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PRODUCTION PROFILE: The

THE 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, 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 , 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 and Lisa Shenton of Papilo Productions, read: ‘congratulations on your talent, on your designed by British artist who is to manage the production of the event, life - on everything you give to others - thank famed for her innovative conceptual art. A contracted on behalf of the BPI. Other you’, were almost invisibly arrayed above the bold and triumphant design, it set the tone key suppliers included Steel Monkey, Eat stage and audience. Bryn Williams, Managing for this year’s main event, which included Your Hearts Out, Show & Event Security, Director for Light Initiative: “There were a a 36-metre wide video screen. A total of Showstars, Stage Miracles, Oglehog and number of practical issues we had to confront 14 large neon writing signs - inspired by Lovely Things. when delivering this project,” he explained. Emin’s work - were brought into the room LED powerhouse, Light Initiative, worked “Our biggest challenges were time constraints by Es Devlin’s bold design, hung over the in collaboration with scenery builders Steel and the scale of the project itself. Nothing stage and auditorium. They were operated Monkey and award winning Scenic Designer on the market could cope with the dynamics by Outback Rigging on a Kinesys motion for the BRITs, Es Devlin to build the dramatic, of following the sharp twists and turns of control system. From sound to set design, large-scale illuminated hand-writing, which handwriting, to pull this project off we needed lighting, video and special effects the repeated the words that artist Tracy Emin had to create a new ultra flexible LED Neon Strip. event reflected all those values. Production on her design for the official 2015 BRIT Awards Working closely with our suppliers and within Manager Tony Wheeler, from Nine Yards statuette. the constraints of a tight schedule we were able Productions worked with Kate Wright The large scale hanging pieces, which to provide exactly the right product for the job.”

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Opposite: performs Only Love Can Hurt Like This. Below: Madonna, pre-stumble, singing .

“All of these large scale projects rely upon SOUND WORLD everyone’s interaction and having a good team; With the sad passing of long term BRIT Awards PRG, Steel Monkey and Outback made the Sound Designer, Derrick Zieba last year, the job go just how it should” Simon Cox, Light baton has now been passed to the highly Initiative’s Technical Project Manager. capable and trusted hands of Colin Pink. Like Zieba, Pink’s background is rooted in theatre. In STAGING fact the first musical he mixed at The Guildhall Stageco’s Project Manager on site, Luc School of Music & Drama, where Pink was Dardenne worked under the auspices of trained, was a Derrick Zieba design for ‘On BRIT Awards Productions, alongside Account The Town’. On graduating from the Guildhall, Manager Dirk De Decker, and Crew Chief Pink worked with Zieba on shows for Theatre Stefaan Vandenbosch and regular crew partner Projects and in regional productions. He then Showstars, to provide the staging, as well as worked at The National Theatre for 10 years, numerous platforms and risers for spotlights, both as a Mixing engineer and Sound Designer. cameras and show control. “Stageco effectively Pink commented: “What was fantastic about supplies the foundation of the show for others, The National Theatre was that you started as like set company Steel Monkey, to build upon,” a technician, then operated small shows then said Dardenne. “Our stage is 30-metres wide worked your way up to do the large scale by 25-metres deep, but directly behind that is productions. Trevor Nunn was one of the another stage area (18-metres by 20-metres) directors when I was there and I did a lot of on which the performing artists’ changeovers work with him on large scale musicals.” and set pieces are prepared. At the rear of the Pink went freelance in 2005, and notable O2 Arena, Stageco provided a two metre high West End theatre successes include The History platform to accommodate the lighting and Boys and Derren Brown. Recent recent high sound control. Steel Monkey fabricated nearly a profile event work includes heading up the live thousand lengths of steel and over 800 sheets operating team for the London 2012 Olympics, of CNC prepared timber.” The Great North West Run opening ceremony,

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and mix duties on The , as using about 30 channels. Josh will then lay up versatile systems on the market.” well as ’s 2014 Eventim Apollo the next act at Channel 31 so that he never has Beside its sheer power, K2’s inter element show, the latter two both Britannia Row to double up channels.” angles can be set from 0.25°, ideal for the productions.“For big events such as The BRITs, The split for this year’s 2015 audio feeds long throw high balcony coverage required a theatre background is necessary because from stage was four way; one to FOH, one to at the O2, up to 10° for excellent coverage in you are effectively dealing with many different broadcast then two for monitors. There were the near field. The K2 also features the Panflex scenes,” Pink explained prior to the show. “Each two SD7s working on monitors - managed technology, a unique solution for adjusting the band is a different scene. The art is to keep that by Pete McGlynn and Steve Donovan, who horizontal coverage pattern to any audience or flow seamless.” performed flip flopping duties - to ensure room geometry. “Combining this with the K1 Pink was confirmed as Sound Designer for smooth change overs and final line check allows you to hit every one of the 17,000 people the show in October 2014. “The work flow from guarantee. in the O2 with the same sound quality, minimal then is defined around set design for PA, and One of Pink’s main challenges at The BRITs interference, and with fewer boxes,” Pink knowing what bands, what songs and what the was to ensure dynamic auditorium PA coverage continued. line up is. That defines what is going to happen for the live show, without introducing too All amplification came from L-Acoustics and that can change all the time. We do start much colouration to the live broadcast sound. LA8’s with Lake LM 26 processors. A Dante with certain equipment that is going to be a He explained the PA set up. “I am a big fan of returns system was employed throughout, with given. In this case, for the FOH audience mix it L-Acoustics systems and have specified a K1 / two separate fibre returns for stage end and is a DiGiCo SD7 console. All acts were happy to K2 line array.” The main L-R hangs comprised delays. work with that. Although Royal Blood are using L-Acoustics K1 and K2 elements, with K1 subs Britannia Row’s Audio Crew Chief was a Midas PRO6 from Britannia Row. The reason flown behind the K1 hangs. The L-R side hangs Dee Miller, while Stefan Krista, a veteran of for that is that the band are currently on tour were also made up of K1 and K2 enclosures and many major events, ran the stage with Paul and using that desk, so it makes sense.” Kara elements covered rear L-R. Ground subs Gardener and Luke Chadwick. Sergiy Zytnikov Pink explained what what he likes about were SB28s, ARCs were used for outer fills, as was the Chief System Tech, ably assisted by the SD7: “The great thing about the console is well as further KARA cabinets for front fill and Richard Trow. Another long-term Britannia flexibility. It has massive functionality, a great more K2 boxes were utilised for delays. Row and BRIT Engineer Chris Coxhead handled number of channels, ins and outs and a great Pink is keen to stress that L-Acoustics K2 is presentation, VT and playback mix duties, using interface. Nowadays, most engineers are already an ideal tool for addressing large arena spaces a Midas PRO2, whilst Josh Lloyd managed the familiar with them or they are quite quick to like the O2 and Britannia Row, which now have band consoles. learn. Josh Loyd, who is mixing the music acts at over 100 K2 boxes in their inventory. “K2 offers Outboard audio comprised a standard FOH, lays out each performance, starting with the K1 industry benchmark performance in a package of valve compressors and Bricasti the first act, which is in this case, rescaled package, making it one of the most reverbs supplied as standard, plus extras added

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Below: strips back his sound with an acoustic rendition of Bloodstream. at the request of specific artists such as artists their own RF mic preference, be a FOH Waves SoundGrid server package. it Sennheiser, Shure, Audio Technica or “Preparation, preparation and more another and to let artists bring in their preparation is the key to all of the audio,” own RF if they wish. This gives even emphasised Pink. more of a headache to my excellent All presenters’ microphones including RF Supervisor, Sapna Patel, who has to hosts Ant & Dec were from the coordinate frequencies and licensing Sennheiser Digital 9000 Series. Taylor between Britannia Row kit, Sennheiser Swift used a 9000 Series with SK 9000 kit, the band’s own kit, instrument kit bodypack and Ed Sheeran utilising a from UK backline companies and RF SKM 2000 with e9235. While products brought in from the US. This performed with a SKM 2000 and e965, is where Sennheiser’s assistance comes used a SKM 5200 with into its own from Andrew Lillywhite e5235, Madonna took the stage with a and Mark Saunders. We often end up SKM 5200 with MD 5005, and with a spreadsheet showing over 150 made use of the SKM 5200 with e5235. coordinated pieces of RF kit just for Sam Smith, Madonna and Take That all the live performance part of The BRITs, used 2000 Sennheiser IEMs and in-house excluding any TV or comms use. The IEMs from Sennheiser. challenge of achieving that on a live-to-air Britannia Row has successfully worked show without a whisper of interference with Sennheiser as the RF partner on is huge, and I take my hat off to Sapna The BRITs for over a decade. “Their and to Mark and Andrew who make that logistical and engineering help has been happen every year.” invaluable,” Pink said. “There are now so many hand helds, instrument packs LIGHTING and IEMs that supplying all of the show’s After a break last year to work on the needs would be impossible without Sochi 2014 Winter Olympics, Emmy- Sennheiser’s assistance. Unlike other nominated, Al Gurdon resumed his award shows I always try to give the long-time role as Lighting Director, in

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Below: Taylor Swift performed .

partnership with lighting provider, because they’re small, bright, and PRG. Gurdon once again worked compact,” he said. “They make with PRG Project Manager Rich great followspots when paired Gorrod, another BRIT Awards with the Bad Boy followspot veteran. controller with its handy zoom, iris, Gurdon’s design for The BRIT and intensity controls. Everything Awards was the first use of the can be also be controlled from new PRG Best Boy HP Spot, the the console, but the followspot brighter version of the PRG Best operator also retains control so it’s Boy Spot luminaire. He had six of a win/win situation.” For general the HP versions and 30 regular followspots, PRG fielded four Best Boy Spots. With a 1,500W long-throw Lycian M2s and a 4kW lamp, the Best Boy HP Spot Robert Juliat Lancelot. produces an outstanding 35,000 The High End Systems Hog lumen output. 4 consoles connected to four “As a part of the design, we DP8000 processors to send used the Best Boy HP Spot, the Art-Net to the PRG Series 400 new brighter 1,500W spot, which data distribution system. “I can’t has a very intense brightness and rate the Series 400 system highly is ideal for keying,” said Gorrod. “It enough,” raved Gorrod. “On has a good, flat field and the CTO this show, we only used the PRG is excellent for colour correction. Super Node’s Art-Net processor I also really like the high power on the fibre network and it’s rock shutter. There’s nothing else on the solid. We use it all the time for market right now that compares.” this kind of production and we Gorrod explained that PRG’s were up to 60 universes for The proprietary Bad Boy Spot was BRITs. We provided power and Gurdon’s workhorse fixture on the data transmission for Tracey Emin’s show with 24 of them deployed in LED neon signage, which was the rig. “Also, Bad Boys were manufactured by Light Initiative used as back truss spots; that’s after I recommended them to been happening quite frequently production. A couple of my regular

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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.” motor cables run back with the lighting cables, annual arrangement whereby individuals are PRG also handled all the control for all the so everything is live and ready to go.” selected via an interview process. lighting motors on its Kinesys motor control The PRG crew included Gordon Torrington, Along with a significant quantity of truss, system, which Gorrod described as: “A truly Luke Jackson, Alex Peters, Peter MacDonald, the remainder of PRG’s equipment included 66 fantastic product - load lights per motor and John Hetherton, Simon Lynch and Gareth Philips Vari-Lite VL3500 Washes, 48 Clay Paky when running a group of motors and one motor Morgan, Artist Extras Techs Simon Anderson, Mythos hybrid beam / spots, 169 Clay Paky stops, they all stop. It’s a must on a 110 motor Chris Henry and Peter MacDonald, and Hog 4 Sharpy moving beam lights, 42 Solaris LED system. Everything comes back to two dimmer console operators, Theo Cox and Russ Williams. Flare Jr. strobes, 12 GLP impression X4 and 52 areas so that if we need to move something Meanwhile, three students from The BRIT impression 120 RZ automated LED units, 34 during rehearsals, it’s not a question of finding School for Performing Arts and Technology Clay Paky A.leda B-Eye K10 LED washes and 50 a motor controller and plugging it up. All the assisted with preparations for the show - an Philips Color Kinetics iColor Cove LED fixtures.

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SPECIAL EFFECTS steady stream of white confetti over the stage 16ft relay screens with twin 12K projectors on One of the most unique performances on and crowd. each. Oglehog had a control room in the O2 the night came from British newcomers Royal Aquabatics created The Cloudburst over service yard next to the CTV OB trucks that Blood. Their performance was handled by their and around Paloma Faith. It involved several contained six SNP V5 Catalyst servers, supplied Creative Director, Paul Normandale of Lite weeks of trials, tweaks and dry runs before a full by SNP, which were controlled by Hog 4 desk, Alternative Design. He commented: “I liked the rehearsal with Paloma in preparation for the live also supplied by SNP. Nick Malbon programmed idea of an intimate close performance space, to filming on the night. They provided a rain effect and operated the Hog 4 and SNP Catalyst highlight the relationship of the two players in a over a 12-metre by two-metre area of the stage, servers, ably assisted by Richard Porter. Also restrained space.” which fell from a height of 10-metres onto the in the control room were two of Oglehog’s To help define that limited space, dancers. own cameras plus six feeds from the broadcast Normandale turned to his long time effects A four-metre square rain curtain (essentially a facilities, all cameras and VT were mixed via a providers, Strictly FX of Chicago, USA and their sheet of water) then surrounded the singer half combination of Grass Valley Kayak vision mixer new laser, Vortex. “The Vortex can make a way through the track, followed by a further and Barco’s new Encore 2 system. perfect cone; you can’t do that with any other rain effect directly above her towards the end of Individual artist requirements included a laser system, and you can’t really do that with the song. request from Ed Sheeran who used a custom a light either,” noted Laser Programmer, David The installation included 0.5 km of hose with designed screen comprising of 128 panels Kennedy of Strictly FX. That cone provided the 6,000 litres of water as well as a water heater to of Pixled F7 screen, forming the floor and a restrained space that Normandale envisioned for ensure the water was warm during the act. ceiling. Sam Smith’s set deployed four Barco Royal Blood. “The Vortex is a truly unique effect, 40K projectors to cover the orchestra risers and which is indeed a rare thing,” Normandale VIDEO for Royal Blood four Bradley Engineering Robo added. Oglehog were the video producers tasked with Cams were used. For Take That’s stage set Quantum Special overseeing the biggest and most ambitious Chris Saunders, Director of Oglehog Effects designed and supplied a large spherical BRITs to date. On the main stage the video commented: “Whilst I have been involved in structure, mounted with lights and 50 long- screen was 36-metres wide at the top by the BRITs for many years, the main difference armed flaming mini cauldron’s hung in front 13.2-metres high created from 968 panels of this year was The BRITs organisers came to of the graphics on the backing screen. Each Pixled F12 LED screen supplied by XL Video. Oglehog to put the show out to tender. This bowl was timed to ignite from the first chorus The catwalk was created from 360 panels of years show was video heavy and we took what and simultaneously with the graphics behind, LEDGO 15mm floor supplied by LedGo. Side of was an evolving design to a number of vendors to represent the burning sun. Towards the end stage relay screens were 26ft Projection IMAG to look at what they had to offer. The market of the song, two confetti blowers released a screens with Panasonic 20K projectors plus four now has a bewildering array of LED screens if

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you don’t know what your looking at! We bring for motion control. Within the last 10 years the the wire. We work closely with the entire BRITs a pragmatic approach to specifying products use of Kinesys motion control has really come production team and especially on the technical helping us come up with the best solution, on in. Now it is a huge part of the show. For this elements with Technical Production Manager, budget. We were very pleased when XL Video year we have we have six significant artists sets Tony Wheeler, Malcolm Birkett, CAD Stage came through with a good product with the that we fly in and out, hung at 20-metres above Technical Sesign and Steel Monkey, who have F12, I was very keen to get the panels installed the stage and then a major element over the been doing the fabrication of the set elements into the MC touring frame, which in my mind is auditorium.” for many years. So between the three of us we a market leader. XL Video’s, Paul Wood was our For Outback Rigging work on this year’s look at and work on all the designs, making Project Manager and as always he was brilliant.” show began in earnest early January. “It is a things fit as they come in. Obviously then it’s steady flow from there,” commented Ryan. “We a question of my team trying to work out the RIGGING got the primary stage design from Es Devlin and rigging and a weight picture.” 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. “The BRITs were at Earls Court when I started. It has always been a Set up over four main mother grids, one over hugely demanding show with an overall set design and then within that the main stage and three over the auditorium, artist elements...”- Conrad Ryan, Technical Director, Outback Rigging 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 from there we were able to begin our design for In total over the four mother grids some 420 apprentice in 1999 is now on his tenth BRITs. the mother grid over the main stage. That was hoists were hung, including 83 Kinesys motion Speaking before the show he explained the our starting point. There are certain things that control systems. A total of 1.5km of truss was changes he has seen on in that time: “The BRITs are a known value from the start such as the installed, 3km of cabling running across the were at Earls Court when I started. It has always PA and video screen size and weight. Because system, as well as a spider cam broadcast been a hugely demanding show with an overall of the nature of music awards shows artists can system that Outback Rigging assisted with and set design and then within that artist elements. hold back on their requirements. It makes for an installed. A key design feature for this years When we started we were using Ibex systems exciting show, but at times it really does go to show was the use of 14 flown neon Tracey Emin

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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 real Outback team effort with Charlie Longcroft, And since Stageco took over the staging in guests and main stage, and flown in and out for Operations Team Manager, as his right hand 1997, we have supplied all steel and production presentations, all running on a Kinesys system. man on the technical side and Stuart Cooper crew. Our peak of activity was from 10.30pm Ryan explained other key elements: “Then we running budgets. at the end of the show, Wednesday night. On had all of the moving band elements, a large And how does Ryan keep so calm under Thursday when we had 152 crew members, split flying grid with a water management system all this pressure? “Simple. I drink loads of into 72 for the night shift and 80 during the day, on it for Paloma Faith. For the water system, Chamomile tea,” he laughed. “But seriously, we to work on the breakdown and load-out.” designed by Aquabatics we had to manage that have hugely trusting relationship with The BRITs Showstars enlisted several Departmental over the large fixed stage video screen, allow production team. They trust us and we trust Crew Chiefs to take responsibility for specific it to travel in and out above the stage into a them.” areas. For example, Peter ‘Mavis’ Ridley headed show position and out to a hidden position. the spot operator team, consisting of nine front We had some large six metre high set letters CREWING AND SAFETY of house ops and seven truss spot ops. “Lighting for which fly in and land on the Alongside Stage Manager Mike Grove of Stage Designer, Al Gurdon likes to use us and as he stage, all on Kinesys hoists. The majority of the Miracles provided an ASM and 15 highly trained returned to his role this year after a break, we hoists we used were liftket hoists that have crew for the production load in, rehearsals and expected an increase in our spot call this time,” been converted to work with Kinesys systems show-calls. These were joined by a further eight said Calverley. Elevation One Plus Control and Vector software. crew members for show-calls on show day and “We book the crew, get them all together We stored a six metre diameter riser for another 14 crew dedicated to individual bands and show ‘Mavis’ all the spot positions, and Madonna that flew in and out. Ed Sheeran had and all were overseen by Crew Boss, Frank then he takes them all away to get everything a 10-metre by two metre video ceiling panel Moran. worked out. It’s the same with the PA and that was wheeled out then flown into position. As the dust settled and the VIPs headed into lighting. PRG’s Richie Gorrod will tell us what We also have a Vortex laser that we lowered the after-party, local crew company Showstars he needs from us, we will allocate numbers in at show height for Royal Blood. And there prepared for a major overnight challenge. The accordingly and Tony Say or Richard Sullivan were a pair of Barco 40K projectors that were East London firm’s work on the event began will head those teams. There’s always a leader lowered in over the audience for the Sam Smith as the O2’s loading doors opened at the of every split-off group while Stuart Milne and number.” start of the hectic 10-day schedule that has I are present to oversee the entire project and On site Outback Rigging ran two separate become a way of life for Showstars’ Logistics maintain a management presence.” Kinesys motion control systems operated by and Personnel Manager, Paul Calverley and his Finally keeping the event safe and secure Steve Bellfield and Darragh McAuliffe with a colleagues. were The SES Group who have been involved team of eight spotters out on the floor, who “This was my 15th BRIT Awards,” said with The BRITs for 15 years, managing security, had an eye line on all the elements making sure Calverley. “Although Showstars has been crowd safety, international media and of course that if there was any emergency the system involved with The BRITs in one way or another the all-important red carpet. Planning for SES could be stopped. Ryan commented that it’s a since 1993, when it was at . starts weeks in advance and like so many other

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Below: Sam Smith sang Lay Me Down; Showstar’s crew during the build.

events at The O2 when The BRITs come to going beyond the call of duty to deliver a truly www.nine-yards.co.uk the arena, they need huge fl exibility, with the spectacular show. The event was not without www.lightinitiative.co.uk, www.oglehog.com building confi guration being adjusted from its technical challenges but everyone embraced www.outbackrigging.com the standard O2 show format. SES has worked them and came up with some fantastic www.prg.com, www.Q-sfx.com on hundreds of shows and events at The O2, solutions.” www.showandevent.com having been contracted to the venue for the TPi Photos: JM Enternational www.showstars.co.uk past fi ve years. www.brits.co.uk, www.papilo.net www.snp-productions.co.uk In conclusion Kate Wright of Papilo www.aquabatics.co.uk www.stageco.com, www.stagemiracles.com Productions said: “I thought this year’s event www.britanniarow.com www.steelmonkey.co.uk, www.strictlyfx.com was a tremendous team effort with all suppliers www.lite-alternative.com www.xlvideo.com

CELEBRATING 30 YEARS STAGECO FROM WERCHTER TO THE WORLD

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