TPi Awards

TPi AWARDS 2019

As the dust settles on yet another successful TPi Awards, Jacob Waite chats to the crew entrusted with the daunting task of delivering a production fit for attendees from all corners of the live music and entertainment technology industry.

Since its inception in 2002, the TPi Awards has consistently grown in size and status. Nowadays the event is dubbed by the industry as the premier networking date for the live production industry. Each year, revellers descend on Battersea Evolution donning their Sunday best to acknowledge and reward the achievements of the most talented and successful individuals and service companies working within the industry.

Writing on behalf of the TPi Awards sponsors, supporters and the production team - a brief which requires filling Battersea Evolution with over 1,600 of the live events industry’s most well-renowned companies and individuals is quite a feat. However, this year’s TPi Awards smashed its attendance record with a staggering 1,609 attendees from all corners of the

live production industry.

Evolving from the ‘80s hip-hop theme of last year, the TPi events team made up of Sara Walker, Hannah Eakins and Justin Gawne alongside GoTo Live, transported guests into the throes of a dive bar aesthetic.

Alongside the contemporary look, this year saw the introduction of new suppliers, such as Epson and Quantum SFX, in collaboration with several familiar suppliers to the TPi Awards fold, which included; Robe, NEXO, Yamaha Professional Audio, Visual Edge, Sound of Music, Konnect Crew, MDG, TRUCKINGBY Brian Yeardley, ArKaos, GLD Productions, 3D Set Company, Hawthorn, ShowTex, and Transition Video.

On-stage ex-maths teacher turned TV comedian, Romesh Ranganathan, was on-hand as host come comparé of the TPi Awards. He performed in full

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PRODUCTION PROFILE

comedic force to open the show, seamlessly working the room full of the live production industry’s finest.

GOTO LIVE Leading the production pack was GoTo Live’s Ryan Esson. This year marked Esson’s fourth year as Production Manager. The Yorkshireman took some time from his busy schedule to allow TPi to pick his brain about his relationship with the suppliers. “I’d like to thank all the suppliers because they make this event possible,” he went on to explain. “We kept on a lot of last year’s suppliers because of the comradery. Everybody had worked alongside each other on last year’s awards and it ran even more smoothly this time around, which is always a big highlight for me. In hindsight, it’s quite clear that each departments piece pulls together really nicely and it’s the best rendition of the event we’ve ever done since I’ve been involved, and it shows.”

Essential to the backbone of the show was crewing company Konnect Crew. With over 20 crew members on site supporting AV, set and stage and providing production runners of the event. Esson elaborated: “Konnect were primarily involved in the pre-production process and they’re a great help to everybody. their crew are fantastic as always.”

For Esson, the task was equal parts exhilarating and daunting. “We consistently strive to make each show run better than the last. Everybody from crew to camera guys and video providers to designers and operators are the top of their game but you’re in a room full of harsh judges and that keeps you on your toes really,” he mused. “In the first year, I questioned why we pushed to do this project because mistakes or problems crop up on every show. Thankfully, most of the time you’re the only person that notices at the TPi Awards there are 1,600 people like me in that room so the chances of nobody noticing a small, technical problem is heightened.”

Despite the pressure, Esson delineated: “The adrenaline rush I get is

definitely a part of why the job is still exciting to me. As soon as the lights go down in the time between the opening VT - I get butterflies so it is by no means a paint by numbers exercise for GoTo Live.”

From fields, in the jungle or up a mountain, the GoTo Live team, made up of Project Coordinator, Jessica Webb; Project Assistant, Via Culpan; Production Coordinator, Chris Hill; Event Assistants, Ben Chatterton and James Corderio work on a range of the UK’s best-known festivals and live productions, helping them to reach new heights each year. In addition, the crew produce a wider scope of events all over the world, from brand activations and product launches, to music projects and corporate awards shows.

Key to GoTo Live’s ethos is developing new people and nurturing talent in the industry. Esson elaborated: “We really love doing that. Via, our project coordinator, came to us through BIMM and now we have a contingent of volunteers from the music college working on this event and a range of projects with us.”

GoTo Live strive to develop young, hungry talent having worked in close collaboration with both at Production Futures and NRG. “Just under three years ago, Chris joined us and has since come along and is in an industry leading job like this, which is a testament to how we develop talent and provide a platform the next generation.”

On the TPi Awards show day, GoTo Live deployed a highly-skilled team to run the stage to an incredibly tight schedule, ensuring stage activity goes off without a hitch - providing event hosts throughout the evening to aid the guest experience.

“Even though this year was the biggest yet with people in the room, it felt eerily smooth. There were a few times I had to think ‘have I missed something?’ and it’s a good feeling to have because we work with such talented and in demand suppliers each year.”

Despite a landmark turnout, the project didn’t come without challenges.

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TPi AWARDS 2019

Event Assistant, Ben Chatterton; Project Coordinator, Jessica Webb; Project Assistant, Via Culpan; Event Assistant, James Corderio. Creative Video Design’s Jamie Baker; Transition Video Director, Rhodri Shaw; Nick Clark-Lowes of NCL Editor; Visual Edge’s Andy Taplin, GoTo Live’s Ryan Esson & Chris Hill.

“Each year is a challenge to bring everyone together and get a cohesive consensus of how we’re going to move forward and while that’s not a particularly technical challenge it’s an organisational and logistical challenge to do that. That’s where GoTo Live shows its value to the process.”

Esson explained that experience with the event “had given us team the foresight to navigate and plan demo, programming days and meetings,” he added: “I remember year one not thinking about that aspect until it was upon me. Now we work it into our timeline. That’s why GoTo Live work on projects year to year to refine and finesse them.”

THE WELCOME PARTY Upon entry at Battersea Evolution, guests were greeted by an up-lit line of trucks from transport supplier TRUCKINGBY Brian Yeardley. In total, the company provided 3 production trucks comprising of 2 45ft Mega Cubes and a 26-tonne ridged truck. Each of the vehicles were Euro 6 low emission eco-friendly engines, as well as being FORS for London Transport Silver accredited.

Kevin Hopper, Managing Director of TRUCKING Brian Yeardley commented: “It was great to be asked to do the production trucking for the 2019 TPi Awards again this year and be involved with such a successful well organised awards ceremony for the industry, GoTo Live put together a great spectacle and the presentation just seems to get better every year and for TRUCKINGBY to run off with Favourite Trucking Company made our night complete.”

Bringing the heat to Battersea, Quantum Special Effects supplied 6 Wireless Galaxis G flames for the event, wowing guests as they entered the venue. Mick Fletcher, QSFX Project Manager exclaimed: “As 2019 sees Quantum Special Effects 10-year anniversary we were keen to attend the prestigious awards ceremony to showcase our proven decade of industry leading special effects. We were over the moon to be chosen to supply the special effects and it was an honour to play a special part in the event.

Despite not walking away with an award, we endeavour to take the crown next year!”

Esson said: “We always thought that additional production touches to the outdoor area, adding an extra layer of drama, makes all the difference. Ultimately, we want people to have an experience from the arrival all the way down to the departure of the event.”

This year’s TPi Awards called for something completely different: a startling element of surprise. Together with structural partner ShowTex, TPi looked for an exciting new way to kick off the event, while revealing the amazing new stage design to its audience. No better time to bring in the big guns and start the evening with a bang, as with the brand-new HiSpeed Reveal. The innovative reveal system, developed by ShowTex, smoothly and silently rolls-up lightweight drapes to spectacularly unveil anything you want. For this occasion, the swift roll-up was combined with the renowned ShowTex Kabuki drop system, not just to uncover the impressive new set design, but to reveal the entire ceremonial space in a blink of an eye.

A stylish black drape out of ShowTex Satinac Crunch separated the guests in the foyer and bar from the actual award venue at the start of the evening. When suddenly all lights went out and music started playing, everybody could sense something was about to happen, but nobody could have guessed the kick-off which followed. The Kabuki dropped the Satinac curtain, which instantly got sucked up by the HiSpeed Reveal, unveiling the impressive event venue behind it. As the 60m² Satinac drape disappeared in a split second, it seemed to be vanishing in thin air.

The HiSpeed reveal was carefully developed in-house by ShowTex and allows for great and unique reveal effects. The brand-new and high-tech roll-up system offers a ton of possibilities. Compatible with different kinds of light-weight fabrics, it can be used in different directions, suspended or grounded and features a unique configuration that makes the curtain ready to shoot in all possible directions. Furthermore, it is very straightforward to unroll the fabric during tests or after a show, using the handy slow feed

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TPi AWARDS 2019

function. ShowTex Marketing Manager Bo Bettens stated: “We were so proud to show the latest roll-up technology and unveiling effects to the entertainment industry, leaving them with a lasting impression. Congrats to all the winners! We look forward to next year’s show already!”

VIDEO The visual elements of the TPi Awards were very much a showcase in crosscompany collaboration; Transition Video provided the LED infrastructure and the camera package in conjunction with Polecam.

“Working on the TPi Awards is always a bit of a nerve wrecking experience!” exclaimed Rhodri Shaw, Transition Video Director. “You have all of those industry professionals that are at the top of their game in the audience watching the show, everything has to be perfect.”

Having been video supplier for the fourth consecutive year meant that the crew were familiar with the production team and understood the brief, as Shaw explained: “We’ve worked with the guys at GoTo Live for a number of years on various other events, so working on a high end, top pressure show like this was made a little easier.”

Esson retraced his history with Transition Video. “I’ve got a really good relationship and I’ve never been let down by them. They’re always improving the people and their equipment. I always find that company’s like Transition Video that provide a whole service - screens and cameras - can see the end product better and they can envisage what it’s going to look like as a whole piece.”

The upstage and banner LED was made up of ROE BP3 3mm LED panels, while the LED floor comprised ROE Visual Black Marble 4mm LED panels. Visual Edge and NCL Editor produced the video content, brought in by Jamie Baker of Creative Video Design.

Shaw stated: “It was great to work with Visual Edge and NCL Editor on the content element of the show,” he concluded: “We also brought in Jamie Baker of Creative Video Design to look after media servers and he fitted in well with the team and ensured the show ran seamlessly.”

Esson commended the video content. “I loved the opening VT this year. Visual Edge did a great job with content which reflected the theme of the event, they foster a great attention to detail and they’re amazing at delivering their job is invaluable to that show,” he continued. “I really loved the subtle elements that made a big different like the transition from neon dive bar to the wooden panel effect. To be honest, there are thousands of little touches in the VT, such as replicating Romesh’s beard on the neon skull that made it so special.”

Green Hippo Hippotizer Taiga+ joined a handsome collection of equipment and ensured that operator Jamie Baker had access to the level of real-time technical excellence required to impress a technically savvy audience.

In addition to the pair of Green Hippo Taiga+, Baker’s set-up also included: three Rosendahl Studiotechnik MIF4 professional MIDI Timecode interfaces; a CVD Reaper digital audio workstation; a custom Akai controller; and a lot of ROE Visual LED screen - quite a collection.

As per the event aesthetic, one of GoTo Live’s ideas was to replicate the TPi Awards logo skull and wings of the TPi Awards 2019 logo with the ROE Visual LED screen. “We could have masked the wings in software in processing but to get a better effect if the look was achieved physically so you couldn’t see blanked out video panels.” To achieve this, 3D Set Company at “the very last minute” constructed some flats that were cut into the shape of the wings. Esson enthused: “It was another layer of detail that contributed to the overall production.”

Reflecting on the event, Baker said: “We used the timeline component extensively on this show, as everything was scripted it was easy to duplicate awards timelines and reinsert them with different media ensuring perfect consistency on playback. Using pin bridge and multi controller for the mapping of cues and certain specials aspects of the show really made this project a breeze.”

The stage design boasted an LED thrust, marrying on-screen visuals, which award winners, presenters and Ranganathan could make use of. “The

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TPi AWARDS 2019

Owen Yelland, Georgia Wren, Nathan Wan, Espen Karlsen, Tomáš Kohout, Ben Linwood, Jasmine Williams. Bottom Row Alex Merrett and Andy Webb.

addition of the ROE panels on the floor allowed us to change the shape of the stage and the dynamics of the comedian’s performance onstage and the room itself.”

The camera package comprised 3 Ikegami HDK 79 EX II Broadcast camera channels, 3 Panasonic AW-UE70 4K PTZ cameras. This year also marked the debut of the Polecam SkyJib, which instead of being mounted on the floor was mounted on the roof. Shaw explained: “The SkyJib is a remote operated jib that is flown above the audience, so you can get those lovely jimmy jib crowd shots you can’t normally get when space is an issue.”

Esson added: “This allowed for more floor space for tables and gave a completely different perspective combined with the runway allowed us to pick out some really cool angles of the winners walk up to the stage. Transition Video see the whole picture, they’re not just providing camera tool alongside their video tools which allows us to think more holistically about how it’s going to looks like on the night for the audience.” For control, a Blackmagic ATEM 2m/e PPU live production switcher was specified.

VIDEO MAPPING In the bar area, a 3m x 6m x 3m box designed by 3D Set Company, which has featured in the last three TPi Awards, was hung above the main bar.

Impressive video mapping was once again achieved by sponsor, ArKaos who projected 7680 X180 pixels content via 4 Epson EB-L25000U 25K Laser Projectors from a 4K ArKaos Professional Media Server. An additional Avolites TigerTouch II console ran ArKaos Kling-Net protocol to pixel map 16 Robe Tarrantulas and other pixel-fixtures. Esson quipped: “The combination of quality between Epson’s projection equipment and the technical knowhow of ArKaos was brilliant.”

As sponsors of the Awards, NEXO and Yamaha have also provided a fullbodied STM Series system for the after-show DJ session, to entertain and delight those still standing after the main event.

In addition to illuminating the main space, two other areas were also imaginatively lit for the occasion – the reception / foyer and Robe’s own VIP room which proved popular for special guests. While Vari-Lite also provided a neon-style bar area, along with rolling out the Neon Sign Glow Stick

Challenge entrants at its bar area.

LIGHTING The lighting rig was a Robe spectacular, with over 300 fixtures specified by Robe’s in-house Lighting Designer Nathan Wan and Associate LD Andy Webb to ensure that over 1,600 attendees and TPi Awards winners were treated to a dazzling visual extravaganza, working in close collaboration with Visual Certainty.

Robe utilised the event to give NRG (Next Robe Generation) initiative students the opportunity to work hands-on during a pressured, high-profile gig and join the experienced Robe production team onsite. Esson said: “The fact that Robe are willing to support the event with the amount of lighting and new products is brilliant. Working with Robe has been a massive advantage and I can see parallels between the way GoTo Live and Next Robe Generation.”

Wan, who was tasked with lighting the event for the third time, picked up the story: “We totally appreciate this is a high pressure, high profile opportunity for students to get involved in when they are still in the midst of their studies, but we love the fact that those who took on the roles rose to the challenge. Their overall approach to the project and the roles we gave them was exceptional – and their enthusiasm to present their design and technical skills to a ‘highly opinionated’ audience was contagious.”

This year’s team of six NRG crew included Alex Merrett, in his final year at University of South Wales, Owen Yelland also in his final year from Rose Bruford College, Ben Linwood from Guildford School of Acting and Espen Karlsen from Rose Bruford College. It was also encouraging to welcome two female crew members – Jasmine Williams, a final year student from Royal Welsh College Music & Drama and LIPA’s Georgia Wren.

Yelland, who reprised his role as Systems Tech for the production. He said he “didn’t think twice about applying” for the latest TPi Awards. He explained: “I saw it as a further opportunity to expand my experience of looking after the systems being used on the event, and to work for a second time with Kling-Net by ArKaos. In addition to which I was head RoboSpot operator and so I now have hands-on experience of configuring the RoboSpots – I can honestly say I was bowled over by how easy they are to

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TPi AWARDS 2019

set up and operate – what a great piece of kit!”

The challenges of lighting the space included dealing with the low headroom, especially with the amount of production in the space as well as being judged by the who’s who of the technical production industry in the room.

To this end, four long diagonally flown lighting trusses were installed in the roof, following the contours of the ‘winged’ video screen design, meeting up in the centre of the room, and Wan approached it as a multizoned space, with a nucleus of fixtures in the middle area that was available to pull the visual focus to the stage at any time.

Sixty Robe MegaPointes and 50 Robe Spiiders were at the heart of the rig chosen for their versatility and multi-functionality, giving Wan plenty of variety for the big spectacular signature looks. While 50 of Robe’s new SuperSpikies were also light sources on the rig, and these were used for making razor-sharp beamy contrasts and accents cutting across the washes together with 64 Robe LEDBeam 150s.

Vital and elegant key lighting was provided by 20 of Robe’s new T1 Profiles, an LED source with a rich high-quality output and a range of excellent tuneable whites – among other features – that are perfect for camera.

“Overall coverage of the room was also tricky and required lots of detail” elucidated Wan. “It’s very easy to go with what you know works, but we make every effort to push the parameters each year.”

Four Robe BMFL Blades running as a RoboSpot remote controlled follow spot system were positioned around the room, each optimised for pick-ups in their particular quarters of the room, so those accepting Awards could be easily picked up as soon as they stood up from their tables and followed on and offstage.

In the reception area, the Robe crew worked with ArKaos who provided the dynamic video mapped central screens forming a large box above the bar. This also dictated the positioning of the lighting trusses and the fixture choice by Espen and Linwood, who deployed a combination of Pointes, MegaPointes and Tarrantulas – Robe’s biggest LED wash beam. This ensured they could get the bright-and-ballsy ambience needed for this space, the hub of the pre-show anticipation and excitement.

Upstairs in the Robe VIP area, Williams and Wren created a total

contrast with a tranquil and more sophisticated environment to provide respite from the freneticism and action of the main room. Lighting control for the main room was an Avolites Arena console running with a TigerTouch II as backup, with TigerTouch’s in both the Bar / Reception area and Robe VIP.

Mick Hannaford, Managing Director Robe UK continues to be impressed by the calibre of the NRG students who take on the roles at TPi. He commented: “NRG is now an established and growing community for the next generation of young technicians. This is the third year we have offered some NRG crew members the opportunity to get involved in this highprofile industry event. It is an extremely important showcase for Robe, and so we are putting our faith in their skills and abilities. And every year they have exceeded our expectations. I am struck by their enthusiasm, their maturity, their energy and their knowledge. They are determined, and they are focussed on their career choice. It provides a sense of confidence that our industry’s future is in good hands.”

Wan had the final word. He said: “Working with the young technicians who are engaged with NRG has been a pleasure – they have been inspiring themselves – with their energy and their determination. They brought fresh perspectives and vitality to the team and I wish them luck in their future careers.”

AUDIO The TPi Awards sonic experience was delivered by the audio production team from Derby-based rental house, Sound of Music, in conjunction with NEXO and Yamaha. The collective bravely returned for the second year running to face an audience of its peers, debuting a brand-new PA system in the event space.

Esson commented how Sound of Music was exemplary through a series of trying conditions. “For all of the great things about Battersea Evolution, one of the most challenging things is its location in central London because there are some fairly difficult noise restrictions and external noise parameters, that we as a client, have to contend with on the night, and because the stage position was different this year we had to move around the speakers and line them up a different way.”

The TPi Awards marked the second time Esson and the GoTo Live

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TPi AWARDS 2019

team had collaborated with the audio supplier, though the PM was more than complimentary about the service they provided. He stated: “Sound of Music’s expertise coupled with the quality of the sound system itself is vital to making sure the event meets its sound requirements as well as the audience’s. A great sounding show makes the difference from guests having a good night or not.”

NEXO’s latest line array system, the GEO M12, was unveiled to the world at NAMM 2019. To provide coverage throughout the full width of the Battersea Evolution big-top, Sound of Music utilised a smaller line array module from NEXO’s GEO M Series – the M10 and M6 systems to handle delays and fill duties – and S118 subs from the STM family. The show was mixed on a Yamaha CL5 digital console by Toby Chevis from Sound of Music.

Those who attended Daytime TPi had the pleasure of listening to NEXO’s compact M6 line arrays, while the lucky VIP guests got up close and personal with the ID Series speakers in the exclusive AAA bar.

Esson went on to praise the inclusion of NEXO’s latest technologies. “It’s such a crucial part of it. Almost on every level, being able to experiment and debut new technology and products on this gig is still so exciting to be a part of the production process.”

DAYTIME TPi In addition to sounding the Awards ceremony, Sound of Music provided 6 NEXO Geo 6, a NEXO 4x1, a Yamaha QL5 mixing desk for control and 6 Ways of Sennheiser G3-300 Radio Mics to the Daytime TPi event. Lighting was supplied and achieved by a range of Chauvet Professional fixtures. In particular, 5m x 2m F3 LED Video Wall with VIP Drive 43Nova processor; 4 Maverick MK2 Spots; 8 Maverick MK2 Washes.

Daytime TPi Production Manager Adam Dewhurst (On Event Productions) commented: “On have a great working relationship with Chauvet and have worked with them several times within this kind of arrangement, where they provide kit and we install/operate/breakdown.”

On Event Productions also supplied 20ft x 8ft Litedeck stage finished with carpet and felt covered fascia, a ground support to video wall, a truss for lighting. In addition, Barco S3 Event Master processor, a laptop for PowerPoint, backgrounds in addition to stage comfort monitors.

The On Event Production team was made up of Sound Engineer, Ryan Berry (Sound of Music); Video/Lighting Engineer: Chris Thornton-Smith (On), Five Star Crew with freighting delivered by TRUCKINGBY Brian Yeardley.

ONTO THE NEXT ONE… With 27 awards down and a sea of champagne bottles sunk, the 2019 Awards officially called it a night. A familiar outcome at the TPi Awards in recent years, GoTo Live and the merry band of suppliers excelled in their showcasing of the creative limits of the brief. “Overall, it was another successful year and we achieved what we set out to do. I really enjoyed it. We love working with Mondiale Media on the TPi Awards, which has become a flagship event for GoTo Live.

“It’s not an exaggeration to say it’s a project we’ve started to build the company around – almost everybody who works for us strives to work on this project,” Esson concluded. “It’s the most fun, production-focussed job we get to play on really.” TPi Photos: TPi, Lindsay Cave & Joe Okpako www.tpiawards.com www.gotolive.co.uk www.brianyeardley.com/truckingby/ www.transitionvideo.com www.robe.cz www.pahire.com www.visualedge.media www.nexo-sa.com www.yamaha.com/2/proaudio/ www.on-productions.co.uk

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