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The 2015 Brit Awards the Brit Awards 2015 in Association with Mastercard Were Held for the Fifth Year Running at the 02, London

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The 2015 Brit Awards the Brit Awards 2015 in Association with Mastercard Were Held for the Fifth Year Running at the 02, London 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 and Lisa Shenton of Papilo Productions, read: ‘congratulations on your talent, on your designed by British artist Tracey Emin 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.” 58 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 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, 59 PRODUCTION PROFILE: The BRIT Awards and mix duties on The Classic BRIT Awards, as using about 30 channels. Josh will then lay up versatile systems on the market.” well as Hans Zimmer’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 Taylor Swift in this case, rescaled package, making it one of the most reverbs supplied as standard, plus extras added 60 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 artists their own RF mic preference, be a FOH Waves SoundGrid server package.
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