Wedding Decor Ideas Within Your Budget

Some may wonder why I would write an article like this, after all much of my work is involved with providing decor and lighting for weddings.  I really enjoy working with couples and helping them to plan their wedding.  However, I am conscious of the need to remain within a budget and if this means that a couple doesn’t use us, but instead put their money towards their home, honeymoon or otherwise then that is entirely understandable.  I would like to offer some ideas to help them to organise their décor in a tasteful way, but without spending a large sum when doing so.

Most people plan their wedding with little or no experience.  A wedding can be a complex and expensive event to organise, but this doesn’t have to be the case if the planning is done carefully.  This can be a daunting and very time-consuming process and I hope this article will help you to minimise these aspects.

The first thing to consider is what is important to YOU.

Avoid picking up any wedding magazines in the early stages of planning.  This is likely to confuse you and take your focus away from what you really would like.

Consider the following list and prioritise what you would really like (do not take budget into consideration at this stage as this is mainly a creative exercise to start you thinking about the most important day of your life):

- Prestigious Venue
- Elegance
- Fancy/Impressive food
- Length of time guests are sitting down together
- Volume of food
- Tradition
- Fun
- Entertainment (is this to be a central theme of the wedding?)
- Free/cheap alcohol for guests
- Uniqueness of the wedding for the guests
- Impressing your friends and community
- Number of guests
- Local venue
- Overseas venue

Once you have established the importance of the above,  you will find it easier to make precise and exact decisions later on.  Questions such as:

- "Should we spend money on more champagne, or on a fifth course for the breakfast?"
- "Do we book the fancy venue in the UK, or get somewhere more basic overseas?"
- "Do we really want expensive and elaborate flower arrangements?"

This might seem trivial now, but further down the line, it will be invaluable to know what REALLY matters to you both.


When a client phones us about decor for their wedding the first question we ask is, "What venue have you booked?".  Why is this important?  Because this fundamentally underpins the creative and practical approach to decor.

For example, if you have booked an opulent Regency-style hotel (e.g. Claridges), the decor is likely to be about accentuating features and colours that will work with the existing decor.

However,  if you book a marquee, you are more likely to want to add visual features to make the space unique and to your taste.

Alternatively, if you book a village hall you are more likely to want to decorate in a way that will hide some of the typical interiors in this type of venue.

So when you are considering venues think about this.  If you intend to keep your decor and theme earthy and natural, a venue with exposed wood and a rural theme will be ideal. Whereas if you want to completely drape the venue walls and ceilings and carpet the floor and a barn, shed or aircraft hangar might be ideal.

It often surprises me when I work in stunning venues (with a price to match)why I am asked to completely drape the walls and ceilings.  Whilst I appreciate that the client may have booked these spaces because of a great catering operation or an attached spa, it would be wise for them to consider that if they are going to hide the venue's internal attributes, they could have had a significantly wider choice of venues.

Another interesting idea to think about with venue decor is that of accentuating already existing features which are attractive. In home decorating, it is often about attention-to-detail and finishing touches.Whereas, at an event people’s eyes are often drawn to visually imposing features.  On this basis be careful not to rule out venues that have a few features you love, but without the perfect finish.

A good example of this would be a 16th century tithe barn. The oak roof trusses make a stunning feature, whereas the brickwork on the walls may appear scruffy.  You may find, therefore, that drawing attention to the roof and ceiling, and away from the walls would be the way to organise the décor in this type of location.

If you want lighting to be truly spectacular, we are experts at this.  However, you can still organise your own lighting to be very effective and attractive without being too expensive.

Have you ever noticed that when you dim lights they become "warmer"? This is called amber shift and the warmer light looks lovely on flowers, gives a more romantic feel and does wonders for skin tone!  Many venues have dimmer switches on their lights so take advantage of this.

Advice: try dimming the existing venue lights to get a warmer, more romantic feel.  If you are worried about it being too dark don’t worry, as your guests’ eyes will adjust quite quickly.

If you have chosen a particular colour theme, it might be possible to put low-cost filters on the existing venue lighting. These filters are called gels and are what we use to change the colour of our lighting. You can see the range of colours available here on Lee's Swatch Ball: http://www.leefilters.com/lighting/products/colours/

Gels can resist a lot of heat and will never catch fire.  However if you put them too close to a light source they will lose their pigment.  Do a test-run first but make sure that you get permission from the owners of the venue before doing so.

Another thing to remember with gels is to not over-saturate the venue.  If you put filters on all the lights in the venue the space will only have one colour.  The effect of this is like putting on tinted glasses – within half an hour you won’t notice the colour.  So to avoid this “chroma-fatigue” make sure there is some contrast in colour or leave some lights un-filtered (white).

Advice: use coloured gels on existing venue lighting, but do a test-run first.

If you have a venue that has a few key features you really like, then you can floodlight them easily.  Features like a statue, roof vaulting, or exposed bricks are often popular and add a lot of character.  A simple and inexpensive way of doing this is to buy some cheap floodlights from a DIY store.  They often have 500 watt halogen lamps, which are quite similar to the ones we use.  At a cost of around £20 each you will find this to be a reasonable means of adding feature lighting to your venue.  The lights might be handy for future DIY projects as well!

Advice:  buy some cheap flood lights from a local DIY shop to light up features which particularly appeal to you.


Many venues have wonderful natural light.  The light from the sun is the best light of all - it is warm, natural and it changes at different times of the day. When you are looking at a venue think about what direction the windows face and where the sun will be at different times of your wedding.  You may be surprised that you will get beautiful natural light beams flooding the venue when guests arrive, which later turn into a sunset glow as the wedding progresses.

Advice: dont forget about natural light.  Open the curtains.

Why do you want table decorations?

It is worth asking this question.  Is it to add to the overall aesthetic features of your wedding?  Is it to tell the story of your relationship? Or are your table decorations intended to be a keepsake for your guests to take home with them?

It could be one or several of these.  I will give you a few ideas for each.

I really respect good florists.  Some I have seen are so good I have found myself responding emotionally to the amazing creativity involved in top class floristry.  It is possible to create flower arrangements yourself with some careful thinking.

Consider getting seasonal flowers from local flower markets, or even supermarkets.  Simple arrangements like lilies can be stunning.  Affordable vases can be found at homeware stores such as Ikea, Dunelm Mill, The Range etc.  Try to avoid what we call "Ikea Classics" , i.e. those which everyone instantly recognises as being from Ikea.  So try and get something from a new range, or from a store which may not mass produce their products.

Advice: do the flowers yourself, but get vases that are unique and to your taste.

I love it when there are sweets on the dinner table! They are tasty, can look amazing, and are something to talk about.  What more can you ask for?

There are some really exotic sweets available on the internet.  Most people have special and fond memories of certain sweets from their childhood.

Advice: consider bowls of sweets or other confectionery as a table centre. Keep the quantity limited so as to not spoil your guests’ appetites!

This is often done at Eastern weddings.  Some form of food in the centre of the table can be a great visual feature and very tasty.

Advice: consider some kind of edible centre-piece, but make sure it is food which will stay fresh throughout the wedding.

You and your partner will have items that mean a lot to you and tell your story.  Have a think about what these items are and how they could work for you.  Items such as drift-wood, pottery, sporting equipment or maps could be artifacts of your past and can have a special meaning for your guests as well as for you.

Spend an evening together brainstorming ideas that could work for you.  Remember that there is no such thing as a bad idea when brainstorming!

You may come up with some strange and quirky ideas - this is fine as a wedding is a private affair shared amongst people who are all connected.  Unless you are planning on having your wedding featured in a publication there is nothing wrong with having unusual objects on your table. Make them look attractive.  A small plant or place setting holder may be ideal.

Advice: think about objects that have special meaning for you both and your guests.

Even if your chosen venue is a beautiful space you may wish to make it unique by adding some internal decor or features.  We often provide clients with elegant drapery, decorative lighting and feature pieces, but this all involves specialist equipment and can be costly. The ideas below are intended to be things you can do easily and cheaply

Have a look around the venue as well as your home.  There may be some suitable pot-plants, lamps or other items that could work with what you intend to do. Many of the venues I have worked in have lovely ferns and other potted plants and trees that can be easily moved.

Advice: see what you already have available and you may be surprised.

Removing items can often be easier than adding them.  If you don’t like the venue's curtains it is worth asking if they can be taken down for your wedding. This may also be the case with furniture or other items.

Advice: consider removing items from the venue to make it more attractive

These are just a few ideas, but don't limit yourself. Think outside the box and enjoy the process. And remember, if you do decide you want something more elaborate, we're more than happy to help.


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What is a Rider?

A rider is a document that a band, musician or other performer will send over to the booker relating to their requirements for performance.

Most performers will have certain essential items that they need the booker to provide in order to do their job to the best possible standard. A rider states these requirements.

A rider will usually cover areas such as stage size, technical requirements, food, drink etc.

While riders should be a list of reasonable and essential items, some performers ask for things that are excessive, wasteful or overly demanding. It is difficult to know if demands are excessive.

If you are booking a semi-professional solo performer and they want a three-course meal for four, six cases of beer, four bottles of scotch and several hotel rooms they are being unreasonable!

Larger and international touring artists will have significantly larger riders.  As a rule, it is best to assume that if your chosen artist is a big-name, then their rider requirements are probably there for a good reason.

On events that we are providing to, we will always speak to the artist's manager to establish what their exact requirements are. When done in the right manner, most performers are flexible and willing to work within any limitations your event has.

Rigging Overview

WHAT IS RIGGING?

Rigging is the process of placing and holding items in the correct place to fulfil their specific requirement. This typically relates to set, audio, lighting, video and drapes. Rigging can also include aerial performances, lifting products such as cars, PR stunts and any other project where items need to be elevated, or attached to a wall.

FLOWN RIGGING

Flown rigging is where we attached equipment to the structure of the venue.  Typically the equipment is assembled at ground level and “flown” into the air.

This is done by the chains of lifting hoists being clipped into the roof and the lifting mechanism being on the ground.  All equipment such as truss, speakers, lighting, décor, set, graphics, video etc are then assembled.  Once all equipment has been tested and calibrated (where possible) the entire assembly (or “rig”) is then “flown” (lifted) into its final position.  Once in place it typically has safety bonds attached to act as a redundant device should the hoist equipment fail – this process is known as “safetying”.

This process may seem complex but it is used as it is usually much faster, allows multiple technicians to work on the rig at once and removes the need for working at height.

As the adage goes: “The first rule of rigging is to avoid working at height”

It is common for access to the equipment to be required to focuss or calibrate equipment once in position.  In these cases access equipment or specialist climbing methods are utilised within the frame of a Safe System of Work and carried by experienced and competent riggers.

Sometimes a “dead hang” is used whereby the equipment is hung in position without the use of hoist equipment.  This can be appropriate where weight loadings or ceiling heights do not allow hoists to be part of the rigging system.  An example could be a fashion show in a venue with a low ceiling.  In such a case a tube could be “dead-hung” into position and then all equipment added to it.  

GROUND SUPPORTS

Ground supports are dedicated structures put together specifically to hold the items for a specific production.  Typically these will have vertical “legs” and some form of “grid” (horizontal spans to create a square or other shape when viewed in plan).  In event rigging situations these are almost always made from aluminium truss systems.


Ground supports can also be classed as “self climbing”.  This is a system where the legs are fixed in position but the “Grid” is lifted (climbs) up the legs to its final position.  This system has many benefits as it allows all equipment to be attached at ground level and almost completely eradicates working at height.

Ground supports are very useful as they allow the production team to provide a self-contained design that does not rely on venue rigging points.  The only requirements needed for a provider of a ground support is space and a suitable floor loading.

The disadvantage of ground support is that they have legs which can cause sight-line or other aesthetic issues for a show.  However intelligent design can reduce this by having the legs further out from the main structure (dependent upon several other factors).
 

CATENARY WIRES

Catenary wires are wires, chains or ropes that are held in tension between two points to hold an item in place.  This is a technique that is typically only used for hanging fabrics, graphics, banners and other lightweight items. The reason for this is that the forces that can be exerted on the attachment points get exponentially larger as the tension increases.  Imagine holding your body weight with your arms stretched to grab handles – the tensile load (or pull) on your arms can be very heavy.

As with any rigging technique it is important that catenary wires are used in appropriate applications and installed by skilled and experienced riggers.

The benefit of catenary wires is that very long runs can be installed quickly and safely.  Also they have aesthetic benefits over other systems (like truss or tube) as the wires are quite thin (often as thin as 3mm) so cannot easily be seen from the distance.

TOWERS AND TANK TRAPS

“Towers” refers to a piece of truss mounted vertically, usually attached to some form of base plate.  “Tank traps” refers to tube (usually scaffold) mounted vertically, using a base plate.  These phrases are often interchangeable.  These methods are frequently used in the place of tripod (three legged) lighting stands.  The benefits of towers over tripods are that the latter is unsightly and can cause trip-hazards and reduce available venue space.

Truss towers are also used as a decorative feature on stage production.  For shows where an industrial or rock n roll look is needed truss towers can be a good set piece and also serve a functional rigging purpose.

For some of our shows we use truss towers to mount various equipment such as speakers, plasma screens and lighting.  The reason for this is that the amount of rigging (and therefore unsightly equipment) that is visible is significantly reduced.

 

CHOOSING THE RIGHT SOLUTION

With engineering and production design as long as safety is never compromised, there is no such thing as good or bad methods – there are only appropriate and inappropriate methods.

A large and elaborate truss structure in plain sight of an audience is completely inappropriate for an elegant wedding, whereas this may be ideal for an urban music concert.  However, a discreet production design where all equipment is hidden may be ideal for a brand-focussed conference, but out of place (and costly) for an awards after-show party where technology forms part of the final aesthetic result.

PLEASE NOTE

Information provided about specific venues is for indicative purposes only.  Full information should be requested directly from venues, or via an approved Production Contractor.  SXS is happy to liaise with your venue on your behalf regarding rigging and other technical matters.

The information in this article has been simplified for the purpose of giving a general understanding for a readership which is expected to be mostly lay-people.  This content should not be seen as absolute or an authority on the topics discussed.  Please contact the SXS production team to discuss your specific project and our experienced team will share the benefit of our experience of over 1000 events spanning a period of 15 years.

Read more at www.sxsevents.co.uk
Read our articles at www.sxsevents.co.uk/explanatory-articles-event-production-advice

Rigging Points Explained

This article has been written to give Event Organisers an overview and description of “rigging points”. Rigging is the work needed to elevate or suspend systems and/or items above ground level to the correct location safely and in a way that is suitable for the event.

In this article I will cover some of the main types of rigging points and how they relate to an Event Manager’s role.  Please note that in all cases you should liaise with your chosen venue about how rigging is approached.  The information here is indicative only, intended to give a simple overview and based on this writer’s experience at the time of publishing.

What is a Rigging Point?

Many venues throughout the UK have 'rigging points' available for rigging.  These are also often referred to as 'hanging points', 'fly points' or simply 'points'.  Points can take many forms and some types are unique to specific venues.  They are all ultimately designed to enable lifting equipment to attach to equipment or items and to safely elevate them to various heights.  For example this could include loudspeakers, lighting systems, video screens, graphics or theming items.

The word 'fly' specifically refers to something which is hung overhead; whereas 'rigging' is a general term that covers the design, installation, safety management and equipment involved in placing items into the right position.

Rigging points can be classified into four main categories:

Integral Rigging Points

Some points are included as part of the superstructure of a venue and are therefore included in the original design of the architect’s and engineer’s construction of the building.  A good example of this are the rigging points in purpose-built theatres – in such venues the roof structure over the stage area is engineered to hold weight loads far beyond that required for the building alone and can often hold very large loads.  This is often the case in many West End theatres in London, as well as Concert Halls and Theatres in other cities throughout the UK.  Venues such as The Park Lane Hilton, Marriott City Centre in Bristol, Hilton Metropole in London, Hippodrome in Bristol, ICC in Birmingham, St David’s Hall in Cardiff and many others have dedicated rigging points that were designed as part of the building structure.  The physical points in such venues can be steel eye-bolt, hook or other devices.

All such points should have a specified Safe Working Load (SWL) which helps a Rigging Designer understand what weight and size loads may be suspended.

Retro-fitted Rigging Points

Sometimes rigging points are “retro fitted” into venues.  This means that the venue did not originally have rigging points installed but a qualified Structural Engineer has established a safe working load that can be applied and subsequently installed in which appropriate hardware can be attached.  As many of the UK’s event venues and ballrooms were built before modern events required rigging, retro fitting is common place practice in these locations.  In these cases structural engineers are likely to need to make calculations based on joists, rafters and other structural items that could be well over 100 years old.  Rigging points in these venues are often considerably less in number than in more modern venues.  Venues like the New Connaught Rooms in London, One Mayfair in London, One Marylebone in London, and Sheraton Park Lane in London have only very basic rigging facilities, if at all.  It is therefore necessary for the Production Company to design shows that do not rely heavily upon existing rigging points. Other venues, such as Wembley Arena, were not originally designed for high loads but have subsequently been modified or adjusted to allow for significant roof loadings.

Dedicated Rigging Points

 The other type of rigging point is one that is installed for the specific use of a given project.  This is appropriate when the load capabilities of a roof are known and attachment is practical.  For example, a venue roof may be constructed from steel joists (RSJ’s) where the additional imposed load is known.  In such cases a non-intrusive attachment could be made to the joist from which rigging hardware can be hung.  The attachment could be a sling, a girder clamp or other method to be chosen by an experienced Rigging Designer.

These rigging points can work well, as the location of the rigging point can often be precise and there is less need, therefore, for permanent equipment to be installed.  This is how many Exhibition Centres work, including Excel Docklands, Earls Court and the NEC.  In all of these examples it is typical for the in-house Rigging Contractor to install the points whilst the Event Manager’s chosen Production Company installs all subsequent equipment (check with your venue for more information).

Ad Hoc Rigging Points

In some venues it can be appropriate and necessary to create ad hoc rigging points for a one-off use for lightweight items.  This can include using existing lighting tracks, dividing wall runners, handrails or even bespoke catenary wires, compression-systems or wall fixings designed specifically for a one-time temporary use.  This is a specialist field that needs to be considered and risk-assessed on a case-by-case basis by an experienced Rigging Designer.  General information cannot be provided.  This is beyond the scope of this article but I have mentioned this to let readers know that even if a venue does not have dedicated rigging points it can sometimes be possible to hang lightweight items to achieve the desired outcomes.  Please call SXS to discuss any requirements you may have - photographs of the venue are always a good starting point to establish the feasibility of such methods.

Charges for rigging points at venues

Many venues in the UK charge for use of rigging points.  The way this is done and the amounts charged vary considerably from one venue to the next.  Some venues do not charge for use of their rigging.

Larger exhibition venues typically require the Event Manager to make a request for rigging points.  The type of point and its location is communicated through a “rigging plot” (a drawing showing what is required, see here for more details).  This will then be given to the venue’s chosen Rigging Contractor to install the points.  It is common for a fee to be charged per point.  Often options will be provided such as: 1000kg point, 500kg point, cost for electric hoist, cost for manual hoist etc.   Your Production Company will be able to advise on what is required.  At SXS we often make the booking for such items on the client’s behalf to ensure that everything is in order.

For most exhibitions and events the first equipment to be constructed is rigging as this requires the use of the entire floor space.  It is important that the time frames are agreed upon with the venue’s Rigging Contractor as any delays could affect the start of the event. We ensure that such arrangements are in place and form part of the contract with the venue’s Rigging Contractor.

In many cases hotels do not charge for rigging points and these are provided as part of the venue package (check with your venue).  In these cases the venue should ask for proof of competence from your chosen Production Company.  At SXS we provide a detailed production plan, technical drawings, RAMS (Risk assessment and Method Statements) and £10M public liability insurance which should ensure straightforward approval and  the confidence of  the venue management.  In a few rare cases I have seen venues insist that only their “preferred suppliers” do any rigging or rigging-related work.  When Event Organisers are working with experienced, competent and credible production providers these rules are unreasonable and for this reason this practice seems to have become less common in recent years.

Dealing with Venues

It is important for Event Managers to tell the venue who is their Production Provider and to make the introductions early on.  This enables everyone involved to understand each other’s requirements and to ensure smooth delivery of service.

From my experience I know that venue management has a serious problem with sub-standard or inappropriate contractors working in their venues for obvious reasons as this reflects on the quality and safety of the event throughout.  Therefore at the outset collaborative working and transparency are essential.  From my experience of delivering over 1000 productions throughout the UK and Europe, venues are almost always very helpful to Event Managers and contractors alike when relationships are underpinned by a shared focus on ensuring that the event runs smoothly and safely.  At SXS we have various methods of communicating plans and gaining feedback to ensure this happens.

Design Philosophy

SXS take a balanced approach to rigging design and factor in aesthetics, budget, logistics and show design to produce appropriate rigging solutions.  In all cases safety is seen as “non-negotiable” but the Safe System of Work is developed to work within any projects limitations.

Please Note

Information provided about specific venues is for indicative purposes only.  Full information should be requested directly from venues, or via an approved Production Contractor.  SXS is happy to liaise with your venue on your behalf regarding rigging and other technical matters.

The information in this article has been simplified for the purpose of giving a general understanding for a readership which is expected to be mostly lay-people.  This content should not be seen as absolute or an authority on the topics discussed.  Please contact the SXS production team to discuss your specific project and our experienced team will share the benefit of our experience of over 1000 events spanning a period of 15 years.

Read more at www.sxsevents.co.uk
Read our articles at www.sxsevents.co.uk/explanatory-articles-event-production-advice

Rigging Plots Explained

Generally a rigging plot is the method by which a rigging contractor or production company communicates to others what they intend to do with rigging.

In its simplest form, this usually takes the form of a “Plan” (view from overhead) 2d CAD (computer aided design) drawing which shows key venue features, the location of the rigging points, layout of associated rigging (truss, batten etc), the type of rigging point and the maximum load to be applied to each point.

Such drawings should be done in CAD package such as AutoCAD, VectorWorks, WYSIWYG, Sketchup or similar.  Some riggers who began their career before CAD was commonplace may use paper-based methods.  There is nothing wrong with hand-drawings but this does demonstrate a use of dated methods which may be a reflection upon the general approach to work.

Rigging Plots may also include:

• Plan Drawings – this is the view from the top.  This is a minimum requirement.  Sometimes section planes (Cut-aways) of plan drawings can be provided where there are multiple layers of rigging (for example if there are trusses at multiple heights that cross over each other)
• Elevations drawings – views from the front or side of a design.  As with plan drawings, section planes are often used for elevation drawings.  These are particularly useful in the case of elevations for theatre shows or rock concerts as they may have complex elements which are overlapped by others elements.
• ISO View – this is an international drawing standard that shows the design from elevated position 45 degrees from the vertical plan and 45 degrees from the horizontal with a parallel perspective.  This basically gives an angled overview of the drawing and is useful for those not accustomed to plan and elevation drawings.
• Artistic Renderings – sometimes a stylised drawing of the design will be provided.  This is not essential for the rigging design but can be very helpful for those involved to gain an understanding of the design concept.  These are particularly useful when people are involved who are not familiar with 2d plan and elevations drawings.
• Details of “Imposed Loads” – imposed loads are the amount of force that is being added to a building’s structure.  Imposed loads are forces and should be stated in Newton’s,  as weight is indicative of force but there is not an absolute relationship due to load dynamics (this is an area of rigging that should only be dealt with by experienced and competent Rigging Designers)
• Details of SWL (Safe Working Load) – this is the maximum load that could be applied to a specific piece of rigging equipment.  This is typically communicated in kilograms and includes an allowance for dynamic loads that can be assumed within normal working conditions
• LOLER requirements – some rigging plots may provide information pertaining to LOLER requirements of methods and equipment maintenance.

Who uses rigging plots?

Rigging plots are typically compiled specifically for use by riggers, safety officers and structural engineers.  However, we find that our rigging plots form part of what we call an overall “production pack”.  This is a very useful set of documents designed to ensure smooth delivery of an even and includes buy-in from all stakeholder groups and encourage collaborative working of experts.  The users of this include:

• Clients – they can fully understand the design, style and delivery of a project. This allows input and collaboration at the pre-production stage
• Venues – primarily venues are interested to ensure that all methods and designs are safe.  Venues can also offer invaluable input to production designs as they know the intricacies of their spaces and shortcomings better than anyone
• Performers – it is important for performers to understand the space that they are using for their performances – especially if they have specific production requirements for their performance
• Sponsors – sponsors will often want to ensure they their message is being delivered in an appropriate manner.
• Crew – crew can fully understand a project prior to getting to site
• Contractors – helps contractors fully understand the wider works taking place onsite.

Please Note

Information provided about specific venues is for indicative purposes only.  Full information should be requested directly from venues, or via an approved Production Contractor.  SXS is happy to liaise with your venue on your behalf regarding rigging and other technical matters.

The information in this article has been simplified for the purpose of giving a general understanding for a readership which is expected to be mostly lay-people.  This content should not be seen as absolute or an authority on the topics discussed.  Please contact the SXS production team to discuss your specific project and our experienced team will share the benefit of our experience of over 1000 events spanning a period of 15 years.

Read more at www.sxsevents.co.uk
Read our articles at www.sxsevents.co.uk/explanatory-articles-event-production-advice

Choosing the Correct Outdoor Stage

HOW BIG SHOULD MY OUTDOOR STAGE BE?

When choosing the outdoor stage for your event, size is possibly the most important factor.  Many event organisers want to have a large stage, while other organisers need a stage to fit in a limited setup area.  Ask yourself two questions: 1. How big do I want the stage to look? and 2. How much stage space do I want?

If you are having a DJ performance, presentation, or demonstration on the stage you may want to the stage to look very large, but do not need much stage space.  If this is the case, we can build structures that are very large in appearance and have plenty of space for banners, graphics, and screens.  We can also make the stage very wide (left to right as you look at it), but not very deep (from front to back).

If you are having a large band, large set, or need space for vehicles etc, you will need a large stage surface.  In this case we would advise that you speak to us about the necessary size for your onstage activities, and let the size of the overhead structure be determined by the stage area.

WHAT IS THE BEST STYLE OF STAGE?

There are a range of stage styles including orbit stages, arched roof stages, gabled structures and pyramids.

The best style of stage is very much down to your personal preferences and the objective of the event.  For example, if the stage is to offer functional weather covering for equipment etc. the decision may be an economical one as appearance may not be the critical factor.

Whereas if your event is for an operatic performance in the grounds of a stately home, it is likely that aesthetics are key.  In these cases we would encourage you to choose a structure that looks beautiful in its surroundings.  For such an application we may aim to delineate the rigging, soften the edges and dress the structure in fabrics that suit the style of the occasion.

CAN STAGES WITHSTAND BAD WEATHER?

Absolutely.  Our outdoor structures are built to withstand some of the harshest conditions that can be experienced in the UK and overseas.  We consider each setup area seperately to as to best establish the style of rigging and safety precautions required for a given site.

CAN THE STAGE BE CUSTOMISED FOR MY EVENT?

Absolutely.  While we offer several standard packages, these are all constructed from 'off the shelf' elements. We can easily change layouts and styles of structures to suit the requirements of jobs.  In the past we have made stages with provision for video screen rigging, overhead circus performance or to look as though they have giant horns!

DO YOU PROVIDE SOUND, LIGHTING AND DRESSING FOR THE OUTDOOR STAGES?

Yes.  We are a complete production provider.  We have in stock a full range of sound, lighting, video projection, rigging, decor and drapery equipment.  Our experienced designers will put together a package that suits your event's objectives, your site and your budget.

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Water Screens

Deciding whether a water screen is the right solution for your event can be difficult.  As such, we have put together the following information.

HOW DOES THE WATER SCREEN WORK?

Developing our water screen technology took several months of work from our most senior staff, as well as the input from consulting engineers.  This has resulted in us having some very unique and customised technologies. The basic principle of the screen system is to push water in an upward motion from the ground in a relatively flat spray.  This gives a surface that we can project onto using high-power video projectors.

HOW GOOD IS THE IMAGE?

Very good.  As the water droplets that make up the screen surface are smaller than the pixels projected by the projector the resolution is excellent.  The downside of the water screens is that, when used at larger sizes, the water droplets tend to "atomise" which creates a cloudy effect at the outside edges of the screen.  As a result it would not be recommended to use water screens for applications where pixel-perfect images are required, such as technical presentations.

HOW DOES THE WATER SCREEN DIFFER FROM NORMAL SCREENS?

The main difference is that our water screens give a "holographic" appearance.  While true free-space three-dimentional holography is currently a technological impossibility (but watch this space!), our screen gives the closest thing to it.  To the naked eye, the water spray is virtually transparent, but when water sprays on it the image becomes bright, rich and lucid.  It really is a stunning effect.

WHERE DOES THE WATER COME FROM?

We require a large water source to use our water screen.  With a water requirement of over 1000 litres per minute of usage, we need access to a nearby lake, fire hydrant, or river.  However, we are able to run the system from water ballasts if required.

WHERE DOES THE WATER GO?

Once the water has been "thrown" up to make the screen, it then falls like a fine rain to the ground.  As such, any space we setup such a screen needs to be able to withstand a little rain.

IS IT DANGEROUS?

In essence, no.  However each site is risk assessed to look for any unique project risks.  In particular we consider the water quality and whether there is any health risks associated with it.

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Event Budgets

All too often do I hear the phrase "there isn't the budget" coming from clients and event providers alike. From my earliest days in the business I always found the concept of 'value' fascinating. This article is all about budgets, how to use them, and the concept of 'value', in the true meaning of the word.
Let us start by defining 'value'. This word has come to mean how 'cheap' something is; i.e. how little it costs, irrespective of quality. Value is really all about what we get for the money we spend.

Let us take an example of buying lunch. A lunch for one could cost anywhere from £2.50 right up to £90. We would all agree that a £2.50 lunch is low-cost and a £90 lunch is expensive. But what about value?

Value is about how well the product we gets fulfills our objectives given a fixed budget. So let us imagine that I have a £7.50 budget to buy my lunch and the purpose of buying lunch is to give me healthy sustenance and within my busy schedule.

Imagine I go to a busy coffee shop where I wait in a queue and spend my entire budget on a extra-grande mocha-choco-latte with extra cream, marshmallows, four squirts of flavoured syrups with a side of a chocolate brownie. I have spent my budget. I have received an elaborate and expensive product. But I go away with a sore stomach, feeling a bit fat and still needing something balanced and healthy to keep me going. And I am late for my next meeting.

Now imagine I find a small gourmet sandwich shop. This shop sells me fine coffee, a smoked salmon with creme-fraiche bagel and a small freshly squeezed orange juice all for £7.50. I have spent my budget. I have fulfilled my dietary needs. And because the shop is efficient and professional I have left in good time to make it to my next meeting.
In these scenarios I had a limited budget, but one option presented value, while the other did not. So we now understand value.

Value = how well we fulfill our requirements within our budget.

In the events industry there is much talk about budget. Budget is treated as a constant that correlates directly with how successful your event is.

It is a fallacy that a budget directly relates to the quality of your event. The same budget can be used to create two completely different events with two completely different outcomes.

Experience has taught us that, no matter how small (or big) the budget, considerate prioritisation can make any event a success.

Client and event professionals alike must always start their planning by defining the objectives of an event. This must be done before thinking about venue, catering, decor, guest numbers or even the date. In the context of my example; are we looking to get a healthy lunch or are we looking to impress the waiter with our obscure coffee request?

Is the event about creating a beautiful day for a married couple? Or is it about increasing brand awareness? Is it about showing recognition? Or is it simply a chance for some associates to meet and have a good time?

Once we have established the purpose of the event we can then look at what the most important elements of the event are. This then gives us some frame to allocate budgets.

Throughout my career with SXS Events and Bay Event Drapes, I have always aimed to understand what a client is trying to achieve from their event. It is surprising how often the client's objectives are very different from what you might expect.

EVENT BUDGETS PART 2

In the previous section I discussed the concept of 'value' and how important it is to first know what our objectives are when considering budget allocation. In this section we will look at 'hygiene factors' and 'feature elements', which will help us to know where we should aim to make savings and where splashing out is a great idea.

Once we know the purpose of the event we can then look at 'hygiene'

Feature elements are ones which if not present will not necessarily be noticed, but if they are present will add positivity to an event. Feature elements could include stunning venue decor and lighting, or a champagne and oyster bar.

Many event organisers and clients allocate too much budget to a hygiene factor which could be procured for less. For example, if you need to light a car park for practical purposes find the method that is inexpensive and effective (like festoon lighting), rather than hiring in several tower lights.

Many others allocate budget to feature items while disregarding hygiene factors. I have seen clients spend a small fortune on impressive plasma walls, but skimping on appropriate ambient venue lighting.

Getting the most from a budget, or offering the best value, is first about fulfilling hygiene factors for the lowest reasonable cost. It is secondly about finding appropriate feature items that contribute to the event objectives and are affordable.

Our company approach has always been based around this philosophy. We have developed many services around offering exciting feature services that are within budgets. For example, we focus a lot of our energies on creating the perfect overall aesthetic to a room using drapery and lighting. We often provide visual 'talking points' that are in line with objectives, such as enormous video screens depicting brand imagery.

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Asian Wedding Advice

Re-imagining a venue with the use of drapery and lighting can be the perfect way to make the wedding venue totally unique to your special day – a look and atmosphere that will never be created in the same way again.

REASONS FOR LIGHTING, DRAPES AND DÉCOR

Reason 1 – Venue Size and type

Most of our Asian wedding clients struggle to find a venue that is both beautiful and able to cope with a large volume of guests.  In larger venues the décor needs to be on a larger scale in order to create a strong visual impact.  Using the latest lighting and draping techniques we are able to transform unattractive halls into beautiful and impressive venues that are entirely based on your vision and the atmosphere you want to create.  For example in a sports hall you may wish to hide the walls with tall drapes which we can illuminate with uplighters.  We could then wash the roof in attractive colours that suit your theme or use a fairy light canopy to lower the roof for increased intimacy.

Reason 2 – Atmosphere (importance of lighting and surroundings)

When guests walk into a room there are three things that will determine the atmosphere of the room and therefore the mood of the party.  These are: temperature, lighting and scent.  Most venues’ house lighting is very washed out and bright which is not ideal for creating any kind of atmosphere.  We can create intimate dining lighting such as table pin spots which will illuminate each individual table.  The added benefit of this that the sharp beams of light will pick out the centrepieces and make them glow.

Reason 3 – Value for money

With larger venues the costs associated with traditional décor such as flower arrangements can be astronomical.  In addition delicate and intricate designs are dwarfed by the size of the room and will often not be noticed.  By using impressive decorative lighting your guests will take home a real wow-factor from your wedding without noticing that you may have scrimped on the chair covers for example.  The cost of decorative drapery and lighting is surprisingly low relative to the stunning effects that you can create. There is no better way to make your wedding look expensive and luxurious without spending a fortune!

Case Studies

Kam

Like many of our Asian wedding clients Kam was faced with the difficult challenge of dressing a very large venue, “I wanted it to look spectacular with rich vibrant colours – I loved the high ceiling but it made the room feel a bit cold.”

To emphasise the high ceiling we washed the roof with warm tones that would reflect back down onto the tables.  The effect was to create a flattering ambient glow on the tables which everyone commented on.  To complete the look we shone uplighters up the tall pillars that ran down the length of the room – a feature Kam wanted to emphasise.   Kam loved the lighting – “It truly exceeded my expectations and made the room look wonderful – I have had so many people call and ask me who did it for me since then.”

Rani

Rani was having her wedding in a marquee and wanted to create a beautiful wow-factor for guests instead of the bland and traditional white linings.  Using starcloth we could create a night’s sky effect in the roof of the tent which made the whole marquee feel magical.  We then used roof wash lighting to create the tones which bathed the room in an attractive red glow.  “The whole marquee was so beautiful and exactly as I imagined it. The twinkling lights in the roof were perfect for my fairytale wedding.”

Jetal

Jetal wanted to make the dining area of her marquee as atmospheric as possible.  “Having spent a fortune on my flower arrangements I wanted to make sure that everyone noticed how beautiful they were!”  We recommended using table pinspot lighting where individual tables are illuminated by beams of soft light from the roof.  In Jetal’s case we also added some roof wash lighting in blues to contrast with the ambient tones created by the pinspots illuminating the red tablecloths.

Amarjit

Amarjit wanted a backdrop for her head table which she wanted to be stylish and elegant but not too over the top.  We were already running black-out drapery around the room to create a blank canvas for lighting so we suggested using some rich red drapes hung in long sashes behind the head table.  We then used some uplighters to highlight the folds and deep red colour of the drapes.  “The overall effect was exactly what I wanted.  It was a great backdrop for photos but did not make me feel like I was on a theatre set.”

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3D Projection

SXS offer the world’s first event-specific 3D projection technology.

This is one of the most exciting, engaging and fun ways of presenting information or a brand message at an event.

Using the latest polarising technology, sophisticated DLP projection, and some of the UKs most talented 3D content designers we can offer a complete 3D projection solution from inception to completion.

WHEN TO USE

3D projection is a tool.  Like any tool, it is how it is used that really matters.  Here are a few ways in which 3D Projection is a great tool for adding value, increasing engagement and exciting an audience

Make graphical information “jump out” at the audience to highlight key points, such as key element of a graph, or a graphical element of a slide design.

Use as a feature element to an awards show or conference to give guests a key talking point

Tell delegates about the technology in advance to increase excitement about the event

Use to better depict technical concepts such as molecular structure, technical drawings, architecture etc

Any other uses at conferences, awards shows, or parties where you want something new and exciting.

 

THE PROJECTION

We have developed our own proprietary 3D Projection technology.  This is based around the system used in recent films such as Avatar, but with improvements that are not feasible in cinemas.  The use of 'circular Polarisation' in cinemas creates a greater level of 'ghosting' of the image than our system.  With the use of two completely independent image sources our system has a much lower level of ghosting which gives a cleaner, crisper image.

So why don’t the cinema use this?  The reason is because in cinemas the audience is more scattered and circular polarisation deals with this better.  As an event solution, we have a greater level of control over the audience layout, so we can work around this and use the better system.

THE CONTENT

The production and compilation of your 3D projection content is a crucial element to the delivery of 3D projection.  We can work in three different ways on this aspect of 3D Projection:

Fully managed content - we produce and deliver all content for the project

Partnership production - we work alongside your existing graphic designers to make existing content work in a 3D application.  This is the most common way of working.

Consultative - we give advice and guidance to your designers on producing the content.  Note that this option requires your designers to be skilled and experienced in the use of complex 3D modeling software.

HOW DOES IT WORK?

The concept is simple, but the execution has taken many hundreds of man-hours to perfect. 

In essence we all perceive the world around us to be in 3D because each eye receives different visual information.  Try closing one eye, then closing it and opening the other quickly – you will see that each eye gets a different view of the world around you.

When both eyes are open our brain processes the two different images and gives us the perception of depth.

This is the basis of 3D projection; each eye must see a different image.  And this is how 3D projection works; by making each eye receive a different image which together make the brain think it is seeing the projection in 3D.

So how do we do this with a projector?  We project two separate images through perpendicular linear polarisation filters.  These are pieces of glass that only let light waves that move in a certain direction pass through.  The audience member then wears polarised glasses, where one eyepiece only allows horizontally polarised images to pass into the eye and the other eyepiece allows vertically polarised images to pass into the eye.

So basically, one eye is looking at one projection and the other eye is looking at the other.

Without the special polarised glasses you can see both images at the same time and this appears as blurry.  With glasses on the image has the impression of depth.

IS IT SAFE?

Yes.  From a safety point of view, it is no different from looking at a normal video projection system.

WHAT DOES IT COST?

Each 3D projection project is fully bespoke.  We work with you to define what is needed and what outcomes you want.  We then provide a fixed quote based on these requirements.  Fixed pricing is key as it means you pay what was agreed, and costs will not change.

To establish a budget, even at the early stages, please give us a call for a chat.  Even if you only have limited information on the project we can give you an idea of budget, which is enough for you to decide if you want to proceed with incorporating 3D projection.  Likewise, you can indicate a budget to us and we will give you an idea of what is achievable on it.

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