CHAPTER 8 Fundamentals of the Production 231 232 Chapter 8 Fundamentals of the Production What’s a sun dial in the shade? —BENJAMIN FRANKLIN (1706–1790) IN THIS CHAPTER YOU WILL LEARN HOW TO: ■ Secure, implement, and monitor technical programming and services to support the communication goals and objectives of an event. ■ Select the designs, equipment, and providers for the illumination and decorative lighting needs of an event. ■ Determine and procure the appropriate sound and presentation ser- vices and equipment for an event. ■ Coordinate multimedia production services when required to meet the needs of an event.
■ Determine the need and most appropriate applications for special ef- fects necessary within the event program and select the necessary equipment and professional providers for the effects desired. The event coordinator was reviewing her proposal for an annual meet- ing’s gala dinner with the potential client, discussing all the elements in- cluded and the costs for investment in each. The client was enthralled with all the creative ideas proposed for the theme décor, food and bev- erages, and entertainment, which included special props, elaborate buffet displays, nationally known speakers, specialty acts, and an inter- active dance band. As they reached the technical category on the invest- ment page (we don’t have price lists, we show the required investment), the client started to question the event coordinator about the necessity of all the sound and lighting equipment included in the proposal.
The event coordinator simply asked, “You want your guests to be able to see and hear, and experience and appreciate what you’ve paid for, don’t you?” Modern events have a plethora of production tools available to en- hance, enchant, excite, and enthrall guests and audiences. Lighting, sound, and other audiovisual technology, plus special effects, are the production values that support the theatrical dimensions of an event ex- perience—the show. This technology allows the event designer and pro- fessional event coordinator to highlight and/or hide parts of the event environment and the event program in order to communicate the mes- sage of the event in the most effective manner, at the appropriate or most effective time during the event. It may be used to reveal production ele- Crafting the Production 233 ments or products, transform spaces or create illusions, direct and redi- rect focus and movement, and choreograph the progression of the event experience from an entrancing entrance to a thrilling finale.
Crafting the Production In his book Advance Coordination Manual, Jan Moxley defines a pro- duction as “an entire event, including the producing; load-in and set-up; staging and performance of the event, film, show or TV program; and load-out. [The term production is] often used to refer to just the show or performance. The professional event coordinator must look at an event as an entire production, similar to a theatrical, film, or television production. Whether it is self-directed (e., a festival) or carefully controlled (e., an awards gala), an event ex- perience is a show or performance, one that is carefully crafted to deliver a message and a meaning.
SPECIFY GOALS, OBJECTIVES, AND PRIORITIES With all the high-tech and high-touch tools available to the production or event designer, it is critically important to determine which tools will meet the needs, purpose, and budget of an event. Decorative lighting, sound, projection, video, and numerous special effects may be added to any event, but they are not requisite for all events. They must be incor- porated into the event design only if they will enhance the achievement of the goals and objectives of the event. However, virtually any event can benefit from the inclusion of production technology to create or enhance the atmosphere, the environment, interaction, and effective message communication.
In fact, because of the prevalence of television, film, video, and other theatrical productions in their day-to-day lives, audi- ences and attendees expect sophisticated production values similar to those they see in other entertainment media. Many conferences and meetings, for example, no longer use an overhead projector for visuals but have turned to computer data projection, such as PowerPoint, as the standard. Production technology is changing and improving every day, and the tools we are familiar with now may become outdated in a short time. This is not to say that older technology is no longer useful.
All audiovi- sual technology, old and new, has potential for creative and effective applications in an event production. It is up to the professional event co- ordinator to work with the client and other stakeholders to determine 234 Chapter 8 Fundamentals of the Production which technologies will deliver the event experience desired and re- quired, within the confines of the event budget, site, schedule, and pro- gram, and which will be the most effective for delivering the message of the event in a manner that meets the needs of its audience. On-Site Insight Cal Kennedy, CSEP, of Luminon Productions in Randburg, South Africa, shares this experience in production priorities: We produced an event involving a two-week video editing process that included a lot of graphics for the video presenta- tion to accompany the Managing Director’s speech. At the re- hearsal on the day of the event, he stopped us at one point and said that the graphic in one particular area was too short and we needed to lengthen it.
Well, as most video professionals know, graphics don’t just get “lengthened” at will, so I naively replied, “Sorry, with two hours to go to the function, 22 miles from the production house, we can’t change the graphic.” His reply was, “Spell can’t.” I don’t often get stuck for words, but to tell the truth, this had me tongue-tied. I had to admit that I didn’t know exactly what he meant, and he gave me the answer that I should have known for the last 20 years. He said, “Can’t is spelled M-O-N-E-Y! Now get on your bicycle and turn Can’t into Money into Can, and do it now!” Guess what, he was right. we could, we did, and boy, did we charge for the privilege of adding three seconds of graphics.
I think it is important to realize with whom you are dealing. We charged premium and he paid with a smile because he got what he asked for. INTEGRATE THE TECHNOLOGY Technology should support the event production, not become the focus (unless the purpose of the event itself is to highlight such technology). Lighting should illuminate rather than overpower the environment.
Sound systems should make communication possible rather than painful. Projected visuals should communicate rather than distract. Computer data presentations and videos should be used to enhance a speaker’s pre- Crafting the Production 235 sentation rather than overwhelm it. You use production technology be- cause you should, not because you can.
The professional event coordinator should integrate the technology selected into the event site design, the program design, and the overall production. Each type of equipment will have spatial and installation re- quirements that must be plotted into the floor or site plan as well as the production schedule. Each type of technology will have design capabil- ities and qualities that must be utilized cost-effectively. And each type of technology will have conditions and constraints that must be understood in order to get the most out of it.
USE THE RIGHT EFFECTS FOR THE JOB You must determine what it is you want and need to achieve in order to select the right effects and equipment for the job, based on the resources (time, money, space) available. For example, rear projection requires more space than front projection, but it gives a cleaner look to the event space because the projection equipment is hidden. However, front pro- jection is often brighter than rear projection, and the equipment may be suspended from the ceiling to open up the floor space. Live video for image magnification can involve camera operators moving in and around the stage and audience, or robotic cameras may be moved through the space on booms and tracks by remote operators.
In- telligent lighting systems are more expensive, but they are more versatile and may replace the need for numerous other lighting instruments. (Most lighting professionals refer to these lights as automated or moving lights, with an intelligent operator controlling them.) Slide projectors may be suitable for projecting corporate logos or theme images on surfaces in- stead of gobos in ellipsoidal lighting instruments. TECHNICAL DIFFICULTIES—PLEASE STAND BY As with any technology, lighting, sound, and multimedia technology is subject to breakdowns, failures, and other problems that may interfere with a seamless production. The more technology you are using (and relying on), the more safeguards you should consider to prevent such problems from destroying your carefully crafted production.
For any im- portant aspect of an event production, securing redundant equipment must be seriously considered. Ralph Traxler, CSEP, senior designer for RTx inc., based in Atlanta, Georgia, and the 2002 Event Solutions Tech- nical Producer of the Year, advises, “There should be redundant lighting, audio and special effect controllers, computers, video monitors, and pro- jectors whenever possible.” 236 Chapter 8 Fundamentals of the Production Your first safeguard is making sure that the technical providers have sufficient time to prepare, install, and test their equipment properly. You must incorporate technical rehearsals into your schedule so that the en- tire production may be tested, and in the manner in which it should be tested. For example, in order to test the lighting the houselights must be extinguished, meaning that others working in the space will not have the illumination they may need to do their jobs properly.
Sound checks must be done, which can be loud and disjointed and may interfere with a meeting or other function taking place next door. Data and video projec- tion must be well rehearsed, and transitions between various technolo- gies (e., live and recorded sound or video) must be practiced. All such testing requires time. If, despite these measures, there is a technical failure, be prepared to carry on.
This is when a calm and quick-thinking professional event co- ordinator will find a creative solution. You might bring out the a cappella choir early, turn on the houselights and have the guests or attendees dis- cuss topics in a roundtable-style session, or send in the dessert while you wait for the problem to be fixed. The audience will know (or should be told) that you are having difficulties—“Please stand by.” A good emcee, speaker, or entertainer will be able to incorporate such an incident into his or her presentation with humor and grace, preventing uncertainty (or panic) within the audience. BUY THE BEST YOU CAN AFFORD Based on the prioritized goals and objectives for the event, you should always buy the best production values you can afford.
Selecting equip- ment and providers based on price alone is a recipe for disappointment and difficulties. When the budget is limited, focus your expenditures on those features that will communicate the message most effectively, and then supplement them with the creative use of less expensive options sparingly. Find ways to utilize the technology you do invest in to its fullest potential, perhaps redesigning the program or the use of the site so that one type of technology or equipment can serve numerous parts of the event. Also purchase the best service you can afford.
Make certain that on- site technicians are included in the bid. Check the costs of power usage. Closely compare the bids from providers who own their equipment and those who must rent or hire it from other sources. Those who own their own equipment often have lower prices, but they may be using older equipment.
Those who subcontract equipment may have higher costs, but they may be securing better or more up-to-date equipment. As al- ways, you must be a savvy buyer.