Standards News

Twelve draft standards in public review

USA - Twelve public review action items came out of the recent July Technical Standards Programme working group meetings held in Westlake, TX, where over 160 attendees across ten discreet working groups came together to keep our development process moving forward. These public reviews will all run for 45 days, ending on 26 September.

Three draft standards originate in the Rigging Working Group:

BSR E1.1, Wire Rope Ladders

This standard describes the construction and use of wire rope ladders in the entertainment industry. Wire rope ladders are distinguished from other ladders by having flexible rails. They are used in applications where ladders with rigid rails are impractical to use, or where a rigid ladder would pose a greater danger to the user or other workers in the area. ANSI E1.1‐2018 is being revised to update references and technology. 

BSR E1.43, Performer Flying Systems

This standard establishes a minimum level of performance parameters for the design, manufacture, use and maintenance of performer flying systems used in the production of entertainment events. The purpose of this guidance is to achieve the adequate strength, reliability, and safety of these systems to ensure safety of the performer, other production personnel and audiences under all circumstances associated with performer flying. ANSI E1.43‐2016 is being revised to reflect changes in technology and referenced standards. 

BSR E1.50-1, Requirements for the Structural Support of Temporary LED, Video & Display Systems

This standard covers the support of temporary installations of large format modular display systems, LED, video and other self‐illuminating display structures not otherwise addressed by existing standards. The scope of this standard includes planning and site preparedness, assembly and erection, suspension and safety of components, special access requirements, use and dismantling of these systems. ANSI E1.50‐1 ‐ 2018 is being revised to reflect current technology and practices in the industry. 

One draft standard comes from the Floors Working Group:

BSR E1.76, Tension Wire Grids

This standard for wire rope tension grids will cover design and application criteria including the loading, self‐weight considerations, transitions between levels and suspension from structure. The standard will provide deflection criteria for both structural elements and the woven mesh. The standard will offer guidance on the size of openings, including trap doors and bays similar to loft‐wells. The standard will provide requirements for hand rails and consideration for other accessories such as stage lighting battens. 

Two more draft standards of a series originating in the Event Safety Working Group

BSR ES1.2, Event Planning, Management, & Major Incident

This standard describes a process for event organisers and supporting staff to create and implement event‐related plans for health and safety management. This process includes a framework, guidelines, and recommended practices that can be used to reduce risk as much as reasonably practical and to respond appropriately when an incident occurs. 

BSR ES1.5, Event Safety – Medical Preparedness

BSR ES1.5 helps identify the steps necessary to create a reasonable level of protection from medical hazards that can be created by, exacerbated by, or cause effective treatment delay as a result of, the unique challenges and circumstances presented by the special event environment. Its scope includes the assessment of specific medical hazards and also addresses the potential impact to local medical services, which may be temporarily impacted by the specific needs of the special event. 

Another hat-trick of draft standards from the Stage Machinery Working Group:

BSR E1.42, Safety Standard for Entertainment Lifts

This standard is a revision of ANSI E1.42‐2018 Entertainment Technology ‐ Design, Installation and Use of Orchestra Pit Lifts. Stage and orchestra lifts are specifically excluded from ASME A17.1 Safety Code for Elevators and Escalators. The previous version of E1.42's scope was limited to orchestra pit lifts. This revision expands its scope to include stage lifts and other similar lifts, as well as lifts used temporarily for a single production. These lifts have widely varying requirements and operating conditions. Procedures for risk assessment and risk reduction have been added to accommodate these conditions. As a result, many sections have been reorganised and renumbered. To reflect the increased scope and more closely follow ASME A17.1, the title has also been changed to Safety Standard for Entertainment Lifts. 

BSR E1.64, Stage Machinery Control Systems

This standard establishes minimum requirements for the design, manufacture, installation, commissioning, inspection, operation and maintenance of machinery control equipment in the Entertainment Industry including equipment that is used in production, touring, and temporary or permanent installation. 

BSR E1.71, Powered Curtain Machines

This standard establishes requirements for the design, manufacture, installation, inspection and maintenance of machines intended solely for the movement of curtains for performance, presentation and theatrical production. These requirements would apply to machines that provide movement of fabric in any direction, irrespective of their mounting location. This standard does not apply to the structure to which the machine is attached, or to machines such as those used for fire safety curtains or for performer flying, which are covered by other existing standards. The provisions of this standard are not intended to prohibit any design, materials, or methods of fabrication, provided that any such alternative is at least the equivalent of that described in this standard in quality, strength, and effectiveness. 

One draft standard from the Control Protocols Working Group

ANSI E1.31, Lightweight streaming protocol for transport of DMX512 using ACN

ANSI E1.31 ‐ 2018 describes a mechanism to transfer DMX512A packets over a TCP/IP network using a subset of the ACN protocol suite. It covers data format, data protocol, data addressing and network management It also outlines a synchronisation method to help ensure that multiple sinks can process this data concurrently when supervised by the same controller. It includes support for IPv6 as well as IPv4. It is being considered for reaffirmation because no revisions are necessary. 

Control Protocols 

Another draft standard from the Fog & Smoke Working Group

BSR E1.23, Design, Execution, and Maintenance of Atmospheric Effects

E1.23 offers advice on the planning, execution, and maintenance of theatrical effects using glycol, glycerin, or white mineral oil fogs or mists in theatres, arenas, motion picture studios and other places of public assembly or motion picture production. The guidance is offered to help effects designers and technicians create effects that can be executed repeatedly and reliably and so that they can avoid excessive exposure to the fog materials and other foreseeable hazards. This revision adds a requirement for a short summary of the measures being taken to assure reasonable safety and to add advice about ventilation and carbon dioxide fog-blast effects. 

Fog and Smoke 

One to withdraw from the Photometrics Working Group.

ANSI E1.48 – 2014 (R2019), A Recommended Luminous Efficiency Function for Stage and Studio Luminaire Photometry

This standard is being withdrawn because it is rarely used. 

All of these documents are available from ESTA’s TSP Public Review Documents download page, found at Return the public review form and any comments you may have before 26 September 2023.

15th August 2023

Martin Audio US announces first two-day optimisation training workshop

Martin Audio US announces first two-day optimisation training workshop

USA – Martin Audio US has announced a two-day training workshop, specifically designed to familiarise customers and partners with the art of line array optimisation. This is achieved using its proprietary DISPLAY system design and prediction software, and associated Vu-Net control and monitoring software first introduced to provide advanced and unique control of its MLA multi-cellular PA.

The event will take place at the HQ of event technology specialists, Alford Media, 296 Freeport Pkwy, Coppell, TX 75019 on 3 and 4 August, commencing 10am on each day.

Supporting both MLA, the next generation Wavefront Precision optimised line array systems and TORUS constant curvature arrays, the course is aimed at everyone involved in design or deploying these systems. Attendees are promised in-depth training in system design, optimisation software, rigging and control, as well as refreshments throughout.

According to Lee Stein, Martin Audio VP North America, the original idea had come from Alford Media themselves. “We received a request from Alford to conduct optimisation training for their own employees, but also for other potential users.

“It is our mutual goal to increase the level of knowledge in the market and the number of knowledgeable users as we often get requests from our partners for ‘certified’ engineers to support our systems, especially as we have seen very strong adoption of Wavefront Precision as a solution in both the production and installation markets.”

Added Brad Stephens, director, Strategic Projects & Consultant Relations: “Alford, like most production companies, have a long list of freelance engineers/techs that they hire to supplement crews. It is our mutual desire to get more of this freelance talent pool in the north Texas area trained on Martin Audio systems. It makes Alford’s life easier having people really understand the gear they own, and of course promotes awareness for us.”

“We’re now experiencing a huge demand for training, and this two-day package is a perfect way to get interested parties up to speed with the optimisation and control of our strongest live sound line-up,’ agreed product support engineer, Joe Lima.

In summary, Lee Stein said: “It has long been our goal to conduct training like this on a regular basis, and I see this as a first step in doing so.”

17th July 2023

Martin Audio leads the way in on-site university training

Martin Audio leads the way in on-site university training

UK – One development starting to impact our industry in a post-COVID world is the growing commitment to training at grass roots level.

Typically ahead of the curve in that regard are Martin Audio, whose complete systems, software and control have been touring selective universities this spring. The idea was the brainchild of Martin Audio product support engineer, Paul Connaughton, who proposed the move shortly after joining the company 18 months ago.

“Everyone agreed it was a good idea, especially after the pandemic where we saw a huge drop in numbers with regard to skilled workers, crew and suppliers,” he said. “It is extremely important that we not only support future users but also the courses and educators on the ground to help supplement the training and education that is provided within the wider industry.”

This will ensure educators, course providers and employers have access to all new avenues available for effective staff recruitment and that graduates enter the industry with a wide knowledge base of practical product implementation.

His clear objective in designing the course was to make training resources more accessible. “We will then offer application-specific learning to run alongside these courses, as it is important, they understand how Martin Audio systems work, and are able to deploy and use these correctly when working within the industry.”

The main product focus for Connaughton has been Wavefront Precision. “Where possible, we are working with rental partners, not only to give training but also to create those networking connections to local companies and employers; this will only benefit all parties.”

The take-up from universities has been hugely impressive. The first phase has seen the support engineer visit 12 establishments, culminating in The Royal Conservatoire of Scotland and Belmont University in Nashville. “They are travelling from the US to spend a day at HQ to complete training and a site visit as part of their pro audio manufacturer training.”

Others have included ACM Guildford, dBs Music Bristol, Leeds Beckett University, ACM Birmingham, BOA Birmingham, University of South Wales, Nottingham Trent Confetti, Liverpool Institute for Performing Arts, dBs Plymouth (where Paul was originally a lecturer), Spirit Studios Manchester, Gloucester University and Southampton Solent University. A further 15 universities are already looking to schedule dates for the next academic year.

“All universities jumped at the chance to work together as experiences like this are just so hard to find in education,” he continues. “The time that learners are able to get hands on with equipment and engage in discussions with regard to software, electronics, equipment, etc are invaluable. These really help to make this more than just a day of manufacturer training.”

The course itself also covers the practical use of DISPLAY software, focusing on optimisation and coherent design. This is followed by rigging and hardware, including cabling, workflow, electronics, power supply “and pretty much everything that comes with knowing how to set up and deploy a Martin Audio loudspeaker system.” The journey then shifts into control territory where amplifiers are connected to a computer network for control via the proprietary VU-NET control software. This is followed by time alignment to ensure the system is phase coherent, and finally a listening session combined with the use of DISPLAY to show the effect of Audience Coverage versus Hard Avoid function.

Martin Audio is now in the process of developing an accreditation system to work alongside partners to develop a training module that can be delivered by both them and the local rental supplier or integrator. Completion of the one-day university training will prepare students for the full two-day official training at Martin Audio, where they will gain further experience.

In summary, Paul Connaughton says he is delighted with the way in which this initiative has initially been received, born out by the many positive testimonials he has received. “The visits to date have been a great success, and we are already planning new sessions beginning October 2023 onwards. It is something we are looking to continue year on year, and we have also been asked by some educational providers to become a core part of their curriculum.”

Any other learning establishments wishing to participate can contact: to arrange a chat.

Martin Audio leads the way in on-site university trainingMartin Audio leads the way in on-site university training

13th June 2023

Green Hippo and Prase deliver Hippotizer video-to-surface training

Green Hippo and Prase deliver Hippotizer video-to-surface training
Green Hippo and Prase deliver Hippotizer video-to-surface training

Italy – Italian audio, video, digital signage and control solution distributor Prase Media Technologies has delivered its first Hippotizer training sessions, in collaboration with Green Hippo. The two-day course was designed to showcase some of the world-class features of the Nevis+ and Boreal+ MK2 media servers and the new Hippotizer 4.8 software.

Prase became a Green Hippo distributor for Italy in spring 2022, working with the entire range of Green Hippo’s award-winning Hippotizer media servers and in addition, tvONE products. Prase is now working to extend the influence of Green Hippo’s video playback technology, furthering Green Hippo’s global reach and enhancing customer service.

Hippotizer product specialist Leon Dickens provided training at the event, held at the Prase office located in the northern Italian town of Noventa Di Piave, alongside Prase’s Sonny Laurano and Enrico Fodde. Attendees learned how to manage, send, manipulate and sync video content on any surface. The visuals were displayed on two 40" displays and a much larger Absen 4K LED screen.

“With Hippotizer as a new product in Prase’s catalogue, they recognised that a key component for product exposure throughout Italy would be comprehensive training sessions for AV users,” says Dickens. “Prase has fantastic facilities for demonstrating the capabilities of the Hippotizer software and going forward aim to continue access to Hippotizer training. Many of Prase’s existing customers, who attended the training session, were interested to have a hands-on experience with the Hippotizer hardware available. Attendees ranged from freelance AV professionals, event technicians from a number of AV rental companies as well as some of Prase’s wider sales team.”

Dickens says that focuses of the training in Hippotizer 4.8 software highlighted the features of the Hippotizer workflow, including TimelinePlus, VideoMapper, DMX2 and PixelMapper components.

“Some attendees showed specific interest in the SHAPE alignment features which we demonstrated at the end of the session,” adds Dickens. “Finally, an overview of the new 4.8 features Show Manager, improved encoding and REST API webpage design framework. Having outreach to completely new users of Hippotizer is always a great experience, there was genuine interest shown by the whole group. Demonstrating the PixelMapper and DMX2 components is always a winner for us, it is a staple feature of Hippotizer and always well received. Our simplistic design and integration with the lighting world provides a great intermediary solution.”

Sonny Laurano, Prase's application engineer, comments: “We were thrilled to host our first Hippotizer training sessions at Prase. Hippotizer is a very flexible media server offering a wide range of features that caters for most of the pro-AV industry requirements. Simplistic UI design and interoperability makes the Hippotizer product range a great choice for live events, installation and broadcast. MultiController, DMX2 and the new REST API really open doors for end users to customise interaction with the products, while maintaining all of the technical functionality that Hippotizer is known for.

“Meeting new users, hearing their feedback and demonstrating new solutions was great fun and much knowledge was gained along with some great ideas.”

Luca Battistelli, business manager, Prase Media Technologies, says: “We’re excited to have Green Hippo’s premium media servers in our catalogue, and to be able to offer Italian professionals best-in-class technologies for creating an engaging and stunning multimedia experience. Our partnership with Green Hippo pairs with Prase's growing video proposal, mainly projectors and LED walls.”

To discover Green Hippo’s training opportunities, visit 

2nd May 2023

Martin Training and Product Showcase Series

Martin Training and Product Showcase Series

UK – Sound Technology Ltd, distributor of Martin Professional lighting in the UK, has announced a series of Martin training, demo and product showcase events taking place around the the country in 2023.

The first event takes place at the Royal Conservatoire of Scotland in Glasgow on 22nd March. The morning session is dedicated to training on Martin's P3 Creative Video system and networking. This introductory session will take you through the basics of how it works, and an overview of what equipment is involved, as well as a look at a few typical set-ups. It will be a combination of product introductions, typical applications and a walk-through of physically setting up and working a P3 set-up.

The afternoon is a drop-in demo event from 2pm, showcasing the demo the latest Martin fixtures, including:

  • MAC Aura XiP

  • MAC Ultra Performance and Wash, with new V2 firmware

  • ERA series including the new ERA150 Wash

  • ELP ellipsoidal and ELP PAR fixtures

  • VDO Atomic Dot & Bold creative video range

Both parts of the day require registration in advance but numbers for the morning session are limited.

The series then moves on to LIPA in Liverpool on 5th April, University of Derby on 18th April and Royal School of Speech and Drama in London on 16th May.

For more information and to register, please visit

20th March 2023

disguise and XPLOR Launch UK Virtual Production Accelerator Course 

disguise and XPLOR Launch UK Virtual Production Accelerator Course 

UK – disguise and XPLOR have announced a new partnership to further tackle the skills gap in virtual production. Together, the two organisations are launching the first UK Virtual Production Accelerator, a learning programme that gives trainees hands-on experience with the latest real-time technologies and advanced LED volumes.

Based at XPLOR's recently launched £7m+ Production Park facility in West Yorkshire which boasts a 340 square metre virtual production volume and xR studio with ROE Visual LED screens, the programme is suitable for both students and industry professionals. Over the course of four days, participants will ramp up their skills in volume control operations, virtual art department integration and practical shoot elements through a combination of online, classroom and on-set learning.

XPLOR’s training is delivered by education providers Backstage Academy, which specialises in live experience production, supporting the future of the industry through undergraduate and postgraduate degrees and short courses. Operating from Production Park, the facilities are just one of the 400+ state-of-the-art virtual production studios and xR stages globally that are running on disguise solutions. This rapid adoption of disguise's advanced production technologies brings the need for skilled talent who are well versed in the unique workflows that deliver virtual production and in-camera VFX. 

“In just under three years, virtual production has changed from something only a few are experimenting with to a global phenomenon that allows filmmakers to tell even more ambitious stories. However, this growth in adoption has left a huge skills gap. disguise, just like XPLOR and Backstage Academy, shares a strong passion for education. After launching our Virtual Production Accelerator Programme in America last year in partnership with ROE Visual, we now hope to bring the Accelerator’s focus on the practical to Production Park for VP enthusiasts in the UK and Europe,” says disguise chief experience officer, Alex Wills.

The R&D element to disguise and XPLOR’s partnership combines disguise's advanced production technology and workflow-focused training with XPLOR’s world-class facility and large-scale design and prototyping spaces. Together, disguise and XPLOR will investigate new features and capabilities that push the boundaries of what's possible in virtual production.

“Backstage have been long-term partners with disguise. This is the latest exciting development in our relationship moving into film and TV,” says Rachel Nicholson, head of Backstage Academy.

28th February 2023

The show must go on

The show must go on

UK - Without lifting, the entertainment industry will grind to a halt: theatre, television and film sets would not be moved, lighting rigs for live concerts will remain on the stage instead of above it. However, in the spring of 2020, the sector really did come to a sudden stop. Entertainment was hugely impacted by Covid, being one of the first sectors to be put into lockdown and often one of the last to be freed from restrictions, as Paul Fulcher, founder and managing director of Rigging Services, explains. Many freelance contractors found themselves out of work, and often ineligible for furlough or other assistance. There was a mass exodus from the industry and many experienced hands have not returned.

New recruits need training, but so do those hired from other sectors because the lifting environment in entertainment is in many ways unique. It is, for example, the only industry that deliberately lifts loads above people: whether they are performers or an audience, sometimes with artistes ‘flying’ on the load. Often, multiple lifts are involved, including many electric hoists lifting and lowering in a synchronised manner. A lot of this is ‘live’ so there may be only hours to install rigging along with lights, sound, video and other installations, and there is no second chance to get it right. Some of the skills and the science required would include understanding rigging plots, load tables, angular forces as well as other forces such as compression, torsion, bending, load distribution, mathematics, physics, mechanical principles, materials science and so on. Working in the ‘creative’ sector also requires understanding this unique culture.

Training is required but Fulcher cautions against reliance on ‘free’ online training content, much of which is unreliable. He says: “Look for reputable providers, and at how their training is assessed. LEEA, and the relevant entertainment trade associations, can help you find high quality training.”

Matthew Wheeler, rigging compliance supervisor for the National Theatre in London, described ‘How we put a show on’ from the rigger’s point of view’. The process starts with a ‘white card’: a basic model demonstrating the staging and concepts and what the designer or director is trying to achieve. The technical departments (sound, lights and so forth) cost and analyse this to inform the creative team of the feasibility of what is being proposed and Wheeler emphasised the importance of the riggers being fully involved at this stage to ensure that proposed lifts can be performed safely.

A model, typically in full colour at 1:25 scale, is developed out of this to demonstrate feasibility and the effects of any changes the creative side may require. There is a pre-production fit-up in which scenic elements are prepared for stage alongside lighting, sound, AV and other features (noting that this may have to work around elements of the current production on stage), and then there are previews, press nights and the opening.

The rigger requires an in-depth understanding both of the equipment and of the designer’s vision, to work out what can be done safely while meeting creative requirements. Information is key: from the artistic vision to the weights of scenic elements and what lighting, sound, props or flying performers are travelling with the scenery in the lift.

There are many complications. The building or staging may not be a permanent structure with a history of previous successful practice to draw on. Lifts may have to be performed safely in a blackout and there may be ‘no fly zones’ to be respected. The way the cast interacts with the scenery is important: does, for example, a door in a scenic flat have to be closed securely before the lift can occur? And there is always someone wanting to add another couple of lamps to the lift, regardless of the extra weight.

Two-way communication is crucial with designers and with production, stage and venue managers. Equally vital is managing expectations on cost, time and performance. For example, agreement is needed on how long a lift will take because this can affect the ‘pace’ of the show. Can the riggers offer a ‘window’ of time within which the creatives can work for a particular lift?

The rig may be strictly ‘for one night only’, but equally a successful theatrical show may run for months or even years, with implication for how continuing safety is guaranteed. Access time for examination and inspection, routine maintenance and repair, need to be agreed, and insisted on, with the stage/production management. While theatrical rigging is often ‘out of sight’ it mustn’t be allowed to be ‘out of mind’.

Unique though aspects of the entertainment sector are, the legal obligations are the same as in any other industry. According to Dave Tucker, a senior training specialist at LEEA, the responsibility for such things as equipment selection, inspection, maintenance, instruction and training lie with of the ‘owner’ of the equipment, which in this case would typically be the production or stage manager. These responsibilities can be delegated to a person with the required skill sets but he cautions that a qualified rigger/slinger may not be qualified to examine/inspect and vice-versa.

End users also have responsibilities. Given the ‘one-off’ nature of many stage lifting scenarios, caution needs to be exercised with regard to ‘engineering solutions’ that may stray outside the capabilities of the equipment and the supporting structure or beyond the training of the operators. The lifting operations supervisor must plan, carry out and supervise all lifts. He or she will be familiar with the many challenges of lifting in this environment.

Inspection regimes: pre-use, periodically during use and, ideally, at knock-down as well, must be adhered to. These of course vary according to administration and are a minimum requirement.

Across the world there is a plethora of standards applicable to lifting in the entertainment sector; LEEA participates actively in setting and revising these through ISO, CEN, BSI, ASME and others. Keith Tonge from LEEA’s technical services team highlights EN 17206:2020 Entertainment technology – machinery for stages and other production areas – safety requirements and inspections, which is under review having been published a couple of years ago. It covers quite a range, from lifts and hoists to performer flying systems. prEN 17795-5 part 5, which comprises codes of practice for lifting and motion operations in the events industry, is currently out for comment. Other relevant standards work is under way in the US, Australia and elsewhere. Tonge stresses the need for lifting practitioners with entertainments expertise to contribute to this work.

Since the disruption caused by Covid, it is more necessary than ever to ensure that qualifications actually belong to the person presenting them, that they are still current, and that the competencies of people who may have stepped away from the job during Covid remain intact. Meanwhile, new entrants in England may be interested in the LEEA-backed lifting engineering technician apprenticeship scheme, or another scheme specifically for live event riggers.

For further information visit and a LEEA hosted webinar on these issues is available to watch at:

27th February 2023

Elation Professional and Obsidian Control Systems partner with UK’s Backstage Academy

Elation Professional and Obsidian Control Systems partner with UK’s Backstage Academy

UK – Elation Professional and Obsidian Control Systems are partnering with Backstage Academy, the UK’s premier institution for the education of the next generation of live event professionals. Both Elation and Obsidian are providing the latest in cutting-edge products to Backstage Academy for use in educational courses and training purposes.

Backstage Academy is located in the heart of Production Park, a live events and entertainment technology campus near Leeds that combines industry, education and innovation. It features production studios, businesses and educational facilities, where creatives, technicians, designers, and engineers collaborate to advance the live events industry. Backstage Academy offers undergraduate and postgraduate degrees, short courses and bespoke training programs that involve getting hands on with cutting-edge equipment and technology used by the entertainment industry. 4Wall Entertainment, TAIT and ROE Visual are on site and entrenched in the fabric of Production Park as well as other industry leading companies.

Backstage Academy students will have access to Elation lighting and Obsidian lighting control products for their studies for both on-campus and off-campus projects. The gear will also be utilised in training courses with industry professionals. The package includes Proteus and KL series luminaires from Elation, Magmatic atmospheric effects, as well as NX control solutions and NETRON data distribution devices from Obsidian.

Rachel Nicholson, head of institution at Backstage Academy, said: “We pride ourselves on being a place where we equip the next generation of live industry professionals with all the necessary skills and experience for an evolving and changing industry. Partnerships with industry-leading companies such as Elation Professional are key to our students’ personal and professional development. They will gain hands-on experience, training and confidence using the latest cutting-edge lighting and control technologies. We are delighted to be working with Elation Professional and look forward to a long and successful partnership.”

Graham Hill, business development manager at Elation Professional, adds: “The live events industry needs education facilities like Backstage Academy like never before and we are thrilled to be adding our latest lighting and control technologies to their training curriculum. Production Park has quickly established itself as one of the leading training and research centres for our industry and for Elation and Obsidian to be there at the start of a young professionals' career in live events is quite significant. We are proud to be supporting the next generation of users, designers, hirers and specifiers.” The partnership with Backstage Academy also includes use of Production Park facilities for product demonstrations and Open Days events.

The partnership also sees Elation lighting products used within XPLOR, a research and innovation centre delivered by Backstage Academy that opened in 2022. It features spacious design and prototype areas for testing, modelling, and building physical and virtual environments. XPLOR conducts pioneering research and development as well as custom services for clients. Elation's KL Panel and KL Fresnel 8 FC luminaires are used in XPLOR's Centre for Virtual Production. 

22nd February 2023


Entertainment power courses lay ‘PAT testing’ to rest

Entertainment power courses lay ‘PAT testing’ to rest

UK – New professional training which provides the very latest guidance on the In-service Inspection and Testing of Electrical Equipment (ISITEE) – including why the term ‘PAT Testing’ should now be considered a thing of the past – has been announced.

Presented by James Eade, the UK’s leading expert on electrical power safety for entertainment environments, the hugely popular JET 2377 courses will be available in Bristol on 15-16 February and again on 17-18 May 2023.

The course brings attendees up to date with the important changes introduced by the revised 5th edition of the IET Code of Practice on In-service Inspection and Testing of Electrical Equipment, written by James himself. Among the major developments that everyone should be aware of is that what was commonly called ‘PAT testing’ – the process of inspection and checks on equipment while in-service – is now out of date, replaced by the latest guidance.

Designed by James Eade, the two-day course is aimed at increasing understanding of the need for a holistic approach to the management of electrical equipment in the workplace, as well as the practicalities of actually doing so.

The course focuses squarely on the entertainment and events industry but can be tailored for other industries. It puts the IET guidance and requirements in the Code of Practice into a context that will make sense to (and prove invaluable to) anyone with responsibility for electrical equipment and systems including rental companies, technicians, freelancers and venue managers alike.

Of the JET 2377 courses, James says: “We’re seeing increased competition in the events and entertainment marketplace, with properly skilled crew in ever-greater demand. Because of this, the need for best practice in electrical systems has never been greater. Having the latest knowledge and reliable equipment ensures not only peace of mind, but optimum safety and performance for all concerned.”

James, who trained almost 500 professionals in event, touring, theatre, film and television during 2022 alone, is also chairman of the British Standard 7909 committee, which deals with the management of temporary electrical systems for events.

For more information on courses, pricing and availability, or to sign up to receive emailed updates, visit the website at //

30th January 2023

Production Futures ON TOUR to visit Nottingham Confetti Institute

Production Futures ON TOUR to visit Nottingham Confetti Institute
Production Futures ON TOUR to visit Nottingham Confetti Institute

UK – Production Futures is an initiative created to provide opportunities for young people to learn, train, network and develop real careers in production across every area of the live event, music, touring, theatre, TV, broadcast and film industries

As part of its continuing programme of ON TOUR live events, Production Futures will visit Nottingham’s Confetti Institute of Creative Technologies on 23rd January, with world-leading industry experts and brand partners including manufacturers Sennheiser, Avolites, ChamSys, Chauvet Professional, Shure, NEXO, disguise, Brompton Technology, TAIT, Roe Visual, Riedel Communications and Vectorworks, as well as a number of leading supply and production companies.

Part of Nottingham Trent University (NTU), Confetti has two campuses, one in Nottingham and a new one in east London, scheduled to open this September. Production Futures ON TOUR will visit the Nottingham campus, based in the heart of the city’s award winning Creative Quarter. Confetti has specialist hubs dedicated to digital, media, film, TV, music and live events and offers further education from age 16, as well as higher education degree courses.

Reflecting the importance it attaches to providing students with access to careers in the creative industries, Confetti will release all its students from timetabled activities to enable their attendance. The event will also be open to all young people from Nottingham and its surrounding areas who wish to explore careers in production.

The event will be staged across the Confetti campus with activities, including panel discussions, hands-on experiences and talks and takes place at the Metronome music and live events hub and the Confetti X complex, a purpose-built suite designed for esports production and other emerging technologies. Special guests include top music producer, director and songwriter, Steve Anderson (Kylie Minogue, Westlife, etc), alongside a number of other industry-leading experts who will cover an extensive range of topics.

Newly introduced for the Confetti event is the Production Futures ‘Industry Hangout’ where the young people in attendance can informally discuss specific job and training opportunities with the organisation’s brand partners. As part of an initiative to increase its reach within the industry, Production Futures is also inviting prospective new brand partners to attend the ‘Hangout’ to see for themselves the huge potential talent waiting to be unlocked.

Hannah Eakins, CEO at Production Futures, is looking forward to the day: “We’re delighted to be bringing our ON TOUR event to Nottingham and working with Confetti to provide young people in the area with the opportunity to engage directly with key players in the production industries. The importance of a face to face platform where the next generation of talent can really get under the skin of what our industry can offer can’t be underestimated. As we know, there is a skills shortage across what is a rapidly growing sector and our brand partners place a high value on being able to tap in to what is a huge pool of talent.”

Confetti founder and chief executive, Craig Chettle MBE added: “We’re excited to be hosting Production Futures at our Metronome and Confetti X facilities in Nottingham. The event aligns with our ‘Do it For Real’ ethos, affording those wanting to get into the creative and entertainment industries a fantastic opportunity to hear from experts, attend masterclasses, and connect with key industry partners.”

To find out more about the Production Futures event and to reserve your free place, please visit the event listing on Eventbrite here.

Production Futures ON TOUR to visit Nottingham Confetti Institute Production Futures ON TOUR to visit Nottingham Confetti Institute

13th January 2023