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CPL delivers ‘Carnival of Colour’ event for Tropic Skincare
CPL supplied full technical design and production for show producers Pandora Events who delivered Tropic Skincare’s 2019 “Glambassador” motivational event, a day packed with new product launches, presentations, awards and live entertainment, complete with a gala dinner. The event for 2500 people - themed ‘Carnival of Colour’ - was staged in Hall 4 at the NEC, Birmingham, UK.
CPL’s production and project manager Lee Gruszeckyj worked closely with Pandora’s Vanessa Carter and a crew of 27 technicians who started with the installation of a 20-metre diameter circular stage in the centre of the room. The inner 10-meter diameter section was a revolve. Above this, four large screens were installed, which were fed by Barco UDX high-powered projectors, giving 360-degree viewing angles.
The stage was a full custom design and build for the event, with a Steeldeck base covered in bespoke ply pieces to make up the spherical shape and the revolve machinery installed in the middle, completely flush with the outer section, so not immediately evident to the eye. The whole surface area was finished in white gloss vinyl.
An 8-metre runway protruded from each of two sides of the stage with 7-metre ramps at each end extending out into the audience. “One parameter was that the stage area had to potentially accommodate several hundred people for some of the Awards categories,” Lee Gruszeckyj explains, “so we had to ensure there was enough space for them to stand on it and enjoy their moments of adulation, as well as to facilitate that many people actually getting safely up onto the stage.”
The four screens flown above the central stage each measured 16 metres wide by 4.5 high, and each was fed by a pair of doubled-up Barco UDXW32 32K lumen projectors which were positioned on the largest of three concentric circular trusses flown - chandelier style at slightly staggered heights in the roof - with diameters of 15, 8 and 5 metres respectively. They produced some 4K resolution images.
On the two lower trussing circles, 70 x 1.2 metre by 100 mm wide Roe pixel strips were rigged running via Brompton T1 processors and fed with video content which produced colour and movement effects above the stage, and also eye-catching kinetics during the production numbers.
Four Sony HXC-100 HD cameras were utilised for the IMAG mix of the band/speakers/presenters/award winners, etc., mixed via a GV Kayak PPU, and ISO and TX records of the evening were also produced. CPL supplied an on-site mobile edit suite and a person dedicated just to ‘live’ editing.
CPL also created custom media content for the three major live performance segments which were stored on a fully redundant networked QLab system and synched to the accompanying music tracks over which they played and sang live.
Around 200 lighting fixtures - a mix of generics, LEDs and moving lights - populated the three circular trusses. The 150 x moving lights were made up from a mix of Robe Pointes, Spikies and LEDBeam 150s and the generics were a combination of profiles, fresnels and spots, all operated by Ian Wood and Peter Thompson using a GrandMA console.
An L-Acoustics sound system comprised Kara, HiQ and Arcs Wide speakers. Each of the ten Kara arrays contained between 6 and 9 speakers per drop. For stage lip fills L-Acoustics X8 speakers were chosen, while six HiQs were there for nearfields and the Arcs Wides covered the further away areas. The HiQs and Arcs Wides were also all flown, as were the 16 x SB18s - in three stacks - above the stage. The subs were augmented with four KS28s on the floor in front of the stage.
The system was powered by L-Acoustics LA8 and LA12 amps, and all the amp racks were flown for neatness. Dante was distributed via a fibre network. The band had both FOH and monitors mixed via two Yamaha CL5 consoles. Thirty-six channels of Shure Axient Digital wireless mics ensured that the band were fully wireless, which was the only option due to the revolve and their central room positioning, and a Sennheiser G3 IEM system completed the monitor package.
DPA 4099 mics were deployed for the drum kit with an array of mics including DPA 2011s for the rest of the band’s instruments. A full Riedel Bolero comms system was installed throughout the show-space connecting all involved in the event.
Also integral to the staging of the entertainment sections were 8 x lasers, strategically positioned heavy foggers and a massive multi-coloured confetti drop fired on the last chords of the end of the opening sequence.
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