to its relevant screen. An additional iPad was supplied to the judges – shared between the four - with a golden buzzer surface which they could hit i