Tag: eventproductiontechnology

Top 5 New Gadgets and Technologies We re Excited For As Event Managers

BACKSTAGE, EVENT COLLATERAL, EVENT INDUSTRY, EVENT PRODUCTION TECHNOLOGY, EXPERIENTIAL, MOBILE MEDIA

Earlier this year, Las Vegas played host to the largest tech conference of its kind, the Consumer Electronics Show 2018, or CES 2018 for short. The event showcases technology and cool gadgets, both real and conceptual, entering into the consumer realm. Here at Decibel Management, we re also excited to embrace (and play with) new technology and see how we can implement it into the world of event management. We paid close attention to the news coming out of CES this year as well as other tech markets and here are some items we are looking forward to seeing change the events game.

1. Samsung s The Wall Television

Come on. This is an easy one. A 146-inch micro-LED screen that is adaptive to its surroundings and has nearly endless customization features? Yes please. The Wall allows you to change the size and shape of the display, making customization of visuals and presentation limited only to your imagination. It can also mimic the area it is mounted to, allowing it to disappear from view or allow for more focused areas within the screen. Visuals are a fantastic way to gain engagement and attention at events and The Wall has the size for both main stage focus  and the discreetness for professional and intimate settings. Price tag: don t-care-we-want-one USD.

2. Laptop/Tablet Combo Computers

Going to be honest. We don t think combo computers is the official name for these devices, but we liked the way it sounded. Essentially these are laptops that can convert and fold over to function as a touchscreen tablet. While this technology has been around for a few years, it is only now actually being perfected and made to be less clunky. Take Dell s XPS 13 2-in-1 for example. It has a sleek design, is responsive and has great battery life. As event managers we are running around, like constantly. Being able to work on the go, while standing, lying down or trapped in a shipping container is essential and the 2-in-1 technology is making that easier. Now if only Apple would get on board.

3. Projection Phones

The headline says it all. These are phones that can project videos, pictures and media onto any surface. Again, small projection devices have existed for a few years but they are just now starting to live up to expectations. Look at the Movi Phone unveiled at CES 2018. It s an Android smartphone that can project in beautiful 720p. Granted that s no 1080p, but come on it s literally shooting out of the back of your phone. As event managers, being on the road and having to respond quickly comes with the territory. Projection phones allow giving on the fly presentations or adding quick visuals to a space easy and relatively affordable.

4. Augmented & Virtual Reality Technology

Augmented and virtual reality is on the rise in 2018 (or at least Steven Spielberg hopes it is) and has the potential to have a significant effect on the events industry. For the first time ever you don t actually need to attend an event in order to be there. Hell, there doesn t even need to be an actual event space anymore. Just strap on your virtual reality gear and suddenly you re at the Bellagio for your company s sales conference. The best part is that the equipment for this technology is pretty affordable too, with many AR and VR devices only costing a couple hundred dollars. Don t get us wrong, we believe there is no substitute for true in-person engagement, but we are excited to see how this new technology will change the industry. At the very least it could make the conference calls between our D.C. and NC offices a little more entertaining

5. Wireless Charging

We know. Charging your device does not sound as sexy as a 146-inch high-def modular TV from the gods (please someone buy us The Wall ) but it s a great example of a subtle technology that will change our lives as event managers. Companies like Powercast and Energous have developed technology that allows your devices to be charged wirelessly .THROUGH THE AIR. Imagine never having to be tethered to a wall again while
you re late for a presentation but you need to send out that one last email so you don t get fired and oh God your kid s school is calling now, damnit what did Billy do this time. Well, this scenario could soon be a thing of the past, well at least the being tethered part, Billy is still a monster. At Decibel, we are seriously excited at the prospect of an entire event space being charged. All the attendees no longer having to fight over the two outlets in the venue, everyone happily snapping pictures, sending emails etc. while throwing caution to the wind over their power bar levels. Ahh.

Honorable Mention: Self Delivering Pizza Trucks
It s a thing now and we don t think this requires an explanation. Just hurry up and get to Washington, D.C. already.

Audience Engagement: A Trend To Watch Literally.

BACKSTAGE, EVENT COLLATERAL, EVENT INDUSTRY, EVENT PRODUCTION TECHNOLOGY, EXPERIENTIAL, MOBILE MEDIA

While 2018 may only be in its infancy, we have already seen some amazing productions take place. The first few months of this year have played host to some of the largest global events in the industry. One trend we here at Decibel Management are seeing consistently is how planners have up d the game for audience engagement, but not just for those in attendance, but rather those viewing at home.

The Super Bowl:

Polls show that 92{04d9822e7d95da125d508d8e1efbcf2edc79acd8aec1f0bbdcbd6a6f684f9bb3} of Super Bowl views can t even name the two teams playing in the game (not a real stat). But let s face it, most of us just watch for the commercials and to have an excuse to gorge yourself on various batter & sauce covered foods. That s why the people behind the Super Bowl are always looking for ways to have viewers turn the sound back up on their TV once the commercials are over. This past year marked Super Bowl LII (that s 52 for those of us who forgot our Freshman year Western Civ lectures) and the producers brought in a big hitter for the halftime show. None other than JT himself, Justin Timberlake. While many viewers may have watched the half-time show in hopes of another wardrobe malfunction , unfortunately, Janet Jackson s invite was lost in the mail. However, the production teams came up other tactics to make viewers feel like they were right there in the mix. Much of the halftime show was shot at ground level in single shot format, the camera moving around the field with Timberlake, resulting in a viewing experience designed to make you feel like you were in the stadium walking alongside. The icing on the cake came towards the end of the performance when Timberlake entered the stadium s seating area to dance and sing with those in attendance, thus helping to further remove the wall between performer and audience. We even got a new meme out of it! #selfiekid

The 2018 Winter Olympics In Pyeongchang:

The Olympics are notoriously difficult for producers. Whether it s the time differences (this year saw a nearly 12-hour gap for the US East Coast and Pyeongchang) or viewers lack of interest in hurling a rock down an ice rink and sweeping it along. There are many hurdles to overcome when coming up with strategies for this event. NBC had an interesting tactic for this year s games Quantity. NBC live-streamed a record-breaking 1,800+ hours of coverage, including every single event, over 100 medal events and 24/7 news and highlights, almost doubling their coverage from the 2014 Winter Olympics in Sochi. Viewers had more access and viewing options to this global event than ever before, making the Olympics feel more accessible and approachable. So sorry to all the chumps who bought round-trip flights to South Korea, chances are the fans at home got way more Olympic intake than those in attendance. Which is great news if you love shooting guns while cross-country skiing.

The Academy Awards:

The Oscars have seen declining viewership in recent years. The 2018 Academy Awards saw the lowest ratings ever. Yep. EVER. It was the least watched Oscars broadcast since their inception, down a whopping 19{04d9822e7d95da125d508d8e1efbcf2edc79acd8aec1f0bbdcbd6a6f684f9bb3} from just last year. I mean, who doesn t love a four hour ceremony of celebrities thanking themselves. However, while viewership may be down amongst this event that many people see as being out of touch or unrelatable, it s not for lack of trying. This year s awards included a segment where host Jimmy Kimmel surprised a theatre full of unsuspecting movie-goers with a who s who of celebrities handing out snacks and talking with the audience. You see, THEY RE JUST LIKE US! The Oscars team also attempted to poke fun at themselves a bit, by having a jet-ski giveaway for the recipient with the shortest acceptance speech. While elements like these work to remove the barrier between Hollywood and the audience, it s clear the Academy Award producers face an uphill battle if they want to get back to where the ratings used to be. Our vote: host the next ceremony at the Super Bowl halftime. It ll be a win-win.

With all this emphasis on audience engagement for those not in attendance, we are interested to see how this could have an effect on live event production moving forward. New tech and production techniques are making it easier and more cost effective to have offsite attendees.  As an event management team, we believe there is no substitute for in-person impressions, but this is definitely a trend we ll be tracking and embracing.

Negotiating Event Contracts In a Post-Covid World

COMPANY NEWS, EVENT INDUSTRY, EVENT PRODUCTION TECHNOLOGY, LIVE EVENTS, NEWS, TIPS & TRICKS

Les Goldberg talks with Cindy Lo from Red Velvet, Tim Glanzer from Elevated Meetings Solutions, David Sonntag from Decibel Events and Wendy Drake from The Webster Group about negotiating the contract in a post-Covid world.

NBC s Olympics The Technology Behind The Triumphs

EVENT INDUSTRY, EVENT PRODUCTION INSPIRATION, EVENT PRODUCTION TECHNOLOGY, LIVE EVENTS, NEWS, PRODUCTION

With 180 commentators covering over 7000 hrs of footage, NBC s coverage of the Tokyo Olympics was the largest of any media organization. While relying somewhat on the Olympic Broadcasting Service, NBC also provided a lot of its own infrastructure and team, including over 3000 employees across the world, and dozens of broadcast booths both in Tokyo and their American base in Stamford, Connecticut. 

Source:Twitter/PlanarSystems

The Raw Numbers

NBC s 2021 effort included:

• 8,000: Number of miles that the Rings Across America marketing activation will drive across the country
• 7,000: Total programming hours across NBCUniversal
• 6,745: Miles between Stamford, Conn., and Tokyo, Japan
• 5,500+: Hours of coverage across NBC Sports Digital platforms (NBCOlympics.com and the NBC Sports app)
• 1964: Year that marked NBC s first-ever coverage of an Olympic Games for the Tokyo Olympics
• 1,800: Approximate number of domestic-based NBC Olympics employees
• 1,600: Approximate number of NBC Olympics employees on-site in Tokyo
• 180: Number of commentators on NBC Olympics talent roster
• 41: Number of sports that will be contested in Tokyo, comprising 339 medal events
• 28: Broadcast booths located at NBC Sports International Broadcast Center in Stamford, Conn.
• 17: Consecutive nights of primetime coverage on the NBC broadcast network
• 13: Number of hours Tokyo is ahead of the U.S. Eastern time zone
• 4: Production trucks based at NBC Sports International Broadcast Center

Source:Twitter/SVG_Brandon

The Technology Behind The Visuals

It may be surprising to learn, but the technology used to film NBC s Olympics coverage has the same brand logos you d see on our own camera equipment. NBC partnered with a number of camera companies but relied heavily on Sony for its state-of-the-art 4K digital cameras that could stream directly to their base at the press center. Over a hundred Sony cameras were used throughout the weeks, and were complemented by thousands of sony monitors for viewing at events, in the broadcast center, and back in America.

Of course, while enjoying the best in digital video capturing from Sony, NBC also recognized that the best lenses for their cameras may not come from the same company. Instead, they reached out to Canon, who supplied them with next-generation UHD lenses, the only of their kind to allow for long-zoom fieldwork.

At Decibel Events, we have yet to have the opportunity to implement underwater cameras or dozens of concurrent 4K systems. However, we are strong believers in ensuring the technology we use is right for the task at hand. With a large inventory of equipment and trusted rental partners we can rely on for unique projects, we always bring the best event technology including sound, video, and lighting for your needs.

Now That s A Lot of Data!

NBC s main broadcast center in Stamford is the primary center for editing and production before much of the Olympics coverage went to air, which required dozens of hours of high-definition video to be sent across the globe every day. Imagine downloading all of Netflix every day and you wouldn t get close to the data they moved. For this, NBC relied on Signiant intelligent file transfer software for low latency transfer. 

With more audiences tuning in online than any Olympics before it, NBC partnered with Amagi to make streaming possible through NBCOlympics.com. Amagi also provided help to seamlessly connect this new site with Peacock streaming services and normal broadcast services.

While your events will not *likely* need the sort of data streaming that the Olympics do, it is within your reach to have online viewers partake in the experience as well. Here at Decibel Events, we are experts at combining live and online experiences, and develop bespoke platforms to showcase your speakers both in real-time and on-demand. To learn more about how we do it, check out how we approached the 2020 National Book Festival as it went online-only. 

Source: Twitter/sportsvideo

The Olympics would be impossible to organize, except

There are some incredible technological solutions when it comes to organizing massive events. For NBC, the solution came in the form of Xytech s ScheduALL. Having worked with NBC for the last eight Olympics, they knew the system would work perfectly to manage video router assignments and satellite uplink scheduling, pass information to downstream systems, and facilitate on-air coverage for each feed. 

Without strong management systems and experienced leadership, organizing with hundreds of employees, event staff, and vendors would be impossible. Like NBC, we believe in tailored solutions. Decibel Events has long perfected our own management systems to ensure the smooth running of events large and small.

NBC s coverage of the Tokyo Olympics may end up in the record books. With a global pandemic and greater support from Olympic Broadcasting Services, over three hundred events were watched by more online viewers than any previous sporting event ever. While your event may not be of the same scale in terms of cameras, or viewers, that doesn t mean you can t expect the same level of quality in film, production, or organization. By having the same strong belief in quality technology and event management systems that NBC had for the Olympics, Decibel Events can offer you the same quality of coverage for your events.

Setting the Stage for NBC s Tokyo Olympics

EVENT DESIGN, EVENT INDUSTRY, EVENT PRODUCTION INSPIRATION, EVENT PRODUCTION TECHNOLOGY, PRODUCTION

While much can be said about the technology and logistics behind NBC s coverage of the delayed 2020 Olympics, more could be said about the incredible work performed by the set designers, those geniuses at HD Studio, Planar, and Blackwalnut. The people behind the sets of Fox Sports, The Late Show with Stephen Colbert, and the last few Olympics came back again to produce a set full of natural beauty.

Source: Twitter/planarsystems

The day the designers of the NBC set finished their work and were about to send it to fabricators was the same day they were told the Olympics were to be delayed. Not just delayed, but changed in such a way that most of their ideas would no longer work. Sets had to accommodate for a pandemic, and strict safety guidelines, while being adaptable enough to handle any major change occurring during the three weeks of live broadcasting.

While other media groups kept their sets at home during the pandemic, NBC found space to create a number of inviting sets to use throughout the three weeks. While the International Broadcast Center (IBC) was home to two studios designed for Peacock and Twitter streaming, the set that had everyone excited was the beautiful outdoor creation for host Mike Tirico.

This deck set was, in fact, the roof of the Hilton Tokyo Odaiba hotel. Aesthetically the set took advantage of the incredible Tokyo skyline, which included its own Olympic rings, and reflected an unrestrained celebration of sport. In a time of claustrophobic lockdowns and empty stadiums, it presented us with life.

Source: Twitter/sportsvideo

On a more logistical side, the open-air and large sets also provided far fewer restrictions when ensuring safety guidelines were followed to protect all staff during this concerning pandemic. At the time, guidelines still required athletes to remain two meters away from presenters, and presenters a meter apart. With good lighting design and blocking, however, this rarely appeared to be the case for those watching at home.
In this lies the true genius of NBC s set design; an aesthetically pleasing set hiding great practical considerations.

The three sets took inspiration from the country s own presentation at the closing of the previous Olympics, employing light-colored woods and lattice patterning that allude to the world-renowned architecture of Japan. While real wood could not be used, the traditional colors and texture of native trees were chosen those of the Yew and Cyprus specifically.

The lattice also had a secondary effect. According to Newscaststudio, it appealed to the designers at HD Design because if the camera moves, the layers cause movement from a geometric standpoint.

To ensure proper social distancing without an effect of alienation, seating and tables were designed to be open and light, while cameras would play with perspectives to help commentators appear closer.

A fourth set seen for only a few events happened during the one event you should always expect with a live setting a storm. In the cleverly adapted ballroom of the Hilton was laid a dark indigo rug with the logo of the Olympics. Using the same wood-colored paneling, and little else, the design team created a set that was both quick to assemble and appeared to match the originally designed studios elsewhere.

Source: Twitter/planarsystems

The sets for NBC s Olympics coverage may have been minimalist in design, but they were carefully chosen. Background lighting and screens were often found to include hues of aizome, a distinctly Japanese shade of indigo. Internal sets had a curved backdrop to offer a sense of closeness, while the rare set-piece would be a native plant, reminding us of the natural element to the sporting competitions.

A relatively new addition to these sets wasn t ever in the studio, though. Instead, producers took advantage of augmented reality graphics, powered by Ross Video s Voyager. Using Unreal Engine and Stype, they were able to produce live, virtual screens that appeared to float comfortably beside presenters. A far cry from the green screens of old, the simple design of the set was all the backing they required.

An empty stage or black box can sometimes be an effective platform, but often it appears instead to be evidence of a lack a lack of care, a lack of budget, or a lack of creativity. Professionally designed stages that reflect the themes and values of your event do not have to be flashy, or expensive. Nor do they have to be inhibitive to presenters, audiences, or budgets. Decibel Events can help you design stages that are both functional and aesthetic, to be praised by presenter and audience member alike.

Tokyo Olympics By the Numbers (for Event Geeks)

EVENT INDUSTRY, EVENT PRODUCTION INSPIRATION, EVENT PRODUCTION TECHNOLOGY, LIVE EVENTS, NEWS

The Tokyo Olympics may be the largest audio-visual event to ever be broadcast around the world. With many events running without live audiences and even family members of competitors having to stay home because of the pandemic, Olympic Broadcasting Services (OBS) were faced with one of the greatest challenges ever to offer a production as immersive as being there yourself.

And oh, how they have risen to the challenge. With the latest advancements in audio-visual technology and a massive team of talented people, the OBS provided a way to experience the 339 individual events in a way never before seen.

A Quick Glance at Impressive Numbers
The numbers almost speak for themselves; for the biggest broadcast, the Olympics have ever seen, OBS used an infrastructure larger than any other.

• 9,500+ estimated hours of content produced by OBS
• 3,800 4,000 estimated hours of sports and ceremonies
• 118 HD contribution multilateral feeds
• 68 UHD contribution multilateral feeds
• 76 HD distribution feeds
• 44 UHD distribution feeds
• 31 Outside Broadcast (OB) vans
• 22 fly-away systems
• 1,049 camera systems
• 210+ slow-motion cameras
• 250 minicams
• 18 cablecam systems
• 27 tracking camera systems
• 37 jibs and cranes
• 3,600 microphones

[Image: The Tokyo OBS Media Center, Source: Instagram/@@_markpickering]

Looking closer, however, we come to realize how OBS built a system through careful decision-making, great staff, and the best technology available.

The Highest Quality Images Ever

For the 2016 Rio Olympics, we got to see high-definition video playback of all our favorite events. For 2021, we got 4K and even 8K cameras, offering over four times the quality of those pictures from only five years ago. These were captured by over 1,049 camera systems, 27 tracking camera systems, and 37 jibs and cranes. These include cameras connected to cars, flying besides runners, and even underwater. Between them, they covered dozens (and sometimes hundreds) of perspectives for over 4000 hours of content (which will later be edited and produced to double that number).

[Image: Olympic Broadcasting Services Cameraman. Source: Wikicommons]

An Immersive Experience

The OBS didn t settle for simply the sharpest images available. Nor did it settle with the 5.1.4 surround sound (which captures sound vertically from four extra perspectives). No. In 2021, the OBS also captured images and other data for audiences that we haven t experienced before.

For the first time ever, the Tokyo Olympics included Live and on-demand immersive 180 stereoscopic and 360 panoramic coverage. From AI that produces 3D modeling at the gymnastics to vital sign monitors that show the heart rate of archers, the Olympic Broadcast team offered us an immersion beyond anything we could expect while sitting in the stands.

[Image: A golf tournament can take dozens of cameras to capture. Source: Twitter/@@GarageUganda]

[possible video to use as alternative:https://video.twimg.com/tweet_video/E7YrqiRX0AElink.mp4 Source: Twitter/@@AtPeterHayes]

Live Streaming with 5G

When you talk about high-quality images, you end up talking about large amounts of data. The minimum streaming bandwidth for 4K cameras is around 25Mb/s, over the typical bandwidth available on 4G. With up to 64 streams entering the main center at any one time to be processed before being added to the OBS cloud, the infrastructure required has to be massive!

That is why OBS partnered with Alibaba and uses its own next-gen 5G network to process and release thousands of terabytes of data to its partners every hour.

[Image: OBS Contribution Distribution Unilateral Room. Source:alibabagroup.com]

The Best Events Team in The World?

Of course, no event recording succeeds without a strong and competent events management team. While the planning group comprises 166 people from 30 nationalities, the number of employees during the Olympics ballooned to over 8100. These included cameramen, gaffers, sound engineers, editors, producers, and drivers. Believe it or not, 120 employees dedicated their days simply to labeling footage to be used; these people were even so busy that they employ AI to help them!

[Image: The Olympic Broadcasting Services Team is already working on Beijing. Source: Twitter/@@YiannisExarchos]

Can I have Olympics Level Coverage at My Event?

Let s be real. You don t need this level of coverage. Very few live events outside of the Olympics do. However, most corporate live event managers don t realize that a lot of the experiences Olympic audiences view can actually be reached within their budget. Here at Decibel Events, we work to provide this level of production in all of our event productions. From our live event broadcast production with live streaming from multiple cameras and perspectives, to IP cloud integration, and from design through execution.

Want to see more? Check out the 2021 National Book Festival this September to see our work in action including both live and virtual audiences. We have been the Event Agency of Record for over a decade, and also work with other corporations on their large-scale events and meetings to bring them this level of production and to give them the opportunity to have global-level productions at a budget they can afford.

Crowd Dynamics: How to Prevent Crowd Crush Through Proper Planning

Backstage, event design, event industry, event production inspiration, event production technology, everything else, live events, news, tips & tricks

Typically when you notice an old blog post of yours trending, it s a good thing. In this particular case it s actually just devastating. Back in 2015, our team at Decibel posted a blog titled Crowd Dynamics: How to Prevent (and Survive) a Human Stampede or Crowd Crush. At the time, we were reviewing the New Year s Eve stampede in Shanghai, and the Germany Love Parade disaster of 2010 to learn how best to plan for and avoid these types of tragedies at events. With the recent event disaster at Travis Scott s Astroworld concert, this post gained more traction as people searched to find out how something like this could happen. While the documentary and information on this post is still relevant, we thought it important to revise with current information, regulations and best practices.

As many of you know, Houston is my second home. While Decibel did not have a role in the planning or production of Astroworld, we do want to take the opportunity to present key learnings and provide best practices for our clients as they plan their events. What we will not do here is place blame, accusations, or conclusions for this particular event. There will be a time and place for that, but it is too early in the process to have any comment on this particular event before the investigations are complete. However, we firmly believe that no event should lead to an avoidable death or injury if it is planned correctly. So there will be many lessons learned here, and I am sure there were mis-steps along the way that could have telegraphed this in advance. This is avoidable, full stop.

Safety First Mindset

I will start by stating that at any large scale event, there needs to be a safety-first mindset. At Decibel, we are members of the Event Safety Alliance, and we recommend looking into the safety mindset and track record of all vendors and promoters. For crowd management, there is a industry standard protocol for the planning of large scale events. This is covered in the American National Standards Institute document ANSI ES1.9-2020. You can download a sample here, and the entire document will run $40 from ANSI. We HIGHLY recommend reading and following this protocol on your events.

Plan

When producing large scale events, the plan is key. These scenarios must be anticipated, and a plan of action must be in place, in writing. This needs to be agreed by all principal teams onsite as to when this will be executed. In this scenario, the plan causes the action when certain criteria are met, and the human element is minimized in the heat of the moment.

One great example of this is our High Wind Action Plan that we at Decibel have in place for outdoor events. As the wind increases and hits certain speeds, there is a written plan as to what action is automatically triggered. Once we hit the max speed, a full evacuation is in place. There is no real-time conversation or discussion needed. It is pre-determined based on safety and stage tolerances and is set to execute. This saves time, limits discussions, and ultimately leads to lives saved. This scenario can also be in place for crowds as they get energetic, as crowd crushes begin and as the situation reached a danger level.

For crowd specific planning, this document focuses on the DIME-ICE matrix for analyzing risks and managing crowds. This stands for Design, Information, Management, Expectations, Ingress, Circulation, Egress. This is a great explanation of how to asses and plan for crowds. We highly recommend reading and following this matrix as you plan your events.

Sample DIME-ICE matrix during Normal conditions. For illustration purposes only. Your matrix must be based on the circumstances of your event.

Venue Design

Safe venue design is paramount when developing your layout. Through this safety-first mindset, you can do your best to mitigate crowd crush and provide egress for participants. This is as important for outdoor events as it is for indoor events.

This is certainly one of the elements that will be reviewed in the Astroworld venue layout. One way of separating the crowd is through the configuration or design of a T-shape dividing the crowd to stage left and stage right sections. A few other aspects to consider. It is important to avoid 90 degree interior angles, as turns should be rounded- this avoids compressive corners. Also, the more separate corrals or split viewing areas with ingress and egress will help divide the crowd, as well as allow medical and staff to arrive at emergencies as needed. I am sure CADS and layouts will be released in the investigation and I am curious as to how this was initially set up.

Image of Stage Barrier T Shape Design

Communications

Aside from pre-planing and venue design, I really feel that communications are paramount when it comes to safety. At large scale events, cellular coverage can never be relied upon for any emergency. At Decibel, we bring in large amounts of radios for our events, and add repeaters as necessary.

Radios for Communication on Large Scale Event

Teamwork:

Finally, teamwork is important. You can plan, design and communicate to your hearts content, but if all of the teams are not working the same plan, are not working together, all the rest can fall apart. This is one of our strongest attributes at Decibel- we put team above all else and it shows in our productions.

Other Considerations:

Covid and general attitudes are something we are really keeping our eye on as we emerge from this pandemic. After being in lockdown and distanced for two years, the energy of the crowd needs to be taken into account. This will be something to continue to reassess and review as we receive more data. But in addition to the interest of getting back in person, the energy of being around and excited, there is also a wave of aggressive behavior across the board. We are seeing this in the air and at restaurants, at businesses and at town hall and PTA meetings. Decorum has really taken a back seat with some individuals. I do not have a solution here, but it is important to keep an eye on in the coming months as we get back to events.