THE 2015 BRIT AWARDS

PRODUCTION PROFILE: The BRIT Awards
THE 2015 BRIT AWARDS
THE BRIT AWARDS 2015 IN ASSOCIATION WITH MASTERCARD WERE HELD FOR THE FIFTH YEAR RUNNING
AT THE 02, LONDON. WITH A SET DESIGN BY ES DEVLIN BUILT BY STEEL MONKEY. A HOST OF OTHER TOP
SUPPLIERS INCLUDING LIGHT INITIATIVE, BRITANNIA ROW, PRG, OUTBACK RIGGING, STAGECO AND STRICTLY
FX ENABLED THIS CHALLENGING SHOW TO HAPPEN. PRESENTED BY TV FAVOURITES ANT & DEC, THE
AWARDS FEATURED LIVE PERFORMANCES FROM NINE GLOBAL SUPERSTARS CULMINATING IN A GRAND
FINALE FROM MADONNA, HER FIRST APPEARANCE AT THE BRIT AWARDS FOR 20 YEARS. SIMON DUFF
REPORTS ON A NIGHT OF AMBITION AND COURAGE.
The trophy for 2015 BRIT Awards was
designed by British artist Tracey Emin who is
famed for her innovative conceptual art. A
bold and triumphant design, it set the tone
for this year’s main event, which included
a 36-metre wide video screen. A total of
14 large neon writing signs - inspired by
Emin’s work - were brought into the room
by Es Devlin’s bold design, hung over the
stage and auditorium. They were operated
by Outback Rigging on a Kinesys motion
control system. From sound to set design,
lighting, video and special effects the
event reflected all those values. Production
Manager Tony Wheeler, from Nine Yards
Productions worked with Kate Wright
58
and Lisa Shenton of Papilo Productions,
to manage the production of the event,
contracted on behalf of the BPI. Other
key suppliers included Steel Monkey, Eat
Your Hearts Out, Show & Event Security,
Showstars, Stage Miracles, Oglehog and
Lovely Things.
LED powerhouse, Light Initiative, worked
in collaboration with scenery builders Steel
Monkey and award winning Scenic Designer
for the BRITs, Es Devlin to build the dramatic,
large-scale illuminated hand-writing, which
repeated the words that artist Tracy Emin had
on her design for the official 2015 BRIT Awards
statuette. The large scale hanging pieces, which
read: ‘congratulations on your talent, on your
life - on everything you give to others - thank
you’, were almost invisibly arrayed above the
stage and audience. Bryn Williams, Managing
Director for Light Initiative: “There were a
number of practical issues we had to confront
when delivering this project,” he explained.
“Our biggest challenges were time constraints
and the scale of the project itself. Nothing
on the market could cope with the dynamics
of following the sharp twists and turns of
handwriting, to pull this project off we needed
to create a new ultra flexible LED Neon Strip.
Working closely with our suppliers and within
the constraints of a tight schedule we were able
to provide exactly the right product for the job.”
PRODUCTION PROFILE: The BRIT Awards
Opposite: Paloma Faith performs Only Love Can Hurt Like This. Below: Madonna, pre-stumble, singing Living for Love.
“All of these large scale projects rely upon
everyone’s interaction and having a good team;
PRG, Steel Monkey and Outback made the
job go just how it should” Simon Cox, Light
Initiative’s Technical Project Manager.
STAGING
Stageco’s Project Manager on site, Luc
Dardenne worked under the auspices of
BRIT Awards Productions, alongside Account
Manager Dirk De Decker, and Crew Chief
Stefaan Vandenbosch and regular crew partner
Showstars, to provide the staging, as well as
numerous platforms and risers for spotlights,
cameras and show control. “Stageco effectively
supplies the foundation of the show for others,
like set company Steel Monkey, to build upon,”
said Dardenne. “Our stage is 30-metres wide
by 25-metres deep, but directly behind that is
another stage area (18-metres by 20-metres)
on which the performing artists’ changeovers
and set pieces are prepared. At the rear of the
O2 Arena, Stageco provided a two metre high
platform to accommodate the lighting and
sound control. Steel Monkey fabricated nearly a
thousand lengths of steel and over 800 sheets
of CNC prepared timber.”
SOUND WORLD
With the sad passing of long term BRIT Awards
Sound Designer, Derrick Zieba last year, the
baton has now been passed to the highly
capable and trusted hands of Colin Pink. Like
Zieba, Pink’s background is rooted in theatre. In
fact the first musical he mixed at The Guildhall
School of Music & Drama, where Pink was
trained, was a Derrick Zieba design for ‘On
The Town’. On graduating from the Guildhall,
Pink worked with Zieba on shows for Theatre
Projects and in regional productions. He then
worked at The National Theatre for 10 years,
both as a Mixing engineer and Sound Designer.
Pink commented: “What was fantastic about
The National Theatre was that you started as
a technician, then operated small shows then
worked your way up to do the large scale
productions. Trevor Nunn was one of the
directors when I was there and I did a lot of
work with him on large scale musicals.”
Pink went freelance in 2005, and notable
West End theatre successes include The History
Boys and Derren Brown. Recent recent high
profile event work includes heading up the live
operating team for the London 2012 Olympics,
The Great North West Run opening ceremony,
59
PRODUCTION PROFILE: The BRIT Awards
and mix duties on The Classic BRIT Awards, as
well as Hans Zimmer’s 2014 Eventim Apollo
show, the latter two both Britannia Row
productions.“For big events such as The BRITs,
a theatre background is necessary because
you are effectively dealing with many different
scenes,” Pink explained prior to the show. “Each
band is a different scene. The art is to keep that
flow seamless.”
Pink was confirmed as Sound Designer for
the show in October 2014. “The work flow from
then is defined around set design for PA, and
knowing what bands, what songs and what the
line up is. That defines what is going to happen
and that can change all the time. We do start
with certain equipment that is going to be a
given. In this case, for the FOH audience mix it
is a DiGiCo SD7 console. All acts were happy to
work with that. Although Royal Blood are using
a Midas PRO6 from Britannia Row. The reason
for that is that the band are currently on tour
and using that desk, so it makes sense.”
Pink explained what what he likes about
the SD7: “The great thing about the console is
flexibility. It has massive functionality, a great
number of channels, ins and outs and a great
interface. Nowadays, most engineers are already
familiar with them or they are quite quick to
learn. Josh Loyd, who is mixing the music acts at
FOH, lays out each performance, starting with
the first act, which is Taylor Swift in this case,
60
using about 30 channels. Josh will then lay up
the next act at Channel 31 so that he never has
to double up channels.”
The split for this year’s 2015 audio feeds
from stage was four way; one to FOH, one to
broadcast then two for monitors. There were
two SD7s working on monitors - managed
by Pete McGlynn and Steve Donovan, who
performed flip flopping duties - to ensure
smooth change overs and final line check
guarantee.
One of Pink’s main challenges at The BRITs
was to ensure dynamic auditorium PA coverage
for the live show, without introducing too
much colouration to the live broadcast sound.
He explained the PA set up. “I am a big fan of
L-Acoustics systems and have specified a K1 /
K2 line array.” The main L-R hangs comprised
L-Acoustics K1 and K2 elements, with K1 subs
flown behind the K1 hangs. The L-R side hangs
were also made up of K1 and K2 enclosures and
Kara elements covered rear L-R. Ground subs
were SB28s, ARCs were used for outer fills, as
well as further KARA cabinets for front fill and
more K2 boxes were utilised for delays.
Pink is keen to stress that L-Acoustics K2 is
an ideal tool for addressing large arena spaces
like the O2 and Britannia Row, which now have
over 100 K2 boxes in their inventory. “K2 offers
the K1 industry benchmark performance in a
rescaled package, making it one of the most
versatile systems on the market.”
Beside its sheer power, K2’s inter element
angles can be set from 0.25°, ideal for the
long throw high balcony coverage required
at the O2, up to 10° for excellent coverage in
the near field. The K2 also features the Panflex
technology, a unique solution for adjusting the
horizontal coverage pattern to any audience or
room geometry. “Combining this with the K1
allows you to hit every one of the 17,000 people
in the O2 with the same sound quality, minimal
interference, and with fewer boxes,” Pink
continued.
All amplification came from L-Acoustics
LA8’s with Lake LM 26 processors. A Dante
returns system was employed throughout, with
two separate fibre returns for stage end and
delays.
Britannia Row’s Audio Crew Chief was
Dee Miller, while Stefan Krista, a veteran of
many major events, ran the stage with Paul
Gardener and Luke Chadwick. Sergiy Zytnikov
was the Chief System Tech, ably assisted by
Richard Trow. Another long-term Britannia
Row and BRIT Engineer Chris Coxhead handled
presentation, VT and playback mix duties, using
a Midas PRO2, whilst Josh Lloyd managed the
band consoles.
Outboard audio comprised a standard
package of valve compressors and Bricasti
reverbs supplied as standard, plus extras added
PRODUCTION PROFILE: The BRIT Awards
Below: Ed Sheeran strips back his sound with an acoustic rendition of Bloodstream.
at the request of specific artists such as
a FOH Waves SoundGrid server package.
“Preparation, preparation and more
preparation is the key to all of the audio,”
emphasised Pink.
All presenters’ microphones including
hosts Ant & Dec were from the
Sennheiser Digital 9000 Series. Taylor
Swift used a 9000 Series with SK 9000
bodypack and Ed Sheeran utilising a
SKM 2000 with e9235. While Sam Smith
performed with a SKM 2000 and e965,
Kanye West used a SKM 5200 with
e5235, Madonna took the stage with a
SKM 5200 with MD 5005, and Take That
made use of the SKM 5200 with e5235.
Sam Smith, Madonna and Take That all
used 2000 Sennheiser IEMs and in-house
IEMs from Sennheiser.
Britannia Row has successfully worked
with Sennheiser as the RF partner on
The BRITs for over a decade. “Their
logistical and engineering help has been
invaluable,” Pink said. “There are now
so many hand helds, instrument packs
and IEMs that supplying all of the show’s
needs would be impossible without
Sennheiser’s assistance. Unlike other
award shows I always try to give the
62
artists their own RF mic preference, be
it Sennheiser, Shure, Audio Technica or
another and to let artists bring in their
own RF if they wish. This gives even
more of a headache to my excellent
RF Supervisor, Sapna Patel, who has to
coordinate frequencies and licensing
between Britannia Row kit, Sennheiser
kit, the band’s own kit, instrument kit
from UK backline companies and RF
products brought in from the US. This
is where Sennheiser’s assistance comes
into its own from Andrew Lillywhite
and Mark Saunders. We often end up
with a spreadsheet showing over 150
coordinated pieces of RF kit just for
the live performance part of The BRITs,
excluding any TV or comms use. The
challenge of achieving that on a live-to-air
show without a whisper of interference
is huge, and I take my hat off to Sapna
and to Mark and Andrew who make that
happen every year.”
LIGHTING
After a break last year to work on the
Sochi 2014 Winter Olympics, Emmynominated, Al Gurdon resumed his
long-time role as Lighting Director, in
PRODUCTION PROFILE: The BRIT Awards
Below: Taylor Swift performed Blank Space.
partnership with lighting provider,
PRG. Gurdon once again worked
with PRG Project Manager Rich
Gorrod, another BRIT Awards
veteran.
Gurdon’s design for The BRIT
Awards was the first use of the
new PRG Best Boy HP Spot, the
brighter version of the PRG Best
Boy Spot luminaire. He had six of
the HP versions and 30 regular
Best Boy Spots. With a 1,500W
lamp, the Best Boy HP Spot
produces an outstanding 35,000
lumen output.
“As a part of the design, we
used the Best Boy HP Spot, the
new brighter 1,500W spot, which
has a very intense brightness and
is ideal for keying,” said Gorrod. “It
has a good, flat field and the CTO
is excellent for colour correction.
I also really like the high power
shutter. There’s nothing else on the
market right now that compares.”
Gorrod explained that PRG’s
proprietary Bad Boy Spot was
Gurdon’s workhorse fixture on the
show with 24 of them deployed in
the rig. “Also, five Bad Boys were
used as back truss spots; that’s
been happening quite frequently
because they’re small, bright, and
compact,” he said. “They make
great followspots when paired
with the Bad Boy followspot
controller with its handy zoom, iris,
and intensity controls. Everything
can be also be controlled from
the console, but the followspot
operator also retains control so it’s
a win/win situation.” For general
followspots, PRG fielded four
long-throw Lycian M2s and a 4kW
Robert Juliat Lancelot.
The High End Systems Hog
4 consoles connected to four
DP8000 processors to send
Art-Net to the PRG Series 400
data distribution system. “I can’t
rate the Series 400 system highly
enough,” raved Gorrod. “On
this show, we only used the PRG
Super Node’s Art-Net processor
on the fibre network and it’s rock
solid. We use it all the time for
this kind of production and we
were up to 60 universes for The
BRITs. We provided power and
data transmission for Tracey Emin’s
LED neon signage, which was
manufactured by Light Initiative
after I recommended them to
production. A couple of my regular
63
PRODUCTION PROFILE: The BRIT Awards
Below: PRG Project Manager Rich Gorrod; Stageco Project Manager, Luc Dardenne and Crew Chief Stefaan Vandenbosch; Showstar’s Paul Calverley.
crew worked on the installation.”
PRG also handled all the control for all the
lighting motors on its Kinesys motor control
system, which Gorrod described as: “A truly
fantastic product - load lights per motor and
when running a group of motors and one motor
stops, they all stop. It’s a must on a 110 motor
system. Everything comes back to two dimmer
areas so that if we need to move something
during rehearsals, it’s not a question of finding
a motor controller and plugging it up. All the
64
motor cables run back with the lighting cables,
so everything is live and ready to go.”
The PRG crew included Gordon Torrington,
Luke Jackson, Alex Peters, Peter MacDonald,
John Hetherton, Simon Lynch and Gareth
Morgan, Artist Extras Techs Simon Anderson,
Chris Henry and Peter MacDonald, and Hog 4
console operators, Theo Cox and Russ Williams.
Meanwhile, three students from The BRIT
School for Performing Arts and Technology
assisted with preparations for the show - an
annual arrangement whereby individuals are
selected via an interview process.
Along with a significant quantity of truss,
the remainder of PRG’s equipment included 66
Philips Vari-Lite VL3500 Washes, 48 Clay Paky
Mythos hybrid beam / spots, 169 Clay Paky
Sharpy moving beam lights, 42 Solaris LED
Flare Jr. strobes, 12 GLP impression X4 and 52
impression 120 RZ automated LED units, 34
Clay Paky A.leda B-Eye K10 LED washes and 50
Philips Color Kinetics iColor Cove LED fixtures.
PRODUCTION PROFILE: The BRIT Awards
SPECIAL EFFECTS
One of the most unique performances on
the night came from British newcomers Royal
Blood. Their performance was handled by their
Creative Director, Paul Normandale of Lite
Alternative Design. He commented: “I liked the
idea of an intimate close performance space, to
highlight the relationship of the two players in a
restrained space.”
To help define that limited space,
Normandale turned to his long time effects
providers, Strictly FX of Chicago, USA and their
new laser, Vortex. “The Vortex can make a
perfect cone; you can’t do that with any other
laser system, and you can’t really do that with
a light either,” noted Laser Programmer, David
Kennedy of Strictly FX. That cone provided the
restrained space that Normandale envisioned for
Royal Blood. “The Vortex is a truly unique effect,
which is indeed a rare thing,” Normandale
added.
For Take That’s stage set Quantum Special
Effects designed and supplied a large spherical
structure, mounted with lights and 50 longarmed flaming mini cauldron’s hung in front
of the graphics on the backing screen. Each
bowl was timed to ignite from the first chorus
and simultaneously with the graphics behind,
to represent the burning sun. Towards the end
of the song, two confetti blowers released a
66
steady stream of white confetti over the stage
and crowd.
Aquabatics created The Cloudburst over
and around Paloma Faith. It involved several
weeks of trials, tweaks and dry runs before a full
rehearsal with Paloma in preparation for the live
filming on the night. They provided a rain effect
over a 12-metre by two-metre area of the stage,
which fell from a height of 10-metres onto the
dancers.
A four-metre square rain curtain (essentially a
sheet of water) then surrounded the singer half
way through the track, followed by a further
rain effect directly above her towards the end of
the song.
The installation included 0.5 km of hose with
6,000 litres of water as well as a water heater to
ensure the water was warm during the act.
VIDEO
Oglehog were the video producers tasked with
overseeing the biggest and most ambitious
BRITs to date. On the main stage the video
screen was 36-metres wide at the top by
13.2-metres high created from 968 panels of
Pixled F12 LED screen supplied by XL Video.
The catwalk was created from 360 panels of
LEDGO 15mm floor supplied by LedGo. Side of
stage relay screens were 26ft Projection IMAG
screens with Panasonic 20K projectors plus four
16ft relay screens with twin 12K projectors on
each. Oglehog had a control room in the O2
service yard next to the CTV OB trucks that
contained six SNP V5 Catalyst servers, supplied
by SNP, which were controlled by Hog 4 desk,
also supplied by SNP. Nick Malbon programmed
and operated the Hog 4 and SNP Catalyst
servers, ably assisted by Richard Porter. Also
in the control room were two of Oglehog’s
own cameras plus six feeds from the broadcast
facilities, all cameras and VT were mixed via a
combination of Grass Valley Kayak vision mixer
and Barco’s new Encore 2 system.
Individual artist requirements included a
request from Ed Sheeran who used a custom
designed screen comprising of 128 panels
of Pixled F7 screen, forming the floor and a
ceiling. Sam Smith’s set deployed four Barco
40K projectors to cover the orchestra risers and
for Royal Blood four Bradley Engineering Robo
Cams were used.
Chris Saunders, Director of Oglehog
commented: “Whilst I have been involved in
the BRITs for many years, the main difference
this year was The BRITs organisers came to
Oglehog to put the show out to tender. This
years show was video heavy and we took what
was an evolving design to a number of vendors
to look at what they had to offer. The market
now has a bewildering array of LED screens if
PRODUCTION PROFILE: The BRIT Awards
you don’t know what your looking at! We bring
a pragmatic approach to specifying products
helping us come up with the best solution, on
budget. We were very pleased when XL Video
came through with a good product with the
F12, I was very keen to get the panels installed
into the MC touring frame, which in my mind is
a market leader. XL Video’s, Paul Wood was our
Project Manager and as always he was brilliant.”
RIGGING
Outback Rigging, celebrating its 20th year in
business and 13th BRIT Awards, was responsible
for all rigging, audiovisual and mother trusses.
It also supplied all of the hoists for the event
including Kinesys motion control automation.
Set up over four main mother grids, one over
the main stage and three over the auditorium,
a total of 120 tonnes of equipment hung from
The O2 roof, which included a huge amount
of moving elements over both the main stage
and auditorium. Conrad Ryan, now Technical
Director at Outback Rigging after joining as an
apprentice in 1999 is now on his tenth BRITs.
Speaking before the show he explained the
changes he has seen on in that time: “The BRITs
were at Earls Court when I started. It has always
been a hugely demanding show with an overall
set design and then within that artist elements.
When we started we were using Ibex systems
68
for motion control. Within the last 10 years the
use of Kinesys motion control has really come
in. Now it is a huge part of the show. For this
year we have we have six significant artists sets
that we fly in and out, hung at 20-metres above
the stage and then a major element over the
auditorium.”
For Outback Rigging work on this year’s
show began in earnest early January. “It is a
steady flow from there,” commented Ryan. “We
got the primary stage design from Es Devlin and
the wire. We work closely with the entire BRITs
production team and especially on the technical
elements with Technical Production Manager,
Tony Wheeler, Malcolm Birkett, CAD Stage
Technical Sesign and Steel Monkey, who have
been doing the fabrication of the set elements
for many years. So between the three of us we
look at and work on all the designs, making
things fit as they come in. Obviously then it’s
a question of my team trying to work out the
rigging and a weight picture.”
“The BRITs were at Earls Court when I started. It has always been a
hugely demanding show with an overall set design and then within that
artist elements...”- Conrad Ryan, Technical Director, Outback Rigging
from there we were able to begin our design for
the mother grid over the main stage. That was
our starting point. There are certain things that
are a known value from the start such as the
PA and video screen size and weight. Because
of the nature of music awards shows artists can
hold back on their requirements. It makes for an
exciting show, but at times it really does go to
In total over the four mother grids some 420
hoists were hung, including 83 Kinesys motion
control systems. A total of 1.5km of truss was
installed, 3km of cabling running across the
system, as well as a spider cam broadcast
system that Outback Rigging assisted with and
installed. A key design feature for this years
show was the use of 14 flown neon Tracey Emin
PRODUCTION PROFILE: The BRIT Awards
Below: BRIT Awards rehearsals; Kanye West performed his new track All Day; Tracey Emin’s neon writing was a BRIT Awards commission; The art was manufactured by Light Initiative and read
‘congratulations on your talent, on your life - on everything you give to others - thank you’.
writing signs, used at points over the dinner
guests and main stage, and flown in and out for
presentations, all running on a Kinesys system.
Ryan explained other key elements: “Then we
had all of the moving band elements, a large
flying grid with a water management system
on it for Paloma Faith. For the water system,
designed by Aquabatics we had to manage that
over the large fixed stage video screen, allow
it to travel in and out above the stage into a
show position and out to a hidden position.
We had some large six metre high set letters
for George Ezra which fly in and land on the
stage, all on Kinesys hoists. The majority of the
hoists we used were liftket hoists that have
been converted to work with Kinesys systems
Elevation One Plus Control and Vector software.
We stored a six metre diameter riser for
Madonna that flew in and out. Ed Sheeran had
a 10-metre by two metre video ceiling panel
that was wheeled out then flown into position.
We also have a Vortex laser that we lowered
in at show height for Royal Blood. And there
were a pair of Barco 40K projectors that were
lowered in over the audience for the Sam Smith
number.”
On site Outback Rigging ran two separate
Kinesys motion control systems operated by
Steve Bellfield and Darragh McAuliffe with a
team of eight spotters out on the floor, who
had an eye line on all the elements making sure
that if there was any emergency the system
could be stopped. Ryan commented that it’s a
70
real Outback team effort with Charlie Longcroft,
Operations Team Manager, as his right hand
man on the technical side and Stuart Cooper
running budgets.
And how does Ryan keep so calm under
all this pressure? “Simple. I drink loads of
Chamomile tea,” he laughed. “But seriously, we
have hugely trusting relationship with The BRITs
production team. They trust us and we trust
them.”
CREWING AND SAFETY
Alongside Stage Manager Mike Grove of Stage
Miracles provided an ASM and 15 highly trained
crew for the production load in, rehearsals and
show-calls. These were joined by a further eight
crew members for show-calls on show day and
another 14 crew dedicated to individual bands
and all were overseen by Crew Boss, Frank
Moran.
As the dust settled and the VIPs headed into
the after-party, local crew company Showstars
prepared for a major overnight challenge. The
East London firm’s work on the event began
as the O2’s loading doors opened at the
start of the hectic 10-day schedule that has
become a way of life for Showstars’ Logistics
and Personnel Manager, Paul Calverley and his
colleagues.
“This was my 15th BRIT Awards,” said
Calverley. “Although Showstars has been
involved with The BRITs in one way or another
since 1993, when it was at Alexandra Palace.
And since Stageco took over the staging in
1997, we have supplied all steel and production
crew. Our peak of activity was from 10.30pm
at the end of the show, Wednesday night. On
Thursday when we had 152 crew members, split
into 72 for the night shift and 80 during the day,
to work on the breakdown and load-out.”
Showstars enlisted several Departmental
Crew Chiefs to take responsibility for specific
areas. For example, Peter ‘Mavis’ Ridley headed
the spot operator team, consisting of nine front
of house ops and seven truss spot ops. “Lighting
Designer, Al Gurdon likes to use us and as he
returned to his role this year after a break, we
expected an increase in our spot call this time,”
said Calverley.
“We book the crew, get them all together
and show ‘Mavis’ all the spot positions, and
then he takes them all away to get everything
worked out. It’s the same with the PA and
lighting. PRG’s Richie Gorrod will tell us what
he needs from us, we will allocate numbers
accordingly and Tony Say or Richard Sullivan
will head those teams. There’s always a leader
of every split-off group while Stuart Milne and
I are present to oversee the entire project and
maintain a management presence.”
Finally keeping the event safe and secure
were The SES Group who have been involved
with The BRITs for 15 years, managing security,
crowd safety, international media and of course
the all-important red carpet. Planning for SES
starts weeks in advance and like so many other
PRODUCTION PROFILE: The BRIT Awards
Below: Sam Smith sang Lay Me Down; Showstar’s crew during the build.
events at The O2 when The BRITs come to
the arena, they need huge flexibility, with the
building configuration being adjusted from
the standard O2 show format. SES has worked
on hundreds of shows and events at The O2,
having been contracted to the venue for the
past five years.
In conclusion Kate Wright of Papilo
Productions said: “I thought this year’s event
was a tremendous team effort with all suppliers
going beyond the call of duty to deliver a truly
spectacular show. The event was not without
its technical challenges but everyone embraced
them and came up with some fantastic
solutions.”
TPi
Photos: JM Enternational
www.brits.co.uk, www.papilo.net
www.aquabatics.co.uk
www.britanniarow.com
www.lite-alternative.com
www.nine-yards.co.uk
www.lightinitiative.co.uk, www.oglehog.com
www.outbackrigging.com
www.prg.com, www.Q-sfx.com
www.showandevent.com
www.showstars.co.uk
www.snp-productions.co.uk
www.stageco.com, www.stagemiracles.com
www.steelmonkey.co.uk, www.strictlyfx.com
www.xlvideo.com
71