Total Production

TPi Awards 2012

March 2012 Issue 151

More than 1,100 people from the live production industry attended the TPi Awards at Novotel London West on Monday 13 February.

Hosted by BBC 6Music’s Stuart Maconie and BBC 5 Live’s Danny Baker, the event celebrated the achievements of talented individuals and service companies from the production world. Now in its eleventh year, the awards ceremony has grown to become a key networking event in the live production industry calendar. This year’s sell-out awards ceremony was no exception and everyone at Total Production International would like to thank you all for making it such a fantastic evening.

Independent Production Manager, James Cobb, has worked for the TPi Awards since 2008 and is nearing the 20 year mark in the industry. From concerts and tours to corporate and outdoor gigs and festivals, Cobb is now moving towards event planning and production safety.
    “The design of the show has always been a collaboration, which is another result of the support we get from contractors. We can’t design a show and then go shopping for the hardware. We have to see what equipment is
available, come up with a design, try to source additional equipment, revise the design and hopefully end up with something that makes
sense!” Cobb explained. “This year, the original concept came from HSL, who produced some renderings based on the awards logo. These were revised and refined as we confirmed other contractors and sourced equipment for the show.”
    HSL were one of the first suppliers Cobb and Event Manager, Ben Chadwick, engaged for the event. Following HSL’s initial design concept from which everything else flowed, they also played a much relied on practical role in the evening as a key supplier. HSL provided all of the awards lighting and rigging elements.
    Until quite late in the day, Cobb was unable to source the right product to implement a key part of the original design concept. At one point, downscaling the set design seemed like the only viable option. Cobb explained: “Immersive recommended that we talk to Whitelight about their Fusion product, which turned out to be ideal. It was quick to rig, provided exactly the effect we wanted and was familiar to Immersive as they’d used it on recent projects.” Theatrical lighting experts, Whitelight, were able to supply a complete package including stands and cabling at very short notice which enabled the show to run smoothly.
    The Show Caller on the night was Alex Clayton Black, while James Hamling was in charge of the autocue.
    2012 was the second year that Cobb and Chadwick had operated a B Stage, partially because the results had previously been a hit with the audience. In turn, the second stage makes the audio design much more complicated.
    This year, Orbital effectively installed two systems, one for the A and another for the B stage. This concept allowed the sound crew to switch the routing and delays as the hosts moved from stage to stage. Said Cobb: “Orbital also devised an ingenius system of rigging the delay speakers to avoid speaker stands taking up valuable floor space or becoming obstacles for the presenters.”
    This year, for the first time, Cobb decided to take on Production Assistant, Liz Madden, of Nononsense. Said Cobb, “I brought Liz in to work alongside me, pretty much shadowing everything I was doing. For the past couple of years I’ve done the event as PM on my own - and having had Liz work with me this year - I’m
wondering how I managed without her!”
    “Managing a team of contractors who are all supporting the event by working at cost or for free makes the show pretty unique. It
means it has to be much more collaborative than other events, and means the style of production management has to be a little different.
    “Having the whole industry looking critically at what we’re doing is something I just have to put out of my mind. If you start thinking
about it, you’d never take the job on!
    “I think we’ve made really great improvements over the last five years in the guest experience - rather than just concentrating on the awards ceremony - which is only two hours of the evening. We’ve tried to think about the guest arrival, the food, the ease of buying drinks at tables, sightlines to screens, and the aftershow party,” he concluded.
    As part of the brief, Sunbaba supplied 28 items including bar backdrops, photo boards and column banners. The items provided branded exposure for the numerous sponsors, including Sunbaba, as well as the awards themselves. Sunbaba’s Jonathan Booth was the main liaison for the TPi contract and oversaw the creation of its digital proofs to ensure all the required elements were correctly incorporated. Booth said: “The TPi awards recognise excellence amongst some of the event industry’s leading suppliers. Our team was delighted to have been part of the event and to contribute to an awards ceremony that had an eye catching look and feel.” Event Manager, Ben Chadwick, commented on Sunbaba’s involvement: “Sunbaba’s input added a newer element to the event and showed how it is evolving.”
    In addition to all the sponsors and suppliers, the TPi Awards 2012 would also like to thank Showtex and Knight Rigging Services for their continued support with the event.

Orbital Sound’s Eric Simpson joined the company at the end of 2001 after 21 years as a freelance FOH Engineer. Orbital had supplied the TPi Awards in 2008 and 2009, and returned once again at the request of PM James Cobb. 
    The sound design this year was to provide a crystal clear sound system with good coverage in a challenging, almost split interior room, with the two presentation positions (on the A and B- stages). The main system comprised two hangs of four d&b audiotechnik T10’s and two hangs of three d&b T10’s, with four d&b B4 subs, as well as 14 d&b Ci80’s  for the delays (in three rows), in the rear part of the room.
    Additionally, there were two hangs of four d&b T10’s and two hangs of  three d&b T10’s  along with six d&b Ci80’s facing back into the main room for when the B-stage was in use. All of the loudspeakers were powered by d&b D12 & D6 amplifiers.
    Said Simpson on the system choice: “The T Series is very light and versatile, easy to rig and set up, and using the intuitive d&b Calc software, it always provides us with an excellent results.” 
    A core Orbital crew were responsible for the fit up and load out of the sound systems this year as well as individual additional duties. Simpson himself was walking the room during the show, adjusting levels and EQ using Yamaha’s Stage Mix iPad APP - he was joined by Charlie Garrick at FOH, Tom Oakes on show comms duty - Orbital supplied Clearcom 4 channel Tempest wireless system and wired comms which comprised Clearcom two-channel 602, and four channel systems to all the production departments. Orbital’s Lucy Jenkins took care of the four radio microphones (Shure UR4D) which were used in conjunction with 20 Motorola GP340 walkie talkies. 
    Garrick stated: “We chose Shure UR4D+  and UR2 hand held radio mics with Beta87 heads because the sensitivity and polar pattern of the Beta87 head gives you a fighting chance with guest speakers who aren’t au fait with helpful mic techniques.”
    At FOH, Garrick used a Yamaha LS9-32 console. He said: “We didn’t have a lot of incoming signals to deal with, or any particular need for processing, but we did need 13 of the available 16 mix outputs. Plus the small footprint of the desk helped with the small FOH position.
    “We didn’t use any of the onboard processing, but the custom fader layer feature came in handy for having all input and output levels available at once without the need for switching layers.” A total of 32 inputs were available, of which Garrick used nine for playback from various sources, and four for the hand held radio mics which were distributed across six inputs.
    Garrick continued: “We came up with an innovative design of duplicating presenter mic inputs across multiple channels, each sent to their own individually delayed mix output. The resultant mixes were sent combined to the amps, with the end result being we were able to move the focus of the presenter’s voices across the room according to which of the two stages they were presenting from - all the while retaining delay times appropriate to the parts of the PA system that were in use as the main L / R speakers. As a solution for a potentially tricky imaging problem, it worked pretty much straight out of the box.”
    The audio element for the after party in the much-used downstairs bar area was also an important part of the sound set up. Knutsford based Ohm supplied its dual 10 inch active ASB subwoofers. Two were placed on opposite ends of the downstairs bar area for even coverage of the venue. The sub has two 200W output channels for mid-high speakers. This enabled Ohm to use two BR-7 wide dispersion [160º] mid- high cabinets to each of the ASB active subs.
    Ohm’s Gareth Coleman said: “We used the balanced line input and links on the ASB’s to link together to become one system. We then set the individual controls on each ASB to balance the entire system with precision. We aimed to get a wide coverage and non-intrusive background sound from the products so that the clients could still chat away or enjoy the music.”

Having lit the productions of some of the music industry’s most prominent artists, Creative Director for lighting and visuals rental company HSL, Andy Hurst [The Prodigy, Faithless, Tinie Tempah], was asked to design the lighting for this year’s show. “I was going for a digital look and took the idea for the lighting and video design from the TPi logo - gaining inspiration from elements such as the colour bars,” explained Hurst. “All lighting was LED this year and we made use of a variety of the HSL-supplied Robe Robin fixtures.”
    Working alongside Hurst was Lighting Programmer, Tim Fawkes, who took position behind a High End Systems Road Hog Full Boar console on the night. “This was the console of choice for Andy and myself, it’s quick to programme and has a very powerful but efficient user interface,” commented Fawkes.
    Also making up the team was HSL’s Thor-Andre ‘Spantax’ Saether, who project managed the lighting for the high profile highlight of the industry calendar. Spantax commented: “HSL was thrilled when we were asked to be the lighting installer and rigging supplier for the TPi Awards. When considering that this event hosts the entire ‘who’s who’ of the entertainment industry, it was imperative that everything ran smoothly. I’m extremely proud to be part of the team that pulled this off with the same confidence in our products and attention to detail that we strive to put into every production we are involved with.”
    For Spantax, Hurst’s creative and innovative ideas enabled the design to stand out as a visually exciting experience for the audience. “He created a very impressive centrepiece over the stage using Robe Robin 300 LEDWashes to recreate the well known TPi bar graphs that he also carried on over to the video screen. It made for some very creative and spectacular looks,” continued Spantax.
    “At the same time, he kept a keen eye on the overall look of the rest of the room as well. Watching the synergies between Andy and our programmer Tim Fawkes and the way they brought Andy’s design to life was a display of competence on a very high level.”
    The ceremony was not only one of the first major awards events solely illuminated by LED fixtures, it was also lit entirely by manufacturer Robe’s products; with HSL responsible for rigging, supplying and installing the lighting kit. The eco-friendly lights from the Czech-Republic-based manufacturer came into its own on the evening - with close to 300 fixtures making up the complex lighting design, only 116 amps of 3-phase power was consumed by the rig.
    HSL also provided 24 one tonne Lodestar motors, 16 half tonne Lodestar motors and eight Prostar 225kg motors. A mixture of Tomcat 12” light duty silver, 12” light duty black truss, Tomcat A-Type black truss, Tomcat One triangular truss and all associated rigging were also supplied by the company.
    Making its debut at a major show was Robe’s Robin DLX Spot, which were positioned on the sophisticated truss. The DLX is the first spot fixture capable of producing a complete range of high quality variable whites, leading to the decision to incorporate a total of 52 of them into the lighting design. Further power saving Robe fixtures featured in the rig including 32 Robin 600 LED Washes, 102 Robin 300 LED Washes, 19 Robin 1200 LED Washes and 600 Robin LED Washes. In addition, 60 CityFlex48 fixtures from Robe’s LED series were included in the lighting design.
    “Most of the fixtures have been released within the last two years,” explained Fawkes. “The main piece of new technology was the use of the DLX spots. LED spot fixtures are relatively new and still in development and I was impressed with the output from the LED - you can get some fast colour and shutter effects that have just not been possible before with mechanical colour flags and shutters.”
    Commenting on Robe’s involvement in the event, Mick Hannaford, Robe UK’s MD, added: “It was a huge honour for us to get this opportunity, and a real responsibility for both us and for Andy to ensure that it all looked amazing and impressive in front of the whole industry - you could not get a more critical audience! The results were spectacular. HSL did a brilliant job as always, and for Mondiale, it was one of the best TPi Awards shows to date.”
    Ensuring everything went to plan and the rig went up quickly and effortlessly was the responsibility of Crew Chief, Andy Pole. “It is a real testament to the quality of the fixtures that Robe supplied that we didn’t have to do a single swap out despite there being such a large number of fixtures on the show,” explained Spantax.
    “The fact that, with the exception of the two Robert Juliat Korrigan follow spots, the entire rig was LED based also made it a new experience for all of us. It was refreshing to see that with the release of the DLX Spot from Robe it is now possible to supply a full rig of LED fixtures, capable of giving a quality of light that works equally well for a live audience as it does for camera, yet keeping the weight at a minimum and reducing the carbon footprint.”

Video and systems supplier for the concert touring, festival and corporate events industries, Fonix, lived up to its reputation as one of the largest stockholders of LED screens in the UK when it provided a selection of top quality equipment for TPi’s awards ceremony. The firm became involved in the event when Video Coordinator, Pod Bluman of Bluman Associates, approached the team with initial video concepts and a list of kit requirements.
    “We were all very excited to be involved and heard on the grapevine that it was the best awards ever. We are proud of the contribution we made to that,” said Fonix Project Manager, Christopher Milnes. “When Pod approached us we knew Immersive would be providing the creative content and Video Director Richard Shipman would be directing cameras and other content through our PPU. The brief we were given in terms of the rest of the kit was to try and recreate a blocky design with projection and an augmented set. Large-scale LED was our weapon of choice. As the side screens and plasmas would carry the IMAG and winners slides, the purpose of the main screen was simply to give a sense of scale and theatre.”
    As well as providing the PPU and camera systems, side screens and projection, Fonix was responsible for scaling the content provided by Immersive and processing the digital HD signal at the screen. The high-definition signal from the graphics system was split by Fonix and fed to multiple screen processors to feed both the off stage sections of lower resolution screen and centrally positioned R7 screen. A feed was also distributed to the six 42” and four 50” plasma screens supplied by Universal Live that were located around the room. Side screens were projected onto using Christie LX1500 LCD projectors provided by Fonix.
    Universal Live also added to the visual element of the awards by providing plasma screens, comfort monitors and perspex lecterns. Production Asistant, Liz Madden said: “We approached them quite late in the planning process but they came back with a solution to our needs quickly and nothing was too much trouble, their team on site were efficient,  friendly and a pleasure to work with. We will certainly be talking to them about our requirements for next year.”
    Additional kit supplied by the company included three LIP XGA screen processors and four Barco Folsom ImagePRO HD to convert SDI into VGA or DVI. The majority of the back wall needed to be covered by LED screen, for which Fonix supplied 94 R10 screens - a virtual 10mm Lighthouse product. This was coupled with the 20 higher resolution Lighthouse R7’s as a centrepiece for the nomination slides and video drop-ins.
    With LED being a relatively heavy product, it soon became apparent to the Fonix team that the screen size, coupled with the large quantity of lighting HSL planned to install, would overload the ceiling. “Therefore the original design was adjusted to save weight. However, this meant the resolution in the centre part was too low for the intended imagery, and so Fonix brought in the high resolution version of the screen - the Lighthouse R7,” added Milnes.
    “However, this complicated things logistically for us as the high resolution screen was being used for Britain’s Got Talent the previous day in Edinburgh. So, having agreed to the redesign, the higher resolution R7 had to be trucked out of the Edinburgh show and driven overnight to be in Hammersmith by 9am the next morning. Not only that, but it had to be stripped out of the mobile unit, cleaned and re-packed en route to make the morning load-in.”
    The normal way of building a screen of this nature is to fly it, explained Milnes, and up until the afternoon before the awards ceremony, this was how everything proceeded. However, the rigging team stopped for an inspection to check there were no issues. Added Milnes: “We realised we were going to have to build the screen a different way. We quickly designed a stacking system that was safe and practical, and the warehouse team were called in to prep and despatch all the equipment from Poole that we needed to build the screen from the floor up - a not inconsiderable feat given the scale of the screen and the deadlines.” The crew - led by Milnes - worked overnight to make sure that by the time the technical rehearsals started, everything was up and ready to be flashed through.
    For Production Manager Cobb, Fonix’s desire to ensure the visual side of the awards was a success was admirable. “They were incredibly flexible, and managed to source additional screen modules and crew - at about four hours notice - in order to solve some unexpected rigging issues,” he said.
    The three-camera PPU supplied by Fonix made use of Sony cameras to produce footage of a superior quality throughout the awards ceremony. Taking time out from a busy schedule working with artists such as Take That, George Michael and Faithless, Video Director Richie Shipman controlled the Panasonic HS400 vision mixer to cut between the three cameras. “I have been part of the awards for the past seven years. Pod was employed to coordinate the visual element of this year’s show and Immersive provided the Ai media server and all content whilst programming on the night. My role was to cut three cameras and upstream from the server,” said Shipman, who has been in the industry for over 20 years contributing to the visual element of major artists’ tours; from Bowie through to Rage Against the Machine.

All on-screen video media and audio design for the high profile event was art directed and produced by creative company Immersive. After initially being presented with a brief to take the brand of the TPi Awards as a starting point for a visual journey, the Immersive team produced all LED screen elements for the ceremony alongside supplying the Ai video media server for show playback.
    “The main requirement was to help emphasise the EQ shape of the screen with an EQ themed animation. We took the shape of the screen into account and also provided a subtle holding state, allowing for attention to focus on the hosts and winners,” commented Associate Producer, Todd Graft, who worked alongside Immersive’s Mark Calvert, Ralph Lambert, Martin Harvey and John Munro.
    “Our response was to initially use pure colour streams through the EQ screen and then take the viewers through a stylised world of block Pantone colours going from an outdoor festival to the City of London and then into outer space. It was a playful response to the brief and we hope it fitted the brand of the event.”
    Initially, Immersive had planned to follow a traditional route of creating photoreal 3D, but after some consideration the team opted for a more stylised look. Added Graft: “This was because we wanted to make sure that the EQ / graphic Pantone theme ran through the entire show. This stylised look was picked because it not only mirrored the brand identity, but it also enabled us to create EQ landscapes within the EQ screen. Mountains, buildings, and even planets moved along to the beat.”
    According to the creative team, the intro sequence was the most time consuming aspect of the content delivery and as a result stood out during the event. “We needed to adopt a specific creative style and our designers enjoyed the process as it was such a bold look, which led them to model interesting looking shapes for the visual display.
    “We believe the awards ceremony acts as a vehicle to get some of the most influential people in the entertainment industry in one room, which can only be an exciting thing. It’s a great opportunity to network and to catch up with colleagues in a social atmosphere.”
    As of 2013, The Video Visionary Award will be re-named The Des Fallon Video Visionary Award in light of the sad passing of the much-loved XL Video pioneer. Des Fallon remains very missed and highly respected within the industry.
Set construction and staging specialist LS-Live offered its support for the production for the first time this year. The company designed both the main stage and catwalk system for the awards ceremony and introduced a new raised decking area for the downstairs bar. The main stage was built from industry-standard LiteDeck with a gloss black marley surface, hard facia gloss black panels to the sides, with an aluminium edge to finish. A staggered catwalk led to a B-stage, which had a central 8’ by 8’ area of perspex decking featuring the TPi logo and a frosted surround. HSL was responsible for uplighting  the logo. LS-Live, which was nominated in the Rehearsal Venue, Staging and Set Construction categories, also supplied two 8’ by 8’ camera platforms in an ‘L’ shape.
    To jazz up the downstairs bar for the all important after-party, LS-Live created a raised seating area from standard black decking with a black wool serge surround. Handrails were installed to suit, with a ramp to the rear for bar staff access.
    Despite planning to load in initially on the Sunday morning, weight loading issues meant this was delayed by 24 hours, so Andrew ‘Brigga’ Briggs, Ben Brooks and Darryl ‘Dizz’ Thornton didn’t start the build until 8am on the Monday morning.
    Said Brigga: “Besides the unforeseen delay the whole production had been timed really well and James Cobb had obviously done a really good job of organising things. We got put back a day on the load in but it was a testament to the easy working nature of our kit that we could still finish the build on time.”
    For many years, Blackout have provided whatever draping was requested for the event, and yet again they stepped up to provide exactly
what Cobb had spec’d. Also In the main ceremony room, Blackout combined a scaffold, pipe and drape structure for the perimeter, which was draped using black wool serge and white voile. In the party area it provided a pipe and drape perimeter with black serge helping to create a good atmosphere for the event. In total, Blackout supplied five crew members on the load in and four on the out, with assistance from Showforce.
    Tim Searle, Project Manager at Blackout commented: “Production Manager James Cobb gave us the outline of what was needed, and we worked with him to ensure that we delivered the brief exactly. The TPi Awards are one of the most high profile events in the event production year, and it was great to be involved in the production side, and help create a great atmosphere for these respected awards.”
    For the first time this year, additional ceiling draping was installed for the aftershow environment, which Cobb explained “Finally succeeded in making the venue feel less like an underground carpark!” Having spoken to several possible suppliers, the TPi Awards partnered with J & C Joel to provide and install the atmospheric draping.
    Fraser Davidson, Technical Sales Representative of J & C Joel Limited, worked on the draping design used to enhance the aftershow party bar areas. The company manufactured nine bespoke fabric swags from Blue Jomeleon (JOM604B), a sheer two-tone Trevira CS voile with fantastic iridescent qualities, particularly when backlit.
    The company came to this decision following a previous success last year, where it manufactured and installed over 10,000 sq metres of overlapping Jomeleon swags to dress the ceiling of the Multi Purpose Hall of the Arena and Convention Centre in Liverpool. It was designed to be removed as and when needed and the TPi Awards required a similar brief, with the finished look taking approximately four hours to assemble.
    J & C Joel’s Claire Taylforth said: “The TPi Awards is an important event within the industry calendar, which celebrates many of J & C Joel’s customers and suppliers. J & C Joel was also proud to support the Favourite Set Construction Company award at this year’s ceremony.
    “Prior to the evening we had lots of positive feedback regarding the swags and how it drastically changed the look of the room.  Even the Hotel staff were impressed and wanted to keep them in place after the event. On the night, we received positive feedback from a variety of people attending the event and we were proud to have been a part of both sponsorship and supplying one of the most important events in the live production industry’s calendar.”

Showforce played a crucial part in the smooth running of the evening; supplying 40 crew over a two-day rig and de-rig and four promotional staff. Crew assisted with unloading trucks, hanging truss and installing light, sound and AV equipment, while promotional staff were on hand to give out awards, meet and greet guests, ensure the award sponsors were in the right place at the right time and usher guests to tables and bars.
    Providing staff with the correct skill sets and an ability to adhere to tight deadlines was essential to fulfill the brief set by the event organisers. For the second year running, Showforce stepped up to the challenge by supplying experienced multi-disciplined crew with knowledge of set building, AV and rigging, who had the right attitude and a willingness to get the job done within the tight time allotted.
    “The Showforce team coped well when working extended hours. Extra shifts were added at short notice; however, our back office and crew are adaptable. It was just another day in a successful crew company’s life,” explained Showforce CEO, Dave Clayton.
    “This is the second time we have provided crewing and promotional staff for this event. It is attended by many industry heavyweights and is one of the most prestigious awards ceremonies in the event industry calendar. We wanted to ensure that it ran as smoothly as possible.”
    No Nonsense Group’s Liz Madden, who assisted Production Manager, James Cobb, during the event, confirmed Showforce had indeed gone above and beyond to deliver an impeccable service. Said Madden: “The crew were a joy to work with, very flexible and had a great attitude.”
    Cobb confirmed, “This year we had to request additional crew calls at very short notice, and Showforce were able to provide that backup without any problem.”
    Meanwhile, members of another experienced company, Showsec, were also working hard to ensure guests had a safe and memorable evening. As sole security provider on the night, customer service was key for the eight Showsec employees working across the venue.
    “The TPi Awards is a very high profile event in the entertainment industry calendar. We provide the security services every year and understand the importance of the event. This year, offering a professional standard of service and enabling an enjoyable event for all guests was our priority. We were delighted to be invited and entrusted by Mondiale to look after this gathering of high profile music industry peers. As an industry event, standards are expected to be the highest possible,” commented Dayo Adelugba, Senior Operations Manager, London Area.
    Production Manager Cobb was impressed by the standard of service provided by Showsec. “They stepped into the breach for the 2012 awards, not only to provide security throughout the event, but to politely yet firmly clear the ceremony room and ensure that guests were moved into the downstairs party area,” he commented.
    All trucking for the technical equipment supplied this year was transported by EST, a regular on the live event scene and specialists in safely delivering high spec technical equipment for touring productions.
    SES noted its thoughts on the successful 2012 event. “SES is happy to be the inaugural sponsors of the Favourite Power Supply Company award. We believe that the award for this area is long overdue and we are pleased that it has come to light.
    “The evening was a great success and gives the industry a great opportunity to mingle and network in a relaxed atmosphere. We have decided to continue our sponsorship for the award in 2013,” commented Mark W. Cooper, Director, SES (Entertainment Services) Ltd.

Gallowglass Health & Safety’s Principle Consultant Steve Kearney was tasked with managing all aspects of health and safety at this year’s TPi Awards. It was the fifth year that the Chartered Health and Safety Consultant had provided his services. With the remit of ensuring that the event is consistently delivered with minimal risk to the health, safety and welfare of all personnel, the deliverance of the TPi Awards presented a particular challenge. The nominees lead their field in the live events industry, and as a result all aspects of the awards night are subject to intense professional scrutiny. The involvement of celebrity performers, not to mention the large number of attendees present, necessitates the implementation of safety procedures to the highest standard.
    Kearney’s role was integral to each stage of the event, from overseeing contractors’ compliance with current health and safety legislation, to detailing all aspects of production in an Event Safety Management Plan. Kearney also maintained an active on-site presence throughout the high-pressure, deadline-driven event. He successfully coordinated key contractors for the awards through site safety briefings and by constantly monitoring adherence to the Event Safety Management Plan. With Gallowglass’ assistance, the 2012 awards ran calmly and efficiently, with every element of risk anticipated and safely covered.


ClinkClink provided specialist bar services at the awards ceremony’s VIP room and also, this year, a new after show bar area for guests, which was sponsored by Robe, HSL and LPN / Palme. The team’s responsibility was to create a comfortable and sophisticated environment for guests through the bars and furniture along with managing the stock, logistics and service on the night. The ClinkClink bar managers played a crucial role in ensuring the evening ran smoothly and coordinating the bar team.
    “The main priority for us was to make the aftershow bar a hit! We knew that it was a new feature and that we needed to provide bars and service to be proud of. The aim was to ensure guests could make the most of the networking opportunity, have a great time and be part of a unique experience,” commented ClinkClink Managing Director, Tim Ball.
    Providing a solution for the post awards element of the event where guests could relax and celebrate their achievements was the ultimate goal for ClinkClink. This included designing and creating the bar environment, managing the logistics and stock, installing and managing the bar infrastructure, providing talented staff, venue liaison and health and safety compliance.
     “We were also asked to suggest ideas for the sponsor / VIP area,” continued Ball. “As is the nature of events, there were a few very last minute requirements which we were happily able to find solutions for. We were delighted to be involved both as a supplier and a sponsor. The awards ceremony recognises the achievements from companies and people within our own industry and a lot of our peers were in attendance. We knew that we could deliver a great bar experience for the guests and hopefully we did just that.”

Photos: Louise Stickland, Zoe Mutter,
Andy Hurst, ClinkClink & Immersive.,,,,,,,,,,,,