Production Club

Production Club We are a multidisciplinary team designing and producing shows, parties, and experiences blah blah blah blah blah blah blah blah
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11/19/2019

For Devcon V, Production Club teamed up with the Ethereum Foundation in Osaka Japan to create an exciting and immersive experience for attendees. For the global blockchain community, Devcon is much more than a developer conference. It’s a setting to share new ideas and refine the existing paradigms about how decentralized applications work, develop and grow. But first and foremost to nerd out hard af.

11/19/2019

OSAKA NIGHTS!

If you love knowing all the deets and words in general, you’ll get a kick out of this... If not: #TLDR Devcon V was a blast.

Taking inspiration from the graphic treatments provided by the Ethereum team, our approach centered on emergence. An emergence seen when individual lines converge to become shapes, and as Ethereum continues to develop and grow as a decentralized platform to support new applications.

We brought the concept of "emergence" to life for the keynote stage design. Emergence was the term that guided during development as Ethereum continues to emerge as a leading (global) crytocurrency and as a platform for uses beyond currency exchange. Using the Ethereum emblem as our foundation, we created larger-than-life physical forms that both emerged from the stage and crystallized from a framework to solid volumes, to create a dynamic visual experience of color and light.

This year’s Decompression Room is a place to relax and unwind. Inspired by the practice of shinrin-yoku, which means "taking in the forest," this space is filled with natural elements washed in gradients of color. PC used the Ethereum logo to create 3D-printed test models that later became the full scale “centerpiece” of the decompression room. We shot directional light through the structure and washed the decompression room with patterned shadows and soft light.

11/08/2019

If you ever wondered how we celebrate after a show in Vegas, say no more. Have Max be your guide through the ins and outs of Production Club at KAOS.

11/02/2019
Intersect @ Times Square

Only a few more weeks until Intersect!!! Our biggest project so far! It's so big that even Times Square knows about it. We're designing, producing, programming, branding and marketing the event, creating all of the video and digital in-house, and ensuring it'll be *fire emoji*.

The creative drive behind the design of #worldwarjoy is the juxtaposition of beauty and darkness. Here’s a sneak peek at...
11/02/2019

The creative drive behind the design of #worldwarjoy is the juxtaposition of beauty and darkness. Here’s a sneak peek at some of the craziness we have in the show. We’re proud to be working with the legendary Urias Family and their absolutely insane Globe of Death.

The sculptural piece in the center of the stage was inspired by a “czech hedgehog”, which was used as an anti-tank obstacle in WW2. Our czech hedgehog we named ICON (which is czech for illusion, color gradient and joyful war structure... jk) because we covered it in a special polychromatic material that reflects light in a different color depending on the angle. It’s like real life magic.

Photos by Danilo Lewis & Mike808

The creative drive behind the design of #worldwarjoy is the juxtaposition of beauty and darkness. Here’s a sneak peek at some of the craziness we have in the show. We’re proud to be working with the legendary Urias Family and their absolutely insane Globe of Death.

The sculptural piece in the center of the stage was inspired by a “czech hedgehog”, which was used as an anti-tank obstacle in WW2. Our czech hedgehog we named ICON (which is czech for illusion, color gradient and joyful war structure... jk) because we covered it in a special polychromatic material that reflects light in a different color depending on the angle. It’s like real life magic.

Photos by Danilo Lewis & Mike808

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. ...
11/02/2019

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. ...
11/02/2019

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. ...
11/02/2019

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. ...
11/02/2019

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. ...
11/02/2019

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

For Zhu’s 2018 “Dune Tour” he needed stage, lighting, and visual design to support the stories and energy of his music. After many iterations, our solution was a trio of glowing video-mapped pyramids.

Here are some of the first stage sketches and renders of alternative designs, followed by detailed studies of geometry and colors in triangles.

Photos by Henry Ammann, Ceasar Sebastian, Miguel Risueno, Max Nicklas

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious producti...
11/02/2019

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious productions to date. It took more than a year of planning and design, and over 36,000 hours of build and strike labor, to create a hybrid blend of music festival and theme park to entertain 25,000 guests. Filling the Las Vegas Festival Grounds with four structures surrounding an outdoor Courtyard, the complex offered food, gaming, and musical entertainment by Skrillex, Mija, Future Islands, and Thievery Corporation–plus harder-to-define diversions like the Ballcano, an enormous inflatable filled with 150,000 balls.

The party featured a chopped up “remix” of the conference art, which then iterated into the stage designs, scenic inflatables rigged throughout the structures, and the overall event look and feel.

All attendees enjoyed complimentary food and open bars through 4 different environments, consuming over 140,000 items of food in 5 hours.

The Club structure showcased DJ sets by Skrillex and Mija. It featured over 400 lighting fixtures, a slanted LED wall, and automated trusses panning and tilting through the night to create unique and dynamic looks. It also housed a 50’ tall inflatable installation and photo opp.

The Games structure featured high energy, custom activities designed to delight participants and captivate large amounts of spectators. Attractions included:

-The Ballcano which housed 150,000 balls in an enormous inflatable
-Office Chair Grand Prix which placed 2-person teams in a relay drag race
-Button Mash which allowed teams of attendees to compete in responsive track and field style games on large LED walls.

The Live stage held intimate performances by Future Islands, Thievery Corporation, and Zach Person, offering attendees a more relaxed atmosphere to enjoy music.

The Dome contained an immersive laser show installation, scored to a custom soundtrack, and featured over 40 different laser fixtures.

AWS re:Play 2018 required 250+ trucks of production, 30 million pounds of ballasting, 15+ miles of lighting cables, over 36,000 hours of build and strike labor, and a year of concept, design, development and planning.

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious productions to date. It took more than a year of planning and design, and over 36,000 hours of build and strike labor, to create a hybrid blend of music festival and theme park to entertain 25,000 guests. Filling the Las Vegas Festival Grounds with four structures surrounding an outdoor Courtyard, the complex offered food, gaming, and musical entertainment by Skrillex, Mija, Future Islands, and Thievery Corporation–plus harder-to-define diversions like the Ballcano, an enormous inflatable filled with 150,000 balls.

The party featured a chopped up “remix” of the conference art, which then iterated into the stage designs, scenic inflatables rigged throughout the structures, and the overall event look and feel.

All attendees enjoyed complimentary food and open bars through 4 different environments, consuming over 140,000 items of food in 5 hours.

The Club structure showcased DJ sets by Skrillex and Mija. It featured over 400 lighting fixtures, a slanted LED wall, and automated trusses panning and tilting through the night to create unique and dynamic looks. It also housed a 50’ tall inflatable installation and photo opp.

The Games structure featured high energy, custom activities designed to delight participants and captivate large amounts of spectators. Attractions included:

-The Ballcano which housed 150,000 balls in an enormous inflatable
-Office Chair Grand Prix which placed 2-person teams in a relay drag race
-Button Mash which allowed teams of attendees to compete in responsive track and field style games on large LED walls.

The Live stage held intimate performances by Future Islands, Thievery Corporation, and Zach Person, offering attendees a more relaxed atmosphere to enjoy music.

The Dome contained an immersive laser show installation, scored to a custom soundtrack, and featured over 40 different laser fixtures.

AWS re:Play 2018 required 250+ trucks of production, 30 million pounds of ballasting, 15+ miles of lighting cables, over 36,000 hours of build and strike labor, and a year of concept, design, development and planning.

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious producti...
11/02/2019

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious productions to date. It took more than a year of planning and design, and over 36,000 hours of build and strike labor, to create a hybrid blend of music festival and theme park to entertain 25,000 guests. Filling the Las Vegas Festival Grounds with four structures surrounding an outdoor Courtyard, the complex offered food, gaming, and musical entertainment by Skrillex, Mija, Future Islands, and Thievery Corporation–plus harder-to-define diversions like the Ballcano, an enormous inflatable filled with 150,000 balls.

The party featured a chopped up “remix” of the conference art, which then iterated into the stage designs, scenic inflatables rigged throughout the structures, and the overall event look and feel.

All attendees enjoyed complimentary food and open bars through 4 different environments, consuming over 140,000 items of food in 5 hours.

The Club structure showcased DJ sets by Skrillex and Mija. It featured over 400 lighting fixtures, a slanted LED wall, and automated trusses panning and tilting through the night to create unique and dynamic looks. It also housed a 50’ tall inflatable installation and photo opp.

The Games structure featured high energy, custom activities designed to delight participants and captivate large amounts of spectators. Attractions included:

-The Ballcano which housed 150,000 balls in an enormous inflatable
-Office Chair Grand Prix which placed 2-person teams in a relay drag race
-Button Mash which allowed teams of attendees to compete in responsive track and field style games on large LED walls.

The Live stage held intimate performances by Future Islands, Thievery Corporation, and Zach Person, offering attendees a more relaxed atmosphere to enjoy music.

The Dome contained an immersive laser show installation, scored to a custom soundtrack, and featured over 40 different laser fixtures.

AWS re:Play 2018 required 250+ trucks of production, 30 million pounds of ballasting, 15+ miles of lighting cables, over 36,000 hours of build and strike labor, and a year of concept, design, development and planning.

This closing celebration of Amazon Web Services re:Invent conference in Las Vegas was one of our most ambitious productions to date. It took more than a year of planning and design, and over 36,000 hours of build and strike labor, to create a hybrid blend of music festival and theme park to entertain 25,000 guests. Filling the Las Vegas Festival Grounds with four structures surrounding an outdoor Courtyard, the complex offered food, gaming, and musical entertainment by Skrillex, Mija, Future Islands, and Thievery Corporation–plus harder-to-define diversions like the Ballcano, an enormous inflatable filled with 150,000 balls.

The party featured a chopped up “remix” of the conference art, which then iterated into the stage designs, scenic inflatables rigged throughout the structures, and the overall event look and feel.

All attendees enjoyed complimentary food and open bars through 4 different environments, consuming over 140,000 items of food in 5 hours.

The Club structure showcased DJ sets by Skrillex and Mija. It featured over 400 lighting fixtures, a slanted LED wall, and automated trusses panning and tilting through the night to create unique and dynamic looks. It also housed a 50’ tall inflatable installation and photo opp.

The Games structure featured high energy, custom activities designed to delight participants and captivate large amounts of spectators. Attractions included:

-The Ballcano which housed 150,000 balls in an enormous inflatable
-Office Chair Grand Prix which placed 2-person teams in a relay drag race
-Button Mash which allowed teams of attendees to compete in responsive track and field style games on large LED walls.

The Live stage held intimate performances by Future Islands, Thievery Corporation, and Zach Person, offering attendees a more relaxed atmosphere to enjoy music.

The Dome contained an immersive laser show installation, scored to a custom soundtrack, and featured over 40 different laser fixtures.

AWS re:Play 2018 required 250+ trucks of production, 30 million pounds of ballasting, 15+ miles of lighting cables, over 36,000 hours of build and strike labor, and a year of concept, design, development and planning.

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