KORA Awards is the manifestation of an all-encompassing vision for Africa of the executive producer for the event, Ernest Adjovi and his dedication to overcoming the logistical demands of bringing a show of this scale to Burkina Faso.
It was the first time that the colourful K event had been staged outside South Africa. The show was directed for TV by Clive Morris and distributed via CFI (Canal France International) across Africa, France and parts of the US via 100 TV channels, as well as being enjoyed live by 3000 guests. David Bloch was stage director.
The Gearhouse team of 28 was project managed by Eyal Yehezkely and Bill Lawford. The two have worked on many other international pan African projects for the company, but this was the first one in Burkina Faso. They collaborated closely with Clive Morris and Jennifer Mostert from TV Production company, Clive Morris Productions (CMP) and Victoria Nkong from the KORA team, who produced the show, with local generator and forklift companies.
The 65 tonnes of production equipment was air-freighted out of South Africa in a Boeing 747-200 cargo plane. As the deal was a sales package to KORA, at the end of the show, it went into storage in Burkina Faso.
Lighting was designed by Gearhouse's Kurt du Preez. Over 100 moving lights were used - a mix of High End StudioColor and StudioSpot 575s - and these were dotted all over the rig and on the deck of the set, complemented by a large PAR can rig. The PARs provided general stage and audience washes, whilst the moving fixtures were utilised for effects, beam-work, set texturing, specials and key lighting.
Du Preez programmed and operated the show using a Martin Professional MAXXYs console, which was also running a Maxedia media server.
The 39m wide x 18m deep set was designed by Dewet Meyer and built by Gearhouse's set company SDS, in a four-day on site operation, overseen by Craig Pretorius.
Gearhouse supplied a flown Turbosound TMS 3 PA system for the event, with the cabinets newly refurbished before departure to Ouagadougou. The PA was driven by a combination of Crown VZ5000 and Australian Monitor amps, and audio control was strictly analogue.
On front of house duties was a Soundcraft MH4 48 channel console, supplied complete with BSS gates and compressors, Yamaha SPX effects units and KT DN 360 EQ's. System processing was via Turbosound badged BSS omnidrive digital processors.
For monitors, Gearhouse Audio provided a Soundcraft MH3 32 channel desk, together with a Brit Row custom build and bi-radial dual 15" wedge monitors.
Microphones were a standard Shure package - consisting of SM58s, SM57s, Beta 52, SM 81s, SM 98s and MX 418 lectern mics, plus Shure UHF wireless hand-helds and beltpacks.
(Jim Evans)
