White Light on Right Track for IAAF Congress and Dinner
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The IAAF World Championships London 2017 were the biggest sporting event in the world this year and the biggest event to be held at the London Stadium since the London 2012 Olympic and Paralympic Games. With this being the first time the Championships have ever been held in the UK, the event witnessed the retirement of legendary sprinter Usain Bolt and the major championship track farewell of British great Sir Mo Farah. The Championships achieved an official Guinness World Record for the number of tickets sold with over 705,000 recorded while over 150,000 spectators lined a landmark filled marathon course in the city. With the IAAF World Championships taking place in London, this meant that both the IAAF Congress and Gala Dinner were also held in the Capital. White Light was called upon to provide technical solutions on each event.
This year’s IAAF World Championships London 2017 were held from 4th – 13th August and saw 2,200 athletes from 203 nations compete. The official opening of the IAAF Congress, which featured a Gala Dinner, took place at London’s Tate Modern on Tuesday 1st August and welcomed more than 200 of the IAAF’s 214 Member Federations. WL’s Senior Accounts Manager Dominic Yates comments: “The official opening was presented by IAAF President Lord Sebastian Coe and had some extremely high-profile guests in attendance. It took place in Turbine Hall of Tate Modern; a space we are now extremely familiar with due to our approved supplier status”.
For the opening Gala Dinner, WL was called upon to provide the full production support. With a team of 25 technicians, led by Project Manager Martin Strods, the company supplied the lighting, audio, rigging and scenery. Dominic states: “We drew on our extensive inventory to help create an unforgettable start to this year’s IAAF Congress. For the lighting, we drew on the Martin MAC Viper Performances and MAC Auras, CORE Lighting ColourPoints all controlled via a Grand MA2. We also supplied the audio system which consisted of the EM Acoustics HALO C Line Array, the EM 81s, 121s and 218s speakers along with Shure Radio microphones. For the content that was being relayed as part of the speeches, we drew on our Christie 4K30 Boxer Projectors as well as providing 2 x 95” Panasonic Plasma screens to ensure all of the delegates felt part of the evening”.
Regarding timescale, WL installed the lighting and audio system the previous evening, whilst they had 45 minutes before the actual event to fly the projection screens and set up all elements on the floor of the Turbine Hall. Dominic states: “The Turbine Hall is in constant use, as it was during the day of the event, so we had to plan intricately to ensure we could turn up at 6pm and have everything ready for that evening”.
Following the opening Gala Dinner, the IAAF then held their 2017 Congress at ExCeL on 2nd – 3rd August. During the two days, they welcomed more than 800 international delegates from more than 200 member federations. Lord Sebastian Coe once again opened proceedings. Dominic states: “It was a busy few days with both projects running concurrently. The Congress was essentially a two-day conference in which the IAAF could review their previous year and look at putting forward proposals to their future constitutions”.
Such was the scale of the event that WL worked in three of the ExCeL spaces – the main auditorium, the Capital Hall and the Capital Suites. A team of 20 were led by crew chiefs Hadyn Williams and Tony Simpson, with Mark Cuniffe and Quentin Jarman providing the lighting design.
Dominic comments: “In order to realise Mark and Quentin’s design, we drew on 110 x SGM P5 Floods, 70 x ETC ColourForce 12s, 55 x ETC ColourForce 72s, 22 x Martin Mac III Performances and 16 x Martin Mac Viper Performances. This was all controlled via a Grand MA 2 Control System. This was all flown from nearly 100 motors and 420m of Prolyte H30V Truss”.
Both the Gala Dinner and Congress were huge successes; prefacing what would be an extremely successful IAAF World Championship London 2017. Dominic states: “It was fantastic to be involved with two major IAAF events that both received global recognition. It was a busy three days but our resources and equipment ensured we delivered everything on time and to our client’s exact specifications”.
The Marketing Store is a customer engagement agency who brings people and brands closely together. One of these brands is adidas and, over the past few months, the company has produced a range of exclusive events for the sportswear giant. Whether it’s immersive broadcasts of the UEFA Champions League final or football tournaments held in bespoke locations, The Marketing Store offers the most creative solutions possible to make such events achieve their potential. For all of their adidas events this year, the company has approached White Light to provide the complete technical support.



To achieve this, WL drew on its extensive inventory. This included 64 x Clay Paky Sharpy Spots, 20 x Clay Paky Mythos, 30 x Martin Mac Aura XBs, 10 x Martin MAC Viper Performances, 12 x Martin MAC Viper Washes, 48 x Ayrton Arcaline, 24 x Robert Juliet Dimmable Fluorescents and 6 x Arri 2K Fresnels. This was all controlled by a Grand MA 2 Fullsize and Lite Control System.
Largely considered as one of the most important events in the fashion industry, London Fashion Week returned to the capital last week in what was its 65th edition. Taking place in a range of venues across the city, the event saw 170 designers showcase their latest collections and set the trends for the upcoming season. Following its work on previous Fashion Weeks, WL was once again called upon to provide the complete technical solutions on a variety of shows.
WL collaborated with a variety of companies who were producing showcases across the four days. These included My Beautiful City who produced launches for Emilia Wickstead at Central St Martins and Julien Macdonald at Goldsmiths’ Hall. Dominic comments: “Both showcases had very different feels as both designers offer very unique styles. Therefore it was a case of working closely with the lighting designer Robert Jones to ensure that we provided the equipment to help fulfil his brief”.