#DesignMonth: Formative takes a bow

What was it like working on the Cassper Nyovest Fill Up the Dome concert?

Gareth Hadden (GH): In a nutshell, it was great fun. Our team really came together and delivered its best. What contributed to that was the fact that Cassper and his team gave us free rein to produce the show; he let us ‘play’ , which ultimately saw us doing a lot more than we would normally. Our true passion lies in producing music events – although that’s not to say we are not passionate about all manner of events – and #FillUpTheDome was an opportunity we grabbed with both hands.

Grant Orchard (GO): I was so proud of the fact that our team delivered a phenomenal event, from conceptualisation to execution in just under 30 days. Being able to have both teams – Cassper’s and ours – working together towards the same goal just made it so much easier and enjoyable.

Cassper Nyovest Fill Up the Dome

What have been some of the other noteworthy projects you have worked on?

GH: I would have to say that AfricaCom and the corporate events we execute for Santam, as I feel they really push my personal abilities across all aspects of the business. AfricaCom traditionally holds three events all in the space of one week: an awards show, an exhibition and a VIP lounge. The sheer size of the overall event and all its deliverables really drives me to produce great work. The Santam shows rely on our technical and organisational abilities and skills being spot on. With a live event and 11 satellite venues around the country tuning in at the same time, means that we really need to have our proverbial ducks in a row. And I’m very happy to report that our last show went ahead without a single glitch.

GO: The Huisgenoot Kyknet SuperSkouspel Skouspeel in 2015 was definitely a noteworthy project for me. It was a mammoth show: from the production to the 20,000-strong audience it was just huge on every level. The show itself consisted of over 30 live performances so it took a lot of pre-planning and the pre-production of content. It is also viewed by millions and is the biggest Afrikaans show on the music calendar. Riveting stuff! Then I’d also have to say that the New Year’s Eve event at the V&A Waterfront in 2013 was also one I enjoyed. We comfortably took the V&A Waterfront out of its comfort zone by building a massive stage out of scaffolding off one of the piers. I’m very happy to say it was a huge success.

Africom

What is the process when it comes to conceptualising and creating a slick stage production?

GO: There are many elements to one of our projects that we need to consider including stage design, lighting design, video design and then content design. We do a lot of research into the client as well as the theme for the event. For example, we’re currently working on the Metro FM Awards. For this event we’ve looked at the logo and general CI that has been designed for the event and have taken our visual cues from there. It really helps to conceptualise the space and the various elements of the project as a whole and – most importantly – it gives a sense of consistency across the image of the brand. Personally, I also do a lot of inspiration searching, looking through catalogues and my ‘old’ sketch books that have piled up over the years. The actual process of designing starts the old-fashioned way: with pencil and paper. Once the basic idea is born it will then be translated into 3D in its simplest form to see if it actually works visually. Once we are happy with the basic concept in 3D we start to think about the finishes, materials and technology that will need to be incorporated into the design, such as video projection or LED display, any special lights we would like to use, etc. Once the staging concept is complete, with the correct technology specified, the design will be redrawn accurately in 3D Max so we can create photorealistic renders to present to client.

Santam Broker Conference

What is the best and worst thing about doing what you do?

GH: The best part of my job would definitely be that we get to work with some of the best people in the industry; from the suppliers to the clients. And I’m proud that we are pushing the industry forward and building our brand as we do it. The worst would be the hours and the stress, but those come with the territory!

GO: For me the best part of my job is seeing the finished product. You spend weeks and months creating and planning something. Then to see it live and in person: love it. Also watching people’s reactions to what we create. That’s priceless. The worst part would be the often restrictive budgets we’re presented with. In today’s economic climate we can understand there have been massive cuts across most marketing budgets and we will always endeavour to deliver the best and on budget, but sometimes I wish there was just a little bit more in order to do that much more.

Huisgenoot Kyknet SuperSkouspel Skouspeel

How many people are there in your team and what are their roles?

We are currently six strong at Formative:

• Gareth Hadden – business director and founding partner
  
• Grant Orchard – creative director and founding partner
  
• Justin Kemp – 3D designer
  
• Thomas Peters – technical project manager
  
• Skye Svornic – motion graphics and VFX designer
  
• Natasha Warren-Stone - junior designer

How old is Formative? What are your backgrounds?

Formative was founded by Gareth Hadden and Grant Orchard in 2012.

GH: I am responsible for the client liaison, business development, and project and production management at Formative. My hands-on approach and ability to manage the various stages of workflow at once has earned me a reputation as a first-call project leader, delivering on time and on budget. As a result, I have been flown across the world to steer projects for clients on a regular basis. Before starting Formative, I was a key business development and sales executive of Gearhouse South Africa.

GO: I conceptualise, develop, design and specify the creative and technical detail of every project. I have worked alongside great show designers in senior technical engineering roles on major projects around the world, including concerts for international artists such as Linkin Park, Jay-Z, Kasabian and Elton John, major European music festivals such as Glastonbury, V-Festival, Isle of White and Rock Werchter, and television shows such X-Factor UK, Britain’s Got Talent, the BAFTAs, the MTV Awards and Eurovision Dance to name a few. I joined Gearhouse South Africa’s LEDVision division in 2009, there I took on the role of project and operations manager, I then moved across to Gearhouse itself as head of audiovisual in 2011.

V&Waterfront NYE 2014

You (the directors) are both originally from the UK. What would you say other South African stage production companies could learn from their international counterparts and vice versa?

GH: I would say that local production companies should look at what they want to do that is new and exciting rather than looking to what they’ve executed well in the past. Always push your own boundaries. Very often at Formative we execute designs and set-ups that we’ve not done before, but we are constantly pushing and testing ourselves to do better than the last show or event we produced.

GO: As an example, I watch Eurovision in awe every year. From a production point of view it is absolutely phenomenal. It’s one of the biggest stage productions in the world. From a creative and design point of view, to the sheer scale of the event, and the technology and the amount of content produced for the show, to the actual show itself; it really is mind-blowing. We can only wish to one day be in a position to have the same technology available to us locally as our European and American counterparts, but until then my advice would be for local suppliers to start stocking up with more equipment that will help the production companies up their own games.

Lormarins Queens Plate 2015

What are your thoughts on our local creative scene?

GH: I think it’s awesome. South Africa seems to breed creativity. I look at my friends in the UK and they are all employed. In South Africa the majority of my friends are entrepreneurs and creatives; they found a way to make it work for themselves and in turn have created job opportunities for others. It’s true that Africa is not for cissies. What’s even truer is that South Africans make a plan and you can see that permeating through all the creative industries across the country.

GO: Our offices are based in the vibrant Woodstock Exchange where there’s no shortage of creativity. It’s electric. What I’m looking for more and more in South Africa – especially in our industry – is for creatives to move away from clichéd African themes and routines for productions. It’s so important to look beyond our borders for inspiration and not get stuck in portraying our creativity in the same way over and over again. Think gumboot dancing at corporate functions and you’ll know what I mean …

Any exciting forthcoming projects you're working on?

GH and GO: We’re working on the Metro FM Awards, which are taking place on 27 February, 2016. It’s one the biggest music events on the South African music calendar and we’re honoured to have secured this project. It also means that our production will be televised nationally. Grab the popcorn and a cola and enjoy!

www.formative.co.za