Stage & Rigging
Stage decks, trussing, rigging and structural elements, built to the load and height the venue actually permits. Build and strike scheduled around the rest of the programme, not bolted on to the end of it.
Capability group 03
Building the show, and the record of it.
Stage, audio, video and lighting; special effects; photography, videography and social content; branding, print, PR and influencer marketing.
Technical production
Stage & AVL.
Audio, video and lighting, plus everything that holds them up. Specified against the venue's real power and rigging limits rather than the drawing.
Audio Systems
Line array and point-source systems, monitoring, radio microphones and playback, specified to the room rather than to a headline figure. Frequency coordination handled before the day, which matters once several radio systems share a site.
Video & LED
LED walls, projection, screens, switching, playback and camera feeds for IMAG. Content delivered in the right ratio and pixel pitch for the surface it is going on — which is the fix nobody wants to make on site.
Lighting Design
Stage, architectural and ambient lighting designed to the run of show, programmed in advance and focused on site. Considered alongside the camera plan, because lighting for the room and lighting for the lens are not the same job.
Special & Visual Effects
Lasers, flame, sparkle, smoke and fog, and projection onto architecture and water — installed, maintained and operated live through show cues. Run under permit and with the venue's fire authority, not improvised.
Show Calling & Crew
Technical direction, show calling and the operating crew for the run, including a season of nightly and hourly shows. Somebody has to own the cue stack; making that explicit early avoids the argument at doors.
Capture & content
What is left after the strike.
The event runs for two days. The content runs for the rest of the year — provided somebody planned for it rather than photographing whatever happened to be in front of them.
Photography
Full event coverage — keynotes, stands, networking, VIP arrivals and the detail shots that sell the build. Shot to a brief agreed in advance, and delivered edited rather than as a card full of raw files.
Videography
Multi-camera coverage, interviews, b-roll and aftermovies, with same-day highlight cuts where the programme needs them. Rights, formats and deliverables settled in the contract rather than discovered afterwards.
Official Media Coverage
Acting as the official media team for an exhibition or festival — daily content, speaker and exhibitor interviews, highlights and short-form media bites turned around on the day for the organiser's channels.
Social Content
Vertical-first content produced on site and published live, in Arabic and English. Planned against the programme, so that the moments worth posting have a camera on them when they happen.
Branding & Print
Event identity applied across signage, stands, backdrops, badges, wayfinding and giveaways, printed and installed. Large-format and structural signage is produced through Crossworld Constructions.
PR, Marketing & Influencers
Press release events, media invitations and on-site press handling, plus influencer programmes where reach matters more than a press list. Briefed, contracted and measured — not paid and hoped for.
Why this sits inside a freight group
Production kit is the hardest freight on an event.
Line array, LED panels, moving lights, laser and flame systems, camera packages and control racks are heavy, fragile, expensive and frequently regulated. Several categories need specific approvals to enter the Kingdom at all, and effects equipment attracts attention at inspection for good reason.
Most of it is also visiting rather than staying, so it belongs under temporary admission — declared correctly on the way in and reconciled on the way out. Get that wrong and you pay duty on a truck of kit that leaves a week later.
Our customs brokerage and freight teams handle this for a living. The load-in date sets the shipping plan, and the clearance work starts before the equipment leaves its origin.
What to send for a production quote
- Venue, room and available build days
- Run of show, or the closest thing you have to one
- Audience size and whether the event is being streamed
- Content deliverables and when you need them
- Any equipment or crew arriving from outside the Kingdom