The average conference, product launch or gala dinner is actually a very complex affair, when put together at a professional level.

Below are some of the common things your audio visual supplier will need to consider, in order to make your show a success.

 

Vision:

Projection screens and projectors are just the beginning.  Projection is both an art and a science, with the size and type of projector being party dictated by the audience and room sizes, and partly by the availability of adequate hanging points.  Each projector has a focal distance, which determines how far from the screen it needs to be in order to fill that screen, and this changes with screen size.

At the 'back end' of projection, is all the equipment that creates the projected image.  The average Mirage setup requires some form of seamless switcher (allows switching between two image sources, such as a DVD and presentation laptop, or to move back to the main presentation and a holding slide), multiple sources, such as laptop, DVD player and/or a live camera feed to screen, cueing monitors to allow the vision technician to view all sources that don't come with their own screens (ie: DVD players), a vision mixing console (if more than two sources are required to be mixed), a blackburst generator or genlock (if using multiple image sources with live camera), signal amplifiers, signal distributors and of course, hundreds of metres of specialist cabling. 

As you can see, this is somewhat more complex than the average plug 'n' play boardroom presentation.

Also, where in the boardroom, a projector is generally aimed and adjusted to fit the screen, with larger setups using multiple projectors, the images must be colour balanced, not only to each other, but to the presentation material.  This is partly to do with the different ways LCD and DLP represent colour in contrast to your laptop or computer screen.  In some instances, multiple projectors may be overlapped or 'blended' to create one large image.  This is done with a combination of precise hanging and focusing, and special software which allows media to be run across multiple projectors.

And of course, the person running all this equipment, with years of experience, skill and timing, unflappable and with an eye for symmetry and colour (more of an artistic quality than often credited) takes responsibility for what may be up to a million dollars worth of equipment installed into your venue for the evening!

Audio:

A professional sound system isn't anything like your 5.1 home stereo - it's ten times more complicated, and the level of skill required to get clear audio to every seat in the house is not one that many possess.

We offer a number of different systems, all dependent on the size and nature of the venue and the source to be played through the speakers.

Conference Audio involves speakers set up on stands in venues where there isn't time, budget or roof height to hang them.  While not ideal, the right audio technician can EQ a stand-mounted system to ensure good levels of audio reach every guest. 

Distributed Audio is a system (commonly used in conference situations in larger venues) that is ceiling mounted across the space, making it easier to give a consistent level of sound to all areas of the room, without 'blasting' those at the front, or leaving those at the back and sides straining to hear.

But good sound is not just about level.  At the back end of an audio setup is the control equipment that makes everything work.

The average Mirage AV audio setup includes most of the following every time; compressor/limiters to boost low level sound and even out peaks, EQ to 'tune' the speakers to the unique acoustic characteristics of the room - essential in avoiding feedback.  The mixing console may take many forms, depending on the number of microphones and instruments running back to this point, and may include inputs for PC audio, a CD player (generally on-site as a backup), and of course, feeds from the Vision equipment, such as DVD Players or VCRs.  The cables for each of these pieces of equipment need to be specially shielded to prevent interference from other sources, and are often as precious, if not more so, than the speakers themselves to the audio technicians.  Having moved to the digital age, we may choose to use a digital mixing console that gives the audio engineer banks of effects and precision control at his or her fingertips.

The experience of an audio technician determines whether or not he or she can EQ a room correctly, ensuring all presenters, no matter what their voice type, can be heard.  Because some presenters do have difficulty using microphones, for various reasons (height, voice type, nervousness), if we know beforehand, we are able to offer various solutions in terms of microphones that may suit their presentation style better, or for instance, that will cover them if they choose to move away from a fixed microphone or lectern.

We also supply concert audio - for indoor or outdoor events and festivals, we have systems to cover the largest venues, for band audio (stacks either side of stage) or where an even sound distribution for music is required (hung Line Array), we supply it all. 

Lighting:

Lighting is often overlooked and left out as 'the icing on the cake' that the client feels they can't afford.  What they don't realise, is that often, lighting is something they can't do without.

Most conference venues require stage lighting, both for the presenter to be clearly seen, and so that they become the main focal point of the room.  'Theatrical' style lighting gives frontlight at angles that illuminate the whole face, and backlight which gives them a '3-D' quality, and also allows them to read their notes!

A step up from this stye of lighting, is lighting for camera (see IMAG below) where the camera requires a certain level of lighting in order to pick up a clear image that can be put to screen or recorded.  Without backlighting, and lighting of the backdrop, no contrast between the presenter and the backdrop behind them can be created, meaning the presenter will blend into the scenery.  Most colours such as blue and red look almost black on camera, especially when not lit, so lighting dark backdrops is essential when filming.

Then comes the 'icing', but then again, who eats cake without icing?

Often guests who attend conferences and events pay a substantial fee to attend, and their expectations grow ever-more sophisticated as technology progresses.

There are simple ways to make your audience feel they're getting what they've paid for, and these often involve lighting.

When an audience first walks into a room, their expectation of the rest of the evening or event is set in the first few minutes.  On walking into a bland, house-lit room, guests' energy levels almost immediately begin to fade.  If they're tired from a long day's conferencing, or from travelling to the venue, this rather dull environment will sap their strength.

What's needed is some excitement, and it's so easy to provide!  We offer two basic standard options for our clients, on which we can build to provide a full, professional light show.

The Walk-In Effect. 

The walk-in effect is a room-wash that covers tables or seating, generally with one or more colours, so that guests walk in from a very staid environment into the unknown.  The stage is generally lit as well, perhaps with 'moving head' fixtures, which can be hung in one position, but can be remote-controlled to light a number of different areas throughout the evening.

These lights, generically referred to as 'intelligent lights', are used for projecting patterns, changing colours, and providing movement, either slow or fast, giving a look which is very effective through haze (artificially generated 'smoke' that does not harm guests or cause them discomfort).

Stings and Entertainment Lighting.

'Stings', both audio and lighting-based are generally used for awards.  Where the award is announced, a music clip might play, accompanied by some form of change in the lighting, often using moving lights.  'Stings' are not just useful in this situation, but can be used to good effect at conferences when introducing presenters, drawing attention to special items during the programme, or for the entrance of someone important within the organisation.

Entertainment lighting takes many forms, but a band without lighting is naked on stage.

From a basic rig of static (non-moving) coloured lights on a dancefloor or stage, through to intelligent lights scanning the floor, changing colours or spotting individuals on stage, your paying audience deserve a good show.

And no lighting rig would work at all without a skilled operator behind the desk.  Our lighting operators are all easoned professionals, who love what they do and are excited to create new and different looks for our clients.

It takes years and a great deal of artistic flair to take lights and create effects with them.  Often programming for hours prior to a show, and continuing to alter the design during, it's this skill that sets our team apart.  Like painting, lighting requires a high degree of love and dedication, and this is evident in the final product.

Live camera to screen

"Live camera to screen" refers to sending a live camera feed of the presenter to one or more screens, generally located above the stage, so that all those in the audience can see clearly.  This is generally used in larger venues, and brings about its own challenges.

Have you ever taken your handicam out to shoot at a party, and been disappointed with the footage at the end?  Shaky?  Grainy?  Colours that just aren't accurate, and shots that only show half of what you wanted to record?

Imagine now a camera a hundred times more complex than your home handicam, and you begin to realise why our camera operators are pedantic about detail when discussing an event.

When organising camera to screen, a number of factors affect the camera operator's ability to record or capture the images he or she wants to, so these need to be discussed ahead of time.

The distance between the camera and the presenter influences whether or not the camera can be operated from a tripod or on-the-shoulder (imagine the 'shake' when you zoom out on your handicam), and the amount of light available.

Unlike your handicam, we generally record audio from the sound-desk rather than from an on-board microphone, and this can be done through either a cable (not practical for moving camera situations) or via wireless transmitter.  Specialist lenses may be required if the focal distance is quite long, in order to get the size of image desired, as well as a camera riser to give height, in order to get the correct angle.

At the control end, is generally a vision mixer, audio mixer, and lighting mixer, all working as a team to combine all elements as a whole.

Teamwork is essential.

Mirage offers a team that has worked at the top of each of their fields for years, that understands both their responsibilities and our clients' unique needs, who can interpret clients' requests and advise on the best way to achieve their goals.

Adaptable, Skilled, Dedicated and Experienced, once you've used Mirage Audio Visual Ltd, you'll forge a partnership for life.