Now in its 10th year, the event was staged at London’s famous Hammersmith Apollo and featured not only the contest itself, but a myriad of top international Asian singing and dancing acts. Universal’s Steve Butcher created the set design, opting for a white-floored stage featuring a simple, clean look. Two symmetrical podiums flanked the stage, whilst the presenters stood centre-stage on a raised upstage platform. Universal supplied a large, flown, central screen and a 5000 lumen projector, used to rear-project the sponsors’ logos. The screen was also used for live camera IMAG (the show was also recorded for broadcast). Butcher also designed two scenic mini-truss arches for each side of the stage each with a 42" plasma screen positioned beneath. The picture was completed with two large scenic angels on the outside edges, either side of stage, with the Miss Movie ‘M’ logo at their feet.
Butcher called on the talents of freelance LD James Fickling for the lighting design, a regular Universal team member. His design used Studio Due City Colors, Futurelight 860, 640 and 660 moving heads, Martin MAC 500s and 600s, Clay Paky Golden Scans, 2K Starlets and a number of Pars. Fickling programmed and operated the show with Mike Lindsay, both using Avolites Pearl consoles - one controlling the moving lights and one for the generics. To get the downstage lights in exactly the right positions, they flew a double spanned front truss, braced by horizontal struts of trussing. The rear lighting instruments were rigged onto five house flybars. The Martin moving lights and one Pearl were sub-hired from Darren Parker at DPL Production Lighting and the rest were pulled from Universal’s stock. DPL also supplied two additional crew members.
Sound was designed by Universal’s Mike Day, who chose an EAW rig - KF650 series plus EAW LA 400 subs and J200 delay fills. He successfully combined the dichotomous principals of rock ‘n’ roll and awards presentations audio, producing a big, full sound to fill the venue, whilst also concentrating on getting a clear and comfortable sound for what was essentially an ‘after dinner’ audience. On stage, they used Nexo PS8 wedge monitors.
(Lee Baldock)
