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Lights, camera, action: UK suppliers on the reopening

Do you remember at which point the severity of the Covid-19 pandemic first hit home? For some, it was when they suspended all flights to mainland China. Or when the UK government admitted that we faced a “substantial period of disruption… due to the outbreak.”

For others it was the realisation that, after the announcement on 9 March of a strict nationwide quarantine in Italy, lockdowns were coming to us all. For those whose livelihoods were invested in the music industry, watching all of this unfold prompted an increasing feeling of dread.

For Yvonne Donnelly Smith, music lighting sales director of PRG – a global company operating audio, camera, lighting, and various other production services – that latter date was particularly significant.

“I got my first email from Bryan Adams’ team saying: ‘All shows cancelled due to Corona,” she says. “That was quickly followed by The Script, who cancelled because someone in the touring party had caught Covid. Then the domino effect really started to kick in.”

As she tells it, every day two or three more tours would cancel as the reality of the situation began to outweigh optimism that the whole thing would blow over quickly. And then the summer festivals started to fall – “which everyone was holding out hope for,” she says.

“We’d just loaded the trucks to head to site the next day when everything was cancelled”

It was a similar story with John Henry’s, a multi-disciplinary company in the live sector offering audio, backline, and staging services, who had just sent out audio and backline equipment for multiple US country artists touring Europe and heading towards the C2C Festival at London’s O2 Arena.

“We’d just loaded the trucks to head to site the next day when everything was cancelled,” says Johnny Henry, company director. “We then had to negotiate the return of equipment from all around the country to get it back before we had to close the doors and send staff home. It was a devastating moment for everyone.”

Christie Lites, a global stage lighting vendor covering live music, theatre, TV, corporate, and special events, and employing over 400 employees around the world, were ramping up into what business development executive Jessica Allan describes as “a very, very busy year.” It all came to a sudden, complete halt.

“The realisation that pretty much everything was coming back in kit-wise – including shows that had been out for five years or more – and the logistics of what that involved was definitely one of the ‘Oh shit!’ moments,” she adds.

Everyone IQ spoke to for this feature talks of the initial shock and disbelief, and how thoughts turned extremely quickly from dealing with the mammoth task of returning equipment and personnel, to the question of “what happens now?”

“We all thought it was only a temporary blip, not an 18-month hiatus”

Bryan Grant of Britannia Row, a company that has been supplying audio systems and crews since 1975 and is now part of the Clair Global Group, was initially optimistic.

“The enormity of it didn’t really sink in for some time,” he explains. “We all thought it was only a temporary blip, not an 18-month hiatus.”

As such, hard work continued behind the scenes at all these companies, to ready themselves for whenever a re-opening – and large-scale music events – could once again take place.

Grant notes how crucial it was to keep key people in place and remain open for business, while Donnelly Smith says that “remaining flexible and resilient” kept PRG busy through the on-slaught.

John Adam’s famous old adage, that “Every problem is an opportunity in disguise,” was severely tested as companies struggled to make sense of what they were dealing with, and what the long-term future of touring and live might look like.

John Henry’s began working with an AV company, PIXL, to convert their studios into a live-streaming and broadcast hub

Tentative suggestions that late summer 2020 could see some events return, were nixed by the looming threat of the second wave, and with further lockdowns throughout winter and the early part of 2021 – not to mention the Delta variant – the prognosis looked gloomy.

Nevertheless, the pause became a chance to take stock, to develop their offerings, and branch out into new tech or events.

Britannia Row, through the Clair Global Group, developed the Virtual Live Audio system, a high-quality, low-latency streaming platform that allows presenters and performers in the broadcast and corporate sectors to interact in real-time with their audiences, while PRG was also helping clients move into streaming, setting up studios and live spaces, and tailoring solutions to help events transition into the digital space.

They opened a rehearsal space, too, The Bridge, which allows clients to prepare for shows safely and securely.

John Henry’s began working with an AV company, PIXL, to convert their studios into a live-streaming and broadcast hub, and were actually able to service a number of recorded events that saw over a thousand people back through their doors.

“We took the opportunity to re-evaluate internal processes with our team behind the scenes”

For Christie Lites, planning and research never stopped, but they also – like the others – took a brief step back.

“We took the opportunity to re-evaluate internal processes with our team behind the scenes, making improvements in preparation for the return,” says Allan.

These ranged from technology tweaks through to broadening and building on sustainability programmes, as well as a number of ‘Crew Prep’ events to help crew and clients prepare for getting back to work.

With Britain having lifted restrictions on 19 July this year, many other countries following suit, and the continuing rise in the number of people double vaccinated, something approaching normality has begun to return.

Music’s live and touring sector has been scrabbling to respond, but with lead times normally measured in months, and many still wary of attending packed, sweaty arena shows and festivals, it’s been a stuttering reopening.

“Ramping up from essentially a standing start, combined with the uncertainty, was always going to be a challenge”

PRG just serviced Creamfields – as did Christie Lites – alongside Rewind, Wireless, and Isle of Wight, but really all eyes are on 2022, and a full-blown return.

“We’re optimistic,” says Britannia Row’s Bryan Grant. “We think there’s going to be huge demand,” adds PRG’s Yvonne Donnelly Smith.

Others are even more confident: 2022 is shaping up to be a “very mad year” says Christie Lites’ Allan, with two years’ worth of events squeezed into one system. But that pressure is already being keenly felt, and having some worrying knock-on effects.

“Ramping up from essentially a standing start, combined with the uncertainty still floating around, was always going to be a challenge,” says Allan.

“There is fear from vendors and freelancers that limits will be pushed both of budgets, timescale, and of people to meet demand. The other big issue is the lack of crew, as so many have had to get work elsewhere or have decided not to come back.”

“There is fear from vendors and freelancers that limits will be pushed both of budgets, timescale, and people to meet demand”

That’s a problem noted by Britannia Row director Bryan Grant as well; “that’s why we’ve kept up with our training programmes and have kept as many of our people employed as we possibly can,” he says.

Demand outstripping supply has had other consequences too. “Material shortages are already affecting manufacturers, so spares and some of the vital things that you need for touring and shows are in short supply already,” notes Johnny Henry. “There is no sign of that improving yet.”

There is also the issue of Covid bubbles being broken, and isolated infections bringing whole operations to yet another temporary halt.

“We’ve already recently seen shows and tours being pulled at the last minute because of positive Covid cases,” continues Henry.

“Everyone involved in productions is doing their best to avoid these situations, but it’s clearly very difficult no matter what precautions are being taken. I expect this to continue into 2022.”

“The fact that we can duplicate both equipment and people in many territories means less freight and air travel”

And that concern has led to yet another issue, particularly with regard to larger tours. “We’re starting to see some now pushed back into 2023 as artist management look at scheduling, and also the fact that so many artists and bands are potentially competing for venues and punters in 2022,” says Allan.

Making sure long-awaited live performances are delivered in the best possible way to fans is a key component for festival chiefs and touring acts when deciding on their 2022 and beyond plans. Innovation has seemingly blossomed during lockdown; so too gains in efficiency.

“We are constantly upgrading our systems to provide more efficient packages in terms of weight, size, and coverage,” says Grant. “For touring acts, the fact that we can duplicate both equipment and people in many territories means less freight and air travel, which saves money and the environment.”

That last part – sustainability – is becoming an ever more vital component of companies’ offerings, and something the music industry is keen to embrace. All of the companies IQ spoke to had placed it at the top of their agenda.

“There’s a high demand for LED products to take the lead on jobs, and PRG were doing this well before the pandemic,” says Donnelly Smith.

“Our warehouses use rainwater harvesting and solar panels where possible”

“Joining and working with TPG has been extremely influential for us in continuing this journey towards sustainability in our events – we’re taking an inside-out approach to solidify this culture change, offering sustainable kit to our customers and also making changes in-house, like switching energy suppliers and using sustainable materials.”

“We are constantly trying to learn about where we can improve on sustainability – it is something we are passionate about,” says Allan.

“We have a living sustainability programme, so our warehouses use rainwater harvesting and solar panels where possible, and we’re excited to be opening our most eco-friendly building to date in Nashville in September, which is built using a revolutionary decarbonised method of construction.

“On tour, our standardisation of flight cases helps reduce the truck pack and the fact that you can pull and drop a European leg from the UK and pick up again in North America without the need to fly or ship kit is a key reason why sustainability-conscious clients use us.”

Undoubtedly, the last 18 months have been a seismic shock, and recovery will depend on the ticket-buying public – as Grant notes, “Covid isn’t going away, so we are just going to have to adapt to the circumstances that confront us.”

“This past year has shown what we can achieve if we pull together”

But live events have proved resilient before, and are doing so again. The future will just be a little different.

“This past year has shown what we can achieve if we pull together,” says Allan. “Yes, a very difficult road lies ahead, but we have confidence that collectively the industry will find a way through and come out the other side.”

“I think what we’ve learnt over the last 18 months is that you can’t stand still,” adds Johnny Henry. “You have to use any spare time to continue to refine your trade, improve where you can, be more efficient, and get more out of your resources than you think possible. Your staff are your greatest asset, and while you’ve got to put faith in the future, don’t forget the past.”

Ultimately, the message is one of collaboration, and working together for greater success – and the greater good. “It’s an opportunity for all of us in the touring community, from artists, agents, promoters, and managers, to supply companies and all of those who work within these organisations to realise that we’re all on the same side,” says Grant.

“We all need to earn a living, and all need to respect what we all contribute to making this wonderful, mad machine work; let’s keep going.”


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Green Guardians: Event Infrastructure

The Green Guardians Guide, spearheaded by the Green Events and Innovations Conference (GEI) and IQ Magazine, is a new yearly initiative boosting the profiles of those working at the forefront of sustainability, in the hope that it might also inspire others.

The 2021 list, which originally ran in IQ 103, includes 40 entries across eight categories, highlighting some of the organisations and individuals who are working so tirelessly to reduce the carbon footprint of the live entertainment business.

This year’s winners have been chosen by a judging panel that includes experts from A Greener Festival, Greener Events, Julie’s Bicycle, the Sustainability in Production Alliance, the Sustainable Event Council and the Tour Production Group.

IQ will publish entries across all categories over the coming weeks. Catch up on the previous instalment of the Green Guardians Guide which looks at artists and activists.

Continest container units are a market-leading, award-winning and eco-friendly portable accommodation solution, utilising innovative foldable container technology. The flat-packed containers are specially constructed to enable quick and easy transportation, installation and relocation, and their groundbreaking design has won plaudits around the world.

A great solution for events, venues and brands looking to increase their facility and temporary accommodation capacity in an environmentally conscious way, Continest provides solutions to help meet sustainability targets. Due to their patented design, multiple units can be transported on a single truck, enabling huge savings on road.

In 2020, d&b launched its Certified Pre-Owned (CPO) programme offering customers reconditioned loudspeaker systems

d&b audiotechnik
Aware of the impact that the live entertainment industry has on the environment, d&b makes a conscious effort to ensure that sustainability is a permanent part of its mission with the company developing effective programmes to support this undertaking.

d&b is EMAS certified, meaning it observes a set of guiding principles, including upholding human rights and well-being, resource protection, energy and emission reduction, product responsibility, sustainable innovation, and much more.

In 2020, d&b launched its Certified Pre-Owned (CPO) programme offering customers reconditioned loudspeaker systems. Purchasers benefit from a rider-friendly sound reinforcement system while helping reduce greenhouse gas emissions and the consumption of raw materials.

This programme makes d&b one of the first sound companies to adopt an organised approach to sustainability and reliability in the pro audio industry. The first-ever CPO J-Series system was recently installed at Westville Music Bowl in Connecticut, USA.

d&b is committed to ensuring its new products are environmentally responsible as well. The recently launched D40 amplifier combines advanced voltage management to drive systems that demand less input power. The D40 includes enhanced energy-saving features, power efficiency and automatic wake-up for environmentally responsible and sustainable green building requirements.

Alongside recycling and responsible disposal of end-of-life equipment, PRG regularly rebalances equipment to reduce freight

Sustainable practices have been at the heart of PRG’s ongoing development throughout the pandemic. The company now boasts a huge global network, having set up a group of 22 digital studios around the world in one year, including xR Virtual Production Studios in Los Angeles, Hamburg and Paris.

This ensures that the company’s EMEA customer base has access to PRG’s state-of-the-art facilities and expertise wherever they are in the world.

This global reach is aided by The PRG Alliance, a series of 15 partner companies worldwide that support clients locally with an exceptional quality of innovative event production solutions.

The company’s commitment to providing consistent service locally is mobilised largely thanks to the PRG Crew Platform, which allows warehouses and events to be staffed with local talent, reducing the global carbon footprint involved in transporting employees.

PRG is also committed to sustainable practices in its technology and is a member of various industry accredited programmes, including Albert.

Alongside its recycling and responsible disposal of end-of-life equipment, PRG regularly rebalances equipment to reduce freight.

Its products adhere to this sustainable mission. The PRG SpaceframeTM, for example, is an ultra-lightweight, collapsible and fully wind-braced, carbon-fibre touring frame with integrated LED panels. This product dramatically reduces pre-tour engineering time, shipping footprint/weight, carbon emissions, load-in and load-out times, as well as labour required on tour and locally.

NNNN has succeeded in designing speaker solutions that reduce energy consumption by up to 90% compared to other brands

NNNN was created to target the audio market with a disruptive solution and mindset, combining acoustic quality with sustainability.

The company’s patents enable it to do with sound what LED did with light, and it has succeeded in designing speaker solutions that reduce energy consumption by up to 90% compared to other brands.

As yet another UN climate report has made abundantly clear, developing more sustainable solutions is a no-brainer. Yet, NNNN says it still experiences challenges with businesses that choose traditional solutions over greener alternatives. Therefore, it has been key for the company to both initiate and join conversations, both nationally and internationally, with regard to sustainable development in the live entertainment industry.

In spite of Covid, a lot has been happening at NNNN in the past year:
▶ The company has been developing new products, making better and more sustainable audio solutions available for green buildings, houses of culture, and consumers.
▶ In November 2020, NNNN won the Green Founder award – an initiative established by Drammen Rotary to accelerate green and sustainable development in the region.
▶ NNNN has been Eco-Lighthouse certified, which is the most widely used environmental certification scheme in Norway, verified to hold the quality and standard matching international eco-labeling schemes (EMAS and ISO 14001).
▶ The company also became an associate member of A Greener Festival.

Tait is continuing to build dedicated resources to empower clients and design teams to call on its vast library

During 2020 and into 2021, Tait focused on updating its library of assets, making all assets available for use globally and throughout the business.

This builds on practices that the company has developed over many years and optimises sustainable use and reuse of equipment.

Crucially, this also reduces reliance on virgin materials. In addition, Tait is continuing to build dedicated resources to empower clients and design teams to call on this vast library of existing components.

This year, Tait’s UK offices are beginning the transition to renewable energy, and its waste and recycling streams are being monitored to ensure it maximises recycling potential.

The company’s UK facilities in Neasden and Haverhill are now both ISO14001 accredited, and it has installed infrastructure to collate carbon emissions for Scope 1 & Scope 2 and key elements from Scope 3 globally. This will form the basis for Tait’s carbon reduction strategy.

The group has partnered with organisations such as the Sustainability in Production Alliance (SiPA), Theatre Green Book, and Live Green to help drive industry-wide change, educate teams, and further sustainability efforts.

In order to give back to the communities and institutions that helped build the success of the organisation, Tait’s principal sustainability advocate, Carol Scott, guest lectures at colleges and universities on incorporating sustainable practices into the ecosystem of live events.


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Covid kit: The tech helping fans stay safe at shows

As buildings, venues and public spaces start to tentatively reopen following months of lockdown, savvy businesses and operators are turning to technology to help them boost confidence, both among consumers and staff.

From simply supplying hand-sanitisation facilities at store entrances to sophisticated mobile phone apps, thermal testing and scanning devices, numerous products and systems are being developed to bolster personal protection measures, giving people confidence that they can safely return to the workplace and, ultimately, get back to enjoying live entertainment.

Here, IQ takes a look at just some of the products and services on offer to the live events industry, as venue owners and promoters contemplate how to entice people back to their shows, concerts and festivals…


Biosecurity-Systems offers a comprehensive range of products, facilities and staff to augment safety procedures that are implemented in buildings and venues. Rather than being in the business of selling kit, the company’s goal is to minimise infection risk and help businesses to protect customers, staff and anyone else who visits their premises.

CEO Paul Twomey observes that while many people view the Covid pandemic as a ‘once in 100 years’ phenomena, those living in Asia and the Pacific rim have a different viewpoint. “It’s a key thing for people to think about: in east Asia there has been Sars, HN1, swine flu, bird flu and now Covid. So there are major viruses every five to six years,” he says.

“In terms of pandemics, this is a bit like a 9/11 moment. There was terrorism before 9/11, but everyone thinks of terrorism differently post 9/11. Covid-19 will probably do the same for pandemics.”

Consequently, Biosecurity-Systems urges clients not to make the mistake of simply bringing in equipment purely to deal with the current coronavirus, but to rather see their actions as a long-term investment to deal with this pandemic, as well as all future pandemics.

Currently working with the likes of airports, airlines and logistics centres, Biosecurity-Systems offers a turnkey solution, as well as bespoke solutions that include disinfection technologies, triage technologies, testing technologies and artificial intelligence, if needed.

The company morphed out of an existing robotics operation in reaction to the coronavirus pandemic and has strategy solutions in place that cover everything from simple health questionnaires and disinfectant misting tunnels to blood oxygen testing and robots that can continuously – and conspicuously – clean the likes of floors in airport terminals (as they do in Hong Kong). The company’s robots can also automatically clean toilets, hence protecting cleaning staff in an environment that is known to be highly virulent for coronavirus infection.

Twomey adds: “Things like temperature testing are not particularly effective for Covid-19, but consumers are demanding it, as it makes them feel secure. However, those same systems are very important in detecting other diseases – ebola, for instance. Meanwhile, blood oxygen testing does have more relevancy for Covid-19. So having such equipment should be seen as a long-term investment that can basically show people that it’s safer to come back to your facilities then those of somebody else.”

“In terms of pandemics, this is a bit like a 9/11 moment”

Ticketing operation Seats.io is using the challenges presented by the coronavirus restrictions to leverage its technology and create opportunities that should help restore consumer confidence when it comes to attending shows and concerts. Seats.io is determined to give venues and event organisers additional tools to help restart the live entertainment sector and begin selling tickets again, as soon as possible.

The company notes a key factor in these transactions will be trust: many surveys indicate that people want to go back to live events, but only if they feel they can trust that they and their loved ones will be safe in doing so.

In an effort to rebuild that trust, Seats.io believes demonstrating at the moment of ticket purchase that people will be safe is the best approach. To achieve that, Seats.io can make sure customers are aware, when they select their seat, that social distancing rules will be applied and respected.

As a result, Seats.io has configured its ticketing system with an option that shows ticket buyers how the seats around theirs will be blocked out, as they select their tickets. For some theatres, the distance required will be one seat, for others two; sometimes aisle seats will always be blocked, sometimes, not. In addition, it is essential that such a system can be integrated into any existing ticketing system, negating the need for a complete overhaul.

Seats.io says its system answers all these needs. Easily integrated, with world-class UX and UI, Seats.io can allow any ticketing platform to offer ticket buyers exactly what they need: the reassurance that they are safe, and that they can trust the event organisers to respect social distancing.

Seats.io believes demonstrating at the moment of ticket purchase that people will be safe is the best approach

Staging company Megaforce has developed a range of products and facilities to help businesses protect staff and customers from the spread of coronavirus, and has already installed its equipment at everything from kindergartens to hardware stores.

Products include biometric fever screening, carried out using a thermal imaging camera, which can rapidly record body temperature with exceptional accuracy, and can thus make a significant contribution to the containment of pandemics.

The system uses state-of-the-art sensor technology to scan up to five people’s faces simultaneously in order to determine body temperatures. If an increased temperature is detected, the system triggers an alarm or can deny access – for example, as part of an automatic access control system. The temperature check also has an automatic mask detection option, so that if the camera detects a person without a mask, the system will politely remind them that they must wear one.

The system is already being used at border controls, airports, trade fairs and events, and is also suitable for protecting healthcare facilities such as hospitals and nursing homes; and at entrances to factories, offices, shopping malls, hotels, schools and public authority buildings.

Contactless hand-washing and hygiene stations are available as single, double or triple units with diverse areas of application such as shopping malls, DIY stores, bus stations, car parks, stadia/event locations, public places, wholesale markets etc. In short, anywhere with high footfall where there are too few or no sanitary or hygiene facilities.

Added value is provided by advertising/branding spaces on all sides of the stations with the option of integrating frames or dispensers for brochures etc, making them perfect for promotional campaigns. The stations can be branded accordingly depending on the theme.

Hygiene gates  are gantries/locks based on a chlorinated water solution, much like swimming pools, and can be used for semi-disinfection of equipment and people.

The main area of application is access to work, backstage or production areas. Although it is not possible to ensure 100% disinfection, hygiene gates significantly increase hygiene standards and safety.

The gates are constructed using high-quality stainless steel; they are contactless and can be combined with Megaforce’s fever screening system.

Megaforce has developed a range of products and facilities to help businesses protect staff and customers

Realife Tech
Realife Tech has developed a Covid Safety Hub – a customer-facing technology designed to help events safely relaunch once restrictions on large gatherings are lifted.

The Covid Safety Hub has a range of mobile-based features that will guide fans through new venue policies and procedures, with messaging delivered before, during, and after events. This includes digital ticketing, checklists, location- based directives, an AI Covid assistant (powered by Satisfi Labs), real-time safety tips, and post-event messaging.

At events, the location-based safety alerts share real-time information to help reduce congestion in high-traffic areas such as entrances and exits, and provide facility updates. The assistant also comes with touch-free mobile ticket scanning, as well as contactless ordering and collection of food, beverages, and merchandise. This is a powerful tool as it runs on Realife Tech’s platform, aggregating data from multiple systems at festivals and events. These include apps, ticketing, Wi-Fi, point-of-sale, digital advertising screens and access control points. In addition to the Covid safety features, organisers can capture a single view of the customer across their journey.

The Covid Safety Hub is being deployed across multiple events and will help welcome fans back this summer, as it aims to minimise event attendees´ fear and anxiety about the ‘new normal’ through dedicated messaging, features, and protocols put in place to mitigate risk.

Founded in 2014, with headquarters in London and Los Angeles, Realife Tech is an experience automation platform that unifies data from every event venue system, then analyses the data to provide truly personalised digital experiences. The company works with more than 65 of the world’s biggest venues and events, including The O2, London; Tottenham Hotspur Stadium, London; Mercedes-Benz Arena, Berlin, and Outside Lands Festival, California.

Realife Tech is the recipient of three Event Technology Awards for Best Festival Technology, Best Venue Installation, and Best Venue Solution.

Realife’s Covid Safety Hub has a range of mobile-based features that will guide fans through new venue policies and procedures

Grid claims to be a game-changing new app that enables people to socialise in safe, socially distant and contactless ways. It has already received exceptional feedback from events, such as Kiesgrube’s Stay Wild Moonchild! in Duisburg, Germany.

Grid works by digitalising events and providing a safe way for social gatherings to take place by making ticketing, F&B orders and Covid-19 registration fully digitised – even the cloakroom is handled via the app, all in line with current Covid-19 safety regulations.

Using Grid, long lines and guest lists; cash transactions and face-to-face ordering; lost tickets and wristbands; and smudged morning-after stamps, are no longer an issue. The app can also incorporate loyalty rewards.

Solutions already built by the Grid team pre-pandemic, are now helping to prevent further job losses, as well as allowing economies to thrive again and providing people with the opportunity to go out and socialise whilst prioritising their safety.

Grid works by digitalising events and providing a safe way for social gatherings to take place

Rebuild the Chain
An international consortium led by Dragon Gateway, in collaboration with Accubits Technologies Inc, FutureTech, Nexus and LL Consultancy, has launched a pandemic management solution called Rebuild the Chain (RTC) to try to help the live event sector get back to business.

In brief, RTC Sport and RTC Entertainment create a Covid-free zone around a venue in which no person or surface is Covid infected. The two apps are similar in that they harness the speed, efficiency and accuracy of rapid test kits (98.6% accuracy), a mobile app, appropriate PPE and the security of blockchain technology.

With a global network of contacts and suppliers, RTC offers all the latest Covid safety tech such as thermal cameras, sanitiser mist tunnels and so on to ensure the public feels as safe as possible. At events, real-time test kits mean that a consumer’s ‘safe status’ can be uploaded immediately to their smartphone to be checked by stewards at a green zone checkpoint and again as they enter the venue at ticket collection.

With the aim of enabling audiences to safely return to sports, festivals, concerts and even B2B conferences and exhibitions, Dragon Gateway further claims to be in contractual discussions to deploy RTC government across entire nations.

RTC creates a Covid-free zone around a venue in which no person or surface is Covid infected

Bubble Band
Social distancing within the live event industry is an obvious challenge. Static barriers and markers will never work in a fluid environment. However, a cost-effective alternative is already available. The Bubble Band is a simple wearable social distance alarm. Worn as a wristband or on a lanyard, the Bubble Band is ideal for artists and backstage event crew. When two Bubble Bands come within the set proximity to each other they will vibrate or alert the wearers.

Bubble Band settings are managed through an app available on Mac or android mobile devices. Connecting via Bluetooth they are easy to set up and fully rechargeable. Distance and alert settings can be adjusted to meet current government guidelines.

Groups of Bubble Bands can be linked with varying settings: e.g. lighting and rigging set at 1m, backline and catering set at 2m. Available in a range of colours, the bands help to easily distinguish between working teams, as requested in the UK’s Working Safely During Coronavirus guide.

The Bubble Band is a simple wearable social distance alarm, worn as a wristband or on a lanyard

Production Resource Group (PRG) has designed a temperature scanner that can easily be installed in entertainment venues, convention centres and workplaces. PRG’s SmartXcan is a portable thermal scanner that provides instantaneous feedback on up to 700 people per hour.

“The SmartXcan is much more accurate and faster than other devices that are being modified to meet current needs,” says Mark Peterson of PRG Scenic Technologies. “We use a diagnostic tool that measures temperature in the sinus cavity and behind the eyes in 0.6 seconds.”

The SmartXcan leverages advanced fever-scanning technology developed by Kentix, a German company that develops smart building security. The temperature data is protected and not connected to identifying technology, to meet privacy laws. “We wanted to ensure that people feel comfortable using the SmartXcan, so it does not have facial recognition capabilities,” adds Peterson. “Who you are is not important to us, we are just trying to assist in reopening as safely as possible.”

Portable SmartXcan options include a wheeled pedestal, kiosk, countertop, or built-in turnstiles for automated entry control. The devices can be plugged in or operated using a built-in battery that provides up to 24 hours of continuous use. Each scanner offers hands-free scanning that quickly notifies individuals via a green or red light that they are okay to proceed.

SmartXcan “measures temperature in the sinus cavity and behind the eyes in 0.6 seconds”

London Palladium pilot event suppliers
On 23 July, London’s iconic Palladium venue held a pilot event, featuring singer Beverley Knight, to test the theatre’s readiness to deal with audiences and overall safety, ahead of a mooted return for indoor shows in England in August.

In addition to limiting the venue’s capacity to 30%, attendees were given staggered arrival times and had to pre-order drinks to allow staff to organise in-seat service.

Assisting the Palladium in the trial were:

Purehold has designed a range of hygienic door-handle covers that fit over existing handles

CrowdBlink Protect
CrowdBlink Protect has been used by essential businesses during the shutdown to assess employees daily for symptoms of Covid-19, allowing them to safely continue operating. Now, as economies start operating once again, other organisations are beginning to use the same system to reopen safely.

From construction, manufacturing, and retirement/senior care facilities to childcare centres, office buildings and more, CrowdBlink Protect is an easy, affordable solution to help keep communities safe. The company charges $49 per ‘screener’ per month, with screeners being individuals who assess others, or who can scan QR codes for people who have completed CrowdBlink’s self-assessment procedures.

The CrowdBlink plug-and-play system also allows event organisers to create and sell tickets to their events, scan tickets as people enter, and use CrowdBlink’s point-of-sale facility to sell items during the event.

On the attendee side, fans can use the Patron app to buy tickets, enter the event, add funds to their cashless accounts, make purchases on-site, and even interact with sponsors. Patron allows attendees to use the app if they lose Internet connectivity. And for anyone that doesn’t want attendees using an app, CrowdBlink can run events via NFC or RFID wristbands or even traditional printed tickets.

Screeners can scan QR codes for people who have completed CrowdBlink’s self-assessment procedures

Watch the recent IQ Focus virtual panel featuring Seats.io, Realife Tech, Megaforce and Biosecurity-Systems, The Technology of a Pandemic, back here.

This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.

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PRG lends hand to combatting coronavirus

Production Resource Group (PRG) is the latest in a string of event production companies to lend its skills to the medical manufacturing sector in the midst of the coronavirus pandemic.

The event production giant is helping to equip a temporary hospital in Berlin and manufacturing face shields for medical workers in New York, joining event infrastructure suppliers and staging companies all over the work in the fight against Covid-19.

“We are responding to the rapidly changing needs of our customers during this emergency, and, with projects like these taking shape around the globe, we are actively at work in the fight against the coronavirus,” comments PRG chairman and CEO, Jere Harris.

“PRG has resources with direct applicability to this important cause, and we take great pride in playing a role.”

In Berlin, PRG Germany is working to fully equip a field hospital built in Hall 26 of the Berlin Expo Center, one of a number of makeshift hospitals in exhibition centres, arenas and other venues around the world.

The Corona – Jafféstraße Treatment Centre will serve as an overflow hospital receiving respiratory patients who can no longer find a place in Berlin’s clinics.

Construction started on 30 March, with the hospital on track to be fully operation within 25 days. PRG will deliver and install lighting, truss and hoists for the suspension of the lighting fixtures, gas and water pipes, as well as IT infrastructure and approximately 25 tons of cabling for the basic supply of electricity.

“PRG has resources with direct applicability to this important cause, and we take great pride in playing a role”

“PRG is taking its significant resources directly to the battle against COVID-19,” says PRG president and COO, Stephan Paridaen. “We are proud to support this temporary hospital and hope to help bring the global pandemic to an end.”

Meanwhile, in New York, PRG Scenic Technologies is working alongside two other local companies and NYU Langone Health to manufacture face shields for use by health workers. The project aims to produce around 300,000 items in under two weeks.

“We’re proud to be a part of this initiative and hope to continue to help those who are aiding in this crisis,” says PRG general manager Mark Peterson, who is leading the effort. “By utilising versatile production methods and intelligent design and in working with Local 311 stagehand labour, we’re going to be able to turn out these shields in record time.”

PRG was among companies to form the Live Events Coalition in the US last month, calling on the government to “rescue the industry in the face of total collapse” due to the coronavirus outbreak.

Leading event production specialists gathered at the ILMC Production Meeting (IPM) on 3 March in London. Read the IPM 2020 report here.


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Live Events Coalition: US events biz calls for aid

A coalition of American event production and technology businesses have called on the Trump government and US Congress to establish a special taskforce to “rescue their industry in the face of total collapse” caused by the spread of the coronavirus.

“The coronavirus outbreak is threatening to eliminate the livelihoods of millions of Americans and their companies, with the possibility of wiping them out for good if action is not taken right now,” says Isaac Rothwell, national director of operations at Digerati Productions and a spokesman for the new Live Events Coalition.

“The White House is holding talks with representatives from many different sectors of the economy and we are asking to be brought in to those talks right away. We represent people in every state of the union and make a major contribution to the US economy.”

On the direction of the Centers for Disease Control and US president Donald Trump, who last week warned against gatherings of more than ten people, entertainment venues and other public places have closed across the US in order to prevent the spread of Covid-19.

“This work stoppage within the industry that produces them is creating a domino effect threatening a significant portion of the US economy,” according to the Live Events Coalition, which also counts PRG, VER, Detroit’s 360 Event Productions, Los Angeles’ Sterling Engagements and the International Live Events Association (ILEA) among its supporters.

“We want to ensure our industry is part of the national conversation during this time of crisis”

The formation of the coalition comes on the back of a Change.org petition which calls for Trump to introduce a federal aid package for small businesses in the live events industry. At press time, the petition had been signed by nearly 350,000 people.

“The petition was put together by Isaac as a gut reaction to help our most vulnerable: small businesses and independent contractors. Many of us saw his initiative as a call to action, and the Live Events Coalition was formed,” explains PRG’s senior vice-president of market strategy in the US, Eileen Valois. “We want to ensure that our industry, which is highly complex and varied, is part of the national conversation during this time of crisis.

“Our mission is to ensure that events-related businesses – and the millions of Americans in our displaced workforce, including full- and part-time workers, independent contractors and freelance professionals that we employ – are included in future supplemental relief aid packages.”

In Europe, many countries have already introduced financial aid for touring crew and other events freelancers, while unions in the UK are pushing for similar protections for the self-employed.


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