Plenaries, investor meetings and galas produced in Boston ballrooms, foyers and overflow rooms. The work below is comparable in scale and format to the AGM, the Credit & Special Situations Symposium and the satellite sessions described in your RFP.
Each project below was produced by Ice 9's own team with in-house LED, camera, audio and lighting inventory.
The room closest to your AGM brief: a wide LED wall with freestanding LED pillars, a curved stage front with edge lighting, lounge seating with place cards, and graphics built to run across every surface as one canvas. Historic ballroom, modern build, nothing rigged from the ceiling.
A wide hotel ballroom with a three-screen LED canvas, delay monitors down the sides and a full moving-light rig across the ceiling. Dynamic graphics were built to span all three surfaces, with distinct looks for walk-in, presentations and segment transitions. In the foyer, a walk-through LED tunnel told the client's history.
An awards gala at ballroom scale: a center LED wall with full-motion content, two flanking screens, a freestanding LED wall at the entrance, dimensional lettering, and beam and laser lighting cued from front of house. Every award moment was called live from the show desk.
A run of freestanding LED totems along the glass of a stadium club, carrying full-motion content for a seated hospitality event. Ice 9 supplied the totems into a venue with its own house systems. It's the same format the AGM foyer and Business Unit venue call for, and the same situation: working alongside an in-house provider.
A general session built for the record as much as the room: center LED with a dimensional wall behind it, dual flanking screens, broadcast cameras with long lenses on the center aisle, a digital audio console and speaker timer and cue system at front of house. The format maps directly to a multi-camera AGM record with VOD delivery.
A black-tie dinner in a working museum atrium, not a ballroom. Screen, audio and lighting were set into an architectural space with no house rigging, run from a control position on the mezzanine. A useful reference for non-standard venues and for the rooms you don't get to choose.
A single curved LED surface spanning the room, lit by a dense overhead rig, with two-chair conversation staging and lounge seating instead of rows. The format most senior audiences prefer for fireside sessions, built to record cleanly from every angle.
The quieter format investor sessions usually call for: a clean white LED surface with the client's mark, a curved stage with edge lighting, soft drape and a warm wash from a single truss. Nothing in the room competes with the people on stage.
Front of house is where a live, non-repeatable event is protected. Redundant playback, media server and recording are standard scope on every Ice 9 show, and the crew that plans the event is the crew that runs it.
When something fails, the recovery path is already decided and the backup is already patched in.
The same producer and technical lead stay with your event from the first CAD drawing through the final on-demand file.
Planning cadence, CAD floor plans and renders, venue and union coordination, and rehearsal equipment set at your office ahead of the event. No surprise budgets.
A dedicated show caller, presenter support and speaker management for senior audiences, with backup equipment and crew redundancy on every critical system.
Sessions edited and prepared for on-demand viewing, with a production reserve for graphics and video work through the year, reported against the balance.
Full-time producers, technical directors and engineers, in-house. The same faces from the first planning call through strike.
And beyond the calendar: the same team and inventory scale up to arena and stadium-sized shows, concerts and festivals, and out to the regional meetings in London and Asia noted in your RFP.
Fly-throughs of finished rooms. Muted, and they loop.