Rationales:
For this project, I would like to create an interactive event using projection mapping. I plan to incorporate music created by local artists or bands. However, if this is not possible, I will use a backup library of songs. I will also be developing my live sound skills throughout the process. The purpose of this project is to learn new skills that will enable me to better myself in my future career because visual effects are important in live events. It will also allow me to work with new people in the local area, which could be beneficial to both of us and will give me the opportunity to take control of an event with less guidance from tutors.
Intended Final Product:
Ideally, my final product will be an installation at which the local artist I am working with is able to perform using the projection mapping that I designed. This event will be promoted and ticketed.
Potential Research Sources:
The research sources that I plan to use are a variety of books and a handful of journals and online articles. These include:
Conway, D., 2019. The event manager’s bible : the complete guide to planning and organising a voluntary or public event. 3rd ed. London: Robinson.
Dowson, R. and Bassett, D., 2018. Event planning and management. 2nd ed. London: KoganPage.
Feist, J., 2013. Project management for musicians. Boston, MA: Berklee Press.
Hassanien, A. and Dale, C., 2013. Facilities Management and Development for Tourism, Hospitality and Events. Wallingford: CABI.
Pielichaty, H., Els, G., Reed, I. and Mawer, V., 2017. Events project management. London: Taylor & Francis Group, Routledge.
Quinn, B., 2013. Key concepts in event management. Los Angeles: Sage.
Shone, A. and Parry, B., 2010. Successful event management. 3rd ed. Andover, Hampshire: Cengage Learning.
Tarlow, P., 2002. Event risk management and safety. Chichester, New York: John Wiley.
Areas for Collaboration:
Throughout the project, I will be working with a local artist to develop theming ideas and work with their music. I am also going to collaborate with Sinead Campbell from Bradford Producing Hub to source local artists who might be interested in working with me and to aid me in the promotion. As well as this, I initially planned to use Bradford Producing Hub’s “Spare Bob” grant, which allows for up to £500 to fund anything to further your career but unfortunately, after looking into this it does not apply to this project and so I will need to look into other options regarding funding. I could also work with external venues like Kala Sangam or The Underground to improve the event and make it more professional.
Strengths and Weaknesses:
I already have a basic knowledge of live sound so I will be able to control the audio at the event. Another strength I have is that I have organised two previous successful events, involving multiple bands and solo artists as well as media and lighting staff. In addition to that, I ran a social media campaign that directed a larger audience to our live stream event. One issue with this was that I was not good at sticking to an upload schedule. So, I need to work on my time management. My other weaknesses are my lack of knowledge about projection mapping installations. However, I feel as though my willingness to learn and competence in research will assist in making this a successful learning opportunity.
Planning and Timescales:
By the first week of my project, I will already have some things put in place. If I am going to stick to the project deadline I need to find the artist that fits my project best, a venue to book and use, apply for the grant to pay for this booking and find research sources.
Week 1 – Meet with the artist to discuss themes, ideas, a promotional package and the setlist. Research how to use projection mapping software and effective methods of event management. As well as refreshing myself on live sound techniques.
Week 2 – Begin promotion by creating as many materials as possible to make the upload process easier and more streamlined. Continue researching, particularly in the field of event promotion. Develop and finalise the ideas for the projection with the artist in another meeting. Once the venue is secured, draw up a risk assessment. Start a ticket release countdown to generate excitement.
Week 3 – Start practising how to use the projection mapping software by applying my research knowledge and build upon the ideas created and developed in previous weeks. Update digital space. Promote using teasers.
Week 4 – Develop ideas in conjunction with the original music. Meet with Paul from graphic design to discuss aesthetics and visual effects and possibly poster ideas. Practice more with the software and communication with the artist and venue to learn the layout and decide on the projection surface. More promotion. Reiterate the ticket sale countdown. Make a Linktree with the artist’s social platforms and their music on streaming services.
Week 5 – Continue my practice and begin on the final idea with surfaces and room sizing in mind. Print posters and distribute them around the college building and to the artist for their own distribution. Post these to social media. Create and release the tickets on Eventbrite using the capacity information given by the venue.
Week 6 – Focus predominantly on the mapping side of my project and work extremely closely with the artist to get this looking exactly how they want it. Promote more frequently.
Week 7 – Continue as in the previous week, mostly mapping and promoting. Direct followers to purchase tickets.
Week 8 – Allow the artist to input final ideas and changes. Implement these changes and begin to finish the program. Promote the event by increasing the frequency of posts to social media again.
Week 9 – Completely finish the projection. Design a multitude of promotional material for use on the final week push. Discuss the test rehearsal and show night itinerary with all involved parties.
Week 10 – Final promotion push, uploading more frequently to gain any final interest. Set up the venue with the equipment and run a test rehearsal to check everything will run smoothly, then put on the show and possibly record this performance for the artist if they have a YouTube channel or want to use it as a live music video. Divide earnings.
Week 11 – Edit the video to cut out any silences so it runs smoothly. Evaluate the success of the project.
Week 12 – Distribute statistics and evaluate the project as a whole. Possibly direct the artist’s followers to their video or other social media platforms.
Inspirations and Influences:
My two biggest influences are tour managers Caroline Smith and Nikki Kilroy. They are both at varying levels in their career but are tour managing for multiple bands and in Nikki’s case, also merchandise managing as well. I aspire to be like these women because they are successful in a male-dominated industry and often use their skills in a transferable way. For example, Smith used her event management skills to help the NHS with Covid vaccinations. This kind of work inspires me to put in the utmost effort and get to where I aspire to be.
Evidence Checklist:
I plan to evidence my work by taking footage of my work and recording meetings to post on digital space.