MAY | AGENDA
My whole timeline is practically taken up
by people stressing over what to wear @
Parklifefest. I’ll be in jeans and a black
t-shirt as usual #Parklife19
@Sacha_Lord
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All fired up: live event effects training
TESS and Quantum SFX have rolled out a new
one day ‘Live Event Effects’ training course.
The inaugural event took place on 23 March,
examining how to safely integrate special
effects into a live event environment, whether
it be pyrotechnics, flames, confetti or fog.
The new course combines the technical
expertise of Quantum SFX with the safety and
event knowledge of TESS to create training to
empower people with exactly that knowledge.
The course content is shaped by Quantum’s
experience designing and creating
pyrotechnic special effects at music, sporting
and cultural events such as Reading Festival,
Robbie Williams tour, Rugby World Cup Final,
The X Factor and the famous ‘ring effect’ at the
London 2012 Olympics opening ceremony.
The inaugural one day ‘Live Special
Effects’ course took place on site at Quantum
Special Effects headquarters, and combined
classroom learning with hands-on activities.
“We’re not trying to teach people to be effects
technicians in a day,” explains TESS director,
Tim Roberts “but people learn much more
through their hands – and it’s always fun to
set fire to stuff!”
The first day was attended by Devon &
Somerset Fire and Rescue officers, production
management from Festival Republic and a
clutch of safety professionals looking to hone
their skills.
Further courses are planned from May
onwards. Contact info@eventsafetyshop.
co.uk.
Top tips from Quantum SFX
1. Respect the effect!
2. APE:
Audience distance
Performer distance
Effect distance
3. Conduct constant live assessment
4. Question the protocol and how the effect
may influence procedures
5. Plan for your environment: Weather? Venue
Constrains? Local Authority criteria?
Questioning PPL
NTIA’s CEO Michael Kill queries
the PPL Tarriff increase
Following the new tariff increase
release, we question how this
organisation expects to lift the
Tariff from 1 July this year to
4p PHPH of capacity rising to
9p PHPH of Capacity 2023. It is
outrageous to think this could in
any way be reasonable.
The bigger questions are
that we are aware that Media
and Online Playlists can be
tracked, giving absolute data in
terms of registered music, but
venues, events and festivals are
not tracked. So how do these
organisations determine what
music is played? And who gets
paid? What happens with the
money that is unclaimed? If you
are an unsigned artist or not
registered with either body but
are having your music played?
How do they get paid?
Speaking recently at a working
group in Bristol, the view of over
90% of the Operators within the
room placed the proposed PPL
SFE Tariff Increases as Business
Critical. So why is PPL hiding
the real issues surrounding the
tracking of Royalties? Time to
question why we are paying
for music based on footfall
per hour when there is a clear
shortcoming in terms of how
much of the music played is
covered by the membership of
PPL/PRS?
Join us to petition against
this recent rise in SFE Levy from
PPL - It is unreasonable and will
reduce the number of cultural
spaces, as well as undermine
the new music in this country in
terms of artists financial support!
#PaidtoPlay
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