CPL Kick-Off Meeting
This year for the first time the annual Medtronic kick-off meeting moved to the Ballroom at the Park Plaza Hotel in Westminster, central London, where CPL provided a full technical package – lighting, audio, video and staging – for production company Outlook.
Wanting to make a big impact, PM Lee created an impressive lighting scheme which included 106 moving lights, and specified a distributed d&b sound system. This was designed to maximize the daytime conference session and also ensure the best guest experience for an evening dinner in the same room.
The major set elements were made up from CPL’s Roe LED screen. The idea of making this element as prominent as possible in the space, resulted in a final screen size of 10 metres wide by 3 high. A low stage was installed in front – to preserve sight lines and the clean, widescreen look – and the edges of the set were finished with some slick graphic paneling. On stage left, there was a breakfast style TV studio set up, complete with couches and panoramic ‘view’ in the background, which was used for interviews, Q&As and some panel discussions which interspersed the busy schedule of presentations.
Theatre seating was installed in the room for the daytime conference session, and this was transformed into a gala dinner vibe for the evening.
Six trusses were flown in the ceiling to provide lighting and sound positions and to hang the LED wall.
The 106 moving lights were a mix of Martin MAC Auras and Claypaky Mythos and Sharpies which were dotted all over the trusses, and supported by Martin Rush LED PARs, ARRI L5-C LED fresnels and ETC ColorSource Profiles for logo projections and key lighting of lectern speakers. Lighting control was an Avolites Quartz operated by Jamie Corbridge.
A d&b point source sound system was specified as the best option given the room and the two seating formats (day and evening), with Y7P speakers distributed around and flown from the trussing, with E8s for front fill and foldback, all powered by D20 amps. For the evening DJ set, a separate ground stacked d&b Y series line array came into action, built on rolling risers, wheeled out and pushed into place, together with V-SUBS in the changeover. Sound was mixed by Phil Manson using a Yamaha CL5 console.
The video PPU was located backstage and the brief included a full record facility and also that the cameras and video should be in full vision, especially in relation to the onstage TV studio.
Five Sony HXC-100 cameras were positioned around the room. Two were on rolling ‘spiders’ at the front of the stage, two were located at the back of the room, fitted with long lenses and the fifth was hand-held onstage. These were mixed by Nathan Holland using one of CPL’s Panasonic 410s.
A d3 media server was supplied for the playback video, which was substantial. d3 was chosen as a powerful, stable and reliable option to handle the 3000 pixel wide images required for the back wall. Live camera footage from the PPU was also fed into the d3 and this together with the playback video was routed to the screen via a Barco E2 image processor operated by Rupert Barnes.
A full rig day followed by a busy rehearsal / technical day then into the show day, during which Lee worked with 10 CPL technicians and 10 local crew on site. A completely fresh crew were supplied for the get-out, and to ensure that everything went smoothly on site in the tight overall timeframe, the event was preceded by two thorough prep days in the warehouse.
Project Manager: Lee Gruszeckyj