London, UK-based creative lighting and event design practice Renegade designed all the technical production and co-ordinated equipment supply – including lighting, video and visuals, set and scenic elements plus sound – for the high profile SHINE 2011 Benefit Dinner.
This was staged at Old Billingsgate Market, one of London’s premium event venues. The evening featured a gala dinner for 500 guests, complete with charity auction, rounded off by a performance by 1970s African/American disco/rhythm/R&B superstars Chic.
The event raised money for the charity, which supports additional educational initiatives encouraging children and young people to raise their achievement levels.
The venue was divided into a two room format. The lighting design for the dinner section on the west side created an intimate feel within the proto industrial chic of the space. Renegade brought in drapes specialists Blackout to clad the walls, but leaving the impressive arches running down the sides of the room exposed and ripe for architectural highlighting.
To ensure the dinner setting had real atmosphere, five pre-wired vintage lightbulbs – of varying large sizes and wattages – were suspended over each table, all with striking filaments, distinctive copper fabric cables and individual control.
A 6mm high resolution LED wall was built in the middle of the dining room to show constantly updated results of the progress of the auction.
Six trusses were installed above the dining room, rigged with VARI*LITE V*L2500 Wash and Martin Professional MAC 700 Profile moving lights, which were used to skim the walls, floor and tables. The room columns and arches were up-lit with battery powered wireless LED units.
The band stage room (on the east side) also doubled as the reception for when guests arrived – transformed from one to the other by the production team as guests enjoyed their dinner.
Integral to the design were eight panels of white gauze hung above the stage, used for projection surfaces, fed with custom-created 1970s visuals and animation material for the band. The projections were fed – via a Catalyst media server – to two 20K machines positioned on balcony level, supplied by XL Video.
A series of staggered drop bars from the trusses flown above the stage were positioned between the scrims, populated with 12 Martin MAC Auras, six Atomic strobes and 12 x 2-lite Moles attached to their ends, giving the stage a quirky look. Above, on the trusses themselves, were V*L 2500 Spots and Clay Paky Alpha Wash 700 moving lights.
An audience truss was rigged down the length of the room, and hung with Martin MAC 2Ks and Clay Paky Halo fixtures above the dancefloor area.
The two long corner bars in the room each had a line of vintage bulbs hung above, on barrels suspended below the trussing, and the room pillars were again picked out by LED up-lighters which were supplied by Shok London.
All the stage lighting was supplied by White Light and operated using a grandMA light and a Chamsys MagicQ console.
Audio was supplied by Matrix 9, and Blackout also supplied and did all the rigging.