Squint Abroad – Load In

Loading in any event can be stressful.  Even when you are not dealing with language barriers, unfamiliar electrical standards, and different gear, the ballet of people and gear is a delicate balance between executing “the plan” and adapting to challenges.  In a foreign country this process has the potential to be a disaster.  Luckily, my experience abroad has been nothing but positive.  This week we are in Istanbul, Turkey building, running, and then tearing out a corporate event.  Although our client will only spend around seven hours in the general session space, countless hours have been spent planning, designing, building, teching, and rehearsing every little detail.

Let’s talk about the load in experience.  I’ll paint you a picture of what exactly we are working with

• A ball room space (width) by (length) with a (height) ceiling.
• An octagonal 8 screen projection setup, with a “T” shaped stage at the front
• Lighting and seven speaker surround audio support

Fortunately for us the in house A/V is a production house similar in capability and gear to our own company.  While we have traveled with our entire video rig, including switching and projection, the audio and lighting gear came from the house.  They were able to provide familiar Vari Lite 3000 fixtures, ETC Source 4’s.  Our audio team was happy to have the same Yamaha console we use back in the states, as well as a pair of Labgruppen line array cabinets.  Eight powered speakers hide behind each screen for full surround audio support.  Perhaps most importantly they were able to provide the proper truss (Prolyte folding triangle) and motor package.  This show relies on the 18 foot tall video walls in an octagonal shape, and being able to fly the rig instead of ground supporting is a huge advantage.

 

Working with the in house team was a breeze.  They know their gear well, and could easily take our CAD drawings and implement without a problem.  While we had issues with language barriers enough of their crew spoke English well enough to keep both of our production teams on the same page. Needless to say, it was a great opportunity, and we are all really excited for the next chance to work overseas!

 

Squint Abroad: Language Barriers

We understand from a basic study of history that cultural and language barriers have been points of contention and difficulty for thousands of years.  Construction of the tower of Babel was halted when the masons were no longer able to communicate in the same tongue.  It’s safe to say that in the event production industry, we have moved beyond language and use our common bonds as professionals to get a show up and running. We all abide by certain natural rules and regulations, and intuitively understand the same restrictions people and gear have.

A mere week ago, in Bangkok, Thailand, we were tasked with erecting eight truss structure with a crew of 20 local technicians.  There was one individual on their team able to speak fluent English, yet we were able to build and raise all of the structures and move them into place with minimal verbal communication.  Hand signals and normally meaningless guttural sounds took on the meanings “left, right, forward, back, go, or STOP!!!”.  After a few hours, all eight structures were in place, and no one was injured in the process.

Truth be told, we had enough to deal with during the early stages of load in that the language barrier was never seen as a significant issue.  The event was being held in a third floor hotel ballroom, in a building without a significant freight elevator.  That meant 400+ feet of truss, baseplates, and outriggers were hand carried up stairs.  Keep in mind, it’s more than 90 degrees during the day in Thailand this time of year.  Needless to say, it was a challenge.

Everyone in our industry knows the difficulties that pop up on a show site, especially when project principals disagree on a given process or outcome of a decision during a load in.  While somewhat rare, work stoppage wastes time and money.  I’m sure that if either party in Thailand, our production team or the local gear house, had a reason to raise concerns over safety or process, flags would have been thrown.  The language barrier created the opportunity to avoid any nit-picking and allowed us to get the job done in an incredibly short amount of time.

PRG Buys DC Based Innovative Event Production, (IEP)

How did I miss this?!? This is right in my backyard!  Production Resource Group, (PRG) announced today that they have acquired Washington, DC based event and production company, Innovative Event Production, (IEP).

More from the PRG Press Release:

For over 15 years, IEP has provided equipment and services to the event industry, including Fortune 500 companies, trade associations, government agencies and non-profits. Patrick Hand, IEP’s Chief Executive Officer, and Kevin Ponchock, IEP’s President, will continue in their leadership roles with the company.

“IEP has always been a full-service multi-discipline company, just as PRG is, so it is a great fit for us. In joining forces with PRG, our clients can benefit from expanded product offerings and a wider geographic reach. We look forward to growing PRG’s presence in the corporate events market,” said Hand.

PRG’s Scott Hansen, President and Chief Executive Officer, Corporateand Trade Show Americas, said, “IEP’s seasoned management team and experienced production staff will add significant depth to our Corporate and Trade Show division and give us an enhanced presence in the Washington, DC market and surrounding area. With the addition of IEP, PRG continues to respond to our clients’ desire to purchase a single source solution — audio, video, lighting, computers and staging — with experts knowledgeable across market sectors.”

For more information on PRG, please visit www.prg.com.